#and allows us to write VERY WEIRD FICTION

[inseparabiles]

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[elizabethrobertajones]

kriles summer trust top is kinda problematic tho... lalafell r smol and should be wholesome.

Aw, come on.

I'm sorry but I have to disagree because within the fiction, lalafell are just as mean, gross and horny as anyone else. Gegeruju is a perv, and the whole Ul'dah Syndicate is full of evil little bastards. On the good side, lala are just as complex and grown up as anyone else - Tataru courts followers and dances in a skimpy outfit in the Forgotten Knight, Giott is a roaring drunk stereotypical fantasy dwarf (not to mention whatever the heck is going on with the Tomra and Komra dwarves in general tbh :P). And Lamitt's story was sweet but it did involve her having adult feelings for Ardbert.

Like, really, I can only think of 4 completely wholesome lala out of a cast of hundreds, and they happen to mostly be the ones we've interacted with a lot (Nanamo; Pipin who is a Heroic Knight archetype; Papalymo, who was a grumpy old scholar man; Krile). But that's more about them being main characters serving roles in the narrative rather than indicative of how lalas behave as a whole. In fact after going through ARR, meeting Pipin and finding One Good Ul'dahn Lala is an enormous relief (since the other one is apparently dead now).

And Krile is a main character now so she's allowed to step out of the shadow of being uwu cat hoodie girl who wasn't written with much depth outside of being serious and earnest and rather spooky; she's actually 22 years old according to the first wiki I found - regardless of if that's totally accurate she's definitely meant to be a peer of the other adult Scions and they all treat her like an adult. Her introduction cutscene has her ribbing Alphy as an older friend laughing at how a much younger one used to behave, so we're supposed to immediately understand on meeting her that she's post-teen since she knew 11 year old Alphy and was of course older than him since he was a freak entry into the Studium at that age. Probably a necessary writing moment because establishing lala's age with hilarious moustaches or deep voices or whatever is a part of how the game has to present them.

Out of the fiction, I know lalas are part of a much wider trope that people do find problematic as a whole (e.g. just because in universe Tataru has babes across the globe and that's normal to everyone involved, who are consenting adults in a world which wholly understands Tataru as a consenting adult, is it actually really creepy that it's happening at all because her body type is toddler-esque? Is it weird in general that lala emotes are SO baby in the same way miqo emotes are SO kitty?

ffxiv definitely goes waaay further into borderline creepy territory than many games with smaller fantasy races in it, when it comes to how lala look, so yeah I know it's a fraught area and can be discomforting to see the game present child-shaped people as having adult desires and a thing some people understandably set aside along with other elements as things they're not happy with co-existing in the game with things they really love.) We can absolutely talk about that on a meta level of how we relate to the game and feel about it, just like things we find racist or uncomfortable in other ways e.g. eng translation Hien's treatment of Yotsuyu being a really problematic point.

But, that's one thing, versus talking about us here in fandom and how we relate to it, and I think your ask is, well, really not very deeply considered on any level, but I think is talking about how we as fandom relate to lalas, based on an inaccurate reading of them in the game, meaning you're really not even analysing a thing about it and therefore your ask comes more in the terms of policing how we should FEEL about Krile's beach outfit, and dictating that we SHOULD find lalas smol and wholesome, and that therefore there's an inherent problem in anyone reacting positively to the outfit, rather than critiquing its place in the game in the first place. Having hit a cognitive dissonance in seeing swimsuit Krile existing you've come to me to complain it's problematic rather than taking any actual meaningful action. Ergo, this is a fandom problem to you, not a game problem. WE should find it problematic and say so, you are implying, shocked that so many people looked at a post about the beach outfits and no one commented as such.

Aside from lalafell being fictional and at no point other than the visuals are they treated as children (and emotes aside, playing through the MSQ as a lala wol you easily fall into seeing them as an adult because of course all the cutscenes share the same level of gravitas no matter what you're playing or what clown costume you have on any player), there ARE actually real humans who are built somewhere closer to lala than not, and would be drawn to playing any of the smaller races in a game (like, gnomes in WoW, halflings in D&D, etc) because that's just their chance at representation. And because FFXIV doesn't have anything other than precious moments doll-shaped people the look might be great in the sense that they have the proportions of a cherub statue and it is a lot harder to meet in the middle than a halfling (notoriously hairy middle aged bastards and much easier to read as adult, though that doesn't exclusively represent people who've had growth developmental differences), that IS still the only representative option some people have in the game and if they want to indulge it rather than play something else with proportions forced on them by many games, then what the hell is wrong with that?

And they WILL go to bat for lalas and get upset when people say that they have to be precious baby characters who act like children. I've seen that on tumblr: there's a whole lala community who keeps kinda low key and away from everyone else by their own admission BECAUSE as soon as they get too much attention they're deluged with hate for playing characters who have adult desires and dress fancy - or, you know, like any other random slutty elf WoL. The fact I wandered onto lala blogs at random and saw that complaint on the first pages should speak to how often they have to deal with it. And, again, within the fiction of the game their characters are completely 100% normal and doing what other lalas who are written by the game do as well. I KNOW those blogs are out there and they'd be scared of getting this exact ask, and it would greatly upset them and ruin their day and put them off having any interaction with the community, which fucking sucks. We're here to have fun!

That said I'm not a weirdo anti all up in others' business, it's also fine to just like lalas and stuff without some huge circumstantial justification like "they look like me" - or - "my IRL wife" or whatever - you can also just play a lala or ship with one and it's like, your business. If that's all you're doing and it's not a hypothetical child molester who also has a whole gallery of lala porn that the cops find when they impound the computer full of REAL CHILDREN stuff as well it's never going to be anyone else's business anyway, ever, and that's like, one hypothetical awful person for a whole fandom of normies who are just surprised by how much idk Pipin's deep voice rocked their world and changed their whole perspective on what a hot character was.

Like, granted, that one HYPOTHETICAL weirdo will make everything rancid because there are people waiting to jump on people who like lalas, but also it still won't actually change what other people are doing into being Evil just because someone who actually hurts children found lalas attractive too. That, again, was the hypothetical awful person's problem and not theirs. And in no way can we just casually imply ALL people who like lalas are just inherently going to be dangerous, like real children, or enacting a private psychodrama teetering on the edge of all that.

They could in fact be completely average and boring psychologically and also have a crush on Tataru. Or, I guess, normal amount of weird for a fandom, but basically average XD In a fictional world where these characters are treated as adults, even normal people will naturally end up drawn to them as adults because, well, that's the story that's we're all engaging in. It's not inherently a thought crime to do so, because, weirdly, thought crimes don't exist.

Also, of course, people will literally discourse that hobbits are child-coded and shouldn't be shipped or seen as sexy, despite the most famous halflings, who made the entire halfling race as a generic brand, all being middle aged, hairy, smoking, drinking, guys with normal adult desires and mindsets. I mean yeah Elijah Wood was 18 when they started filming LotR (over several years so he was Krile's age by the end :P) but also Frodo celebrated his 40th birthday before setting off on the Ring Quest in the book and he was the baby of the group aside from Pippin.

In any case, there's no fucking winning and so I can understand completely that if a fucking Hobbit from Lord of the Rings gets shit for being short, and people are getting called a perv for fancying Sam Gamgee, then why not just embrace it with a Lalafell because you're literally damned no matter what in the eyes of someone who won't meet a LOTR HOBBIT where he stands as an adult man.

There's some DEEP puritanical brainrot going on online and I don't want to be a part of it whatsoever, so it means accepting lala likers for the sake of protecting Merry and Pippin's right to be seen as hot, than like, I know which side of of the line I'm dragging my beach chair. It's not even a question. I'm defending people who think lalas are appealing.

ANYWAY none of this is my business, I don't even find lalas sexy, I just think Krile looks nice in her cute summer top and it's lovely that she's getting fashion advice from her besties, and there's a million reasons to be happy about that and for her as a character, and only miserable bastard reasons to go "aurgh aurgh it's problematic" and condemn the game and everyone who plays it just for enjoying something. Lalas are NOT smol and wholesome, they're short and people, and that's fine.

[miraculouslbcnreactions]

Regarding the post about Marinette being punished for trusting people and the response to it, this is something I always have trouble explaining because it sounds callous? But fictional characters aren't people. It's not that their lives just so happen to get in the way leading to something bad happened the writers decided that should happen, and it's important that you stop and ask WHY this happens. If the camera is "on" per se, people assume it's relevant and will tie into something larger. So like if the camera is on and all we see is Alya revealing her identity and then the result is she's outed in the same way she was in Heroes Day, the audience naturally concludes it's connected and thus realizes the lesson is either "Alya learns she shouldn't share her identity" OR "Marinette learns she shouldn't trust people" or both.

Secret identities are a great example of this phenomenon. We're NOT shown every time a villain's plan is foiled because they didn't know the heroe's identity, we ARE shown every time a heroe's identity causes friction in their lives. As such, large parts of the audience think of secret identites as inconveniences because that's what's shown (not just in Miraculous Ladybug, in tons of other shows)

Like you are supposed to make connections in Television about what's being shown to you that no one would make in real life (or at the very least no one SHOULD make in real life) because there's a limited space to tell the story and the audience is assuming the writers aren't wasting our time.

If these were real people it would be unreasonable to say because people have their own lives Marinette can't trust them, but in a story where Marinette is the main character who is explicitly always supposed that's. An accurate way to read the story!

And I also understand that this is a very boring construction if you're making headcanons or thinking about these characters! But that's a different lens, it doesn't make the broader writing lens invalid. You're speaking different languages at that point.

