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themadxd127 · 5 days ago

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Alright, fandom-wide PSA!!

You know what I'm sick and tired of seeing this retardation anytime I look up anything related to Kris, Chara, or Frisk, and if no wants to call it out than I will.

KRIS, FRISK, AND CHARA ARE NOT NON-BINARY, AND CERTAINLY NOT SEPERATE FROM THE PLAYER!!

I swear to god, I'm fucking sick of seeing the same unfounded claims used to justify harassments and death threats. Kris, Frisk, and Chara, or the the "kfc," as I will shorten them too, have NEVER been ONCE confirmed to be anywhere under the transgender umbrella, and have expressed zero opinions towards that. In fact neither Undertale, nor Deltarune have any content even remotely related to it as well, but I digress.

Kris and Frisk, and by extension, Chara, are simple rpg protagonist that you get to decide the gender for. This has been a common practice in rpgs for decades now, and is a thing among many other video game protagonist as well.

Also self-interts and blank-slates aren't just, "you're the mc." This isn't a black and white, binary scale. It's a sliding spectrum of how many of these character attributes are up to the player to decide. You see this a lot in games like saints row, where despite there being only one way for the story and missions to play out, and the mc having a defined personality that affects the story in only one way, you can customize literally anything about the player character, to gender, skin color, clothing, to even taunts, and more.

This!! This is what we are talking about!! This is what it really means when we say Kris, Frisk, and Chara are blank-slates. Having a defined personality can't stop that, and it shouldn't. Especially considering that Undertale and Deltarune have never call into question the kfc's gender, and have never been important to the story once.

"But, you wouldn't call Undyne a he!!"

Cause unlike "they/them," both "he/him," and "she/her" have explicit obvious meanings to our well defined sex categories. Which "they/them" just doesn't have, and UTDR has never once defined its usage of the pronoun, so it defaults to its main definition, that being used for anyone of any gender. I can't believe I have to explain basic effing english and the most common interpretation of the kfc's gender

"B-but, the player is separate from them-"

NO THEY ARE NOT!! To put it bluntly, that's a load of baloney. This is not a plot point, it's an overrated, awful theory that gets worse if you look at it for more than 50 seconds, especially Deltarune. But since the debunking of this theory can be a whole post on its own, I'm keeping it brief and relevant to this topic.

Kris

Let's get the big one out of the way, Deltarune, where this sad excuse of a plot has spread like wildfire. Kris has never once been shown to be seperate from us the player, and any commonly used "evidence" has been grossly misinterpreted. The ending soulless scenes are demonstrably not Kris, and are shown to be out of character and impossible to be the real Kris. The fact that Kris takes out his soul should evidence enough that ain't the real Kris.

(Also, yes it is Kris's soul, Ralsei literally says so in the tutorial)

That's also not getting into how this whole "We're forcing kris against his will" story makes no sense when you notice how Kris's clear personality comes out in gameplay like every other dialog option, like when Noelle playful ask of Kris wants a dog treat,

we get two options, either howling like dog when answerd no,

or saying yes with a lot of genuine.

(These screenshots were from a video by Sniper Spider on YouTube.)

or alot of the time will imply to have said or done something by the others characters completely unprompted. Like asking Alphys if she is watching anything on her phone. Or backing away from alot of stuff in fear, like from the closet, Susie, or the falling papers in the closet. To moving to aid susie by blocking the spades from the Spade King. To even being able to sniff the scented markers in a prompt that explains absolutely fucking nothing. I can go on, but I think that explains enough. Its very clear from this evidence that everything we do in the game is being interpreted as Kris doin it on his own, or is stuff that is completely in-character for Kris, or its also something Kris would have done themselves, and anything to do with whatever happened in the goner maker sequence is still inexplained. So no, it is NOT clear we are separate from Kris.

This is also not touching on how annoying it is for people to parade this around as definite fact, when its anything but. The people that treat this theory has irreparably canon, has ruined deltarune theory crafting. Now any theory or fan project need to be filtered thru this awful overrated lens, because the majority of the fandom are a bunch of babies that need their headcanons confirmed in every fan project, and its gotten annoying. I'm sick and tired of people saying "b-but the relationship between the player and Kris is interesting" When it fucking isn't. There is no relationship, when it all boils down to Kris being a salty unlikable cunt because he's "possessed" despite showing the active will to override our apparent "possession of poor kris," which in turn just makes the moral "You're bad for controlling kris, and bad for playing a video game." Which is super tone-deaf, and blantant bad writing no matter how you look at it, and is just subversive for the sake of being subversive. And this fandom wide obsession of being villainized for simply playing a video game has poisoned and ruined so many deltarune fan projects for me, and I want no part in it if people can't accept different interpretation of an unfinished story.

Also side note, no. The fact that close loved ones use those pronouns isn't evidence, as you are yet again assuming intent where nothing is implied. We do not know why they do that, and is never called attention to, nor acknowledged. Also people use "they/them" on others they know are not nb all the time, so this isn't as black or white as people think.

Frisk and Chara

I'm combining these two together cause the "evidence" for these two is even less then Kris's and involves a lot more baseless assumptions, and everything I said for Kris kinda also implies to Frisk as well, double it considering no one has any history with Frisk prior to the game, so they have no way of immediately knowing some random child is nb. (realistically someone at that age shouldn't even be nb anyway) Also no, Frisk saying his name to Asriel is not proof, as immediately afterwards, right before the game ends, Frisk gets to choose whether or not he wants to stay with Toriel. A key choice for Frisk that makes no effing sense to place AFTER the reveal that you're not him. Everything I said about Kris's loved ones applies to Chara as well. The same chara-cter (eyy!! 😎👆) who we literally get to name, and in which Toby Fox himself encourages you to name him after yourself.

That's also not touching on how Chara's true nature, and personality is a complete enigma, that people are still arguing about to this very day, and the fact that maybe it was left ambiguous on purpose hasn't crossed anyones minds yet is still baffling. But that's neither here or there, and not relevant. The point is that, we don't enough about Chara to even begin making sure statements like that, even less Frisk and Kris.

"Transphobe!!"

Shut up. No it isn't. My political opinion on the gender ideology have no bases on my opinion of the kfc's gender whatsoever, and this accusations is nothing but a vain trick in an attempt to move the goal post, and name-call and diacredit the opposition cause they're so unhealthily attach to a headcanon. And the thing is, I'm not arguing that Kris, Frisk, and Chara can never be non-binary. I am arguing that it is not definitive canon, and should not be considered such, and I'm sick of 12-year-olds parading it around as such as well, and putting that fucking pastel flag everywhere, making it the kfc's only personality, (its so obnoxious, and I hate it,) and harassing and sending death threats to anyone that disagrees. It ruins it for everyone.

To illustrate this I'll reco8nt what happened to me. I looked up male kris today with the express intent to enjoy male interpretation of our deltarune protagonist, only to be met with half of the result being people bitching about male headcanons of Kris, and Clover from undertale yellow for some reason. Like that's the type of shit I'm talking about. I blocked a bunch people who literally threatened people with death cause they don't like that someone saw Kris as a male. Immature shit like is the reason why I refuse on principle to be apart of this fandom anymore, and I will continue to do so until this shit stops permanently. And with that.

So, in conclusion, the protagonists of undertale and deltarune, Frisk and Kris, and by extension Chara, are not canonically non-binary. Neither of the games confirm this, and leave it ambiguous for us to decide, and the argument of "their seperate from the player" to excuse that away, is an unfounded theory that does more harm than good to theory scene and breeds animosity toward people that believe something else, like the Third-entity. What I want is for people to stop parading around common consensus as fact, and not ostracized people thay disagree. People should be allowed to think differently and to shut that down cause you dislike it, only breeds a controlling and unfriendly environment that will turn away people, who otherwise would have enjoyed it. Anyway that's most of it I think. Have a good day.

Edit: If you to look more into why "You're separate from kris," and "Kris is possessed by the player" is a load of baloney, then I recommend these post by Starlightshadows on reddit: - "Kris isn't rebelling against the player," and "Matpat theory is honestly not good"

I also got the examples of Kris's personality for this post: "What's not going on with Kris," it's a really good comprehensive post about how Kris's personality actively debunks the common consensus.

Edit edit: I wanna note that I have edit in paragraphs that add to what I am talking about and changed the wording to improve the writing quality. Anyway by the bye

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1-50thofabuck · 10 months ago

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All the World’s Monsters Readthrough

The following has not been proofread. It may contain typos, I may use the same words or phrases too many times, and so on. Tumblr also removes a lot of formatting such as underlines. Maybe I'll fix or update it in the future; maybe I won't. (Things like underlining being removed is beyond my control.) If there are serious corrections as regards facts presented, I will definitely amend such points. Please feel free to comment such corrections; or any comments at all. I want to read through with all of you!

All the World’s Monsters:

A Readthrough, Part I

Longwinded Introduction

This is a feature I’ve been wanting to work on for quite some time. Originally I wanted to write it with another person, and had various ideas on how that would work, but that didn’t happen. It’s a readthrough of the world’s first monster collection for an RPG. That I’m aware of, anyway - there very well might be some obscure or unsung prior volumes on the same topic(at the very least, perhaps zine monster collections?). I’m talking about Chaosium’s All the World’s Monsters. It’s an interesting book for sure, in a number of ways.

For one thing, not so much had become standardized. What information was important to know about a monster might vary by personal taste or by the specific version of the game being played. All the World’s Monsters was released after Holmes Basic but before the AD&D Monster Manual, which was the first of the AD&D books to be released(because I guess they figured people could still use the monster stats with other versions of the game while they completed the other core books).

Holmes Basic, for those unaware(and I won’t go into it too far because you can find plenty of histories on this out there with all the detail you’d like - skip this paragraph if you know about this already), was created as a way of introducing people to the D&D game as presented in the original white box set and Supplement I: Greyhawk. It was also a way of teaching people how to put those pieces together, or at least, one of the ways to do it, since the white box game was sort of all over the place, and difficult for people to grasp - especially if they had no prior boardgame knowledge beyond Monopoly and no wargaming knowledge. It kind of assumed you knew a lot of terms of general procedures for the more advanced board games and such, and that you would otherwise fill in the blanks. Holmes Basic did that for you. Furthermore, and it’s my understanding that this was more of a “Gygax shoehorning stuff he wanted in” aspect, but there are a few references to AD&D concepts and even the game itself, such as the exhortation to purchase AD&D if you wished to know how to have exotic characters like halfling thieves, or progress beyond 3rd level. (With the OD&D books you could do that anyway, and this was just a sales pitch.) It also introduced something closer to AD&D’s alignment system, except that you couldn’t play any neutral character besides a true neutral one: no neutral good, no chaotic neutral(there goes half my players!).

There’s a lot to say about this version of the game, and some people play this one exclusively, even coming up with retroclones such as Blueholme! And some of what I have to say on it will be relevant, because All the World’s Monsters was written with the assumption that Holmes Basic reflected the standard we would be seeing from that point on, including little oddities never to appear in any other edition or version of D&D ever again!

Another thing that makes the book so intriguing is, being the first of its kind, there were so many monsters out there that hadn’t been statted yet - at least in a published book that others could look at and draw inspiration from. So until they got statted in AD&D’s Deities and Demigods, who could argue, “officially,” how many hit dice a shoggoth should have, what its AC should be, and so on? The original books gave no stats for any kind of sphinx - what would an androsphinx’s HD be? Same as a lion? More? What’s a lion’s HD anyway? Spotted lions are listed in the OD&D encounter tables, but there are no statistics for them(in the white box set, anyway). Or how about an elephant - how many HD should it have? What should its AC be? While the white box told us that rocs are sometimes large enough to prey on elephants(an incredible concept rendered rather banal now by overuse), it didn’t tell us what statistics an elephant should have. How would you stat it, without peeking at your MM? Guess, what would you give them? Highlight the following for the answer:

Tumblr won't allow me to set text to white because why would it? I'm leaving the "highlight the following line" bit out of stubborness at not allowing the formatting I require. (11 HD, AC 6)

So at that time, there were a myriad animals and monsters that had never before seen print in the form of D&D/AD&D statistics. This gives a lot of room for creativity - you couldn’t look at some other book and say “Gee, I gave this monster 9 HD, but the official ones are 4/this unofficial supplement gives them 5. Did I overrate them that badly?” Maybe so, maybe not.

Statting animals and monsters is more art than science, though there’s some of that, too. The fact is, these are fairly arbitrary measures, and if you attempt to work out the official stats and come up with some kind of formula, you’ll drive yourself insane. Many things in the game, admittedly, were varied for the sake of variation. Weapon damage, for instance, was stated to have been made up for the purpose of variety - there’s no real reason that one weapon causes 2d4 while another causes 1d8 other than providing a wide spread of different dice types and combinations for weapons. (Yes, 2d4 gives you a bell curve with average score of 5 and a minimum score of 2, but the reason for this wasn’t because the weapon itself logically should, but rather to provide a variation.) I suspect that wolves being described as far smaller than they actually are was for a similar reason - wanting lower-level characters to be able to fight creatures that low-level monsters(goblins) often ride, but also to offer dire wolves, wargs, etc as upgrades. (Which still could have been done with properly-sized wolves, so maybe I’m barking up the wrong tree…)

Not only were so many animals and monsters unstatted, but again - formatting, and even rules weren’t fully codified or formulated yet. To some degree, many wouldn’t be until 3e made a concentrated effort to make everything formulaic with very specific processes and rules for everything, as well as to “balance” every monster and class, a task monumentally failed. As a good example of the lack of cohesion, look up monsters that strangle or drown and see how many different ways it’s done. I’m not saying this to knock the “old way” - there’s a reason I play old versions of D&D almost exclusively. Restricting yourself with unnecessary formulas and intricate templates is not typically of benefit, and having the flexibility to model things in different ways is superior to having to consult a list of codified formulas to make sure everything adds up.

But at this stage, even some of the few things that became standards had yet to come into play. In most instances, there were no examples to follow to determine, say, how almost any given special ability a creature might have should be modeled. So even this had to be determined by what were essentially fans writing for their favorite game.

As you can see, this was an exciting time, and an incredible opportunity - to set in black & white, in numbers, all the different things that D&D/AD&D classifies as “monsters” - anything that isn’t a PC! Setting down on paper, for the first time, so many different monsters. Devising rules for powers and abilities that nobody had created(at least publically available) rules for. Incorporating rules that would only exist for one basic introductory iteration of the system. (Not that they knew that!) Having the chance to determine formatting and all kinds of things that nobody had yet done.

Worlds and cosmoses full of things that still needed to be expressed in numbers and ability descriptions were waiting to be codified. This was, in fact, one of my misconceptions about the book when I purchased it - I thought it was more like Monsters of Myth and Legend by Mayfair as part of their Role Aids line, where they went through all different world mythologies and folklore in order to stat out all the various legendary monsters. All the World’s Monsters was really just a compilation of monsters submitted to Chaosium, and most of them are provided by but a handful of people - but we’ll explore that as we get into the actual readthrough.

Book Description

The first thing one will notice, besides for the eye-catching red background with stark black art, is that it’s sideways. It’s designed to be flipped or turned “up” from the bottom, so the spine is to the top. Similarly, the back cover is read sideways, spine upwards. I don’t need to do a critique or commentary on the art here; it’s pretty cool. I’m pretty uncritical of art, especially in low-budget/indie publications, and especially if the content is otherwise good.

To the back cover, we’re told the book is “an encyclopedia of the strange, the bizarre, and the deadly,” with “265 monstrous and dangerous creatures,” all by creators from the North American continent(or at least, most of it). We’re given sample stats for a kodiak bear - remember, there weren’t(to my knowledge) stats for any bears yet. (I didn’t consult the back cover before writing the bit about bears, previously.) Actually, we’re given the description, not the full stats - so we can’t read through and critique a set of stats just yet! But there’s an interesting part even here.

For instance, the description mentions that the kodiak can “fight at full efficiency so long as it has one-fourth of its hit points left.” There were some optional rules in OD&D that included dexterity reductions and various penalties at different percentages of HP loss. Such rules are difficult to implement, particularly at low levels, when a small hit will often take 75% of a PC’s HP, and adds yet another element(or two or three or four) to track. Regardless, people surely used those rules, and I imagine this part of the description was a special ability that applied only to those using these kinds of rules.

A kodiak mother gains bonuses in combat to protect her young and kodiaks have a chance of a hug attack, nothing too noteworthy or mind-blowing.

We end with a note about this being the third printing(it’s what I’ve got), there being another volume out, and a third on the way, and a line about the editors. Steve Perrin is one of them, and the blurb mentions that he’s the “co-author of RuneQuest,” a game I like very much, personally. Then some info about Chaosium and where you can write for info and so on.

The book itself is 109 pages, with the last 3 pages unnumbered, as they are tables, specifically, a monster level chart, to help with placing the monsters found in the book on the appropriate dungeon level, and a table for creating random monsters. Perhaps we’ll roll up a few in a future installment for fun.

The Book’s Introduction Page

Opening the cover we get a title page and introduction. If you thought the sideways book was just a feature of the cover - it’s not. The whole book is like this. And I have to say, I tried to be open minded about it. I told myself “You’re using it the same as you’d use any book except for how it’s turned, it doesn’t actually make any difference.” I hate when something is done in a new way and everyone rejects it because it’s different. While I can see the flaws in it, I really loved the Monstrous Compendium stuff made with hole-punched pages for sorting in a looseleaf binder. I feel like it failed less because of the flaws in it and more because it seemed too different, and was simply dismissed out of hand. So I try really hard not to do that.

But the format really bugs me.

Moving on to the introduction, I have to wonder how close this is to whatever introduction was originally written, since it opens by mentioning that this is the third printing. Mr. Perrin goes on to tell us that it was made for “games such as Dungeons & Dragons, Tunnels & Trolls, and the Arduin Grimoire.”

I have a few comments on this. Originally I wanted to say it was neat how this early one could simply reference D&D like that without a problem, but apparently the book did, in fact, cause a stir with TSR. I have not listened to the linked podcast, but the description says that this was the case. Once this readthrough is complete, I’ll go back and listen to the podcast; I’d like to get my own impressions, and maybe make a few guesses at some things, and see if I’m right or how much my ideas mesh with what they say.