Anyway I hope that helps someone, that's my two cents

You summed it up perfectly! There's a ton of valid criticism to be had of Miraculous, but you can tell from the narrative framing that almost all of it comes down to writing choices and not things that are supposed to be seen as in-universe issues even though a lot of fans treat them as such. It's really weird to see things like people complaining about everything revolving around Marinette as if it's a personal flaw of hers and not the result of her being the main character in a fictional world. "Main Character Syndrome" literally pulls its name from the fact that this is how main characters work in a lot of media. It's a flaw when a real person does it, but in terms of story telling, it's extremely normal - and often good story telling - to have everything revolve around your main character or a core cast.

The issue with Miraculous is that they chose a lot of poor conflicts if they wanted Marinette to be the one and only main character, but that's not her fault. She didn't decide to have the rules around identities make no sense. The writers did. She didn't decide to make the main villain Adrien's dad while also keeping Adrien from being involved in the story. The writers did. The list goes on and on and, because none of it reflects badly on Marinette in the writers' eyes, the show doesn't act like Marinette is in the wrong. Remember, these are the same writers who think that Derision was a great episode that added depth to Marinette instead of destroying her character and making her look unhinged. Their judgement is clearly a little skewed.

While the writers love to make bad plot choices, they are generally using proper story telling language to make those choices, which is why I can tell you how characters' actions are intended to be read. The Rena Furtive and Nino example is a great one because it allows me to show that the writers do understand how to set things up. In fact, once they've decided that they're going to do a thing, they pretty much always set it up at a basic level. It's rarely spectacular and often frustrating, but it's never shocking.

In Rocketear, Alya promises Marinette that Nino will never learn about Rena Furtive. The episode then ends with her breaking that promise via the following exchange:

Alya: (sighs) I'm still Rena Rouge. (Nino gasps.) But now I'm in hiding and that's why Ladybug asked me not to tell anyone. Nino: But why are you telling me if no one's supposed to know? Is Ladybug cool with this? Alya: I can't hide it from you, because I love you, Nino, and we share everything.

Look at how this confession is presented. Look at what the dialogue focuses on. When Marinette confessed her identity to Alya, it was all about the confession and supporting Marinette. There was no discussion of this being a problem for Chat Noir or anything like that because - in the writers' eyes - that wasn't a problem for some reason. This is why Chat Noir almost instantly absolves Ladybug of blame once he finds out about the identity reveal (see: Hack-San.) The writers didn't want it to be an issue so it wasn't:

Ladybug: I'm really sorry, Cat Noir. I should've told you. I mean, if I found out that you told someone about your secret identity, I'd... probably be upset, too. I'm really sorry I hurt your feelings. Cat Noir: You didn't hurt my feelings. You did everything right

But when Alya confesses her identity to Nino, the conversation is not just about her confession. It's about her confession and how she's not supposed to do this. That's why Nino's response is not loving support. Instead, he asks if this is a good idea and if Ladybug knows.

These things are getting focused on because the writers are telling you that this is a bad thing. It's supposed to feel ominous. When I first watched Rocketear, I assumed that the season was going to end with Gabriel getting the fox off of Alya due to Nino because that was an obvious way to raise the stakes and they'd just heavily implied that Nino knowing would be a bad thing. I was, unfortunately, right. The only on screen consequence of Nino knowing is that he outs Alya to everyone in an incredibly forced series of events (see: Strikeback):

(Ryuko successfully prevents the Roue de Paris from hitting them, yet, it flies to the direction where Rena Furtive is. This causes Carapace to panic.) Carapace: Rena! (takes out his shield) Shell-ter! (Carapace's superpower successfully prevents the Ferris wheel from hitting Rena Furtive on top of the Tour Montparnasse. But the information of Rena Furtive's active status shocks the heroes, as well as Shadow Moth.) The heroes: Rena?! Shadow Moth: (from the top of the Eiffel Tower) She's still active?

Of course the Ferris Wheel goes straight for Alya's hiding spot and of course Nino screams her name before casting his power and of course the villain overhears it. It's all so forced and unnatural, which should make it glaringly obvious how much the writers wanted this to happen. This wasn't something they were kind of forced to do because it made sense for the narrative and they wanted to tell a good story. Instead, they wrote an awkward series of events because they really, really, really wanted Nino knowing to be a bad thing that outs Alya so that Marinette loses all of the miraculous even though none of this makes much sense.

How the hell did Gabriel hear Nino's shout from so far away? Is he able to overhear everything the heroes are saying? How does Nino even know that Alya is hiding there? And since when was a Ferris Wheel a threat to these guys? Your girlfriend is a magical girl and she's in her magical girl form, dude. You could drop a building on her and she'd be fine, a thing you have to know because this scene literally goes on to have Chat Noir go flying into a building, hitting it so hard the cement literally cracks, and no one really cares. I guess it's fine if Adrien is a punching bag, but Alya must be protected at all costs...

Anyway, while the above series of events was annoying, none of it was surprising. In fact, it would have all be perfectly predictable even if Alya outing herself was that treated as a more neutral event. Her choice leading to bad things falls perfectly in line with a truly bizarre running theme in the show: outing your identity to the person you love romantically is a bad thing that leads to bad consequences. That's why Chat Blanc and Ephemeral ended the world and why Nino knowing cost Ladybug the fox and why the character they call Joan of Arc has to give up her miraculous to be with her love and why the Kwami's have this absolutely asinine dialogue in Kwamis' Choice:

Plagg: Sugarcube! Having to force them to choose between love and their mission is just awful! Maybe Master Fu was wrong to choose them. Tikki: No, they’re made for each other. Love is what gives them their strength. Plagg: But the impossible part of that love is destroying them, and I know a thing or two about destruction. Tikki: (sighs heavily) What can we do? Plagg: We must free them of that impossible choice. We must… free them of us.

This is the voice of the author telling you that outing the identities is not and never will be a good choice for the love square. Never mind that Alya is allowed to know Marinette's identity or that Gabriel finding out is what actually ended the world in the alternate timelines or that Felix outted himself in public but is still wielding or that freaking Gabriel was allowed to know half of the temp heroes' identities while they were still actively wielding. For some reason, those things don't matter to the narrative, probably because romantic love wasn't involved. The "identity reveals are a bad thing" rule only seems to apply when romantic love is a key element to the point where it's a reoccurring theme in this supposed power of love show.

[alpaca-clouds]

Worldbuild Differently: Unthink Religion

This week I want to talk a bit about one thing I see in both fantasy and scifi worldbuilding: Certain things about our world that we live in right now are assumed to be natural, and hence just adapted in the fantasy world. With just one tiny problem: They are not natural, and there were more than enough societies historically that avoided those pitfalls.

Tell me, if you have heard this one before: You have this fantasy world with so many differnet gods that are venerated. So what do you do to venerate those gods? Easy! You go into those big temple structures with the stained glass in their windows, that for some reason also use incense in their rituals. DUH!

Or: Please, writers, please just think one moment on why the fuck you always just want to write Christianity. Because literally no other religion than Christianity has buildings like that! And that has to do a lot with medieval and early post-medieval culture. I am not even asking you to look into very distant cultures. Just... Look of mosques and synagogues differ from churches. And then maybe look at Roman and Greek temples. That is all I am asking.

Let's make one thing clear: No matter what kind of world you are building, there is gonna be religion. It does not matter if you are writing medieval fantasy, stoneage fantasy, or some sort of science fiction. I know that a lot of atheists hate the idea that a scifi world has religion, but... Look, human brains are wired to believe in the paranormal. That is simply how we are. And even those atheists, that believe themselves super rational, do believe in some weird stuff that is about as scientific as any religions. (Evolutionary Psychology would be such an example.)

What the people will believe in will differ from their circumstance and the world they life in, but there is gonna be religion of some sort. Because we do need some higher power to blame, we need the rituals of it, and we need the community aspect of it.

Ironically I personally am still very much convinced that IRL even in a world like the Forgotten Realms, people would still make up new gods they would pray to, even with a whole pantheon of very, very real gods that exist. (Which is really sad, that this gets so rarely explored.)

However, how this worship looks like is very different. Yes, the Abrahamitic religions in general do at least have in common that they semi-regularily meet in some sort of big building to pray to their god together. Though how much the people are expected to go into that temple to pray is actually quite different between those religions and the subgroups of those religions.

Other religions do not have this though. Some do not have those really big buildings, and often enough only a select few are even allowed into the big buildings - or those might only be accessible during some holidays.

Instead a lot of polytheistic religions make a big deal of having smaller shrines dedicated to some of the gods. Often folks will have their own little shrine at home where they will pray daily. Alternatively there are some religions where there might be a tiny shrine outside that people will go to to pray to.

Funnily enough that is also something I have realized Americans often don't quite get: Yeah, this was a thing in Christianity, too. In Europe you will still find those tiny shrines to certain saints (because technically speaking Christianity still works as a polytheistic religion, only that we have only one god, but a lot of saints that take over the portfolios of the polytheistic gods). I am disabled, and even in the area I can reach on foot I know of two hidden shrines. One of them is to Mary, and one... I am honestly not sure, as the masonry is too withered to say who was venerated there. Usually those shrines are bieng kept in a somewhat okay condition by old people, but yeah...

Of course, while with historically inspired fantasy settings make this easy (even though people still hate their research), things get a bit harder with science fiction.

Again, the atheist idea is often: "When we develop further scientifically, we will no longer need religion!" But I am sorry, folks. This is not how the human brain works. We see weird coincidences and will go: "What paranormal power was responsible for it?" We can now talk about why the human brain has developed this way. We are evolved to find patterns, and we are evolved (because social animal and such) to try and understand the will others have - so far that we will read will in nature. It is simply how our brains work.

So, what will scifi cultures believe in? I don't know. Depends on your worldbuilding. Maybe they believe in the ghost in the machine, maybe there si some other religions there. You can actually go very wild with it. But you need to unthink the normativity of Christianity to do that. And that is... what I see too little off.