Tunnels & Trolls(another game I quite like) is interesting since it didn’t really have monster stats, so using these in that game would be more for descriptive flavor.

As for the Arduin Grimoire, for those unaware, it was originally written as a sort of expansion and add-on to OD&D. This, too, caused problems, and it eventually became its own game(despite never playing it, its monster the “vampusa” remains a favorite of mine to this day). Gary Gygax mocked it in the form of a cursed item in AD&D, a book that drives the reader insane(one might have assumed it was a Lovecraft inspired item, but its inspiration was pure spite).

It goes on to tell us that they have 50,000 monsters, and how they might not use yours and how they chose the ones that went in here, info about the art, where to mail feedback about the monsters you want to see. What’s of real interest here is the mention that Dave Hargrave and Paul Jaquays gave them permission to use some of their own copywritten monsters, but these had to be removed due to space limitations. They then recommend Mr. Hargrave’s Arduin Grimoire(I’m sure that helped endear them to TSR), among other things, as well as several publications by Jaquays. These were presumably the publications from which the monsters would have been taken, and we’re told they will be in future volumes of AtWM.

Table of Contents

Skimming through, there are some really neat looking ones.

Archer bush? That was a later Mystara monster adapted into 2nd ed and currently 5e(not sure if it was in 3e or 4e or not and don’t particularly care). Sometimes it’s hard to say if multiple people had the same idea or one ripped the other off. Especially in this early time when lots of people were putting out monsters and few had previously, people were bound to have similar if not identical ideas. Such things have happened in much less likely circumstances.

Some very odd ones right off the bat. Snake ape? On the other hand, things like “air squids” are why I read these kinds of collections.

Batarang. Was DC ever notified of this infringement?

Plenty of slimy monsters: blue horror(which I’m guessing is a slime-type?), red blob, maybe “brown ich?,” gelatinous blue horror(maybe the original isn’t a slime after all), green slime golem. Eh, maybe not as many as I thought. We’ll get a better idea as we read through them, I don’t want to spend all day browsing the contents. And neither do you, I’m sure!

Vampire bear. Heh. Brain stealer(geteit chemosit). Is that German? I feel like I’ve seen other monsters in here with similar names. Will have to see if that’s true and if they’re written by the same author.

Carnivorous… typo? Carnivorous typo. Typo, carnivorous. Are you serious? If this doesn’t end up being some kind of meta monster I’m going to be quite disappointed.

Here’s another thing about the formatting. It makes sense as a normal book, in that one column continues in the column to its right. But because of the formatting of the book, you expect it to continue down the column on the next page below it. It’s a small thing, honestly, but it’s noticeable.

A lot of monsters that would see official stats later, as expected. Crocotta, cyclops, various demons - but no devils! There’s a “sun devil,” but since there’s no “devil” category I figure it’s a devil in the way a tasmanian devil is a devil - in a non-literal sense. It looks like there are some traditional powerful monsters from myth and legend among the demons, as Ymir(“Prince of Ice Demons”) is one of them, and some of these others may turn out to be similar things - it’s hard to tell from the names, such as “serpent king” and “twelfth plane,” which yes, is the name of a demon. As three demons are listed as “ice,” I imagine they were going more for a frozen Hell as opposed to a fiery one, which would be why they used Ymir instead of Surtr. The latter would have been a much more obvious choice, being a fiery giant who is to burn the universe to ashes as the grand finale of the final conflict between good and evil(yes I’m simplifying it, this isn’t a mythology lesson).

A good number of golems, including diamond, dust, the aforementioned green slime, ice(unusual but not impossible in a magical world, or in frozen places, where they’d be quite evocative), quicksilver(which would also appear in Mystara as simply “silver golems”), wood(ditto), and oddest of all - tar.

Ground octopus, like “air squid,” is the kind of thing I read these books for. Again, there’s kind of a similar monster in Mystara, the decapus, which tends to live in trees. Personally, my favorites are the octorocks of the Legend of Zelda series. While mentioning both air squids and video games, I’ll throw in that the Japanese Super Mario Bros 2 featured flying squids as well. I should also mention that I haven’t played video games in 30 years, so I will routinely recall things like this and not the 3,000 instances of them that have likely appeared in video games in the interim.

I never thought I’d see triffids in a monster book. I love it! Some Lewis Carrol monsters, some from myth and legend, such as the “three sons of Argatron.” I had to look that up, by the way, as it sounded historical but I wasn’t sure. Google corrected me to some random other word first, and then when I insisted that it search for what I actually typed, it pulled the legends right up. I didn’t read them though; we’ll do that when we get to the entry! Man-Scorpion, another monster not yet statted. As far as I know, they’re usually called “scorpion men,” so the formatting of “man” first is an unusual coincidence and I wonder if there was some famous or classical text popular at the time that used that form. At any rate, it says “see Humbaba,” who, if I’m not terribly wrong, was not a scorpion man.

There are several Lovecraftian things, including stats for Nyarlathotep. I believe I have probably 3 or 4 sets of stats for him, for various editions of D&D, and I look forward to contrasting them all and seeing how they compare, especially this earliest one to, say, the newest one I have. Of course, being published by Chaosium, they had the rights to these monsters.

Not so much the olog-hai, which was a direct property of the Tolkien Estate. If “hobbit,” a word Professor Tolkien did not even invent, had to be removed from early versions of D&D, one must imagine that the only reason the same didn’t occur here is that this book flew under their radar. (In fact, I believe hobbits were removed by choice, in order to prevent future legal issues, but this is another point I could be quite wrong on.)

Let’s move on and not spend all day speculating and rambling about a table of contents, shall we?

Creators

I don’t want to add up the number of creators used, as many are combinations of creators and so forth. Dan Pierson created the largest number of monsters, with 28 entries printed in the book. It seems like the average is about a dozen or a bit less, just glancing at the numbers and guessing. If someone cares enough to do the math, have fun.

One little point is the last line: “There are 265 entries and 113 cross-references.” So out of these monsters, almost half of them are related to(in some way or another, whether as biologically related, as enemies, or whatever) others. If that’s what it means, that would make some sense given that some creators contributed a dozen or more monsters, and there’s often going to be such connections(such as someone creating a number of “ice demons”). This kind of thing is good, as it can be incorporated to give the denizens of your world, and your world by extension, more of a feeling of depth and history, that these monsters have relations, alliances and rivalries, and aren’t just a set of numbers.

“Interpreting the Monster Entries”

An explanation of what the stats mean and so forth. There are a few points of interest here. They mention that random numbers are “expressed as die rolls,” in case you played D&D and somehow didn’t know what 3d6 meant. This is great though, as it saves the trouble of figuring out what to use to determine 3-6(it’s 1d4+2). There are reasons that Gygax chose to express numbers as, say, the aforementioned 3-6 instead of 1d4+2, which was to emphasize that the numbers were important and not how they were generated, opening people up to new dice rolling conventions and so forth. Unfortunately, what it mostly did was confuse people with some of the more difficult to interpret number ranges.

We’re told that intelligence is abbreviated as IQ(as it is in the later GURPS) and expressed as a die roll - so instead of being told “very” or given a specific number, we’re given dice to roll to determine the intelligence of any given monster. (I do this in my own games and monster stats, so it’s nice to see someone else doing this a number of years before I was capable of playing.)

Most of the rest of the explanations are mundane and not worth reviewing, it’s basic information.

One thing it doesn’t bother to explain or mention is the fact that it has a dexterity range for each monster in the same way it has an IQ range. Here, dexterity is abbreviated DEXT., which makes me wonder if the DEX abbreviation had been used yet on character sheets or was still a little bit away? Remember, this book was released after Holmes Basic and before a single AD&D book, including the first AD&D book released, the Monster Manual.

More importantly than the abbreviation is why that was there. It was there because in Holmes Basic, the melee combatants attack in order of dexterity, regardless of who won initiative or initiated combat. The Holmes book mentions the question of “who strikes the first blow?” as one unresolved in OD&D, which seems very odd. OD&D never really explained initiative at all, and expected you to default to Chainmail order of initiative. It may have not expected you to use the combat “phases,” but just the die mechanic that determined which side acted first - that being a d6 and the higher goes first. Later versions would have the lower roll act first, with the option to positively/detrimentally modify the roll by weapon speed. There is mention that dexterity might affect various things including initiative, but there’s no exact rule explaining how. Most people just assumed that the one with the initiative attacked first, and this was how the game has been played, for the most part, ever since(and I imagine, for most, during and before, as well). Personally, I think it’s great, and would enjoy trying the rule out. I favor using phases and aspects of combat that add some amount of strategy, where “I run up and attack” can often be detrimental to waiting for a more opportune moment and so forth. I’d prefer the combat phases, and have played with them for many, many years, but I’d be quite open to the Holmes Basic version of combat. (Someone want to run it for me?)

As yet another digression, it’s funny how often I’ve played games with people that ran their system of choice for decades, sometimes since the game was released, and never knew how initiative actually worked in said system. People get so used to it working a certain way in lots of games, and they either never consult the rule in their own game, or forget it and replace it in their mind with another. I’ve played in multiple Marvel Super Heroes games where everyone rolled a d10 for initiative, and when I pointed out it was one die per side, the judges in each case looked at me quizzically and then continued doing it how they had been doing it forever. The fact that they had been performing the most basic part of their favorite game wrong for 30+ years was too much to consider so it was simply dismissed.

And with that, I’ll wrap this first entry. I hope it wasn’t too boring - I know I ramble and digress, but it’s kind of part of the point I suppose. I hope you’ll stick with me for the monsters, even if you found this part kind of weak, and that you’ll let me know what you think, as well, because I want to go over this with you, not just read a review to a brick wall. It’s not a review, it’s a readthrough, me and you, if you please.

So.

Let’s read All the World’s Monsters together!

#D&D #AD&D #tunnels and trolls #arduin grimoire #chaosium #OD&D #holmes basic #holmes blue book #monster manual #all the world's monsters #readthrough #read through #review #osr #rpg #rpgs

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crazy-pages · 1 month ago

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This is part of the problem though. The desire to cultivate apolitical spaces without engaging with politics makes a space vulnerable to alt-right colonization. Because yes you can and should have places which aren't for political discussion. Decompression, casual conversation, community building spaces which aren't conflict oriented, these are good things! The trick is that you can't keep them apolitical unless you're willing to engage with politics sometimes.

It's kind of like the "paradox" of tolerance. It's important to have universally welcoming spaces, but you can't actually have universally welcoming spaces. If you welcome in people who intend to harm others in the group, the people they harm will stop feeling welcome. So to preserve the tolerant nature of the group, you must eject bad actors who aren't willing to play nice.

Because one way fandom spaces get colonized by the alt-right is when moderators and the community are unwilling to engage with this reality. Because what is political is different to different people. Is it apolitical for a guy to mention his irl boyfriend? If Star Wars suddenly has a black man and a white woman as its protagonsits, is it political to discuss the implications of that? To say you appreciate seeing yourself represented on screen? And one thing the alt-right will do when colonizing a space is militantly insist that anything remotely progressive is political, while their bigoted jokes are "just jokes" and their prejudiced motivated complaints are "just complaints". And there is no way to handle this without a coherent community political stance.

Here's a personal example from SpaceBattles, a a fanfiction and discussion forum that is ostensibly apolitical but has become infamously infiltrated by covert and not so covert neonazis (one of the site admins has the username of a Nazi general, Guderian, so really not so covert). I was reading a fanfiction there where a character is attacked by a neonazi gangster (canon story thing) for homophobic reasons, possibly based on the prompting of a prominently homophobic Christian character (also true to canon) in the story. Discussion was going back and forth over whether or not the Christian character might be responsible. Someone said no, a Christian's faith would never let them suggest violence. And I responded with a few quick missionary counterexamples and also, you know, the Christian supremacy of many neonazi groups. Not even saying he was definitely responsible, just that no, obviously Christians can be violent about homophobia.

You want to guess which one of us got an infraction for breaking the no politics rule?

Blatantly lying and misrepresenting Christianity to downplay its history of homophobic politics, didn't count as political. But factually reporting reality, on the exact same topic, relevant to the story, was deemed political.

And this creates a gradient that pushes out progressives and encourages the alt-right, because downplaying harms is always easier to pass off as apolitical than standing up for oneself. Queer people and people of color don't want to stick around somewhere where people can drop in on their stories and casually start up "apolitical" debates about if the neonazi gang in one of the bigger fandom stories is really so bad, and complain about why someone's story really needed a queer main character, and the mods say "oh that's apolitical". But then pushing back is political ... because that's what starts fights. Just letting yourself get sniped at and quietly harassed doesn't cause obvious conflict, so it's apolitical. Fighting back does, so it's what gets the moderator attention.

And no this isn't because the site owner is secretly a neonazi, despite the one admin. The site owner is actually a friend of a friend and she genuinely believes in cleaning up the site ... but refuses to set a hard stance on what's political that takes a side, and isn't cleaning house among the mods based off anything less than overt mouth-frothing bigotry. Because that would be "political". The belief in having a neutral space is there, but the understanding of the work required to maintain such a space is not.

Meanwhile Spacebattles' sister site, Sufficientvelocity, has the same fandoms, same root membership. But it actually has a coherent political stance on this stuff. It has zero tolerance for alt-right bullshit and quiet harassment and has an established moderator consensus on politics related stuff like basic facts of reality. And the result is that the space gets to be apolitical. Users can exist and chat and have discussions that are predominantly apolitical, and moderators hand out infractions and say "shoo, to [designated space for these conversations] with you!" over bringing up politics to start shit, without it becoming an overtly alt right site. But it only works because the moderators and the community are willing to recognize that fully apolitical spaces are a fantasy. One can only construct something minimally political, and if and only if one recognizes that politics exists and some ideologies are simply incompatible with mutual tolerance.

The video below is actually all about this. But what this all boils down to is that yes, spaces to just chill and watch sports should be some degree of apolitical. But they became alt-right colonized precisely because people believed you could have that just as a default, rather than something you have to do political work to maintain.

youtube

https://www.tumblr.com/woman-respecter/766978675093700608/its-so-weird-most-of-the-internet-is-acting-like?source=share

i find this comforting honestly. especally going on here on fandom blogs and people arguing about antis and proshippers like there's no change in the world. it's been easy to doom about dystopian 1984 or handmaid's tale in my mind but you need to consider that you're still going to have good things in life, most likely, in order to find the motivation to fight for the things that matter. i bring up 1984 and handmaid's tale specifically because the point of those two particular dystopian books is about how extreme authoritarianism is also about crushing the human spirit, grinding you down into nothing but nihilism and boredom. so it's good to see that a lot of life goes on, and fight to preserve that it stays that way. and like, look. you don't know that the people posting about shipping or tv shows or cooking or whatever aren't freaking out about politics elsewhere. i think one of the issues we've had is the loss of the compartmentalized internet - like, it used to be possible for young men to talk about games and sports somewhere without it coming with a side dish of right-wing radicalization. politics was something you had to seek out. and i believe we should go back to that. it's not the ONLY thing at fault and obviously those men still took initiative in sliding down those rabbit holes, but it's one thing that really stands out to me as the difference between the internet millennials came of age with and the one that gen z has

yeah you know what ur right. it is kind of heartening to watch my mutuals fight about the firefighter show, despite everything

#Youtube

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deepfriedseagullfeet · 2 years ago

Photo

my anti! lore under the cut:

1-4 (literally), male, or at least tries to be (he him), pansexual? 5’7” (jack)

i fucking HATE this guy.

basically, i wanted to make an antagonist that personally scared me/made me very upset. and my anti isn’t perfect by any means, but i do feel that he’s powerful enough to ruin the lives of the other 5 egos in his own special ways.

so canon comparisons, or at least the comparisons i can make, since we still dont know what anti is. i always saw anti as a parasite. a parasite that needs a host. thats why he’s always trying to possess jack, because he needs a body to do stuff in the physical world. and thats what happens in my lore!

when anti was created by jack, it was more of an accident, and jack hated anti. he would keep anti locked up in his own body before casting him out to die when he figured out how to separate them. none of the other egos knew that anti existed for awhile, EXCEPT FOR JACKIE, when he saw anti trying to fight for control, but jack gaslit him into thinking it was a hallucination, and all that is a conversation for another time.

so jack thought that anti was gone for good. until he came back. again and again. he would seize jack’s body for control, and jack would cast him out again. jackie and henrik didn’t know what was happening, until anti ended up possessing henrik out of desperation, which is when jack admitted that anti was something he created and wanted to kill all of them.

but the thing was, anti DIDNT want to kill them all, at least at the time. what anti wanted was family. what anti wanted was love. what anti wanted, was to have a body, a home, and he still loved jack, even after everything he put him through. and he was desperate to get it. and as jack created chase, he was realizing that anti wasn’t going to leave him and his creations alone, and so he decided to make anti a body. someone to love anti. someone to keep anti occupied so he would leave them all alone.

and as you might’ve guessed, that body, that somebody was jameson. jameson was hand-crafted, specifically for anti, and presented to him like a present. and uh, anti ended up taking jacks body anyways. he came back for jack, stabbing him in the back even though jack had AGREED with anti that if he made him a body, he wouldn’t do this. but he did, and he took jameson away.

i could go on and on about jameson and anti’s relationship. about how they had a metaphorical wedding, how the went from being awkward, scared kids to lovers, how anti gave into his anger and sadistic urges and ended up making jameson’s life hell. but this video would get VERY long so lets just keep the topic on anti.

essentially, he and jameson shared a house out in the woods and lived “normal” human lives. a big thing with anti, though, is that he became a psychiatrist. he was fascinated with humans, and wanted to dig into their heads. and so he studied up, and with some manipulation (and probably some murder) he wormed his way into the system and became a licensed therapist.

he did eventually get taken down by jackie as his grip on his situation spiraled out of his control, but for a good while, he enjoyed a life of being a white man with power in todays society.

so thats all the backstory. and yes, its a lot, and theres definitely more stuff that happens, but ill talk about that when they become relevant to the other egos.

now as for anti as a character. hes very naturally charming and clever, likeable almost. he likes watching tv with his husband, maybe indulging in a good beer or dr pepper. he also loves weapons and collects knives, while also illegally owning a gun. he likes to go out and hunt animals when hes bored. he likes hurting jameson when he’s bored, too. hes naturally sadistic and enjoys hurting others, manipulating everyone around him with his powers to keep that “hobby” of his quiet.

to put anti as simple as i can, he wants to be human so bad, he wants to live a human life, but he craves complete control so badly that he does anything he can to get it, and thats what makes him scary, abusive, manipulative, and the clear antagonist of the egos.

#jacksepticegos #antisepticeye #ego lore #ego posting #my art

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lawisnotmocked · 3 years ago

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@clouiis asked: sorry for the like fkhskjfhjskd sudden dm but i wanted to ask since youre a fellow javert enjoyer! what's your take on all the animalistic imagery that gets assigned to him? Especially in terms of it's relation to violence, dog son of a wolf that would devor his kin and all (but then arguably, the imagery shifting to gentleness in Javert Derailed w the whole dog licking the hand of its master thing) and the???? pleasure sounds weird but ig???? thrill????? that he gets from pursuing valjean w all the predator imagery?? mans just a furry

[tumblr straight up deleted the ask you sent when I was trying to answer it but I had all the text saved bc I thought something like this might happen omg :’3]

I can’t tell you how excited I am to get to answer this omg :’3 I, Known Javert Enjoyer And Furry, am being asked to infodump about my special interest?? Hell to the fucking yeah let’s go!!!

Javert being The Man With The Literal Dog Soul has so much personal importance to my dog man self that I am literally incapable of being normal about it no I will not explain myself yes I’ve written multiple paragraphs as an answer thank u for your time and I hope you enjoy uwu

The first thing I’d probably want to talk about in relation to Javert’s animal imagery is the way it fits into Victor Hugo’s Characteristically Complex And Layered Web Of Furry Symbolism bc I love that shit ☺️

Just gonna set some stuff up before I get into my ramblings lol so it’s accessible to anyone reading it uwu’’ But Hugo’s symbolic animal code is woven throughout the whole text of Les Mis and is most often used to assign moral worth to actions, illustrate the emotional state of characters, foreshadow future events and make broad ideological statements about society and the ways people interact with each other within society. It’s a pretty common French literary device for the period and one I’m personally absolutely in love with! But like a lot of things in lm it also relies on the reader having the full cultural context to be able to understand a lot of what he’s talking about and obviously most modern audiences won’t have that ^^’ I’ve done my best to decode some of Javert’s most important animal symbolism but I’m still learning so I’m sure there’ll still be some things I miss uwu’’

One of the commonly recurring symbolic animals in Les Mis that’s very relevant to Javert’s own symbolism is the wolf! Wolves in Les Mis often mean two things - that a person has dangerous, malicious or violent intentions, or that a person is prohibited from being part of Polite SocietyTM, normally because they’re in extreme poverty or are a criminal. Lots of people who are both violent and criminals get assigned wolf imagery in Les Mis, including Thenardier, Montparnasse and Valjean while he’s in prison and he’s traumatised and angry. Javert however is not a wolf, he’s the dog son of wolves, and this is an Important Symbolic Distinction to make.

A common reading of Javert’s character is that he’s the romani son of two imprisoned parents. Again just gonna give some brief context just in case anyone needs it, but the romani people are an incredibly persecuted ethnic group who live mostly in Europe. I grew up next to a British Romany community, and modern romani communities still face a lot of racism and violence both from governments and individuals in the present day. If you’re not romani I’d definitely recommend taking the time to learn about the issues romani people in your country and community face because ignorance to these issues only allows violence against romani communities to continue. As a white English man I’m definitely not the right person to talk in depth about any experiences Javert may have had as a French Romani person but I’ll try and give some basic context with links to posts made by people with a lot more knowledge on the topic than I have.

As two people who were most likely in poverty and also possibly both romani, Javert’s parents would have been considered ‘wolves’ before they even ended up in prison, hence Javert is the son of wolves. However, Javert is not a wolf himself, his main Symbolically Significant Fursona is a dog. Javert was born outside of society without much hope of ever being able to enter it himself - ‘as he grew up, he thought that he was outside the pale of society, and he despaired of ever re-entering it. He observed that society unpardoningly excludes two classes of men,- those who attack it and those who guard it; he had no choice except between these two classes’ (1.5.5) He had the choice between becoming a wolf and most likely ending up imprisoned himself, or turning himself the state’s guard dog, aka a prison guard then a police inspector, so he chose to become the dog who devours his wolf siblings. The peasants of Asturias quote makes me crazy and stupid it’s my favourite part of the whole book it makes me rabid and feral!! This bitch gets me so emotional man his whole character motivation comes from a place of trauma and self hatred and trying to escape the same fate as his parents 😭

Going slightly off topic to link some other related posts for a second but! since Javert was born in a prison, he was most likely taken from his mother at a very young age and placed in the care of someone else until he was old enough to work at Toulon. Even ‘Javert’ would be a name given to him by the state to prevent his bio family from being able to find him once he grew up. This post also has an interesting discussion about Javert having internalised racism as a romani person and how that might have affected him growing up, especially if he was taken from his family as a child, and it’s definitely worth a read.

There is a lot of violence in the dog symbolism too like you said!! He is first and foremost a hunting dog belonging to the state, and he gets used by the state to do the dirty work of dealing with other lower class ‘animals’ who are excluded from society just like he is. At a certain point though Javert is choosing this line of work as opposed to just being forced into it, and he derives a vicious pleasure from doing his job! Javert isn’t an exceptionally violent police inspector, he’s actually an unrealistically perfect and idealised police inspector for the 19th century, but his character illustrates that the law itself is violent, and even by following the letter of the law and being incorruptible Javert is a dangerous man.

This is where Javert’s other main symbolic fursona comes in - the tiger! Cat symbolism in Les Mis is A Whole Complicated Thing and cats have a lot of different symbolic meanings but as far as I can figure out, domestic cats in Les Mis represent progress, potential, indecisiveness, neutrality and choices to make/paths to take. Lions are heavily associated with the barricade scenes and revolution and represent an action or person being a force for good, while tigers are associated with dangerous people and Morally Bad Actions. Domestic cats also represent the potential for an individual to become a big cat - when Valjean enters Myriel’s room at night he’s described as catlike, but when he leaves with the silver he’s a tiger. Tiger = merciless cruelty and Morally Bad Actions is actually an established part of 18th and 19th century writing, and Robespierre was often compared to a tiger after his death in order to portray him as bloodthirsty and ruthless. Javert is introduced with both dog and tiger imagery, and this imagery is consistent throughout the book. ‘Javert, serious, was a watchdog; when he laughed, he was a tiger.’ (1.5.5)

In relation to all of the hunting and predator imagery associated with Javert, I do actually think pleasure is the right word to describe what he’s feeling! And, gonna get a lil bit nsfw here but, I think there genuinely is an intentionally sexual subtext to some of the ‘hunting’ scenes!

‘Then he began the game. He experienced one ecstatic and infernal moment; he allowed his man to go on ahead, knowing that he had him safe, but desirous of postponing the moment of arrest as long as possible, happy at the thought that he was taken and yet at seeing him free, gloating over him with his gaze, with that voluptuousness of the spider which allows the fly to flutter, and of the cat which lets the mouse run. Claws and talons possess a monstrous sensuality,—the obscure movements of the creature imprisoned in their pincers. What a delight this strangling is! Javert was enjoying himself. The meshes of his net were stoutly knotted. He was sure of success; all he had to do now was to close his hand’. (2.5.10)

Like?? ‘one ecstatic and infernal moment’?? ‘Monstrous sensuality’?? This is very intentionally intense language!! Hugo even literally says ‘Javert jouissait’ in the original French!! Which is modern slang for orgasm!! I joke that Javert is into vore but you cannot make this shit up!! :’D

There are like Actual Academic Discussions about this word choice that aren’t just me screaming on tumblr dot com lol, and a 2 second google search brought up this passage from Richard D Burton’s book ‘Blood in the City: Violence and Revelation in Paris, 1789–1945’ - ‘Hugo’s inspector Javert stalking Jean Valjean from afar, delighting sadistically in the godlike power he exerts over the unwitting object of his gaze, postponing the moment of capture as a lover defers the moment of orgasm’ (p.285)

I’m also gonna bring attention to this post that talks about this scene - ‘these combinations having been effected, feeling that Jean Valjean was caught between the blind alley Genrot on the right, his agent on the left, and himself, Javert, in the rear, he took a pinch of snuff’ (2.5.10) - as reading very much like a premature post-coital cigarette, both bc it’s funny and because everything wolfsbaneblooming says is really interesting 😌

Of course you don’t have to read anything in this scene as sexual pleasure! Like any kind of literary reading there are so many different ways to interpret the text, but I personally get joy out of reading this scene as Javert being very horny about hunting Valjean down in the streets of Paris and I personally think he would benefit from quitting his job and getting involved in the kink scene instead uwu

Last tangent I’m gonna go on I promise but you also mentioned the dog imagery in Javert Derailed and that means you’re gonna be subjected to my Javert Is Canonically In Love With Valjean reading of Les Mis 😌

I’ve talked about this reading in more detail before in this post here, but a lot of Javert’s animal imagery is used as a way to show how he emotionally reacts to things. Javert is going through a whole lot of complicated emotions during the derailment chapter and a lot of this is reflected in the dog symbolism!

One example I’m absolutely insane about of Javert’s conflicted feelings is this passage here - ‘when he had so unexpectedly encountered Jean Valjean on the banks of the Seine, there had been in him something of the wolf which regains his grip on his prey, and of the dog who finds his master again’. (5.4.1) He still has the ‘hunting instinct’ telling him that he’s supposed to capture Valjean, but now he also feels that to do so would be ‘wolf’ behaviour - it would be violent and malicious and serve no greater purpose. Now ‘the dog who finds his master again’... Javert’s ‘master’ up to this point has been the state and his superiors in the police - he’s belonged to and dedicated his whole self to the state for his entire life, but this quote implies that he’s now starting to see Valjean as his ‘master’ instead. I don’t think Javert is in the right emotional state to be forming healthy normal bonds with anyone at this point (or arguably at all?? King u need community support and so much therapy :’3), but I read this scene as Javert starting to almost replace his devotion to state authorities with a devotion to Valjean and protecting him from harm. Also like!! A purely surface level reading of ‘dog who finds his master’ immediately suggests feelings of excitement and adoration and relief!! Sounds kinda like love to me, as weird and canid as Javert’s love is!!

But oh no!! Javert’s weird canid love strikes again!!

‘A terrible situation! to be touched. To be granite and to doubt! to be the statue of Chastisement cast in one piece in the mould of the law, and suddenly to become aware of the fact that one cherishes beneath one's breast of bronze something absurd and disobedient which almost resembles a heart! To come to the pass of returning good for good, although one has said to oneself up to that day that that good is evil! to be the watch-dog, and to lick the intruder's hand! to be ice and melt! to be the pincers and to turn into a hand! to suddenly feel one's fingers opening! to relax one's grip,- what a terrible thing!’ (5.4.1)

I’m!!!! Hhhh!!! The tenderness!!!! The gentle adoration and devotion!!!! The resignation to what he already knows must be true!! God I’m never gonna get over this paragraph!!!! He loves Valjean like a dog loves its master!! He’s in awe of him in the same way that men are in terrified awe of angels!!

A benevolent malefactor, merciful, gentle, helpful, clement, a convict, returning good for evil, giving back pardon for hatred, preferring pity to vengeance, preferring to ruin himself rather than to ruin his enemy, saving him who had smitten him, kneeling on the heights of virtue, more nearly akin to an angel than to a man. (5.4.1)

What could this be but weird canid love from this man? Javert spent his whole life devoted to system that placed no value on his life and ended it devoted to the man who cared enough to save him.

I tried not to repeat myself too much because this is already obnoxiously long but I did go into more depth with my Javert loves Valjean reading here if anyone hasn’t already had enough of me going ape about dogs or whatever uwu’’

Hsvsbsv anyway in conclusion I think Javert is a fucked up little man who needs to be held gently and my professional recommendation is that he quit his job, join a furry kink group, try to reconnect with his bio family and see a therapist 😌💞

#javert #valvert #les mis #les miserables #les mis meta #monsters of our making #was gonna queue this but I want immediate validation rn so I’m posting it and I’ll schedule it for later too uwu #fave posts tag

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hermette-historian · 3 years ago

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I’ve been watching a huge variety of other mcyt creators lately (people that I had never heard of until I just started a deep dive down the rabbit hole), in order to more or less get a feel for where the community is today in terms of culture outside of the HC/Empires/Legacy/DSMP/their respective spinoffs group we tend to fixate on. These will be herefore referred to as our spotlight series.

I started this post just intending to make a joke about how excited I get whenever I see someone use a clip of a Hermit in their video as an example or a reaction (I’ve seen Gemini’s building timelapse from god-knows-when and about two frames of S7 Keralis from a TikTok so far) but I suppose I may as well present my findings because as always, I’ve taken notes.

I took a group of creators at complete random from the Minecraft topic page and a deep dive down the related algorithm. This is by no means a perfectly random sample of the community, but I feel it is a good show of what the YouTube algorithm is choosing to show a random viewer (I did clear all cookies and my watch history for that profile before I started). In total, my analysis includes a group of ~50 creators ranging from 10K to 3M subscribers; In order to keep track, I did subscribe to all of them. RIP my sub feed that I definitely don’t ever use anyway.

Here’s What I Found.

Demographics. While the spotlight series seem to have made large strides in the progress of inclusivity in the past few years, I’m saddened to report that the greater community does not appear to follow this trend. Every creator in my sample group was a man, and with the exception of one that I know to be black and a small handful that I suspect may be of Asian identities a very large majority are clearly white. They also all appeared to be between the ages of 15 and 30, but this is expected of people getting their start in mcyt within the last few years. A large majority contained sponsorships.

Content. Because I didn’t go in with the intention of doing a deep dive analysis but just out of my own curiosity, I had few expectations regarding what kind of content these creators would be putting out. And while there were certainly some obvious correlations and trends, I was impressed by the range that I saw. By far the biggest genres were mod videos and 100 days challenges, usually combined and always in hardcore mode. I know this to be the biggest trend on the platform right now so it wasn’t by any means surprising-just a data point. Other prevalent types included informational videos (have been around forever and are still relevant) reaction videos (ranging from cute to nostalgic to pure secondhand embarrassment fuel) some variation on Manhunt (not near as common as you would think) and a genre I like to call spotlight analysis (commentaries on any of the spotlight series, explaining or analyzing them in various levels of detail). Mr. Beast gets his own category, since he showed up just enough toward the end that I was concerned he would ruin my data. I also stumbled across two full-fledged SMPs for which I found multiple creators. One was an anarchy server called the LifeSteal SMP that is pretty much what exactly what the name implies and looked like fun, but was brought to its knees by cheaters and shady admins. The other was an idyllic society that I don’t believe actually has a name, characterized by big, beautiful builds (the pirate ship was particularly gorgeous) and harmless prankage.

Quality. I was seriously impressed by the video production quality of some of the smaller channels. Many of the 100 days challenges had thoroughly crafted lore behind them, voice acting, replay mod timelapses and cinematic shots. I would consider a large majority of the videos well-edited, the audio quality overall was clear and professional—these people clearly take pride in their work. There were a few glaring traits, however, that separate them from what I feel set the spotlight series apart. 100%, and I mean 100%, of the videos were voiceovers. Zero live commentary. I have no idea why this is the popular stylistic choice—I would guess it has something to do with the 100 days challenges—but I will emphasize that it does not work for every video format. It causes the second issue I found: scripted voiceovers. If you’re reading from a script, it sounds like you’re reading from a a script. Sometimes this works. Most of the time it becomes a monotone news report that can be hard to watch.

In conclusion, I’ve found that the greater mcyt community is thriving just as much as it was ten years ago albeit differently. There are some trends that will never go away, some creators whose legacies will never die. I do think there is room for improvement and variety, but I don’t think it’s fair to reduce smaller creators to teenaged dsmp copycats. It’s worth branching out and looking for something new. It’s also worth creating it yourself.

Go forth, my dear time travelers, and find something new.

[drops mic] Wynnie out.

#mcyt #not hc #why do I always write these essays right before class #I have a quiz to take goddamnit #but I hope you are all enjoying my spontaneous essays #because I find the flying by the seat of my pants style of writing rather thrilling

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writingwithcolor · 4 years ago

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Gay Mixed Korean & Korean Names and Terminology

@theablaireking-main asked:

I’m a queer slavic person writing a contemporary queer romance and I have 3 questions about it:

Gay Korean character, other PoC

My main character (K) is a gay man, who is half-Korean on dad’s side, half-white (American) on mom’s; & his love interest is a white bi man. I’m pretty sure I won’t end up fetishizing him as I have been doing my research and I’m writing him as 3D and rounded, but I was wondering: my other Asian male characters (1, maybe 2 Korean men & 1 half Filipino, half Black) are all straight. Should I make one of them gay or bi in order to show more diversity in appearance and personality in queer Asian men? I have only planned the main arc of the story, so I am not 100% sure about which side characters will make it in (except for the two Asian men I mentioned, they are definitely in there) but in my previous draft - I’m basically rewriting the whole thing from scratch - all the queer men were white and all the MoC were straight and that’s maybe not the best. I think did it because I was too afraid to handle the complexities of intersectional representation.

As a half-Korean lesbian, I feel pretty close to this topic. I think subconsciously, both in communities of color and white communities, there’s a lot of association with queerness and whiteness, and I often find myself debating whether to choose between going to a queer space or a space with other people of color. I think when you have three max people of color and only one of them is queer, and then you have all the other queer characters being white, you may be inadvertently following those subconscious biases, and I’m glad you were able to realize the complexity intersectional representation brings.

If you already have one Korean character that’s gay and you’ve done your research on how not to fetishize East Asian men, why not add another one? If you’ve done your research well, I don’t see why you shouldn’t make another man of color queer–I think it would be great representation of queer people of color and it would do more to alleviate the isolation queer people of color feel in their community. It would also reduce the risk of you inadvertently creating one monolithic version of “queer Asian man”, which definitely can’t hurt.