[godhandler]

meet young adult Toji Zenin from Rent A BF!

just turned 20 (it’s 1995), the legal age of adulthood, and ran away from home the second he could

genuinely very intelligent on top of that heavenly restriction strength

not that he’ll admit it to himself, has very low self esteem (constantly calls himself “a piece of trash” in his head) that he covers with a brusque attitude. he’s physical strong but mentally apathetic to his emotions as a coping mechanism for his c-ptsd

at his worst, he’s unstable and often irrational, quick to anger, deeply insecure of his existence, chip on his shoulder, is sensitive to rejection, volatile emotions

Lives in a ramshackle 1BHK in a Minami-Sinju ghetto. Why try for a better place? he believes that’s the best that he deserves anyway. also he’d rather live freely in poverty than go back to the zenin estate

being an escort has ruined his image of sex and intimacy– it’s a performance he’s got to do again and again regardless of whether he wants to or not. he just zones out, does the deed, and waits for payment. he’s used to it. Sex is business and he’d rather eat his arm than show intimacy/vulnerability.

has a weird thing about sitting on other people’s chairs/couches. he wasn’t allowed to “pollute the furniture” growing up, so even now he’ll just lean against the wall or keep standing until he’s exclusively invited to sit down. 

really likes local street food, especially yaki/grilled food– takoyaki, okonimiyaki, yakitori, yakiniku etc. likes a little kick of spice, a couple dabs of green chilli sauce. was given a lot of the accidently burnt food growing up and now he’s got a liking for it, calls it ‘extra crispy’ and ‘the char adds flavour’. prefers savoury over sweet but enjoys those mildly sweet rice cakes. eats fast, usually the first to finish at the table. knows proper table etiquette he just doesn’t care. 

likes the idea of falling in love and having a family more than the actual experience of it. deep down, he wants to have a sweet kid who gets everything he didn’t. but rn he’s atleast 5 years away from that realisation 

was racist and homophobic due to ignorance, changed his views when he met all sorts of people working in the underbelly of society. shiu hit him when he first said racist stuff against koreans. 

brings shoes inside the house.

knows his way around a computer (rare at the time), can operate emails and vidcalls. helpful for his ‘business’. has a motorola phone but doesnt carry it around. 

had his beard come in early but its a patchy one. shaves twice a week.

a/n: i had initially planned to make this a pretty dark fic, with a barely-legal toji trapped in a spiral of prostitution, poverty, drugs, mental illness, and murder with a reader who takes advantage of him. but when i actually sat down to write it, i just couldn't. ik he's a fictional character but toji's suffered so much already, i ended up giving him an entirely fluffy series where he is loved and things go right for him for once.

[ichatake]

im curious since in ur request rules you have that you write yandere characters. What is your definition of yandere? How do you write them and what do you think about them? btw I really love your work.

and since we're on the topic, what characters would you see being a little yandere? What type of yandere would they be?

Hi Anon! I appreciate the question! Many people have different ideas of what a yandere is and how they should be portrayed. I’d like to start off by giving you the definition of what most people see a yandere:

Now, my definition of a yandere is a person who is completely devoted to another, to the point where they develop unhealthy tendencies. I tend to write my Yandere characters in a more realistic way. (I tend to stay away from the whole ‘oh gosh you just killed this person because they looked at me weird’ kind of writing style. It’s just not my cup of tea)

Since I’ve always been a big fan of psychological horror and dark romance, I portray yanderes as narcissistic, manipulative, and simply not safe to be around. They might have stalkerish tendencies, yes, but I like to focus more on how they would affect the person they like. (I know it kinda takes away from the whole definition of yandere) Basically, I just like turning the usual lovestruck, insane yandere into a more realistic version of themselves (as realistic as they could get in the ninja world. I hate completely altering a character’s personality into something they’re not).

What do I think of yanderes? Well, I certainly wouldn’t want to meet one in real life. I like reading and writing them in fiction, but in no way shape or form do I romanticize or agree with whatever the Yandere does. I do not condone any type abuse because it’s absolutely vile that someone might go out their way to hurt others. Having said that, I think many people might not find the way I write yanderes very pleasing, because it’s not what they’re used to seeing, and that’s totally okay!

Now to answer you final questions:

I believe there are a few characters that might have the possibilities of becoming a Yandere or having Yandere tendencies:

Obito (way too obsessive):

I know a lot of people think the same way as I do. I believe that Obito is a man with serious problems.

He technically grew up alone, just with his grandmother. He almost succeeded in putting everyone in an infinite genjutsu, where he could distort reality to his liking and be with the girl he loved.

It’s safe to say that he would be a yandere where if push comes to shove, he will do whatever it takes to have you near him.

He is obsessive (he had a lot of pictures of Rin when he was young, so…). He needs to remember your face clearly, even when he’s away from you. You’re the reason why he breathes. He lives because you allow him to. That’s what he thinks.

Madara(protective and controlling):

Hear me out, this man is complicated.

Sometimes he would put his desires over you, but if we’re going to be honest, he’d shred down the world for you.

If something ever happened to you, Madara would take no time in avenging you. He’s a little different to Obito. Although he’s obsessive, he doesn’t completely revolve his life around you.

He likes feeling possessive over you, but he can leave at any time that he needs to. You have to wait for him. He’ll be a protective yandere, looking out for you and making sure you understand that he’ll be the only one there for you.

Kakashi (protective, pathological liar) :

Whoa? Kakashi? Really? Yes really. This man has grown up alone. He made friends, they died. They left. Anytime he got close to someone, they’d disappear. It’s only logical that if he were to fall for someone, he’d like to protect them.

However, this protectiveness can get overwhelming. He knows you’re capable of protecting yourself, he simply doesn’t want you to. If one thing he’s done wrong in life, it’s protecting those around him. This was his time to make up for all those times he failed.

He isn’t used to affection, but when he has it, he craves it. Badly. You need to remind him that you love him too, or else he might just think you’re ready to leave him at any time.

He isn’t above lying to get you to do something. He’s lied before, so why not lie again? If it gets things going his way, he won’t care. A little harmless lie can turn into a bunch of them.

Sasuke (distant, but protective) :

If he likes you, he definitely won’t show it. If he genuinely cares, he won’t be above doing anything inhumane. He’s already done a lot of things in this world that got him hate, adding another one to his list wouldn’t be a problem.

He’ll work from the shadows. He’ll love you from far away. He isn’t really affectionate and doesn’t know how to show it.

One things certain though, you’re his lover. He will give his life for you or take another.

You ask him for the moon and he will serve it in a silver platter before leaving.

Do I think other character could be Yandere? Well yes, this is fiction after all, but these are the best that fit that description. Anyways, thank you for your questions! I’d love to answer more if anyone else is curious or wants to request some Yandere content!

[olderthannetfic]

sorry it didn't entirely occur to me that race play wasn't inherently racist. Guess I literally should've just googled that to see, flew over my head. Wasn't intending to be bait or whatever, I was genuinely confused what goes too far in fiction or not, since you could write practically anything including immoral stuff. It was hard to wrap my head around and entirely forgot POC could write stuff that would be considered racist if a white person did it. My bad I understand the reasoning now. Again sorry was genuinely just curious cuz I'm not a "professional" in what's right or not (I usually follow the majority to determine what's right, I'm a sheep, my biggest fear is to be offensive in any way so I try to listen to people who know their stuff and follow), terms and complicated words (at least complicated to me) tend to go over my head. Perhaps I should've used a tonetag to show I was being genuine in my response and meant to be curious and not to harm. I apologize sorry for making you mad have a nice day/night afternoon :) I really appreciate the work you put in this blog, it's very informational for me

--

Oh god. You're in earnest? Well, in that case, you were doing a pitch-perfect imitation of the people you've been reading, and those people are annoying.

--

It's fiction. Who cares what's in it?

The thing that makes it matter is how the fiction is disseminated and the whole context around it. For example, media aimed at young children is held to higher standards because four-year-olds often aren't that competent at telling fiction from reality or understanding that depiction isn't endorsement.

Mainstream US TV shows have millions of viewers. If they reinforce mainstream unconscious prejudices, that tends to encourage the audience to continue unchecked in those beliefs.

Weird niche porn or fanfic on AO3 have tiny audiences, often deal with things that are already contentious, and are labeled as non-mainstream in the first place by their very nature.

"But what if people write immoral fiction?" is itself an unethical position. It is the domain of the religious right, radfems, and other assholes who believe in thought crimes.

Yes, sheep do follow these people. This is an unethical behavior, but it is common.

The tyranny of the majority is not a good thing. The fact that a large number of people on social media say that such-and-such makes them feel gross is not an excuse for them to tell a smaller group with "gross" tastes what they're allowed to do in their own circles. Lots of people are horny over weird shit. This is fine.

The fear of ever offending anyone is a prison that will cause you to make bad choices.

Genuine harm is bad, but lots of people are offended at the drop of a hat. Yes, this goes for nonwhite people too, and it definitely goes for idiots white knighting in fandom spaces and going "You can't write X about characters of color! You can't write Y! Everything is problematic!"

As has been discussed on here many times, a lot of fans, including nonwhite fans, find that kind of behavior stifling to the point where they can't write about those characters at all. The response is often a huffy "Well, they shouldn't feel like that." But they do feel like that. It's not on purpose. Most people feel like that, to be honest. Living in a fishbowl has a chilling effect on art just like being afraid of offending paralyzes you yourself.

Offensiveness is highly dependent on context. Not only will it vary with your cultural background, but a great writer can handle material and make it feel nuanced, while a crummy writer will fall flat on their face with the same material.

If we are too precious about "Nobody should ever offend anyone", we're calling for all fans to publicly disclose their demographic and for all fans to be extremely skilled. Pity the poor, dumb teenager who just wants to write about their black blorbos because they are black themselves... and a shitty writer... who likes sex pollen.

If you look again, you will notice that a lot of fandom drama around offensiveness boils down to "You have a rape kink and that's not okay".

The bottom line, anon, is that fandom has a bullying problem. The internet has a bullying problem. People who are too scared to have their own stance on what's offensive or what's correct behavior are easily weaponized in bullying campaigns. This is the problem with being a sheep. You'll reblog shit saying "Well, I'm not sure, but this sounds important..." and then it turns out to be a smear campaign. Or maybe you personally won't do that, but you will stay silent when you should speak out.

Doing the right thing often involves offending people.

Look, anon, I've been canceled before for supposedly being "fandom's worst racist", and yet there are a bunch of fans of color in my comments section because they're tired of prissy jackasses who won't ever expose themselves by having an opinion, think it's more important to never be wrong than to have a conversation and risk changing their minds, who think only one very specific, very American, and very era/platform/fandom-specific standard is okay, and who hate on kinky fanfic day in and day out.

--

To interact with other humans is to risk offending someone. Yes, I think it's on all of us to at least recognize extremely blatant racist stereotypes, but that doesn't mean agreeing with every single moron who walks up and goes "I had a yucky feeling, and now that's your problem."

A lot of this pearl clutching makes one think of that line from Cold Comfort Farm:

"I saw something nasty in the woodshed!"

The matriarch of the family took to her bed years ago, claiming to have been prostrated by the sight of some unnamed horror (in context, probably people fucking). For years, she has used this supposed ~harm~ to bully and control the rest of the family.

Fandom is also full of this behavior lately. "Other people's fiction made me shake and cry!!!" is not actual harm. It is, at best, people who are genuinely upset but who need to take it up with a mental health professional. Very often, however, it is shitty, manipulative, abusive behavior that is entirely intentional. Do not fall for it.

Some people are just children and need to be told "No."

[the-sappho-of-lesbos]

Lesbian Pulp Breakdown #2

Here for another pulp breakdown ! (Finally 🙈)

This one will also have spoilers and lots of triggering content. Please be warned.

This pulp fiction breakdown is for Lesbian Love by SV Miller. 100%, absolutely written by a straight man. This book is WILD, and significantly worse than the last one I posted about Alone At Last, which I didn’t think was possible. Because that one was a train wreck.

So in this one we have our protagonist Aggie; now Aggie is married to a man called Jim but she also sleeps around and has affairs a lot. The first three chapters, if I recall, were literally just her having affairs with other men and then getting mad at her husband for accusing her of having affairs. Her and Jim have a very toxic and volatile relationship, as well as being very inconsistent in the way they approach each other, the way the approach themselves and their marriage. It’s wild.

Anyway, she gets to the point where she’s like: I don’t want to be in this marriage anymore. I don’t like him. I don’t like what we’re doing. We’re always fighting, throwing things at each other and then we end up being intimate. She hated it. Then she found an advertisement for a sanctuary away from men that was supposed to heal her, heal the relationship and get her away from there; BUT to get there she had to have a lot of money so she ended up having even more of an affair and putting herself in very dangerous situations to get the money. Though when she did, phew, off she went - she was there. It was all secret and she was given these very weird and ominous directions to get there, she wasn’t allowed to bring certain things with her etc.

When Aggie is there, it becomes very clear to us, the reader, she has just entered a massive cult. It’s also when this book just dives head first into all of its problems.

This isn’t to say Alone At Last was a good book by any stretch of the imagination, however, it did hold little nuggets of positivity, mainly in the areas of acknowledging homosexuality was natural and not having the main lesbian character end up dead or in an institution. This book can’t even say it has that going for it.

This pulp genuinely felt like a homophobic pamphlet fever dream.

There was so much sexual assault in this book committed by a lesbian, but sometimes the author would jump around on if it was assault or not in a very uncomfortable way that felt like it was rooted in a fetish.

So we have our lead lady, Aggie, introduced to this lesbian commune that is run by the lesbian dictator Helen. A rich woman set on assaulting women, keeping them trapped in this isolated location, and “turning” them gay - or as this book likes to paint it, corrupting women to sin.

There is a massive emphasis all throughout the book about how broken, unnatural and wrong lesbians are, ( the very last line is “I feel … normal!”) while simultaneously sexualising them for male titillation. With big strong men to come in towards the end and save them all.

It tries to entice us into the plot with this evil lesbian cult commune plot , where women are forced to pair up with one anther in this instance Aggie is forced to be with both Helen and a woman called Grace ; Grace is also the character Aggie ends up snot being attracted to, but only because she is in a “perverse” place). These women are locked up in torcher chambers if they don’t comply to the Evil Lesbians or try to run away.

In the end this pulp is probably a textbook example of what people think of nowadays when they think of old school lesbian pulp. With terrible writing on top! It was genuinely a slog to get through. Even though it’s relatively small it took me 4 months to finish reading it because it was just so terrible and had no redeeming qualities about it. Just a terrible mess of assault, homophobia and horrible writing.

Let’s hope the next one is better.

[astralnymphh]

AUTUMN DIRECTORY, 2024. (KINKTOBER)

ORANGE BEGINS TO TRICKLE IN, meaning it's time for newfound romance and horrors written in blood. this index contains upcoming pieces—everything from oneshots, headcanons, blurbs—and instructions for autumntime requests! quite similar to kinktober, but this isn't limited to kinks, is open to requests, and is not restricted to a daily schedule (because that would be hell).

REQUESTING RULES:

I. see rules here for general, annual information that still applies. fluff, smut, angst and horror is allowed. only writing for tlou characters. II. to be within the autumn realm, requests must (obviously) be related to festivites, occurences, or genres entailed under fall. this encapsulates october and november; halloween and family gatherings—but is not limited to those. (e.g something like a date in a leaf-scattered park, intimacy in a carinval, or mundane settings such as a college campus, count.) III. halloween requests can be directly related to the celebration, or complete deviations into horror. i have a horror oneshot cooking up at the minute (quite a few, technically), so most requests will be written into blurbs or drabbles. mythological creatures, murderers, folk legends, and movie-inspired dynamics are some ideas. but some of you are very creative, so please, do bend and amalgamate tropes to your heart's desire! (e.g a posessed, ballerina murderess would be fucking insane—in the best way possible.) IV. you can still send requests for kinktober, but this is just here to announce that i'm taking anything autumn-related. multiple versions are allowed for different kinks (e.g sub!reader, dom!reader, would count as seperate versions). also, do be wary that i won't write every kink, especially if it violates my rules.

LIST OF FICTION TO COME:

𝐧𝐲𝐦𝐩𝐡𝐞𝐭𝐚𝐦𝐢𝐧𝐞 | vampire!reader x hunter!ellie [predator and prey dynamic, can you guess which is which?]

information: chances are, if you're an old reader of mine, you've seen this draft announced here and there a year ago—it has gone through metamorphosis. now, it has a predator and prey storyline to it. probably the only kink related oneshot, but it is not tied down to that. it explores a serious, horrific, non-sexual side of it, and gradiates into something more sexual. (using time skips)

𝐟𝐚𝐭𝐡𝐞𝐫 𝐜𝐥𝐚𝐬𝐬𝐢𝐜𝐬 | jackson!reader x jackson!ellie [a request from one of my lovely anons. congratulations, it's a oneshot!]

information: this is where fluff, and romance, will nestle in a hearth setting. one of my anons requested a fic where ellie and reader cook dinner for joel and a special lady friend (yay for side charecter romance), ellie totally disgusted by the fact that joel has a supposed girlfriend now. (in a weirded-out, daughter type of way, y'know?) also ellie cannot cook for shit.

𝐬𝐦𝐚𝐬𝐡𝐢𝐧𝐠 𝐩𝐮𝐦𝐩𝐤𝐢𝐧𝐬 | jackson halloween party, gone wrong! [title is a double entendre, you'll see why.]

information: so. funny little title. basically i just wanted to write something about a jackson halloween party, how it would go, what everyone would wear, who would be making out in the bathroom of whatever building it happens in—oh and some murder. it isn't a party in october if nobody dies, so.. yeah. (ellie and reader totally aren't the ones making out and getting freaky while someone gets killed. definitely not. heh.) this one will probably have comedic undertones to it. love us a good comedic fic, honestly.

(let me know if you want to be tagged for any of these)

SHORT WORKS:

every request for this directory will go here. check later!

[shallyouobeyme]

Bounce

Platonic!Yandere!EareserMic/Todoroki/Bakugo!Family x reader (GN) + Platonic!Yandere!LoV x reader (GN)

Summary: Trying to juggle hero class, very protective classmates along with their families which included multiple pro-heroes and your teachers who seemed to be incredibly extra attentive around you was hard enough - but at least they seemed to keep each other in check so that you were able to live on kind of normally, while being bounced around between them. Hopefully, no one comes around and ruins that delicate harmony...

! Minors Do Not Interact !

TW: Yandere, Dark content, kidnapping, manipulation, mentions of planning a murder, violence, swearing (thanks to Bakugo), Obsessive behaviour, I do not condone this, this is all fiction, tell me if I missed something - also this is not proofread so there's probably a lot of mistakes that I'll fix sometimes in the future

Ever since you've started attending U.A., your life has become incredibly exhausting. Now, one would think 'Of course attending the top pro-hero school in the country would be exhausting, what did you expect? A walk in the park? Idiot.', but to this person you'd say that they were right. You hadn't expected U.A. to be easy, you really would have to have been stupid to do so, but the actual school wasn't the problem. Sure, classes were challenging sometimes and the training was working you to the bone some days, but you were able to live with that - after all, you had known that it would be hard when you had signed up for it, but what you hadn't known was that you'd somehow become the pet project for not one, not two, not three, but four pro-heroes, three hero-students and two overprotective suburban moms.