–Sophia

Naming a 4th-Generation Korean-American

This Is about names as I couldn’t find much relevant info online. So K is a 4th generation Korean immigrant in the US. Is it okay to give him a Western own and family name, or would that border on erasure? If I give him a legal Korean name, can it be Western “own” name and Korean family name and would the family name come before his own name? Or Western first “own” name, Korean “second” name and Korean family name? Would it be disrespectful to have him use a Western last name publicly, so he would be distinguished from the K pop idols, as he makes American pop and he feels his culture is more American culture, rather than Korean culture (he obviously still feels connection to Korean culture and likes Kpop, but he was born and raised in the US after all.) Also he doesn’t know Korean very well, outside off some basic stuff (how to say his name, hello/bye, ask for directions, order food etc.)

Speaking from my own experience as a 3rd-gen Korean, I have a Western first name and a Korean middle and last name, where my middle name is considered my “Korean” name, I suppose, although I refer to myself by my first Western name.

My initial gut reaction to having him refer to himself with a Western last name in order to separate himself from Kpop idols is pretty negative, frankly. Even though he makes American music, I see no reason why he should whitewash his own name to distinguish himself from Korean music–I’d like to remind you that Kpop is literally just pop music, in all its separate mini-genres and sounds, that just happens to be in Korean. He can be both Korean and American, and assuming consciously or not that if someone has a Korean last name, they must make Kpop, is playing into a stereotype.

Let this character keep his culture and make the music he wants to make. There’s no need to whitewash his name–especially his last name and the name of his family.

–Sophia

My first question upon reading “4th generation Korean” was “so… is this character somehow miraculously a full-blooded Korean?” Because frankly, by four generations I would be surprised if he didn’t have any non-Korean heritage, and if his father has non-Korean heritage then it wouldn’t be odd for your character to have a Western last name. This doesn’t mean I encourage your character using a Western name to differentiate themselves from K-pop, just that I genuinely find the idea of a 4th-gen Korean not having any non-Korean heritage unlikely.

A related thing I’d like to ask is, are both his parents 3rd-gen Koreans? As in, they never really lived in Korea? Because in that case, I’m genuinely wondering how much of Korean culture he would have had exposure to, other than through the media. Him being 4th-gen means that the first generation of immigrants most likely came to America before the second world war, and probably at some time during Japan’s influence-turned-annexation of Joseon (the country that eventually was split into North and South Korea). Going that far back, it’s quite plausible that the first generation might have come from what is now North Korea. They might also have a more Japanese accent when speaking English (my grandmother’s cousin lives in America and actually has this problem), and if they even have Korean given names (whether it’s legally their first or middle name) then it might not be something remotely common in modern Korea.

-Rune

Is it okay to use “Blaisian”and “Eurasian”?

I don’t live in an English speaking country (writing in English), but I was wondering if it was okay to have my mixed race characters jokingly refer to themselves as “Eurasian” (white + Asian) or “Blasian” (Black + Asian). Would they allow people close to them to do it too, or would it be seen as offensive if coming from people who don’t share their ethnicity? Or perhaps offensive coming from a white author?

I’ve seen mixed Black & Asian folks use the term “Blasian” (not in a joking context but just a casual one), but “Eurasian” is…something else entirely. I’ve never seen that term used by a white/Asian person, and I’m white/Asian with white/Asian friends. Eurasia is a continent…lol… Honestly the only term I’ve seen used for white/Asian is “half”/”halfie” (the second one’s YMMV and I don’t recommend it) and that’s specifically for half Japanese as far as I know.

~Mod Rina

During the 1990s and the 2000s, “Eurasian” was a term often used to describe half-white/ half-East Asian models who were perceived as having the ideal combination of European and ~ exotic ~ East Asian features (ex. Devon Aoki). Within Central Asia and Eastern Europe there are people who accurately use this term to describe themselves, but I share this information to make you aware of potential fetishistic implications. I do not recommend googling “Eurasian mail-order brides.” It is regretfully a thing.

- Marika.

I’ve seen white+Asian people refer to themselves as “Wasian” in the same way Black+Asian people refer to themselves as “Blasian”–that seems like a more appropriate name than “Eurasian” in this context

–Sophia

#Korean #Korean man #Korean names #names #terms #terminology #history #Korean History #submission #fetishization #asks

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ouyangzizhensdad · 4 years ago

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Do you think that making Chinese food is cultural appropriation? I'm white and started making some of the foods I saw in the shows I've watched since the untamed, but now I'm worried I'm appropriating the culture.

Hi anon,

As a fellow white person, I am also someone who needs to critically reflect on how I engage with different cultures. I can't give you the definitive answer you seek, the clear absolution from any potential wrongdoings; in its stead, I can only offer to share my current thought process on this topic. I’d still encourage you to seek other perspectives, and many people have written or spoken on this topic.

I believe we must first acknowledge that, on the terrain of the internet, discussions regarding cultural appropriation have reached a certain... extreme where some people view all forms of cultural exchanges as inherently suspect. They purport that so long as you stay within the bounds of ‘your’ culture, you will problematic behaviours. That perspective is inherent flawed. That is, it relies on a vision of culture as ‘bounded entities’ that exist in themselves. In reality, the ‘stuff’ that makes culture is emergent, existing only relationally, dialectically--it is a not a ‘thing’ that moves through time but an idea which is constantly negotiated and reproduced in relation to power and changing material realities to remain relevant and intelligible. The boundaries of cultural and ethnic groups are fuzzy, overlapping, and constantly being reworked and made meaningful. As an illustration, many of the food I grew up eating was influenced by ingredients and recipes immigrants brought in the 19th and 20th centuries, yet these dishes were understood as 'typically ours’. And it needs to be acknowledged that most of what is currently considered ‘white people food’ relies on ingredients that were introduced to our diet through colonialism and the violent dispossession of indigenous peoples (and, often, the current day exploitation of workers in the South and of migrant workers). No food can be truly ‘traditionally ours’, whatever the purported ‘we’ ends up being brought into the equation, and no eating behaviours can avoid the historical legacy and continuity of violence and power.

Of course, as people who exist in the world, we know that there are cultural differences. Bakhtin’s insights on language through the tensions between centripedal (ie towards uniformity, a common meaning) and centrifugal (toward diversity and change) forces can be expanded to help us conceptualise how we make sense of the way a ‘culture’ is perpetuated through time as something meaningful in our daily lives. Uniformity allows intelligibility, sense-making, but diversity and change are inescapable by-products of individuals and groups repeatedly going through life, meeting and trying to create intelligibility and sense together in a world that cannot stay the same. It is at the intersection of these two conflicting forces that something can be different yet considered the same--that we can create continuity out of change. But something perhaps less emphasized in Bakhtin’s discussions is how much power and material realities work on these forces. Power influences both centripedal and centrifugal forces, if only in orchestrating circumstances that shape how one encounters ‘different cultures’ or reproduces their 'own' culture.

We live at a moment where the world seems to have reached an apex of connectivity--where goods, people, ideas (and viruses) move across distance and borders at speeds that defy comprehension. Yet the way goods, people and ideas move (through which canals and systems? in which direction? to the benefits of whom? at the expense of whom? to what reception or use? in the service of which institutions and ideologies?) or are, inversely, incapable or unwilling to move, is influenced by power and material realities. It is inescapable.

In a roundabout way, what I’m trying to say is that it's useless to try to live life in 'your lane' by turning to a baseline 'culture' because we simply do not have a baseline culture to return to that is 'safe' from the influences of other cultures or the taint of the historical legacy and continuity of violence. So how do I personally reconcile that with how I engage with content that is produced from different cultural contexts, and how I engage with cooking food that is influenced by different cultural contexts? For me the guidelines I take into consideration are respect, attribution and avoiding forms of dehumanisation. These emerged out of witnessing how other white people have acted as well as critically reflecting on how I have acted in the past, and trying to do better (including of course, by listening to different perspectives on the topic). [just in case, warning for examples of racism/micro-agressions] I've been in China with white people who would praise the cooking we were eating in the same breath they were making jokes about dog meat. I've witnessed in Japan a dude decide not to come to an izakaya with Japanese colleagues, fucking off on his own to Akihabara instead, because he was disappointed he couldn’t talk about anime with them--too obsessed with the idealised version of Japan he’d created in his head to treat the Japanese people he met as people. The internet is full of white people telling you how to cook food from places they've never been and taking credit for 'popularising' that dish or 'making it better'. That's not even talking about the tendency for food to become a mark of a cosmopolitan, metropolitan identity in the West--the open-minded, the liberal, the traveler, the hip white person up with the times and beyond the mainstream. Hell, I've even seen people who act as if eating ‘ethnic’ food prepared by immigrants is the singular proof that they were people who cared about immigrants' well-being.

Food is rarely just about food, even when consumed at home. At the same time, we’d be remiss in all these discussions of power to dismiss how food is also one of oldest things we, as humans, want to share with others--including strangers. Feeding is nourishing and giving, eating is accepting into ourselves something made by others. Most people appreciate it when the value of a dish that holds importance for them is recognised by others--although, of course, many might understandably also resent that they have been discriminated against or mocked for eating that same food. Every time I’ve been invited in an immigrant household or at events with mostly immigrants, I’ve felt this sense of almost trepidation emanating from them, waiting for my reaction, and satisfaction once I was seen eating and appreciating the food they had served me--as if the acceptance of the food that was tied to their identity was a form of acceptance of who they were. Of course this can’t be disentangled from past experiences where other people might have been disrespectful, dismissive or outright racist: but the excitement they had in sharing food that had meaning to them and seeing others appreciate it was genuine.

Beyond situations of clear cultural sharing, where we get closer to what appears to be ‘cultural appropriation’, I believe that we cannot act as if there is something inherently sacrilegious in the idea of adapting recipes or using a specific ingredients in new ways--that’s centrifugal forces at play, and they have provided us with many dishes we love today: from immigrant creations like butter chicken to things like spicy kimchi. We cannot work with the assumption that people will only react with hostility at the idea of other people cooking the food they grew with, even in ways that are different from how they’re traditionally used and are thus “not authentic”. I still remember an interaction I had in a Korean grocery store, once upon a time when I lived in a metropolitan city. A man in front of me at the cash register who had been buying snacks and chatting with the employee in Korean looked at my stuff and suddenly asked me if I knew the name of the leafy green I was buying. I wasn’t necessarily surprised because I had overheard in the past customers and employees commenting in Korean about being surprised about the ingredients I, a white person, was purchasing, thinking I couldn’t understand them. I confirmed to him that I knew I was buying mustard greens. He then asked me what I was planning to do with them, and I explained that while I didn’t think it’s a traditional or common way of using it, I personally liked to add them to kimchi jjigae because it compliments their bitter/strong taste and I like leafy greens in my soups and stews. He said it was interesting, and that he was kind of impressed. The employee chimed to tell me I should be honoured at the compliment because the man was actually a chef who owned famous Korean fusion restaurants in the city. That was clearly someone who took Korean food very seriously and clearly had a certain degree of suspicion regarding how white people interacted with it, but he was also curious and interested in seeing how I approached ingredients without having grown up eating them.

Another point of contention is also that we cannot ignore that food is a sensual experience and that, while tastes are greatly influenced by our environment, they are not solely so. I grew up hating most of the food my parents would serve me, and started cooking in my early teens to avoid having to eat it. Before I started cooking, I would often just eat rice with (in hindsight horrible) western-brand soy sauce instead of the meal my mom had made. When I ate Indian food for the first time during a trip at the ripe age of 16, it blew my mind that food could taste like this. Of course I never wanted to look back, and with each years I discovered that a lot of Asian cuisines fit my palate better than what I grew up eating or other cuisines I had tried. When I was a teenager we visited my mom’s friend in France and I hated what she served us so much I’d simply choose to nibble on bread, prompting her to try to stage an intervention for my ‘obvious’ anorexia. Yet, being in China made me realise ingredients I thought I hated had just been cooked in ways I disliked. Do my taste buds absolve me from any need to think critically about how I interact with food? Of course not. But sometimes the reason we want to cook certain recipes and foods is just that it tastes great to us, and we want to reproduce the recipes we enjoyed with the ingredients and the skills we have. Or, really, sometimes we just want to try new tastes because we do a lot of eating throughout our lives, and it seems a waste to limit ourselves to a narrow number of dishes for decades to come.

So that’s where I currently am in my thinking about this topic, as a white person who cooks dishes influenced by a number of different places but who is also not trying to cook in a way that is necessarily authentic. Some things that I keep in mind that you can ask yourself now that cdramas and cnovels have made you interested in Chinese cooking is: are you taking this as an opportunity to support immigrant businesses when getting your ingredients? are you supporting white creators when looking for chinese recipes (some suggestion of youtube channels: Made with Lau, Chinese cooking Demystified, Family in Northwest China, 西北小强 Xibeixiaoqiang, 小高姐�� Magic Ingredients)? are you being respectful (not reproducing harmful stereotypes in how you talk about chinese food and the people who eat it)? do you use your interest in Chinese food to create a narrative about China and Chinese people that denies them, in some way, of their complexity and humanity? are you using your interest in Chinese food to create a narrative about yourself?

In conclusion I will leave you with a picture of some misshapen baozi I’ve made.

#anon ask #caution: word vomit ahead

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transmalewife · 3 years ago

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"don’t bring real life fascism and opposition to it into it" Are you high? The original villains of this franchise were modeled after Nazi Germany. Star Wars has ALWAYS been about opposing fascism. And if you think otherwise, then I sincerely doubt you understand what politics in media looks like.

Have you even read my post? I specifically mention how the original villains and some of the new ones fit the definition of fascism. Also, even though the empire was very obviously inspired by nazi germany in aesthetic, their ideology is kind of sanitized of any real world political implications and kept to an all encompassing pure evil, so that the heroes can be made into a universal good, fighting to restore the system that was there before, without having to consider for a second how that system might have encouraged that ideology to flourish. To bring in real world politics into it for a second (in a way infinitely more relevant than antifa as ill explain in a moment) it's comparable to america fighting fascism in europe without really examining how the eugenics it was based on actually started in the US, and how capitalism allows for and even encourages sorting people into human and subhuman categories. Which is actually why we're dealing with a resurgence in fascism in real life currently, mostly stemming from america. So the empire in the original trilogy is overtly inspired by nazi aesthetics, I won't deny that, but even in the OT it has very few ideological similarities (or really, very little ideology at all). Mostly bc in 1970's america nazi germany was a really simple cinematographic shorthand to show a government is evil. It follows that the rebellion would share some aesthetic similarities with the allied forces, while very firmly being in favor of restoring an old system and not instituting a new one, to avoid any uncomfortable self reflection in the silly sci fi movie or worse, any potential assosiation of the rebellion with a communist revolution.

However, neither the prequel, sequel, or original trilogy villains share aesthetic similarities with modern day fascism (firstly because for a topic like that to be safe to explore in a silly sci fi movie you have to wait for a good 30 years so it's not too soon, and second of all bc modern day fascism has a really pathetic aesthetic) nor is the in universe oposition to it in any way similar to antifa, who are in support of a revolution to build a new system instead of desperately trying to restore the old one as it crumbles in their hands. and ideologically, it's even further from it. modern day fascism's core tennet is racial purity, (not the cult of personality single dictator thing that was the most obvious ideological similarity between the emire and real world fascism) and while that topic is alluded to with the empire's having only humans in prominent roles it's never actually explored in any great depth in the movies.

Ideologically, how is palpatine a fascist? what is his ideology even? it really does boil down to a universal evil kill everyone power for power's sake evil wizard politics. Even his genocide of the jedi is a very clumsy allegory for the holocaust bc the jedi were killed for being an actual credible threat to him as an organisation, which jews weren't in nazi germany. Dooku has that human supremacist motivation explored in the rots novel, but again it's not really shown in the movies or series at all. This is why it's extremely tone deaf to compare anakin or palpatine to modern day fascism, and why comparing the pro-establishment, conservative in the most literal sense of the word, pro-liberal democracy jedi who opposed them to antifa is borderline offensive.

Now, finally coming back to anakin. aotc anakin specifically, since that's where i see the term "baby fascist" applied more often, usually in the context of "how could Padme marry a baby fascist???". and yeah, how could she marry a mass murderer, a child murderer? those are terms strong enough to cause the outrage you want to, and actually useful for exploring her motivations and how fucked up the whole situation was, you don't need to compare him to the most destructive and evil political ideology in human history. And I say compare, because it certainly isn't character analysis. The modern idea of a fascist is "disilusioned young white man with a penchant for murder" and Anakin certainly fits that definition, but stopping there is ignoring so much context the whole thing gets absurd. The reason young white men in america are the group most likely to become fascists is because they are the most priviledged group in society, and in recent years increasingly being told that they are, while still being fucked over by capitalism like we all are, so they really don't feel like they're reaping the benefits of that priviledge (even though they are and everyone else is worse off compared to them). Anakin is not in any measurable way priviledged. His distrust in the system, his political ideas stem very directly from him being part of an oppressed group, a former slave, then being forced to assimilate into the system that ignored that slavery while his mother still suffers under it. (and also from palpatine telling him how cool it would be if he had absolute power over the galaxy since anakin was literally nine years old). His lust for power (which, very interestingly never actually involves HIM getting more power, just enforcing it for "someone wise") isn't a lust for more power than he already has, it's a lust for any political power to protect people like him being hurt by the current system. His masacre of the tuskens, while undoubtedly racially motivated (and as such, handled extremely poorly by the narrative), is not actually genocide: his aim wasn't to wipe the entire tusken population, nor is it in any way comparable to fascist violence: it's not politically motivated, or caused by hatred of the minority group in question for their very existence, it's very direct revenge for a personal hurt done to them. In fact, considering tatooine has no legal system we know of and its inhabitants solve problems with casual extreme violence, Anakin was probably justified (within that society's mindset, in which he grew up) in murdering the tuskens that actually killed and hurt his mother in an extremely violent way. (i mean the tuskens killed shmi violently, not that anakin was justified in using extreme violence specifically) He undoubtedly went too far in killing the entire village, and as a jedi he should know better than to kill in revenge at all, but he knew that it was the only way the actual murderers would be brought to justice, since tatooine is outside the jurisdiction of the republic's legal system, and has no legal system of his own. This is personal, emotional, desperate revenge for an actual harm done to him by (most of) the victims, not a calm and cool extermination of an (in his mind) subhuman race for being that race and no other reason. It's deeply, profoundly wrong, a sign of how low he can fall when pushed, directly causal to how he reacted when padme was in danger in rots, and a massive red flag for padme herself in aotc. It is not, however, fascist violence, it's homeric violence.