When you had started school, you had expected to kind of merge with the masses. After all, your quirk wasn't really anything flashy, your family didn't include any famous heroes or rich business moguls, and you weren't one to thrive with attention directed at you. Now as someone who joined the school later in the semester for personal reasons, you knew there would be some spotlight on you for a few weeks, but you also thought that there'd already be established friend groups and connections, so once the natural curiosity of a bunch of teens was satiated, you'd be able to just go the rest of your school days in peace and quite on your own. So imagine your surprise when after an entire month of being in class 1-A, the three most popular (and probably most promising) students of the class seemed to be glued to your side, and along with them their respective friends.

Izuku, you learned after a few days, was the kind of person who was probably predetermined to make friends with any new person he met, as he even tried to be friends with the boy who bullied him relentlessly - but with you, he seemed to drive that up a notch. He was interested in literally every word you said, started to have what seemed to be an entire chapter dedicated just to you in his notebook and soon that escalated to what seemed to be an entirely separate book just for information about you. But Izuku was a little weird in the very best way possible, so you didn't mind too much, he was funny and tried to respect your personal space and need for alone time - even though he seemed to think alone time meant that he was just sitting silently beside you while you were allowed to do something you usually would do completely alone, like writing in your diary or calling your parents. Honestly, you were surprised that he let you go on the toilet alone (even though on some days the second you went out to leave for the bathroom, someone from his friend group or he suddenly seemed to need to use the bathroom as well.

Shotou surprised you with how clingy he seemed to be, after all, from what you had heard from people from other classes and from how he seemed the first time you had met him he wasn't really the most sociable person. As far as you knew, he was only part of a friend group because Izuku had latched onto him and had refused to let go until he had become one of his friends by association. So, again, it was quite surprising when he seemed to initiate interactions with you as often as possible, be it insisting that you studied with him, that you joined him while making dinner in the dorms, sitting down beside you during lunch, or just silently sitting in the corner of whatever room you happened to be with and staring. The last one was definitely creeping you out, but after Izuku had told you about all the horrible things that had happened to Shotou (later he would definitely deny any accusations of manipulating you into being more accepting of his friend's stranger behaviours) you felt too bad to confront him about it. Still, Shotou was a lot more up to your speed when it came to how calm and quiet he usually was, so you didn't have all that many complaints about his constant presence, especially since he and Izuku got along great which made hangouts mostly peaceful.

The same decidedly could not be said about Bakugo. Bakugo was a chaotic and destructive force to be reckoned with. He was brash, loud, opinionated and (sometimes) violent - basically, he was everything you usually tried to avoid. Bakugo did not like that - not one bit. He insisted that he was 'the best f**king person in this f**king place to hang out with and he was better than any of these sh**ty extras so you should be happy he even wanted to be your friend, now shut up and let him cook your favourite meal." It was safe to say that spending time with him was usually very stressful for you - at least when Izuku and Shotou were there, which was almost always because he could not hold back on insulting them, screaming that he was the only person who had any right to hang out with you and that he was more than enough to protect you - the question about what they thought you needed protection from was always more or less elegantly deflected. Curiously, it turned out that Bakugo was able to act very differently when it was just the two of you - he was still very brash and slightly aggressive, but he became a lot quieter, and a lot more thoughtful too. When it was just the two of you - for example after he picked you up like a sack of grain when the others were distracted (by his friends usually) and locked the two of you up in his room, he allowed you to quietly read a book or draw or do the things you usually didn't have the calm to do while he studied at his desk, insisting you make yourself comfortable in his bed wearing one of his jumpers.

You figured sooner or later your teachers would figure out what was going on and intervene, but your homeroom teacher especially seemed to go in a different direction. In fact, he seemed to support their friendship with you - telling you that they were the best suited in class to protect you when he wasn't around (again, no explanation as to what you'd need protection from). He insisted that you spent at least one break every few days in class with him so he could 'supervise your progress and help you with especially difficult material', paid a lot more attention to you in class than anyone else, let you get away with forgetting homework or slacking off during training, always pair you up with someone who he'd knew wouldn't let you get hurt and who'd make sure you get a good grade, and you seemingly always got better grades than the students who did just about the exact same thing as you. Honestly, you didn't really have a reason to complain at first, but then the breaks spent with him turned into breaks spent with him and his husband Hizashi (sometimes joined by Shinsou who also seemed to be close to you whenever you left the classroom during breaks, but never really talked that much).

Now the three of them (along with their friends whom the three seemed to colour off on) and your teachers were already hard enough to handle, but they seemed to be happy as long as you spent the same amount of attention on all of them and didn't actively play favourites - even though they always insisted to be the favourite when talking to each other. This delicate alliance was broken though, when Izuku invited you to stay with his mother during an elongated weekend at home - and when he gave you his puppy eyes and let you listen in on a call with his mother where she sounded so incredibly excited at the prospect of her little boy bringing a friend home with him, you just couldn't say no. The weekend was actually very nice, his mother was such a kind woman and she treated you like her own child. Actually, she probably treated you better - she made sure everything was perfect for you, she only made your favourite foods (thanks to Izuku's intel), she made sure your bed was always fluffy, your room was always the ideal temperature, the shower in the guest bedroom always had the right water pressure, and everything the tree of you did was something that you'd enjoy. Sure, she could be a little overbearing, but given that your own family had never really cared about you that much it was really refreshing.

At least it was for the very first time, turns out being cared for 24/7 was a lot less refreshing when there were like a dozen people trying to do it at the same time. Given their rivalry, it was only natural that once Bakugo and Shotou (and Aizawa) found out about your little trip to Izuku's childhood home, they insisted that now you just had to come visit their families as well. And so you started being bounced from one family to the other. Gone were the weekends spent chilling in the dorms and getting to have at least some time to yourself, instead you rotated through four different homes - none of them yours, even though the families in them would vigorously insist that you were the most important 'resident' in it. And so you found yourself in the Bakugo residence, getting pampered by Misuki and Masaru, having your clothing thrown away and replaced by custom-made ones by them, and getting to enjoy being around the (slightly) calmer version of Katsuki.

Or you found yourself in the Todoroki's house, surrounded by his siblings and his parents - his mother seemingly wanting to forget that you were not her child as she treated you like one of her own, even insisting on you letting her or Enji tuck you in no matter how often you tried to tell them that you were actually not a child anymore (not that they wanted to hear that). Enji wasn't home a lot, but he made an attempt to be home as often as he could when he knew you'd be there, causing a vague tension between his family, but no one wanted to say it out loud since you actually enjoyed when he was there (since he not only spoilt you, not shying away from any expense but since he was also the one who was most likely to let you trips with his family - the others preferring to keep you all to themselves inside) and he sometimes brought Hawks along who always made sure you had a fun time since he kind of took on the role of a cool uncle.

The family that was probably most up your lane was the family of your teachers. Aizawa and Yamada cancelled each other's energy out for the most part, so it actually felt like spending time with a normal family, not to mention that their little daughter Eri had really grown on you, insisting that you were her younger sister (you didn't bother to correct her after the first few times, assuming that she was just using the logic a little child would use) and their son Shinsou would usually help you out whenever you needed some alone time by agreeing to play with Eri for half an hour if you agreed that you'd cuddle with him and the family's cats and kittens later - honestly you saw it as a win-win.

With all of these people wanting you to pay attention to them or wanting you to spend time with you all the time, it was no wonder that you were exhausted, but honestly, you were just happy that they got along fine enough to accept the 'schedule' and routine that had arisen from the chaos because you had overheard them talking about just how willing they were to go probably too far to keep you around. Usually, you'd probably gone to the police the moment you first heard Bakugo threaten Shinsou that he'd blow up his cat if one of them ever scratched you or when you heard Hawks and Enji talk about how they'd be able to permanently incapacitate Aizawa and Yamada if they ever needed to, but a) you were never alone, so when would you be able to and b) people tend not to believe that some of the most famous heroes and their children would ever be so obsessed with someone as unassuming as you. So, you just made do with the cards you had dealt to you, just happy about the little bit of free time and privacy you had left.

While you were so preoccupied with keeping these opposing forces at bay that you hadn't noticed some different, unknown, foreboding pairs of eyes on you whenever you were out in public. One Sunday evening in a nice restaurant as you spent the last of your weekend with Midorya, his mother, and All-might who had insisted on joining, to get to know his successor's new best friend and one of his favourite students better, you excused yourself to go to the bathroom and when you came out of the stall, you felt a pinch in your neck and everything turned black.

When you woke up in a dingy bar surrounded by people you had seen only when they had tried to attack your school and kill your friends, with the girl you knew liked to stab people having you lie with your head in her lap as she brushed her hands through your hair - your hands were tied behind your back with silk so there was sadly not a lot you could do about it - and the guy who liked to burn everything around him insisting on covering you with enough blankets to keep you warm to make sure you wouldn't get sick while insulting everyone and everything around him. It was safe to say that you knew that should you get out of the League of Villains lair again, you could probably say goodbye to any time spent alone and most likely to any outing where there weren't at least two pro-heroes protecting you.

A/N: Day 9 of my Yandere Writetober, Special thanks to @sol565 for the inspiration for this story, without them, I would probably not have been able to write what turned out to be the longest story on this blog so far and I really enjoyed writing it so lots of love and lots of thanks ❤️❤️❤️ Tomorrow's word is 'Fortune'

[abyssalzones]

hey anon! I debated most of this morning what the best way to respond to your ask would be because I'm not going to lie to you it almost made me cry. hopefully a drawing is okay. I wasn't sure whether it was my place to share what you've sent but I did want to answer you properly, and it ended up getting kind of long... so I'll put that under the cut here (sa mention)

First of all you definitely have nothing to apologize for, a major element of my analysis (and what had made me so nervous to post it to begin with) was that it came from a very personal place, and I knew if I posted it I was going to be opening up a lot of doors. good or bad I honestly had no idea but I really hadn't anticipated such an overwhelmingly positive response, and I especially hadn't imagined so many people to share their own experiences with abuse and how what I wrote meant something in relation to that. it makes me extremely glad I bit the bullet and allowed myself to be a little vulnerable about something I enjoy.

there's something almost uniquely weird about being a victim and seeing yourself in a story but not knowing how to express that. it feels like one of those things you can't really say without crossing an extreme line, and any parallels you might be able to draw are therefore Reaching, biased by your own experiences. I've struggled with this a lot as someone who uses art not only as an outlet but a voice for my experiences- and what experiences I think deserve to not only be treated with respect but honesty. there's a lot to be said about the alienation of the victim from the rest of society when sexual assault is so overwhelmingly common in our world, and how difficult it can be to find truthful and respectful depictions of these experiences in... anything, pretty much.

I have no idea if that's what they were trying to do specifically, from a textual angle. but I do think it's possible, and am confident that they at least drew on the subject (both in the instance of Bill coercing Ford to drink and the scene later where Ford is paralyzed), which was honestly what led me to write the analysis in the first place. That "he's kinda like me" moment you describe is something I'd had for a long time but had never been able to say confidently without feeling like I was reading between the lines. But I think you're right. and I think there is a real reason why such a story could speak to people in that way, could be so important for the process of recovery... we can't always conceptualize what happens to us from our own perspective, y'know? we're trapped in our own minds for the most part. so I think fiction works excellently as a way to work through these things and see our worst struggles in someone else- and to come to vitally important realizations of our own.

anyway, all that to say I'm so glad what I wrote helped you come to that realization. hearing that makes me feel like I've done something not only to help myself find some closure, but for others to as well :] healing is always, always possible and I sincerely hope you find your happiness as Ford has, and as I've found mine.

[itsabouttimex2]

Tbh, I honestly really like the fact that MK's age is unspecified, because like you said in one of your posts, it can the individual viewer identify with him better. I personally like it because I think it's very fan-creation friendly, as in you can make him whatever age you want within a reasonable range and not have to make it an AU or future/past fic. Especially good for the Canon compliant folks!

(To start my silly little rant- obv this is not for people who genuinely can’t see MK as anything but an adult- that’s valid!! Just for people who try to invalidate the headcanons of others. If you see MK as a 100% 18+ and have no way to change your own mind, that’s fine! There’s a big difference between “I won’t ever stop feeling this way” and “No one else is allowed to have their own opinions/headcanons outside of mine.”)

Yes absolutely this is exactly my point! LEGO is honest to god a company built around creativity! The literal intent of LEGO is to provide a fun and stakes-free scenario to exercise creativity for anybody of any age and Lego Monkie Kid sincerely and honestly reflects that with its incredible handling of MK’s age, by leaving it intentionally ambiguous and throwing hints in every which direction to obfuscate any “true” answer.

If you want him to be a kid or a teen or a young adult or hell, even a man in his thirties or whatever, you absolutely can! It’s a wonderful scenario where the age ambiguity is believable and fits into the core theme of what LEGO is fundamentally about- generation spanning creativity.

I like Teen!MK and I like Adult!MK, and I’m willing to die on that hill! I like writing him as a as a kiddo, as a teen, and as a grown man! One of the reasons I made the “Let’s Start Over” AU is because I wanted to write more “unambiguous adult” MK!

Like, I love using real world stuff to inspire headcanons. For example: some species of monkeys (including macaques, like Bonnet Macaques) have cheek pouches! Because of this, I like to think that the FFM Mountain Monkeys, as well as SWK and SEM all have cheek pouches they can use!

And though I know it’s not canon, I can’t help but hope that we’ll see a monkey using their pouch in the show!

But when fans take one of these real world things (in this case, a law) and have, at large, decided… to throw their asses down and spread misinformation in order to further their headcanons as “true” it’s just… weird, I guess?

LEGO is meant for EVERYONE. From kids with poor motor skills barely capable of clicking pieces together to adults with hundreds of dollars to drop on sets, LEGO is a company built on and for creativity.

So when I see people say things like “MK HAS to be an adult! He can drive! He works a full-time job! You can’t think of him as a teen!”

If you watch a show made from a franchise built on imagination and creativity and boundless potential with an specific emphasis on unique artistic style and decided “I arbitrarily cannot suspend my disbelief about a fictional character’s age enough to allow other people to have their harmless headcanons” then…

Well, how?

How can you turn your brain off for mystic monkeys and dragon girls and demon swine chefs? How can you turn your brain off for gods and celestial emperors and spider people with transformative venom? How can you keep mum on ALL of that and then swivel sharply into “actually the story doesn’t make sense if one or two characters are under eighteen but don’t go to school. The magic was fine but that’s too much for me. I can tolerate the demon monkeys but not underage driving or truancy.”

I just… I don’t get it??? At all???

[miraculouslbcnreactions]

When I first saw a Miraculous Ladybug salt post it was the usual Lila takes away all of Marinette's friends Adrien does nothing Marinette becomes super successful Lila gets exposed blah blah blah

When I see posts like the ones you post where people give actual constructive criticism about the characters and not favor one character over the other has made me realize that these are fictional characters and its not their fault they are the way they are. Also they're 14 what kind of 14 year old makes good choice's? Especially when they have the fate of the world/universe on their shoulders

If anything the character I really blame is Master Fu. He was obviously meant to be some sort of mentor figure for them or at least Marinette's mentor. He was the one to tell and encourage Marinette to keep everything a secret from Adrien. Comparing him to other mentor like figures in the world of superheros he isn't really all that helpful.

Compared to DC Ladybug and Chat Noir do not have any adult superheros to help them. In DC younger superheros have entire superhero families to help them out and if not that than they have other adult superheros to help them or they have an actual team. We know that other miraculous holders exist and the order is back I have a vague idea as to why they can't help but I still find it weird as to why they are around if not to help. Like phones and the internet exist do they not?

Sorry for they rant, I want to know what your thoughts are on this?

Your rant was fine! I don't think that I've talked in depth about mentors as a concept and I should both because I love mentors and because Miraculous has completely failed to give us any good ones. This is a writing failure not because good mentors are required, but because the show chose to have mentors characters and then not use them.

Before I get into the topic at large, I want to start with a brief discussion of mentors in shows aimed at young children as Miraculous' intended audience is young children and that fact is worth keeping in mind when discussing what Miraculous did wrong and some of the ways that you can fix it.

Shows aimed at kids generally avoid adult characters in major roles for the very obvious reason that the intended audience is kids, so you want the kid and teen characters to be the stars. This doesn't mean that adults aren't allowed to save the day or have important roles. It just means that they should be used sparingly. This is why mentors are a great addition to kids shows. They allow adult characters to be deeply involved with the plot without anyone expecting them to intervene because that's not their role in the story. They're not here to be the hero. They're here to guide the hero.

One of the powerful things about this setup is that it allows the writers to give the real kids watching at home real advice about real life problems. For example, if Marinette comes to Fu to talk about feeling alone and overwhelmed, then he can give her real, practical advice that would apply to anyone who is feeling alone and overwhelmed, but no one expects him to directly intervene because he's supposed to say hidden.

A lot of these elements apply to mentors in media aimed at older audiences, the rules just apply for different reasons, so I'm going to stop reminding you that Miraculous is for elementary school kids and focus on the failed mentor issue as it would be an issue no matter what Miraculous' intended audience was.

When it comes to bad mentoring, a lot of people focus on Fu and I get why. At first glance, he's the classic wise old Asian man who is supposed to be there to guide the protagonist on her mystical journey (not getting into the racism issue here, just know that I'm aware of it and that Miraculous dropped the ball on this in a lot of ways even though they absolutely could have made it work.) But Fu isn't the main focus of my ire because, while the writers seemed to have designed him around the mystic Asian trope, they never actually wrote him like a mentor.

He doesn't train Marinette and Adrien in the ways of the miraculous. He just sneakily gives them their miraculous and then disappears from their lives for quite some time. So he's not around to get them properly started on their hero journey. That's strike one for the mentor role.

Strike two is the fact that we never actually see him mentoring Marinette. I don't think that she ever went to him for advice? If she did, then it wasn't a big element of their relationship. When I think of Marinette and Fu, I picture her going to him to grab a miraculous or two before booking it back to the ongoing fight and that's about it. The guardian training she supposedly had was all off screen, so we have no idea how close they were or what he even taught her outside of potion making. Even that wasn't really him teaching her something. It was them working together to figure out a puzzle because Fu never completed his own training, making it impossible for him to properly train a successor.

Strike three is the fact that - outside of the King Monkey incident - Fu never gets directly involved in helping team miraculous. He's never gives them feedback on fights or works with Ladybug and Chat Noir to strengthen their bond. He doesn't even help them track down the two missing miraculous or hand out the temporary miraculous on Marinette's behalf, a choice I still find super weird. "This fight is super hard and we need help, so I'm going to leave Chat Noir to fight alone while I go get said help!" is absolutely nonsense logic and one of the many examples of the writers desperately needing to let Marinette hand her responsibilities off. Why wasn't this Fu's job?

This brings us to fix one: if you want the guardian to be a mentor - which is a role they arguably should have - then the guardian needs to be actively involved in Marinette and Adrien's lives in an on screen way. For this to work in the context of Miraculous - a show that really wants to focus on the teen characters - then the guardian probably needs a teenage apprentice who isn't Marinette and that apprentice will be the one doing the mentoring.

My pick for this is Luka for two big reasons. The first one is that his calm personality is perfectly suited to a mentor. The second one is that it seems insane to me to have the snake be a temp holder. The snake should be watching every fight, but staying out of the actual fight so that they can use their power whenever it's needed. That's the perfect role for a mentor character to fill. Someone who is active in the plot, but only ever as a support because their power stops them from getting more involved.

Moving on to the bigger issue.