#thank you for the ask i love writing meta right after i wake up and this actually gave me an excuse to explore this topic in more detail #star wars meta #anakin skywalker #anakin skywalker meta #mine #tw fascism #ask #anon

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sanstropfremir · 3 years ago

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I'm curious for your take on a fashion trend that always has been hanging out in the wings, but seems to have really taken off in K-Pop in particular the last few years.

It seems like every way I look these days, we're getting hit with luxury "looks" that are legit just the luxury brand printed all over a bland or non-innovative item. This definitely isn't new (it makes me think of the prevalence of those stupid - and stupidly expensive - Abercrombie & Fitch t-shirts in the US back in the 2000s), but I feel like it's now seeping into K-Pop album concept photos and stage outfits in addition to just their every day fashion/sponsored photo shoots. In some cases it doesn't bother me as much because its a small addition (like Sunmi's triangle Prada barrettes in some of her latest comeback photos - I don't like the barrettes, but they work because the wider concept is great) or its used unconventionally (like TxT's latest concept photos, where you can see some of the usual brands but thrown together with unconventional pieces so they feel fresh).

But in other cases, it feels like they're just phoning it in by picking luxury clothing so they can say "look, we're expensive" and calling it a day. I'd submit the examples of The Boyz in some of their latest teasers, the latest Stray Kids concept photos, and quite a few of Blackpink's albums/promotions since they all have their own brand sponsors that they stick to these days. A lot of American celebrities are guilty of this as well so its not just K-Pop, but I honestly just don't expect more from Hollywood like I do from K-Pop.

It's clear that you can have effective styling without defaulting to the luxury branding (A.C.E comes to mind immediately), and there are plenty of luxury pieces that don't have their branding all over it that often allow the same luxury feel without shoving the brand in your face. So this branded merchandise trend really ends up rubbing me the wrong way.

What are your thoughts? I think my stance is clear, but I'd love a different perspective from someone that has a lot more background in fashion, particularly stage fashion, than myself.

anon ilu i have many thoughts on this topic but i don't think i've ever mentioned it before so thank you thank you for somehow reading my single braincell and asking about it!

basically for anyone who doesn't want to read me going off about luxury branding the tldr is yes i agree, i personally don't like branding in general and luxury branding especially. i don't own a single item of clothing or accessory with an obvious/recognizable brand logo and i haven't for probably over a decade now. now let's get into some nitty gritty.

in the current fashion climate i think most of the time it's tacky to display wealth so openly and obviously and it is one of the main factors in driving the machine of fashion consumerist culture. i also think it's a weak styling choice because it only has one association: money. 99% of the time it does not contribute anything meaningful to the artistic vision of the work and it's just to brag. sm stylists pull off luxury branding better than most other groups because they tend to integrate it well into the overall aesthetics of the specific mvs, and it's usually pretty sparing. with sm they use it more as a confirmation of the quality of the sm brand than just boasting about money in general. notable examples where i think visible branding works are kun's supreme jacket in kick back, and taemin's balenciaga 2017 in day and night, because both well integrated into the aesthetics of the videos and they're also offset by other looks. i also like the styling in bambam's ribbon, because although the whole mv is designer looks, he only uses one actually logo-ed one (louis vuitton escale summer 2020), which gives a visual indication of expense to anyone who isn't familiar with fashion. the only time i can think of an idol using a brand ironically is taemin's supreme instagram bad bitch outfit in advice, because he's parodying a specific look.

most of the clothing from designer houses is absent of logos, with the exception of a few (lv, gucci are the main offenders). but, there is the caveat that it does tend to be the ready to wear collections that have that kind of design. (ready to wear is the stuff that is available for off the rack purchase). here's a few examples:

taemin and key in balenciaga menswear ss2018 for story of light, taemin and ten in louis vuitton menswear ss2021 for advice and paint me naked.

in my opinion there's only one house that can get away with the irony of its own branding and that's balenciaga, because they consistently do the weirdest shit you could possibly think of. they have a collaboration with crocs. no i am not joking. the shoes for their fall 2021 collection are platemail stilettos. yes like the medieval armour. they launched that collection as a video game. they recently cleared their entire instagram but prior to that they were just letting models post cryptid blurry shots with no captions. there are designers that are doing interesting things, but very rarely is it with the physical branding itself. it's difficult because like i said before, it locks the audience into an extremely specific connotation and honestly most kpop stylists are not deft enough to work around that in a truly meaningful way.

the important things to hit in any styling are colour, harmony, and silhouette. thank you for bringing up a.c.e because i would have done it anyways, because their stylist is probably the best in the business right now. i talk about the basics here (of styling and of a.c.e in particular), but anon you are correct, a.c.e uses very very little branded styling and they look great. good styling is not about looking expensive, it's about looking the best as befitting of the concept.

but here's where we come to an important point. like with most things about kpop and western pop culture as a whole, luxury branding and streetwear as a trend has been appropriated from black hiphop artists and black streetwear fashion in the 90s and 00s. it started in the hood as a reclamation of items that were meant to be 'outside their station' (luxury) and an elevation of plainclothes that were available to them. sportswear by and large was always cheaper and mass produced, in comparision to day to day wear, which used more expensive materials and had more complicated construction. and was activities based only. it wasn't until around the 1860s that sportwear even existed at all, and even then it was not what you would think of as sportwear by modern standards. there was, up until the 1980s, a pretty strict unspoken dress code that if you wanted to be taken seriously in polite (white) society, you had to dress according to the class standards at the time. (this still exists by the way, it hasn't gone away at all, especially in relation to workplaces and black/natural hair). streetwear at the time was a form of celebration of black excellence and a subversion of white society. but like all innovations by black people, it got jacked by white america and now it's lost the meaning behind its context. on black bodies and paired with black achievements, branding is an important and relevant styling choice. on kpop boys? they're already lifting second hand at this point. do better.

#i didnt even talk about the new wealth vs old wealth aesthetic but whatever #theres a lot here ok!!!!#contemporary fashion gets complicated if you try to untangle the origins of trends #but the majority of them come from black culture #baggy/oversized clothing is another one #its not that i dont think people should be restricted from wearing specific things***#but it is important to acknowledge where those things came from #and if the population that started the trend of that thing is still subjected to persecution because of it #while others get deemed as 'cool' or trendy #maybe you should not be wearing that thing #and kpop has a history of not understanding contexts or crediting originators #(in aesthetics and in music)#so no i dont like luxury branding in kpop #***EXCEPT for traditional/ceremonial/religious garments #please for the love of all that is holy stop wearing fucking warbonnets #ah but the appropriation of native american/first nations imagery in kpop is a topic for another day #and also one that fans REALLY dont want to talk about #BUT do not take me for an authority here i am not an authority my opinions do not matter #listen to bipoc but also dont demand answers of them #google is right there #tumblr is so fucking garbage at image layouts and im too lazy to make it look nicer #but im pretty sure yall can see what im talking about #kpop questions #kpop analysis #text #answers #general design questions #kpop styling

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henshengs · 4 years ago

Text

About Rule 63 fanworks

I was asked yesterday to elaborate on my genderbend opinions, as a trans person, which I’m happy to do, and I’ve thought about it a bit today to make sure I’m not saying something off the cuff and not thought through. Still, this is a sensitive, complicated topic, and I’m open to discussion on it.

This also got long, so I’m putting it under a cut.

So, obviously I can’t speak for all trans people. No minority group is a monolith in our opinions and this is particularly the case for the transgender community because our experiences are so very diverse and individual.

I am very rarely hurt or offended by genderbends/genderswaps/rule 63 fanworks. I know people for whom this is not the case, and I believe the pain involved is very real. The thing is... living in this world is inherently kinda painful when you’re trans. This world’s not built for us. All kinds of random things can cause me pain throughout my day. Store mannequins. My own reflection. Lesbian poetry. Pictures of other trans people. When something triggers my dysphoria or feelings of alienation, I have to stop, acknowledge the feeling, and then consider whether the thing is, outside of hurting me, contributing to the ignorance of and hatred of people like me by its very existence.

I don’t think the basic act of asking, “What if this character who is a cis man, was a cis woman instead?” does that. I think if anything, it opens the door to then ask “what if he was a trans man? Or a trans woman? Or nonbinary?”

Asking “what if this story was about a cis woman” lets cis women talk about their experiences and see themselves in stories, something I think is valuable! and also can lead to stories exploring sexism and misogyny, things which affect all trans people too!

In the rest of this post I’m going to use the terms “rule 63″ and “genderswap” to refer to the act of creating a fanwork changing a cis/presumed cis man to a cis or not-specified-to-be-trans woman, because this is the vast majority of the work under that label, because most fictional heroes and iconic characters are cis men, and because people who create cis man->trans woman or cis woman->trans man content, in my experience, usually use terms like “trans headcanon” instead.

(A lot of rule 63 fanworks don’t explicitly specify that the now-female character is cis. We can presume that most artists aren’t even thinking about the possibility of the character being trans, but we can presume that for 99.99% of all art, anywhere. It’s not a unique evil of rule 63.)

The claims that rule 63 is inherently transphobic, rather than just something where it’s good to be extra careful to avoid transphobia, as far as I’ve seen, use two arguments: A) that making the character a cis woman is wasting an opportunity to make them a trans person, and this is transphobic, and B) that rule 63 fan art is gender essentialist and cissexist, because it ties gender to physical characteristics.

Argument A doesn’t hold up for me,

because couldn’t one then say that reimagining an abled white cis character as an abled white trans woman is racist and ableist? that reimagining them as an abled trans woman of color is ableist? No transformative reimagining can cover every identity. We say “write what you know” and talk about Own Voices, and that includes cis women who want to write about the experience they know.

It’s also not fair to tell trans people that we must always think about trans experiences, even in our fiction. A lot of the time we don’t want to have to write or think about dysphoria and discrimination and we want to live in the heads of cis characters or even just characters whose AGAB is not mentioned!

And it is also, imo, not a great idea to pressure people who may not be educated about trans experiences to write about trans characters just because they want to explore sexism or write about lesbians.

many, many trans people first begin exploring their gender identity through creating cis rule 63 content, because it’s ‘safer’ than directly engaging with trans content.

With argument B, I agree that a lot of rule 63 art looks like this

and this sucks. To me, though, it’s important that it’s not the genderswap aspect that makes it suck. Artists who do this are also designing original characters with sexist, gender essentialist designs. Artists who don’t draw sexist art in general, also don’t draw sexist rule 63.

(yes, I know She-Hulk is not a rule 63 of regular Hulk. But you guys know the kind of art I’m talking about.)

I’ve also noticed a genre of fanfic that’s like, “if these characters were girls, they’d be sensible and conflict avoidant and none of the plot would happen!” or “what if these violent, tragic male characters were Soft Lesbians who braided each others’ hair” and again, I assume these authors write canonical women the same way. The genderswap part isn’t the bad part, the sexism is.

Non-sexist rule 63 actually, in my opinion, fights gender essentialism and cissexism. When a character is exactly the same except for the ways a gender essentialist world has shaped and pressured them based on their AGAB, that’s a strong statement on the constructed nature of gender!

But the argument that making /any/ change is gender essentialist, is... I understand where it’s coming from. I am a trans person who presents androgynously and I am a hypervisible freak because of it. I would love to live in a society where visible gender markers weren’t a thing! Unfortunately, we don’t live in that society. We live in one where we are constantly under pressure to conform to one of two profiles. There are almost no gender non conforming male characters in popular media. And changing a gender conforming cis man into a gender conforming cis woman seems to me to be a neutral action at worst. Not to mention characters from historical canons, who would be under a ton of pressure to conform.

For physical body type characteristics... 65% of all speaking roles in Hollywood are cis and male. It’s harder to get statistics on other forms of media, but it’s undeniable that overall, most stories are told about cis men who do not have breasts or wide hips. Changing the story to be about a cis woman who has those features is introducing more diversity!

I typed “rule 63″ and “genderswap” into the tumblr search bar today, and I saw a lot of art of women with a variety of aesthetics and body shapes and characteristics, who looked like people I’d see out at the mall.

Again, I sure do wish we lived in a post gender society. But we don’t, and in our society, everyone, myself included, looks at a picture of a person and gender categorizes them based on appearance. It is not wrong for someone to draw “Geralt the Witcher as a hot butch woman” and give her some physical markers generally agreed upon to denote ‘butch woman’ rather than ‘gender conforming man’ to tell the viewer that that is what they have drawn. Just as it is not wrong to draw “my OC who is a hot butch woman who fights monsters” and give her those markers.

Finally, both arguments against genderswaps are, in my opinion, flawed because they implicitly posit the act of creating fanworks of the original, cis male gender conforming character design, as neutral. I think this is incorrect. I think that if you’re going to argue that drawing a cis male character as a cis woman is transphobic, you have to also argue that drawing the character as a cis man is transphobic. But I’ve only seen people do this when a trans headcanon becomes extremely popular in a fandom.

Again, I’m just one person. I’m also biased, because firstly, as I mentioned, rule 63 doesn’t usually trigger my dysphoria; secondly, I almost always come down on the side of “don’t limit what people can explore in fiction; ask them to explore it more sensitively or with more content warnings instead.”

I definitely encourage creators to seek out and listen to a variety of trans opinions. But this is mine: I love rule 63, I make a lot of it myself, and I think if no one created it we’d lose something awesome.

At the end of the day, what I really want is more trans content*, but I’d rather have cis rule 63 than just stories about cis men.

Also: I personally have nothing against the terms genderswap or genderbend. I don’t think it reinforces the gender binary to acknowledge its existence by saying you’re ‘swapping’ the character from being cis with one AGAB to being cis with the other. But I can definitely see the argument against it, so I don’t blame anyone for going with rule 63 instead.

If you made it this far, thanks for reading; I hope you have a nice day, and have fun creating and consuming the fanworks your heart desires. I’ll end by linking this comic, which is just eternally relevant.

(*by which I mean: trans content created by other trans people, that matches my hyperspecific headcanons, likes and dislikes, and doesn’t set off any of my often changing dysphoria triggers. See what I said at the start, about transgender existence being constantly mildly painful. There are many awesome aspects to being trans! This is one of the less awesome.)

#rule 63

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scripttorture · 4 years ago

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I'm not sure if this question has been asked before, but what would be usually the reason why people would torture someone? Not to justify (torture is unjustifiable in any situation) but I really needed a driving force for a villain why they would w/o sounding ridiculous or implausible, and any reason I come up with falls kind of flat (... Which I suppose is expected, since that's how the reasonings behind tortures are in rl I guess)

I can help you out here. And I want you to know that from a writing stand point this does make perfect sense. Motivation, however shallow, is important for capturing a character.

Yes a lot of the motivations in reality are flat, shallow and outright stupid. And it can be a careful balancing act, showing those motivations making them understandable without straying into justifying them. It can also be hard to make an interesting character with flat motivations.

I think I’ll start off with talking about motivations/‘reasons’ in reality and then talk a little about when and whether we should break from reality when we write about torturers.

Remember that there isn’t a lot of research on torturers. So I’m working from the little bit of research I can access, interviews with torturers and anecdotal reports. It isn’t perfect, but this is (so far as I can tell) the best information we have at the time of writing.

Understanding why torture occurs means understanding that it is structural violence.

I do take questions on abuse, I personally don’t see much point in sticking to the strict legal definition of torture when I’m trying to help authors do a decent job portraying trauma survivors. But sometimes the definition matters. And torture is essentially defined as abuse by government employees*, by public servants in positions of authority.

Over and over again the reasons torturers give for their crimes come back to flaws in the organisations they were part of. Consistently, across cultures and time periods, they describe understaffed, high pressure environments with no training, little supervision and the instruction to produce results or else.

This combines with cultural messages that violence ‘works’ and existing sub-cultures of torturers within organisations to perpetuate abuse.

It’s also worth mentioning that for most torturers they’re coming into an organisation where there are already established sub-groups of torturers. The group dynamics do seem to play a role in all this. Though it’s difficult to say how much when we’re entirely going from what torturers say and they are… demonstrably inaccurate when it comes to talking about torture.

Having said that; torturers do seem to encourage each other to more and more acts of violence. They treat it almost competitively. They will also, sometimes, approach new recruits and bring them into the torturer sub-group, pressuring them to participate.

I’m unsure how much of a role the social factor plays in torturers starting to torture, but it definite seems to keep them torturing when they say they’d rather stop. There are a couple of reasons why.

First of all there’s a sort of implicit threat; refusing to torture is seen as a threat to the torturer sub-culture. And these are people who have already shown a capacity for violence. There have been cases of torturers attacking other members of the same organisation for their opposition to, or refusal to, torture.

There’s also a social aspect; once involved with the torturer sub-culture the individual tends to become more and more cut off from the rest of the organisation. The group of torturers becomes more or less their entire social circle.

We’re social animals. So leaving, rejecting the entire social group, is a big deal. It’s hard for us to do.

The toxic sub-culture torturers form encourages them to root part of their identity in their capacity for violence and how ‘good at it’ the other members of their group think they are. They tend to tie ideas of toughness, dependability, achievement and (often) masculinity to torture. They frame themselves as especially manly, strong and ‘willing to do the tough jobs no one else has the guts to’.

It’s complete nonsense but it’s what they do.

And it means that facing up to the fact torture is pointless feels like an attack on their self worth. A lot of them choose to double down rather then face that reality.

This isn’t a definitive list of relevant factors. It’s my assessment of the ones that always seem to show up. There are usually other factors that feed into particular situations. Rejali’s Three Systems is a worth a read on that front.

Ideas about social hierarchy and transgression are common features. So things like ‘anyone who does That Terrible Thing deserves to be tortured’ or ‘no one Like That would be in this part of town for an innocent reason’.

All of this means that motivation can be tricky to write, because the real motivations are often not the sort of thing we’re taught are ‘interesting’.

Real, honest motivations are often things like:

‘I think those people deserve it’

‘I was told to’

‘Everyone else was doing it’

‘I couldn’t think of anything else to do’

‘I got angry and took it out on someone else’

‘I thought it would work and no one ever taught me another way’

That’s not a definitive list but you get the idea. And probably get the point about these sorts of shallow motivations being narratively unsatisfying.

So let’s step back from the reality and tackle the writing problem at the heart of this: how do we make this interesting?

There are a couple of different approaches.

The first approach I see is to accept that the motivation and the villain are shallow and shift the interest away from the villain.

Villains don’t need to be interesting. And they don’t need to be the focus.

If your story is structured in a way which primarily makes the villain a looming threat and focuses on the heroes, their journey, their relationships then adding detail or depth to the villain is unnecessary.

The Lord of the Rings trilogy does this with several of its major villains. The Shape of Water does it for the main villain. Zelda: Breath of the Wild (yes I bought a switch during lock down, and it’s my first Zelda game I am not sorry) does it with Ganon.

Another approach is to accept the motivation is shallow and shift the focus away from the villain’s motivation.

Villains do not need to have a grand philosophy or deep motivation or underlying pain in order to be a good read. They don’t need to be an intellectual threat to the heroes in order to be a legitimate threat.

For instance Joker in Batman: The Animated Series, I’d argue one of the best takes on the character ever. But if you go back and watch the episodes he isn’t deep. His motivation almost always boils down to pettiness, greed and a vindictive streak a mile wide. It is incredibly shallow.

But he’s fun to watch, because he’s unpredictable and funny. He’s also a legitimate threat to the heroes because he’s so incredibly destructive. More then any other villain his crimes are aimed at effecting large numbers of people. That sets the stakes high without any motivation or philosophy coming into it.

The focus is on what he does each time he shows up, not why.

Persona 5 pulls off a similar trick. Every single one of its villains has a shallow motivation. But each of them also has power over one of the heroes or another innocent person. They don’t need a deeper or more interesting motivation in order to make life miserable for the heroes. And every caper hinges on the heroes trying to stop that worst outcome.

As much as Fullmetal Alchemist is a deep story which touches on many complex topics, neither version (the original manga or the 2003 anime with it’s very different plot) had a particularly complex villain at the end of the story. In both cases the ultimate leader of the ‘bad guys’ just wanted more power. And didn’t care how many lives they destroyed to get it.

Not all stories need a Killmonger.

It’s always worth taking the time to consider what your story needs, rather then what’s fashionable in fiction at the moment. On a personal note some of my favourite stories have been either entirely focused on the heroes or had explicitly shallow villains.

The reality is that most of the time motivations for large scale atrocities are shallow and unsatisfying. Giving fictional villains deeper or more complex motives can work, but it can also mean twisting the narrative up to make it look like the villain (and hence their actions) are more reasonable then they are.

Killmonger’s twisted vision of what would make Wakanda ‘better’ works in Black Panther, just as White Wolf’s similar motivation did in the comics a decade or so earlier. They work because they’re directly competing with the hero’s vision of what would make the world better. And because ultimately it’s about showing why T’Challa’s way is better then the villain he’s facing off against.

But I can think of other stories where giving the villain a ‘deeper’ reasoning just served to make them look reasonable. While they were arguing for torture and genocide.

And… I just think we’ve got enough of that in real life.

At the end of the day your villain should be serving a role within the story you’re creating. Motivation is one of many ways that we try to make sure they serve that function effectively and entertainingly.

But, despite what some people would have you believe, it ain’t the be all and end all of whether a villain or story is entertaining. Personality, plots, aesthetic and sometimes how satisfying it feels to see their day ruined, all feed in to how well a villain works.

The threat they represent in the story isn’t dependant on whether their motivation is deep or nuanced or rational. It’s about their ability to follow through and sometimes the horrific nature of the desire itself.

So I guess a lot of my advice here is to consider what your villain actually needs to do in the story. Then take a step back and consider whether deeper motivation adds anything to that.

Be aware that the more complex motivations and drives you add the further you’re getting from a realistic torturer. Which is not inherently apologia, or inherently a bad writing idea, but consider what any deviation from reality implies.

I hope that helps. :)

Available on Wordpress.

Disclaimer

*The international definition can include groups that control territory, ie an occupying force. In some countries the definition is slightly wider and encompasses some international criminal gangs.

#writing advice #tw torture #writing torturers #behaviour of torturers #motivations of torturers #threatening villains #motivation #writing villains #effects of torture on organisations #defining torture

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fanartfunart · 4 years ago

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@sapony01 commented on one of my Sides Swap posts: Can you explain their function and personality a bit better/explore them? Some are kinda obvious but some kinda confuse me

And, but of course! I’m totally open to it! (I’m mostly making another post for it because otherwise it’ll get absurdly long)

To summarize, the main idea is that they keep their personality and secondary traits they represent (Like Ego, Emotionality, ect), while further representing the Main Trait (like Anxiety, Creativity, ect)

The rest under the cut:

Anxiety

Roman: His key representation of Anxiety would befall closer to overemphasizing bravery and ignoring problems, and of course, insecurities. Thus a focus on Dangers you can Fight, and avoiding things you can’t. A emphasis on the Knight theme as a representation of bravery. He’d use ego and theatricality as a cover- a ‘be weird before people can accuse you of being weird because then it’s on purpose’ type logic.

Patton: The type of Anxiety where you emotionally over extending yourself because you’re scared of social-emotional repercussions. Caring so much that there’s no time and energy to care for yourself. Also a good representation of the Dad-Friend override for Anxiety.

Logan: A representation of over-analyzing the world like an outsider, that emotional distance that, while you’re curious of all the things around you, you can’t help but focus on the bad. Avoidance becomes a key factor and everything is categorized as bad or good off of exaggerated ‘proof’.

Janus: Very self protective to the point that things outside the Comfort Zone are almost always negative and overwhelming. Sarcasm, brittleness, and lying as a way to avoid things outside the Comfort Zone.

Remus: Overthinking creating an Anxious reaction. Basically seeing things in the shadows and over-analyzing interactions. Essentially worries cropping up out of the idea of various terrible things you can think of possibly coming at you from the smallest of hints to it. Also Knight theme because why not.

Creativity

Logan: A more organized and analytic approach to creative works. Prone to being a literary critic. Draws from media to explain a point. As creativity would likely be the type of writer that hides details and metaphors in everything, focus on foreshadowing and the such.

Janus: Never lets anything be direct, people should be able to make their own conclusions about the meaning of the text. Probably thinks method acting is fun. The kind of actor/writer that easily shrugs on different types of characterizations that it makes other people dizzy seeing him switch between them.

Virgil: Your inner Emo Art Phase personified (everyone has at least one somewhere in there). Would prefer to be either a lesser known creator, or not let Thomas use his real name (thus Ghostwriter), because being Known is Awkward and his work can get too real, being known as a real person could detract from the art. Focus on art as an outlet for expressing negative feelings and stress relief.

Patton: Take your craft-happy relative who always hand-makes gifts and you’ve got Creativity Patton. Just wants to have fun and share the fun. Draws from positive emotional experiences for creativity because he wants to give everyone who sees said art a hug through said art. (Yes, his design is vaugely based off of Disney’s Pinocchio Geppetto aka Pinocchio’s dad.)

Remus: Take Remus as he is, and then take the ‘intrusiveness’ out of him. He basically has all the same horrifying ideas, but he doesn’t use them to make Thomas upset or anything, he’s just making stories.

Logic

Patton: Sorta a relaxed logic, understands not everything can be solved with a clean logical solution and that emotions hold a important space in people’s actions. Is that little logical voice when you’re super mad going ‘you’re mad because this, this, and this, and this is probably an overreaction to what you’re expressing your anger to, but it’s still valid.’ Prone to emotional fallacies though.

Virgil: You know any super cool teacher/professor who teaches you what the book says and then closes the book and says ‘ok now guess what, they’re also wrong, and I’m probably wrong too’?? Virgil as logic. (also why I kinda gave him the ‘tired + university hoodie’ style) Emphasizes learning from various sources and never trusting any of them 100%. Doesn’t trust his own information either, and it makes him stressed.... but like, he’s always stressed anyway so it’s chill.

Roman: Bounces from topic to topic to learn. Very curious and easily inspired- also easily distracted. The definition of what a liberal arts education should be doing- aka, connecting seemingly unrelated topics. An Encyclopedia of very specific information. But, once he’s got a set of information it’s hard to let go of it, which makes it hard to adjust to being told he’s wrong.

Janus: Emphasis on how information is always being adjusted, and people’s biases are always present in studies and interpretation. Focuses on debunking things. Also kinda makes it hard to 100% be sure of any information presented.

Remus: Enjoys abusing the ‘technicalities’ in things. A little hard to follow in terms of train of thought. Disturbing Facts are still facts.

Morality

Virgil: Emphasis on sympathy and ‘do what you’d hope people would do for you’ moral arguments. Focus on social structure for the ground rules for moral behavior. That guy who’s constantly nice because he wished someone was nice to him, ya know? Hates the idea of being a bad person so much that it causes a lot of guilt and mistrust of the self.

Logan: Thinks of moral behavior as an equation of sorts. People do good things and that causes good things and that allows the social structure to work as it should, so do good things. Draws on philosophy and other social sciences to argue his points. Easy to readjust his thinking with proper reasoning.

Roman: Just wants people to be happy! And to be good! Emphasis on the reactions of others and how that effects your social/emotional well-being. Do good because it feels good kinda guy (he wants to be somebody’s Hero, ya know how it be).

Janus: Understands that morality is such a grey place that most anything can be seen as bad if you argue it enough. Places value on the self as someone deserving of feeling good as well, and bases moral values on what you as an individual wants to do. Also still kinda morally grey in general and probably shouldn’t always be listened to.

Remus: I Follow no Rules but My Own. Full rejection of social pressures. What precisely that means for his resulting moral standing is up to debate.

Deceit

Logan: Woorsst lair because he’ll twist truth and facts into it and it’s hard to pick out what’s the lie. Very blunt about his role as deception and its benefits and drawbacks. Very good about remembering which lies were told when and to who. Not the kind to lie more than seen necessary.

Roman: Focus on lying as acting and getting to where you need to go in life. ‘Fake it til you make it’ is his motto and it also includes mental states. Makes it hard to be honest about feelings. Very much a ‘lying to yourself’ aspect.

Virgil: Lying to avoid perceived negative repercussions. Lying still bothers him- as lying can also cause negative reactions. Focus on lying in reaction to events, less so on lying to the self. Not every lie is especially necessary though, knee-jerk reactions and fear make it very easy to lie. Lies of omission being the most utilized.

Remus: The opposite to Roman’s ‘lying to yourself’. Lying to others just to see their reactions. Uses being ‘blatantly honest’ about taboo subjects to seem honest about other things.

Patton: Lying to spare people’s feelings and being perceived well. Focus on lying or omitting the truth to seem like everything’s awesome.

Intrusive Thots

Patton: Makes emotional reactions overwhelmingly hard to gauge and control, results in terrifying thoughts and feelings with little control or filter. Gets stuck on ideas because of how hard he’s trying to push it away (yea know, like the white bear experiment).

Virgil: Thinks in problem solving, but the problems are of course, the thoughts of his own creation. Incessant about ‘solving’ the perceived problem.... not much else changes.

Logan: The Mad Scientist aesthetic is fun, what can I say? Takes facts and focuses on the scary parts, and then brings them back up on the slightest hint of relevance, and sometimes just Because. Some of it is curiosity taken into a frightening territory and gets overwhelming.

Janus: Emphasis on what happens if terrible things happened. Also likes using the ‘you’re gonna go to hell anyway just dive in with me’ argument. Occasionally pops up in a way that sounds almost nice, then turns horrifying very quickly.

Roman: Take Roman, make his ideas more Remus. He’s already Loud and Proud, just make him scarier, and a little more incessant and probably a little more arrogant for good measure.

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botwstoriesandsuch · 4 years ago

Text

Melting Ice and Warmth and Words

The Legend of Zelda: Breath of the Wild

Teba x Saki, 8505 Words

I made this fic for @zzariyo for my server’s gift exchange event! Hope you enjoy, I had a lot of fun with it :3

In which Harth is the gay best friend(TM), Teba is a god damn fool, and I become a lesbian for Saki. Also this was slightly based on a post about how Saki threatens Teba with a sword.

This is the tumblr version but check it out on AO3 if you prefer

- - - - - - - - - -

"Historians probably hate you," Harth mumbled, as he tested the weight of his bow. "This is, what, the third time you've stolen priceless artifacts?"

Teba continued flipping through the pages. The sound of rustling parchment melded with the crackling fire behind him. A soothing mix of leather and pine aromas filled the Flight Range.

"It's not stealing if no one knows it exists," Teba countered, not bothering to look up.

"Yet."

He shrugged. "Yet."

Another sigh filled the air, and the two of them went back to their respective preparations. Harth set down his Swallow Bow and went to fill up two sets of quivers, while Teba continued poring through the personal history of a dead Champion.

It had been a day or two since he had found yet another artifact from a century ago. The depths of the Flight Range, and the expanse of the not-so-well-kept records in the library hid all too many secrets, to which Teba had taken full advantage.

This journal was worn, cracked smoky leather showing its fragile age. Although in comparison to its two predecessors—Revali's Diary and The Great Revali's Diary respectively—this journal was in much better condition. Other than by the contents of the pages itself, Teba had discovered you could decipher the chronological order of the diaries based on how sophisticated the titles were. The more extravagant ones being more recent, that is.

The warrior let out a huff after perusing through another paragraph of dark, cursive writing. He continued digging through the pages with an aura of frustration. Harth, ever one to press his buttons, glanced back.

"So if you don't plan to inform everyone else about your latest finding, yet, what exactly are you doing with it now?"

Another turn of the page. "The same thing I've done before. Searching for clues."

A smirk formed on Harth's face. "Hm. You know these days it's hard for you to read a cookbook properly without help."

"Shut up will you, I'm trying to focus."

A shrug, and then a beat of silence; the two of them basked for a moment in the piercing wind that cut through the Flight Range. The flickering shadows cast by the fire only served to add to the almost haunting beauty that tonight brought. The chilling midnight moon was a barely distinguishable sliver, white against white in the brewing storm. Teba could only long for the soft hammock of his home. Although, it's not like he would be relaxing anyway.

Nearly all hours of the day, if he wasn't practicing with his bow, he was poring through a damn book. It definitely wasn't out of a passion for reading, but more of a desire to spite his superiors.

Elder Kaneli had yakked his beak off about how the "bow of Champion Revali is our last physical connection to our valuable history" and thus was not to be taken out of its chest, ever. So there went Teba's dreams of dissecting it and constructing a masterful bow of his own.

Kaneli had said that a "young Rito like yourself shouldn't spend so much time out in the cold." So there went Teba's desire to devote himself to archery, shackled by the Flight Range's new "curfew," which was essentially a bedtime.

And, years ago, after a teenage Teba had found the very first diary of the Rito Champion, showing it off to the respected elder as quick as he could, Kaneli had beamed in his rocking chair and said, "Oh hoo! We shall get to storing it immediately!" So there went Teba's achievement, gathering dust in a box for a good three weeks before he had just decided to start sneaking into the records at night to pore through it. "Preserve the paper's integrity" his ass, he knew the librarian just hated him for that time his makeshift bomb arrow had caused her tail feathers to smell burnt for a month.

At nearly every turn, there was always something that hindered Teba's progress towards getting clues about how to master Revali's Gale. If that wasn't enough, Kaneli had been nagging him more and more lately about settling down and relaxing. Just a few years ago, Kaneli had been all about training him to be a mighty warrior, but nowadays the elder just couldn't seem to shut up about "exploring new pastimes!"

So here he was, with his new pastime. Reading, like the thrilling warrior he was.

Teba rolled his eyes after skimming through another paragraph. He hurriedly turned through a few more pages, the rustling parchment catching Harth's eye once again.

"So how's the research going? Is it just brimming with inspiring details about how to command the wind?"

Teba chuckled, although there was clear bitterness in the tone. He held up and flipped the journal around, so that Harth could read the contents written within.

"You tell me..."

~The Eighth of Nayru's Moon~

Once again, that little knight has failed to so much as acknowledge my presence. He probably wouldn't know charisma and impeccable skill if it was shoved right into his perfect face— and goddess believe me, I have tried as such.

Just today, I was— formerly assumed alone— at the Flight Range, practicing my Gale, when from the corner of my eye I saw him watching me. His face, an unfortunate yet predictable bland block of carving wood. Even after witnessing my masterful abilities? HA! His dead gaze borders on blindness.

To think, the King is looking to appoint him as the princess' personal guard. I should think someone as unperceptive as he would do better as a cleaning maid. Forget the quick instincts of battle, I'm sure he'd be dead in an instant. He just blankly looks and looks, and stares and stares. All he ever does is stare at me, unassuming... with those striking blue eyes of his.

Too striking. Distracting even. If he dares show his stupid, atrociously awful face at my Flight Range again, I might just have to nip his poorly drawn bowstring myself. Followed by a legendary duel to the death, of course.

Then again, if he for some reason stops by tomorrow, I wouldn't mind that much.

Harth leaned back and gave Teba a smirk. "So, that's a no on the Gale research then?"

Teba let out another huff, snapping the book closed and getting on his feet. "Nothing but boy troubles in this one. He has to have kept more entries out there that could actually be useful to me."

Fiddling with an arrow shaft in one wing, Harth went back to filling the quivers. He let out a laugh. "Ah, I'm sure it's not all useless! At least now you know you're not the only Rito in history who's terrible at flirting."

A scoff. "The hell is that supposed to mean?"

"That was literally about as straightforward as I could have been with this topic."

"Well do me straighter."

Harth proceeded to have a coughing fit for five minutes.

The sounds of wheezing laughter and less than polite comments from Teba echoed through the Flight Range.

"Hylia, I may not be looking for a wife, but I hope one day I adopt or something just so I can tell my grandkids how much of an idiot you are," Harth finally said, at the end of their colorful banter. "But yes, thank you for proving my point. A Boko skull has a better grasp on charisma than you."

The warrior crossed his wings over his chest, looking away. "Well sorry that I've been focusing on my strengths rather than dabbling in immaturities."