As I said up above, Fu doesn't actually get my ire. While I wanted him to be a mentor, he never once filled that role and he didn't really need to because the show already had mentor figures that it was actively using and using poorly. Those figures are the ancient magical creatures that follow our heroes around, dispensing terrible advice whenever they feel like it. That's right, as much as it pains me, Miraculous' biggest mentor failures are Tikki and Plagg.

The miraculous did not need to have magical creatures associated with them. They could have just been magical jewelry that Fu handed out and explained. Instead, the writers chose to give us the Kwamis and I don't disagree with that choice. I like the Kwmais! The problem is that they're used in the most lackluster, asinine ways you possibly could.

The Kwamis are not presented as oblivious to the world and unable to give advice. They give lots of advice! The problem is that advice tends to suck! I can think of many examples of times where the Kwamis made everything worse, but let's look at the one that grinds my gears the most: Plagg's actions in season four.

In Rocketear - the episode where Nino gives Adrien an incredibly inaccurate picture of why he knows Alya's secret identity - we get this:

Adrien: I still can't believe Ladybug entrusted Alya and Nino with those Miraculous. Plagg: Of course she did. She's the Guardian. Adrien: But they're a couple and they know each other's secret identities. Plagg: So...? Adrien: So, why does she make it a rule that we can't know each other's identities but it's okay for them? Plagg: She's the Guardian, the Grandmaster Cheese Ripener, and you and I are just cheese on the platter. She decides what's on the menu.

Hey, Plagg, maybe don't tell your clearly upset and vulnerable teenage holder to just suck it up and deal with it when he's feeling alone and betrayed? Maybe encourage him to talk to Ladybug about his feelings so that he can get the full story? Knowing that they learned their identities during the Scarlet Moth incident would probably do a lot to smooth over Adrien's hurt feelings.

What's even more rich is that the episode Kuro Neko lets Plagg go off on Marinette for not appreciating Chat Noir:

Ladybug: What's gotten into him? I didn't do anything. Plagg: Didn't do anything? Well yeah, you did! You've been neglecting a very classy piece of camemebert on your plate for too long! And as a result it got runny, and moldy! Ladybug: What? Cat Noir never gave me any camembert. Plagg: Of course not, Cat Noir is the camembert! For a while now, you've been neglecting this camembert— I mean Cat Noir, and going on adventures with the all other cheeses! Ladybug: But he should be happy about it, it gives him more time off. Plagg: Cat Noir doesn't wanna have time off, Ladybug! He is in love with you! And your persistent calling on all the other heroes has broken his heart.

Dude, if you saw all of this going on, then why didn't you say something??? You and Tikki are in the same location for multiple hours five days a week. Go tell her how your holder is feeling and figure out how to fix the situation! Or be an actual mentor and encourage Adrien to talk to someone about his feelings! At the very least, cut up a wheel of cheese, sit down, and listen to your kid so that he feels less alone!

Also what exactly do you want Ladybug to do to fix the problem you presented? Let Paris burn until Chat Noir decides to show up to today's fight? Refuse to use the temp heroes even if it means losing a fight? None of those are valid solutions when the problem presented in the episode is Chat Noir missing fights. Especially when we know that he's doing it on purpose. Why are you yelling at her instead of working with her to come up with an actual solution? You are such a terrible mentor...

To be clear, I don't think any of this is intentional. I don't think the writers want Plagg and Tikki to come across as actively hurting their teenage charges via bad advice. I think Plagg and Tikki are supposed to be seen as good and helpful, but they can't fill that role because they're tools of the narrative and the narrative has really wacky views on what good advice is. Thus nonsense like the example I discussed above or Plagg and Tikki picking new holders instead of guiding their holders through an identity reveal.

I personally adore letting Plagg and Tikki be good mentors in my own stuff. It falls under the same category as Alya and Nino being terrible friends on screen. I acknowledge the problem and then delight in fixing it by writing the exact opposite setup because what is fanfiction for if not heavy self indulgence?

[pearlofthewoods]

Spuffy band-fic ramblings (long-post)

I think about this scene so frequently because…"Well, I sing.” 

Yes, of course he does. That man was a poet, he could write such gorgeous lyrics, and no one can tell me Spike wasn’t an active part of the rock scene in the 70s.

Honestly, a whole Spuffy band fic has been marinating in my brain for like a good 6 months now, (like seriously, it even has its own playlist, that’s when u know it’s getting real)… but since I’m only a baby writer I wanna get some writing practise in before I embark on the project, so that I can do it justice. 

However as I literally cannot keep these thoughts to myself, allow me to invite you into my brain for a while. 

(Be warned I'm basically spoiling half the plot of a future fic under the cut so scroll away if u only wanna read it when, or if, it gets written.)

So in my fic idea, there’s a huge underground vampire music scene (particularly in LA), since because vampires are immortal, they’ve lived through so many different eras of music that they have a really deep understanding of music history. They’ve seen so many famous bands live etc (which obviously is one of the few human experiences open to vampires, since so many gigs take place at night and are tied to nightlife culture). 

I’d also say that since vampires have no need to work, if they can get their hands on instruments they'd have plenty of time to practise/dedicate themselves to the craft. 

One head-canon that I have comes from the idea that Billy Idol “stole Spike’s look” from him. What if he stole something else too?

Bear with me here. 

Vampires don’t age, so they could never risk becoming famous in the human world, since people would very quickly notice that they weren’t human. Vampires need to keep a relatively low profile. They also can’t really make money easily from music by playing for other vamps, cause it’s quite unlikely the vampire scene has much money flowing around. Why would it? Everyone can just steal/mug to get what they need.

So in the vampire music world, they’d mostly just be playing for each other to stave off the boredom of eternal life, but with no worries about finances or putting food on the table. 

And dear God that music would be experimental, with none of the usual restraints of human life.

Like I think their music would be very interesting/ outside the mainstream. Perhaps they’d play stuff from entirely different decades which had completely gone out of style, but not amongst vampires who never aged/got uncool (unlike the humans who played it)….

Vampires would also have so many different first-hand musical influences that they’d create the most weird and wonderful sounds. Think Spike’s Victorian musical upbringing mixed with jazz mixed with rock, mixed with… well, you get the picture.

And tbh I think some people would try and capitalise on that, on that raw vitality. Perhaps there’s a demon who records demos secretly in the crowd or steals entire songs and sends them to someone in the know in the music industry. And since vampires don’t exactly have passports, social security numbers or any real documented presence at all, there’s nothing they can do about it. Like what if, in this fictional world, Billy Idol didn’t just steal Spike’s look, but his music too? Frankly, it'd explain the resentment.

Anyway, in my head Spike hasn’t played music for a while, he took a break to look after Drusilla and then got wrapped up in the scoobies and their shenanigans. 

But after Buffy dies? He needs somewhere to put all those emotions. He needs to write goddamn it, he hasn’t felt heartbreak like this for a long, long time. He’s not used to death, he doesn’t know how to deal with it. No vampire does.

So when he’s drinking away the pain in Willy’s one night, some demons he used to know are down from LA and offer him an open spot to sing with them at a new demon club. Spike’s about to turn it down, but they tell him things have changed. Like Wolfram and Hart, demons are all in business now, and this new club will pay.

Spike doesn’t need money… but Dawn does. Tara and Willow won’t tell him anything, (they don’t want to be put in the moral position of whether to accept mugging-proceeds from Spike), but he knows that finances are tight. And this is something he can do for Dawn, and in a way… for Buffy.

So Spike joins a band!

I think he’s probably pretty famous from his past in the 70s vamp rock scene, but this time he wants to change up the music genre. He wants a fresh start. It’s the nineties goddamn it, and he’s certainly not the same vampire he was twenty years ago. He’ll play, but he’ll play on his terms. 

I imagine his newer music to basically be Jeff Buckley’s (my fave 90s musician), which I know might seem a bit melancholy for Spike, but with his current grief, it feels quite appropriate.

Tbh since I basically know nothing about music and can’t even imagine lyrics for toffee, I'd probably even just give him Jeff’s discography and call it a day. It’s fanfic I can do what I like. Grace? Spike wrote it. Job done. 

For example, the lyrics to “Opened Once”?

"In the half-light where we both stand

In the half-light you saw me as I am

I am a railroad track abandoned

With the sunset forgetting I ever happened

That I ever happened"

Half-light = the twilight, the safest time of day for vampires (to quote Edward Cullen, sorry lol). also a metaphor for the place between the vamp world and the human world. A place where Buffy and Spike "both stand", as she’s the slayer and he’s a vampire that can’t hurt people.

‘You saw me as I am’ - After Buffy's resurrection, Spike’s the only person who truly understands what she’s been through, and the experience of crawling out of your own grave. They meet each other where they are.

‘Railroad track’ - ‘railroad spike’. Railroad is a pretty unusual and archaic way of phrasing that word. At least where I’m from. ‘Railroad spike’ is too good of a coincidence. 

‘Sunset forgetting I ever happened’ - Spike doesn’t get to live in the daylight. the sun (and the sunset) are both out of reach for him without the danger of dusting. He doesn’t fully feel like a true vampire anymore, but the human world won’t accept him either. In fact, his human life was so long ago that even the sun itself has forgotten William Pratt.

I also think Spike/ Jeff Buckley is a fitting parallel  since, if I stick to major-canon events, Jeff’s unfortunate passing very early in his career would also fit roughly timewise with Spike’s death at the end of season 7. 

The last unfinished album that Jeff struggled so hard to write? The one Spike wrote when he was getting over his ensoulment and entirely reevaluating who he is, and what that means for his music.

Unfinished final album? Yes. Unpublished? No. 

Because when he accepted wearing that amulet, Spike had a pretty good idea he was going to die. So he did something a vampire never plans to do. He wrote a will. 

If he’s dead, there’s no more worries about fame exposing his immortality right? So his music is published posthumously in the human world (with some bullshit about his talent going undiscovered by the industry during life).