"Remember when you were in the infirmary and you tried to tell that nurse, Saki," he snorted, "You tried to tell her she had nice posture–"

"Shut it. Shut it and quit your grinning before I shove you into the fire and use the arrows as kindling."

Another laugh echoes, and the most Teba can do is narrow his eyes. But after a beat, he perks up and looks back in his direction. "How do you know her name?"

Harth raised an eyebrow. "Saki? Well I don't know, she treated me during that Ice Talus accident a month back. I probably just asked for her name at some point, you know, like a normal person." He shook his head. "Spirits above, Teba, you've probably been in that infirmary more than I have. Have you really not gained the social skills to ask for someone's name?"

He stared at the very interesting and engaging wooden floor, shifting his weight between his legs. "I don't have to answer that."

"Oh, woe is you. Kaneli never gave you a pep talk about how to make friends?"

"HA! I think our conversational topics peaked in the days where he actually encouraged my archery training. Less 'pep talk,' more 'lecture,' nowadays."

"Alright, alright, save your daddy problems for breakfast, Teba."

Teba glowered much in the way a Lynel would to its soon-to-be-dead prey, feeding Harth's amusement.

"Anyhow, you needn't go so hard on the guy, he just doesn't want you to kill yourself, which is especially relevant tonight." He turned around and picked up the now fully stocked quivers. "Now that you've finally managed to tug your beak out of that book," he tossed one to the huffy bird, "Let's go slay some monsters."

Teba's earlier expression morphed into stern concentration, emotion dripping away in favour of a practiced warrior's focus. He grasped one of the arrows and inspected the tip. "Fire arrows? Wouldn't bomb arrows be more effective on monsters?" The night seemed to turn colder to match his more serious tone.

The charcoal feathered Rito slung his bow and quiver onto his back, speaking quickly as he worked. "Not necessarily. We want as much vision as we can, can't risk getting blind-sided by even one of its attacks. Explosions would give even more cover to an already invisible foe." He also mumbled something about how he barely had the income to afford them.

There was a moment of silence as Teba calculated and turned over Harth's words, before putting the pieces together. He gave a confident nod as confirmation.

"So… have you ever slain a Wizzrobe before?" Harth asked.

The warrior smirked to himself, turning towards the exit with bow and quiver. White against white as he stood on the snow covered landing.

"Not yet."

- - - - -

Thunderous sounds in a frozen tundra; it came after the ripple of footsteps.

Jaded peaks weathered grey, the sky couldn’t be distinguished from the land. The snow had pounded harder and harder as they flew, flurries coating the feathered fletchings on their arrows.

Harth landed first, walking around on the open, frigid expanse. Teba did a sweep of the surroundings from the air. Nothing.

The base of the Hebra Mountain Trail— just under the shadow of the South Summit— this was where the last attack was. Hopefully it was where the final one was too.

There had been three travelers total; two Rito, one Hylian merchant. Minor injuries. Most all ran away at the first sign of frostbite. It was normal for the occasional monster attack to come up every now and again, and it just wouldn’t be worth the resources to hunt down every Lizalfos and Bokoblin that happened upon some unfortunate soul. By the time anyone lives to tell the tale, the beast has probably already moved miles from where it was last seen. The Hebra wasn’t exactly the most accommodating of places to enjoy long term.

And so that was the excuse. Save the supplies for bigger threats. An Ice Talus, Hinox… Hylia forbid a Lynel. A Wizzrobe would probably be off dancing in the sunset by now, and thus, no warriors should waste supplies looking for an “unnecessary fight."

Teba remembered scoffing when he heard the news— a scoff apparently so spiteful, that it had earned him a rare glare from Kaneli.

“Don’t do anything stupid, Teba. You won’t be recklessly going off alone to find it, understand? I mean it!”

Teba perched on one of the cliffs, getting a clear view of Harth below, surrounded by white on white on white. Harth turned his head and gave a thumbs up in his direction.

Well, that was one half of the instructions followed. The “stupid” part is still up in the air, though.

Teba unslung his Falcon Bow from his back, resting a fire arrow on the bowstring’s serving. If someone were to look up at where he crouched, they would be greeted by a piercing golden gaze; a pair of cold suns that sent you shivering.

That was the intent, anyhow. A warrior with a gaze like fire. Like lightning, like metal, like suns, like steel. That’s what he’d been told in the past, so he might as well use it to his advantage.

Still… he remembered once how someone had compared them to honey.

“What?” He had been taken aback by the sudden observation.

“Or like butterscotch… I use it a lot when baking. Oh! I’ve seen gorgeous dandelions like it too.” The nurse—“Saki?” Did Harth say?—tended to the wound just below his eye. “You should be thankful the color is so pleasant, the sight is probably what caused that Moblin to miss its mark!” Saki smiled and for the first time, Teba understood what it meant to call something “the sun.”

“Make sure you don’t use those eyes of yours to go looking for more trouble. Or else…” She had narrowed her eyes playfully. Noticing him just staring at her in silence, she cocked her head to the side, curious.

“Sorry, was there something you wanted to say to me?”

Yeah, but I’m not sure what. All he could really notice at that moment was how relaxed her posture was around him. Usually, he was surrounded by his fellow rigid warriors, or the stance of someone that looked in his eyes and saw fire. So…she was a nice change of pace.

Too bad his communication skills could be trumped by a deflated octoballon. Teba's sigh manifested into a small white puff in the cold air. Nevermind that now.

He had to stay focused. Teba would cut no corners when it came to using Harth as bait. However, he couldn’t deny the somewhat pissy mood he was in. No Gale, no practice, no clues, no fights. Sooner or later the village might just strap him into a rocking chair and say it was for the best. What a joke… At least killing off a dangerous creature would help let off some steam— ice? Magic ice…water…arrows… fuck.

Teba rolled his eyes at his own incompetence. Can’t even be a decent wordsmith in my own head. Harth was right.

A sudden flash of movement and his mind immediately crashed back to reality. Eyes instantly trained back to the ash colored Rito on the ground, who had now turned and aimed his bow at the horizon. Not even a second after the movement was made, Teba had an arrow nocked and aimed in one practiced, fluid motion.

Harth had two arrows nocked, aiming towards an unseen target obscured in the haze of snow.

Black against the pale of midnight’s frigid sheet of snow. If Harth could see something, it would no doubt also see him. He stepped forward, Swallow Bow unwavering in the wind

Teba adjusted the draw of his bow, training its angle to match Harth’s movements and ready to release at a moments notice.

The crunch of talons on snow. A small patch of dead bushes just a few paces in front of Harth.

One step.

Two…

Suddenly, an arctic fox dashed to the right and disappeared into the snow.

A draining silence. Steady, freezing breaths condense into puffs of clouds out of Teba’s beak. There was still a knot of tension in his chest, but he could start to feel it ripple out, like a patter of footsteps as a mix of closed off fear and anxiety walked out the door. Still, he didn’t falter his draw. After a moment, he saw Harth put down his bow and sigh. The Rito turned towards Teba’s direction to give him a smile and a shrug.

Harth met his gaze.

Then, the expression on his face suddenly morphed into shock.

Teba didn’t think twice.

He snapped around and let gravity take him, loosing the already nocked flame. The hiss of fire flew and connected with its target with a satisfying crack! Midfall, he could hear Harth shout a much too late “Behind you!”

The fire arrow hit rock, crumbling stones clash against snow. The burst of flame roared like thunder on the cliffside. Although the creature wasn’t hit, the area of effect was still large enough to singe at the tips of cloth.

A pearly white robe that faded deathly blue. The glow of ice and dark silhouette. A shrill cry escaped from the Wizzrobe that had stood, wand in hand, behind Teba’s perch just seconds ago. Even in distress, it wore a chilling grin.

Bastard. You won’t get another chance.

Another flame nocked and loosed with lightning speed.

The creature laughed, as if in pity, and twirled in its step.

Gone.

Teba gave a flap of his wings to stop his momentum. His talons safely connected with the ground, and Harth was at his side at once.

“Are you alright!? Are you hit?!” Harth started to inspect his wing, but Teba continued staring at the sky, “S-Say something, dammit! Teba we need to—”

He held up a wing, the gesture with an unspoken tone of “shut it.” Teba readied another fire arrow and pointed into the air. He whispered.

“Listen…”

His eyes narrowed in concentration, trying to discern sounds from the muffle of wind. Harth pressed back and covered Teba’s blind spot, nocking an arrow of his own.

The wind was unaccompanied. The dead bushes shuddered a tempo.

And then the midnight sang.

Like the pleasant echo of a music box…a lullaby that seemed to twinkle against the brink of night and day. A ripple of footsteps. A sparkle to his left, skipping like stones, as if the wind was water. There was a faint laugh, but Teba was the one to smile.

Gotcha.

The Wizzrobe had barely manifested before the fire arrow flew. A burst of orange connected with its frail arm, and the creature shrieked. Harth quickly turned and fired his own shot, the arrow nearly lodging into its face, but arching low and hitting its torso instead. The Wizzrobe panicked while the two Rito went to reload.

“Go for the face!” Harth shouted as he went to grab two arrows from his quiver. “It’s the only part that’s not protected by that stupid magic robe!”

As if on cue, the Wizzrobe had started laughing to itself, its arms flailing wildly as the flames that engulfed its person suddenly disappeared. It gripped its Blizzard Rod in both hands, starting to twirl with a sickening grin.

Teba aimed for the sky. “Move!”

Harth shuffled back in obedience as fire soared. The arrow crashed into a giant sphere of ice that hurtled from the heavens, shattering into pieces just a few feet above their head.

The impact caused them both to fly backwards, the bow knocked out of Teba’s grip.

Hmm… fuck.

Teba crashed hard, tasting dirt and snow. Luckily Harth was able to get in position to fire an arrow.

Its arc through the air was cut short by multiple more icy spheres hurtling down around the Wizzrobe.

Harth cursed under his breath. While they were far enough away to avoid the barrage of ice magic that would no doubt freeze them with a single touch, it would be nearly impossible to get close enough for a kill. Teba picked himself up and crouched beside Harth.

“How much fire total?”

Harth shook his head and stared at the ground. “I was so concerned with not arousing suspicion…sneaking out to fight was one thing, but—”

“This is no time for regrets. How many fire arrows, dammit?”

Harth let out a huff. “I bought a bundle of five and split them between us. The last fifteen in each quiver are regular ones. Although at this angle I doubt they would be of any use.”

Teba’s eyes sat calculating for a moment. “So I’ve used two. One hit, one miss. And you—”

“I landed the third just earlier on its torso. The forth…” He turned in the direction of the shower of ice. He could see it smash against the wooden remnants of an arrow. “I used just now.”

Hylia forgive the less than polite words towards the spirits that Teba spoke.

Harth gave a nod towards Teba’s quiver, while handing him his Swallow Bow. “Here. I gave the extra to the best shot around. I’ll distract it while you make the last shot count.”

Teba scoffed. “You and I both know you can’t just adjust to a new bow on the fly and expect to be accur—”

“Well if you’ve got a better plan, I’m more than happy to hear it!”

Teba grimaced. Always life and its impossible instructions.

The warrior slung his quiver in front of him, indeed confirming the last fire arrow nestled between the regular ones. He took the Swallow Bow in hand and gave another glance towards the Wizzrobe.

Its earlier spell had stopped now, and it was now skipping all too happily towards them. The ripples of its chiming steps seemed to glow brighter and brighter as it approached.

Tsk. What a gloat. It’s not even bothering to sneak up on us anymore.

Harth gave a flap of his wings and hovered. “I’ll lure it near the base of the mountain trail, and you flank. Do what you must, it’s all you.” He took to the air and began taunting the Wizzrobe, attracting its attention.

Teba cursed. He harshly slung the quiver back around him while taking up the bow. In the motion, a journal dropped into the snow.

“Crap, the…” He trailed off, observing it for a moment. The words on the page it had opened up on caught his eye.

~The Twentieth of Starset Moon~

I hope a Wizzrobe carries me off before I see him again. I envy their magical ability to disappear from sight at a moment’s notice. Maybe then I wouldn’t embarrass myself so in front of Link.

I've always called my eyes a mere jade. A simple enough descriptive hue, and on occasion it would serve as a masterful segue into a pun about how the best warriors have a gaze that can pierce like stone. But no, he just had to call it, “grass.”

“Actually, I’m fairly certain that the hues of Hyrule’s earthly flora are much lighter than the color of my eyes.” I had said. “Like I previously stated. Jade, or emerald works. Jagged jade if you are akin to alliteration.”

Curse my arrogance as my response only caused him to elaborate. “It’s not just the color” he had said. “It’s like a sensation. I like just looking at fields. To lie in them, and smell, and be in comfort in the grass and outside.” He shrugged like nothing was wrong. “Your eyes give me that comfort.”

Hylia is a cruel goddess to curse us Rito to become round puffballs whenever emotions get the better of us. THANKFULLY, he didn’t notice as he then started to ramble on and on about his—slightly concerning—knowledge about the flammability of plants. How flaming weapons and flint produced different embers. How any fire arrow can become a bomb arrow with enough kindling. How you could tell the flammability of certain flora based on the shade of green. He noted how my own eyes were not the most flammable, so… there’s that compliment, I suppose.

There was a roar in the distance as ice crashed onto the earth. Teba snapped the journal shut again.

The Wizzrobe had cast another spell, a blur of charcoal feathers could be seen dodging the attacks.

Teba stood sifting through his thoughts as quickly as he could. Whatever power above had caused him to stumble upon this entry…he’d have to thank them later when he had the time and the faith.

The idea was obvious in hindsight. If he couldn’t guarantee a shot at a small target, then make the target bigger.

The warrior took the fire arrow in one wing, and the journal in the other. The diary was old and dry, and obviously it had a much bigger surface area than an arrow tip.

So he quickly took the very last fire arrow and pierced it through.

It burst into flames in an instant. It certainly wouldn’t pierce anything, but with the bigger area of impact…combined with a new reckless plan, there wouldn’t be any need to.

He smiled and took towards the air.

“Uhh, Teba???” Harth yelled as he saw his friend approach, flying closer with a flaming book arrow in his beak. “What are you— fuck! Ay! Over here, princess!” Harth tugged at the Wizzrobe’s robe, luring its face towards Teba.

He couldn’t talk with the arrow and piece of flaming historical documentation in his beak, but he cocked his head in such a way to signal to Harth to turn.

“But?! Its face!” A fierce shake of his head in response. “Dammit Teba!”

Harth soared around the creature in a semicircle, avoiding its bursts of ice that make the feathers on his neck puff. The Wizzrobe turned to wave its wand, it’s backside now exposed to Teba.

The warrior quickly unslung his quiver and threw the leather strap around its neck, the weight of the arrows falling on the other side towards its chin.

“TEBA WHAT THE FUCK!?”

The Wizzrobe halted its midair dance, turning in the direction that the new weight had come from. The Blizzard Rod was already starting to glow.

“That’s right!” Teba shouted, as he took the flaming book arrow out of his beak. “Show me that ugly grin of yours!”

He gave one last flap of his wings before letting gravity take him, nocking the arrow on the Swallow Bow. As predicted, he couldn’t fully compensate for the difference in the bow.

Its weight was all different, the string strength was all wrong, the grip was much more loose than he’d have preferred—

Through the haze of snow, and paper, and his own pale feathers, the Wizzrobe’s shining grin greeted Teba in full.

White on white.

He narrowed his eyes.

“Catch!”

The arrow loosed.

The flaming book seemed to soar in slow motion, or perhaps that was just on account of its weight. It arched high, nearly on path to connect with the creatures gleaming teeth, but the strength just wasn’t there and it bowed lower still to the Wizzrobe’s neck.

FWOOSH!

The journal was destroyed on impact, paper glowing and fluttering. The creatures’ attire was set alight, but all it did was laugh like it was an inconvenience. Like a party trick it had already gotten tired off. It started to try and pat itself down, but…

“Let’s see you laugh now, bastard.”

The quiver’s leather wouldn’t catch on its own given its natural resistance. But with the flutter of dried parchment…

All it took was one fiery page, and the arrows caught. The Wizzrobe suddenly suddenly shrieked, but the sound was muffled and cut off by sputtering and the sound of what Teba could only assume was suffocation. The bundle of arrows glowed like a campfire, the flames engulfing the creature's neck and already licking at its face. It attempted to remove the quiver wrapped around it with both arms, tossing the Blizzard Rod into the air in panic, but it was already too late.

The giant necklace of kindling roared in the Wizzrobe’s face, and in seconds, the icy beast was reduced to mist. The wind its grave, as the last of its magical robe rippled in the night.

Teba landed on the ground, eyes bright with unexpected happiness as he cheered.

“WOOOOO! Did you see that!?! I can’t believe that worked holy fucking shit, take THAT asshole.” He shouted into the air with a rare show of relief. THANK YOU Champion Revali and that Hylian knight arsonist! Gods, who knew reading would be so—”

“ROD!”

“Wh—” Teba turned in time to see Harth flapping towards him. But closer still, Teba saw the blur of the Blizzard Rod falling through the air, just seconds away from impacting the ground.

Hmm…

Gravity surely wouldn’t simulate the effects of waving a magic ice wand around, right?

SHING!

Fuck.

A burst of ice exploded from the rod’s impact, Harth slammed into Teba just as he could feel the cold travel to the tips of his wings.

The two Rito crashed into the snow, and Teba was able to taste the delicious flavours of snow, stone, and dirt for the second time. He propped himself up with a wing that was now faintly aching. He had a bit of a coughing fit, as Harth got up.

“Teba…” he trailed off, still in a bit of shock. “Wh…Where the hell’d you get a crazy idea like that from?”

The warrior had the strength to shrug with one shoulder. “New hobby?”

Harth playfully shoved Teba back into the snow as they both laughed.

Teba stared up at the frozen sky. It was already fading blue, the brink of night and day tipping towards a yet unseen sun.

That wasn’t so bad. Just a few arrows, a quiver, a book, and we’ve got justice for our village. If we hurry we can make it back before breakfast and Kaneli’s none the wiser.

Harth stood over him and offered a wing. “Alright, let’s go grab your bow and get out of here. I think I can feel my tail feathers freezing off.”