And combined, the proceeds pay for Dawn’s college bills, and lift all of Buffy’s financial worries from her shoulders. 

In the end, that’s Spike’s last gift to Buffy, his music, his poetry…and it finally allows her to rest. 

[alexanderwales]

Do you have any posts where you elaborate on this?

"My thesis is that to understand storytelling, you want to understand root issues and classes of solutions ... There are a lot of writing problems that are parallel to each other, and there are a lot of structural elements that are mirrors of each other, so why not try to put it all together that way?"

I don't think I do, so I'll do that briefly here.

Here's the thesis: I have a strong suspicion that there are only a handful of elemental aspects of storytelling that all have their root in human psychology. The easiest ones to name are "engagement", "investment", and "surprise", but once we start looking at these things, I think we can start to understand how "different" writing problems are actually the same writing problem in disguise. Knowing this, we can start listing out solutions to those problems, and solutions that work on one type of problem can also work on a different type.

The brain is good at pattern-recognition and pattern-completion. When we read fiction, we're always trying to complete the patterns, consciously or otherwise. This isn't some LLM-style "predict next token", it's a matter of having an internal model of the characters, the setting, the narrative, etc. But humans don't like the ability to perfectly predict things, at least usually, they like there to be some measure of surprise.

So this is one fundamental aspects of fiction: the tension between predictability and surprise. There's a lot of writing advice that flows from this, and a lot of tools of writing come from here: foreshadowing, plot twists, punchlines, the effective use of tropes. When something isn't working, it's often on the predictability-surprise axis, and a lot of the tools there boil down to "make this more predictable" or "make this more surprising". And this extends from the micro (individual sentences) to the macro (the whole plot). It's why we write cliffhangers, it's how we manage suspense, it's how we structure a paragraph for maximum impact. This is, in part, where the fundamental concept of "tension" from from.

And I think there are a few things like that, relatively atomic concepts that we want to look at, that a good book on writing would interrogate and give advice for, with the understanding that these things overlap with each other.

I don't have time to write a whole book (or 4-5 longish blog posts), and wouldn't trust myself to actually nail it, but here are some of the things that I think ought to be in there:

Conflict and cognitive dissonance, jarring the brain with opposing statements that grind together like mismatched gears, includes juxtaposition

Unfoldingness and picture-painting, forcing the reader to use cognitive load to render the world through words, character actions, descriptions, etc. Includes most of "show, don't tell" and also explains why that's sometimes not good advice.

Emotional resonance, how to create and maintain empathy with a character and activate mirror neurons. Includes both empathy cultivation and empathy discharge.

Pacing and rhythm, and making sure you don't hit the same note too many times, allow the brain to rest, use all parts of the brain, etc.

Meaning and connection-building, how to weave a theme, how to say something, how to have disparate elements come together, because people love when disparate elements come together and the parts become a whole

And so my problem with a book like Save the Cat!, where I think this ask comes from, is that it gives a bunch of very narrow advice, and you walk away with an understanding that yeah, you need a moment early on that establishes this character as someone to root for, and then gives a bunch of weird contradictory examples of what that means, and some of those examples are actually tying in other bits of fundamentals, like surprise, having something unfold in the reader's head, empathy, etc.

I'm actually going to give one example of what I mean, directly from the book, though I had packed it away on my shelf never to be seen again:

Save the what? I call it the "Save the Cat" scene. They don't put it into movies anymore. And it's basic. It's the scene where we meet the hero and the hero does something — like saving a cat — that defines who he is and makes us, the audience, like him. In the thriller, Sea of Love, Al Pacino is a cop. Scene One finds him in the middle of a sting operation. Parole violators have been lured by the promise of meeting the N.Y. Yankees, but when they arrive it's Al and his cop buddies waiting to bust them. So Al's "cool." (He's got a cool idea for a sting anyway.) But on his way out he also does something nice. Al spots another lawbreaker, who's brought his son, coming late to the sting. Seeing the Dad with his kid, Al flashes his badge at the man who nods in understanding and exits quick. Al lets this guy off the hook because he has his young son with him. And just so you know Al hasn't gone totally soft, he also gets to say a cool line to the crook: "Catch you later..." Well, I don't know about you, but I like Al. I'll go anywhere he takes me now and you know what else? I'll be rooting to see him win. All based on a two second interaction between Al and a Dad with his baseball-fan kid.

And this, to me, is only half a diagnosis of what that scene is doing. It's a good scene, but there's a setup and payoff within it, an inherent tension to whether Al Pacino is going to cuff this guy, it's prediction-surprise stuff, it's "show, don't tell". There's a lot going on with it, and if you don't come at it like that, if you just say to people "oh, you need to give us someone to root for" they're going to do boring things like having the hero literally save a cat.

And then this also doesn't help them later on when they have to write other scenes!

I hope this answers your question, possibly I will find the will to write an essay series later on, but this is at least some fraction of my (current) view on craft.

[tossawary]

When writing both original fiction and fanfiction, it's my personal preference and style to remind people who characters are in the narration when I feel it might be needed. It's especially handy when bringing OCs into a fanfiction. Example: "The person calling out to them was [Character's Name Here], the baker they had met earlier that morning." This quirk of narration often reads to me as the POV character internally reminding themselves who someone is.

Sometimes, a character is quite bad with names or wasn't given one, which is where it's handy to refer to this other character by a fixed epithet. Example: "The person calling out to them was the square-faced man from yesterday, who had given them those bad directions." OR: "The person calling out to them was the mayor's daughter." This reads to me as though the POV character is distinguishing people by a particular feature or remembers them by their relationship to someone else, which is a common way to remember people, until their own name becomes more fixed in your mind.

I also think it's important to keep an epithet / title the same across a scene. Epithets are best used, in my opinion, when that particular feature or quality is actually relevant. It's a little weird for a POV character to suddenly think of their own husband as "the tall man" unless his height is suddenly important in some way, and it might confuse the audience into thinking another person is in the room. If a character doesn't have a name, then "the square-faced man" or "the mayor's daughter" effectively becomes their name, and it's confusing to have a character's name change too much with every other paragraph. (It would be fine to also refer to "the mayor's daughter" as "the girl" or "the young woman" as long as there aren't any other nameless girls speaking in the scene.) Keeping the same title allows it to blend in in the same way that the word "said" does, rather than break up the flow of a scene.

Not every person or character is bad with names and remembering people, of course, or is inclined to give them funny little internal titles. There are people who are very good at names. There are tricks to use to get yourself to memorize names as you're introduced to someone. Narrative styles are going to be different by author and by the current POV character. (Sometimes, you might want the audience to be confused and disoriented!)

In fact, thinking about how different characters think about each other is one of my favorite starting places for crafting a perspective voice. A single character might be referred to in the narration as "His Majesty" by one character, "my husband" by another character, "the king" by a third character, "the usurper" by a fourth character, and "Dad" by a fifth. The name that a character calls someone else by will often say a lot about their relationship and their opinion of that other person. If the prince appears to think of his father as "the king" rather than "Father", that implies something about their relationship.

But back to introducing character names, you as an author, in my experience as a writer and reader, generally can't rely on the audience to easily recall very minor character names unless they're very distinct or the character was introduced in a particularly memorable way. Like, if you introduce a character as the protagonist's best friend, Mary, and immediately start refering to her as Mary because it's followed by a conversation between the protagonist and Mary, that's fair! It's reasonable to expect the audience to just learn Mary's name here! But then if Mary disappears after Chapter 1 and doesn't show up again until Chapter 10, I think it's reasonable to subtly reintroduce her to the audience again. Example: "It was Mary smiling at me from the doorway, and I jumped up to hug my best friend immediately."

Like, there's no one way that you have to refer to characters and introduce them and reintroduce them, of course. Characters have different levels of importance and sometimes we don't really need to know who they are. Sometimes, an author wants an audience to feel grounded, to recognize people, and sometimes they want their audience to feel lost and scared. It's all situational. Style is a thing.

But because it's all situational, this is something I like thinking about and I think it's something worth studying when you're reading original fiction. It's interesting to pay attention to how characters enter and exit scenes in different forms of media, and how the narrator introduces them and how other characters greet them aloud. (Shakespeare comes to mind as a neat thing to look at, to see how theatre does it. Comic books and films and visual media will do it differently to a text-only story.) The audience doesn't have the background that you, the author, carry around in your head all of the time, and you often need to give them a helping hand in keeping your cast of characters straight. Even in fanfiction, without including OCs, not everyone in the audience has the whole canonical cast perfectively memorized, and not every character in any given cast actually knows every other character! It's not just OCs who need introductions, whether those introductions happen subtly or a character enters the story with a bang.

Kind of another side note:

One of my favorite character introductions comes from the book "The Princess Bride", in which Princess Buttercup is kidnapped by three men who are referred to only as "the Spaniard", "the Turk", and "the Sicilian". You don't know their names for quite some time. Buttercup doesn't know these people.

You only learn the Spaniard's name when the Sicilian leaves him at the top of a cliff, tasking him the Spaniard fighting and killing "the Man in Black" who is pursuing their kidnapping. When the Spaniard is about to fight someone to the death, the book pauses to tell you that his name is Inigo Montoya, and then there is an ENTIRE CHAPTER dedicated to Inigo Montoya's long and tragic backstory, in which you learn about his decades-long quest to find the six-fingered man who murdered his father. And then the book abruptly dumps you the audience back out onto that cliff, where Inigo (no longer just "the Spaniard" and no longer just some random kidnapping thug) is about to fight for his life.

I think it's a terribly fun piece of whiplash that suits the comedic style of the book really well. (The book is a little different to the movie and there are things about it that I don't like, the movie gets across a level of a sincerity and love through the acting that the book misses in places, but there are lots of really funny elements to the book that the movie sadly couldn't cover.) The transformation from "the Spaniard" into "Inigo Montoya" is really neat to me.