Teba shivered, reaching out to get up. “Yeah, no kidding. It’s almost like it—GUH!” He crumpled to his knees.

“Teba!” Harth propped up his back as he went to inspect him. He gasped when he saw his wing.

The black feather accents were laced with ice, the very tips of his wing were already starting to become glassy and stiff. Teba held back a yelp as he felt the ice grow further up his wing.

“Oh shitshitshit, that Blizzard Rod still got you.” Harth frantically went to remove a piece of cloth from his armour to wrap it around the ice. “Try to keep that warm. Uh. The mountain lodge is nearby, maybe we can get a blanket? Oh shitshitshit….”

Teba mumbled something incoherent as he felt the ice grow further.

“Guh… We can just keep this incident between us like planned, yeah? Kaneli is gonna be pissed that I blew up his quiver.’”

“Idiot! Get on my back, you could lose a wing!”

“It’s not as bad as it looks. I could probably still fly.”

“Your feathers are snapping off, fuckface!”

Harth tried to get Teba to stand, but stopped when he started to hiss in pain. The cold on his left wing was starting to course through his whole body, and he shivered.

“Ok, ok. Maybe it’ll warm up when I get in the air. I’ll just start flapping a lot to keep the blood flowing. That’s how that works, right?”

“At that rate, you’ll not only be brainless, but wingless too.” A sudden voice echoed.

The boys looked up to see a set of pink feathers descend from the air. Harth’s eyes glowed with both immense relief and confusion.

“Thank Hylia, Saki….wait, what are you doing here, I—”

“Shhhhh…” Saki took out a sword, causing further confusion and shock to come to the boys. “All you need to know for now is that I was by the Hebra Trailhead Lodge when I heard a commotion that I can only assume you two fools caused.” She tried to press the blade against the ice on Teba’s wing.

Teba’s eyes darted between Harth and Saki. The feathers nearly everywhere on him but his left wing started to puff up given how close she was. He could smell a mix of nutmeg and warm safflina from her.

“I…uh…” Teba was rapped in the head with the broad side of Saki’s sword. “Ah! Hey—”

“Don’t move, before I decide on amputation.” Both of the warrior’s eyes widened. “Just joking! Ahaha… for now anyway.” Her cute little chuckle echoed in the air.

Saki finally put down the blade. She shook her head, the curls of her hair bouncing above her shoulders. “It’s already too strong to scrape off.” Harth’s head was turning left and right above them, like a child trying to get a peak of the action. Digging through the satchel on her shoulder, Saki took out a few heads of sunshrooms.

“Hold these, we don’t want that ice magic seeping in any further. It can spread to the blood faster than you think.” Teba’s beak was still agape when he obliged.

The pink colored Rito gave him a soft smile as she tucked a wing under his neck. She expertly flipped the Feathered Edge in her wing, so that it’s blunt side was aimed at Teba,

“Now, if your muscles move and contract any more, it’s just gonna cause any of the ice inside there to snap, effectively paralyzing you. We need to make sure there's no chance of that happening.”

Saki leaned down and pressed her head against Teba’s for a moment, planting the Rito equivalent of a peck on the cheek. “Take that as my premature apology.” Saki said. And that was the last thing he heard before he saw the swing of the blade’s hilt and everything went black.

- - - - -

Teba awoke with the sun in his eyes. He blinked, adjusting his gaze before identifying a blur of pink feathers in front of him.

“—and no doubt they’ve discovered you’re missing by now if she hasn’t said anything already. I’d fly back myself to inform the elders, but…” She trailed off, fiddling with the bandage.

“I could do it. You’ve probably already got your plate full with—gah!” A broad side of a Feathered Edge whacked Harth’s head.

“No. You need to keep that cut warm and toasty and uninfected. This bind won’t hold in those strong winds, and we can’t have the Tabantha skies blowing dust and grime into it.” Saki used her blade to cut the excess bandage on Harth’s neck, to which he slightly gulped.

Teba tried to sit up from where he lay. The Hylian style bed creaked under his shifting, and he muttered something about missing hammocks.

Saki suddenly stood, eyes lighting up to see Teba. “Oh good! You’re awake, let’s see how you’re doing.” She rushed to hold his wing, to which his heart immediately jumped into his throat.

“Saki, I—” Teba attempted to be articulate, but was distracted by the tenderness of her touch, and the sudden sweet smell of nutmeg and vanilla in the air.

“Stop moving your wing, Teba.” Saki examined all sides of his wing with a practiced eye. “I made the elixir in time to counter any frostbite, but you should still rest for at least another hour to make sure all the ice inside is truly melted.”

He couldn’t hide the surprise on his face. “You…remember my name?” It had been a few weeks since he had last seen her in the village infirmary. Usually he only saw the older doctors tending to patients.

“Well of course.” Saki cocked her head and gave him a warm smile. “I remember all my stupid patients.”

“Am I included?”

“Yes, Harth.”

“Nice.”

Teba’s eyes widened when she unsheathed her blade again. So much was happening so fast that surely if he wasn’t coddled in bed right now, he’d be snapping bones from the whiplash.

Saki held the metal near his wing. “The ice on your coat has softened by now, so I’ll just scrape it off,” Her blade gleamed with her bright smile. “Stay still!”

The warrior’s eyes continued to flicker between his wing, the blade, Saki, and Harth. Looking out the window, he saw the crisp blue sky glowing above a now serene and pleasant white snowfield.

“I don’t understand. Where…how long have….” He trailed off, but looked back at Saki. “What are you doing here?”

Saki stopped for a moment. “I…” Her shoulders sagged a bit as she paused. “Well…I know the elders said not to engage with the Wizzrobe incident. But…” She fixed her eyes on his wing.

“I’m a part of this village, and I care about its people. Those who are hurt, were hurt, or could be. I don’t like standing by when I could be helping.”

She looked back up and met his gaze. A pleasant blue that greeted the sun. “You understand, right? ‘We risk our lives everyday, might as well use it for something worthwhile.’ That’s the excuse you told me when I first met you.” She brushed a feather under one of his eyes. “Although, you were half unconscious, so I don’t blame you if you forgot. So anyhow! I stayed here in case any travelers came by with wounds or injuries. Keeps my heart at ease rather than just cooping up at home.”

Saki went back to removing the thin bits of ice on his wing, humming to herself. Teba savored the moment for what felt like a century, heart fluttering every time she glanced up to check on him.

Harth finally quipped in, tone playful. “Guess you’ve pretty much got the same mindset as us “fools,” eh, Ms. Saki?” He kicked back in his chair and crossed a leg over his knee. “Birds of a feather….heh.”

Saki snapped her head around to glare at Harth. “Actually,” the tone could cut steel, “The difference here, is that I had the common sense to not go out looking for a fight. I had the basic logic to understand that fighting a monster on its own turf would be reckless and idiotic. I had the brains to gather further supplies than a mere five fire arrows. And I actually had the decency to inform someone of my whereabouts should anything unexpected happen, rather than having the arrogance to think things would always go according to my own plans.”

She sighed again. “I hate to make Amali worry, but I’d rather stay here to look after you two while she informs someone to come pick you both up.”

Harth shut his trap real quick after that, to which Teba would have probably laughed if he wasn’t also scared of the possibility of getting the same treatment from her.

After a few more minutes, Saki finally finished up and patted his wing. Teba mustered enough courage to speak.

“Thank you…for everything.” He tried to prop himself up in the bed. “I can probably fly back in this condition. Kaneli’s probably gonna kill me twice over if I don’t get back soon.”

“Yeah, wouldn’t want to piss daddy off,” Harth snickered.

“Fuck off, Harth.” Teba and Saki quipped simultaneously. Teba however, was a bit taken aback by how calmly and sweetly she had spoken. The thoughts were knocked out of his brain when Saki rapped his skull with her blade again. “Ow! Would you—”

Saki pointed the blade at his throat. She was so close he was sure she could hear his heartbeat fast…and it wasn’t just from fear.

“Firstly, no. Neither of you boys will be leaving anytime soon so long as I’m here. You will be staying in bed,” she glared at Harth, but kept the blade on Teba, “And you will be keeping your tail feathers glued in that chair.” Saki turned back to Teba with a sweet smile.

“You will be staying here for the next eight hours, not so much as scratching the tiniest itch on that wing. Then, when someone comes here to pick you both up like I discussed, you will keep seeing me for at least another two weeks so I can monitor your injury. And perhaps when that’s all done, I will think about baking you a pie in celebration of your heroic feat tonight.”

She pressed the Feathered Edge a bit closer to his throat. “However, if this turn of events does not come into fruition…let’s say, if for some completely silly reason either of you decided to leave this cabin and fly home, well. I will just have to make sure to give you a reason to stay bedridden for another month. Do I make myself clear, warriors?”

The boys nodded as quickly as they could.

“Wonderful! I’m so glad we’re on the same page!” Saki's smile and tone was so quiet and sweet as she sheathed her blade once more.

Teba could still feel his heart thumping against his chest. There was a pleasant silence as the lodge was filled with the crackling of fire, and the occasional chirp of a morning bird. He stared at the way Saki’s eyes dazzled like a delicate sky.

Saki clicked her tongue. “Oh you poor thing. You’re still freezing aren’t you? Your feathers are all ruffled up.”

On instinct, the feathers on his neck—and pretty much everywhere else over—puffed up. “UH. Oh! Yeah. Cold. Very cold…yes.” He looked away and started coughing. Saki got up to get something by the fireplace, while Harth did his best to hide his snickering. Teba silently mouthed “help me” to Harth, which only further hindered his attempts to hide a laugh.

The pink Rito flashed one last pleasant smile at the two of them as she made her back towards the door. “Alright, I’m just gonna grab the firewood outside so I’ll be back in a moment. You’ll be alright, right? Nothing’s still aching or anything?”

Even muscle in Teba’s body seemed to melt at the way she curiously cocked her head to the side with a smile. The best he could do was mumbled out his thoughts before he had the chance to think them through.

“With you looking at—after me, I think I’ll be fine.”

Saki chuckled and Teba felt a combined feeling of pride and embarrassment. As she closed the door, Harth looked back at him.

“Very smooth. Quite the wordsmith.”

“Shut it, fuckface.”

- - - - -

TWO WEEKS LATER.

“What do you want?”

The doctor grumbled rudely as Teba did his best to not seem like a complete idiot. “Uh…Saki?”

“You want Saki?”

His mind shifted to a daydream. “Yeah…” Whenever her name was mentioned he couldn’t help but smile, but that fell away when he snapped back to reality. “WAIT, I mean— no. I don’t want— I mean not no, I just didn’t mean it like— I just.” Teba grumbled some more. “Where she is. I want where she is, or… need. I don’t want. I’ve never wanted— I just need the location. Her location, currently. Which is not here. Where is she. Please…”

Teba put on his best smile despite the fact that he felt like his body was suddenly on fire. Perhaps that was a habit learned from the Wizzrobe incident.

The doctor shook her head. “Kids and their incoherent rambling— She's coming back from Slippery Falcon last I checked. Baking another Get-Well-Soon fish pie, I assume.”

“Ah, great! That’s fantastic. Yes. Yeah! Great. Thank you so much, Una—”

“Get out already, Teba. This place is for the sick and injured. Not the…” she glanced at him with a raised eyebrow, “awkward, and alive. Both of which are actually quite surprising to see from you…”

He managed to give a weak mix of a scoff and a nervous laugh before promptly leaving.

Descending the many steps of Rito village, Teba’s mind raced with thoughts.

Just gotta not fuck up one conversation. Just a simple question! Just...quick little hang out...thing. Yeah. Yep. I can do that. She’s seen me blabber worse when I’m unconscious, so what’s one sober conversation. I’ve killed things! Why am I even stumbling over a few words? Tsk. Yeah. I’ve seen monsters and beasts and blood and blades, I've got this. This is doable, I can do this.

He suddenly bumped into a pink colored Rito at one of the turns, and she laughed as she fumbled with the honeycomb and butter held in her arms.

“Oh my! Well, good morning, Teba.”

I can’t do this.

“And where are you off to this lovely morning?” Saki tilted her head curiously, to which Teba’s eyes immediately dilated.

“…uh…I…” Was it just him or were her feathers slightly fluffier than usual? “I just wanted to…say hi.”

She raised an eyebrow. “Oh? Well.” She gave him a cheerful wave with a free wing, clutching her ingredients close to her chest. “Hi!”

“Y-Yeah. Hi…” Teba just stood there as Saki continued walking up the stairs behind him.

Fuckfuckfuckfuck do something, idiot I don’t have—

“Actually Teba…” Saki suddenly turned back around to face him. He quickly leaned a wing against the railing to seem casual. “If you’re not doing anything right now…do you mind helping me with something?”

Teba felt like he responded just a bit too quick. “Yes! Definitely. I can do that.” He coughed, and held out a wing. “You want me to hold something for you?”

She beamed. “Yes! Come on.” She shifted her baking ingredients in one wing, and used her free wing to hold his. Saki dragged him along as their feathers intertwined. Teba’s soul immediately left the mortal realm and his physical body was left stumbling and sputtering.

“WAIT! I—I DIDN’T MEAN! UH—I MEAN SURE— IF YOU’RE OK—BUT THIS ISN’T—”

“I have something heating up upstairs, so hurry along now.” She spoke quickly, not really having the extra confidence to look him in the eyes. But at this point they could both feel each other’s feathers poof as they held wings.

Carrying a mix of honey, Tabantha wheat, and butter, they both eventually made their way to the public kitchen where a fire was roaring.

Teba started grumbling apologies, but Saki cut him off by shoving a wood spoon and a bowl into his chest.

“Your rebellious nature won’t apply to cookbooks, yes?”

And with that, they got to it. Teba’s mind was still processing the events of fifteen minutes ago so while he stared blankly at Saki, he struggled to do the basic task of mixing.

“Here,” she held his wing and adjusted his grip on the spoon. If she wasn’t a pink Rito she might have blushed. “Try not to fling the batter out the window.”

They both started to gain just a bit more confidence as they continued working. Teba started to tease Saki a bit as he held the bowl with the salmon filling above her.

“What’s one little taste? It’s all gonna be eaten at the end, isn’t it?”

“Don’t you dare, it’s still raw!”

“Just one little dip.”

“If you stick one dirty little feather in that bowl I swear I’ll—”

Teba continued trying to dance around her, but she eventually got it back after a quick whack in the head with a spoon.

The morning flew above them, and the shades of a blue day were laced with clouds of white. The shadows of the hut spun across the floor like a spell. Eventually, the aroma of savoury fish with hints of butter filled the air. Teba grabbed a fork.

“This Get-Well pie was for me, yeah? So let me just—” Saki slapped his wing.

“Not yet, gosh.” She stole his utensil. “You forgot the most important part!”

Saki pressed the edge of the fork on the plain face of the fish pie, giving the little fishy a simple, honest grin.

“There!”

“That’s a bit creepy.”

“What?! No…it’s cute! A joyful little fish!”

“You know that this is just gonna be decapitated by me, yeah?”

“It’s about the sentiment, Teba. Hush.”

True to his word, Teba used a knife to take the first bite, decapitating the little creature. Stuffing his beak, his eyes immediately lit up. The flaky crust paired perfectly with the soft meat, the taste and texture beyond amazing.

Saki tilted her head, curious. “Well? How is it?”

“Mmmbfhbgm. Myeah. Yum.”

She clapped. “Oh I’m glad! I actually ignored the ratio a bit and put a bit more butter, so it’s good that that worked out.”

“What happened to following the instructions and rules?”

She narrowed her eyes and crossed her wings over her chest, playfully. “I don’t know… What happened to that priceless journal from Master Revali that was found to be missing from records a few days ago?”

“Damn. Fair enough, then.”

Saki suddenly gasped. “Oh my gosh. I’m so sorry I completely forgot about the time. You usually sneak off to practice Master Revali’s techniques by now, don’t you?” She went to grab a napkin. “Here, you can wrap this up and take it to the Flight Range, I didn’t mean to keep you for so—”

Teba went to grab one of her wings. “Hey hey! It’s ok. I’m still supposed to keep off the wing anyway, right?”

Saki scoffed, but didn’t pull away. “Oh, like you’ve been following that…”

“Better late than never?”

“Mhmm…”

Teba finally let go, and they stood in front of each other for a bit. Saki played with the curls of her hair, avoiding his gaze. Teba felt his feathers fluff up again, as he mumbled something.

“Hmm?” She looked up.

“Oh. I…didn’t say anything.”

“Ah, Right.” She looked away.

Fuck.

The warrior struggled to find the right words. In an effort to do anything but stay silent, he went to hold her wing again. Both of their feathers immediately floofed in response.

“S-Sorry. I should have—”

“No, it’s alright.” She kept his grip. “It’s alright.”

They both looked in opposite directions, Teba coughed again while Saki fiddled with her hair. The warrior continued screaming in his own mind, begging for some form of suitable and understandable words to come out of his beak. When he turned to speak, Saki cut him off with a soft smile.

“You know, Teba. You don’t have to say anything.”

His beak opened and closed for a few moments, confused. Finally he settled on his thoughts. “Can I try?”

She nodded. “If you really want to.”

Saki wrapped her wings around his shoulders, looking up at him expectantly. When he looked into her eyes, all he could feel was the embrace of a summer’s wind. It was blue. Cerulean. Perhaps teal, or a comparison of sapphire. There was a romantic simile in the world somewhere that he didn’t bother to find.

This close, he could see her eyes dilate, and count small imperfections on her beak. Teba stood as still as ice, before breathing out a bit in relief. He allowed himself to smile, and held her hips and swayed to some unknown rippling melody. Perhaps for just this moment, he accepted it. His words didn’t matter as his gaze lit up sweet and gold and honey. Finally, as they swayed and danced in warmth, the sun to the sky said,

“You look nice.”

#reblogs appreciated!#Teba: I'm gonna go get justice for my village so that no one else gets hurt!#Also Teba: *nearly dies on multiple occasions*#Teba is just the 'this is fine' meme and i love him for it #botw #breath of the wild #legend of zelda botw #loz botw #botw fanfiction #teba x saki #tebasaki #yes the fried chicken couple #teba #saki #saki botw #harth #harth botw #teba botw #botw gift exchange

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