#and being able to allow myself to feel it

[snailune]

Here's how I've planned to help myself with this in the new year.

I'm not, you know, any person of real authority on anything this covers, but maybe my plans could help you. I don't believe there is ever an expiration on getting yourself back, or making a new self from the old.

1. Acknowledging why you became a ghost is important in treating yourself like a person. From what I've seen, it's more common to have multiple issues than just one when it comes to losing or not knowing yourself. It's more likely been something that has served you at some point that isn't anymore, or went too far, or something out of your immediate control. Acknowledging this is the first step to understanding that you are not a permeable thing, that cause and effect happen to you. If you've lost enough to believe that the things you do have no effect on the world, the first step in getting that sense back is this.

2. Are you safe? Judge whether you are materially unsafe from expressing yourself in any way that could come up. If you are, you might not be able to do everything in it's full capacity, but you will be able to tear down some constructs in your own head to be more yourself. You can still do something. It's important to note that you'll probably feel the urge to hide away or suppress things when you first start expressing yourself, but that is a bit different than being unsafe.

3. Stop the urge to hide all of your dislikes from yourself and start small. Allow yourself to dislike something (a food, maybe?) and don't try to force your will to be tolerant of it, even if you don't express that dislike to other people yet.

4. If you're transgender, and have the will and means to, transition. Pick out a name and only use it to refer to yourself when thinking. Ask trusted friends to call you something different to test it out. If you're questioning, allow yourself to think about how you want to be perceived without the fear of someone reaching in and judging you for them. There is no thought you can be punished for. Of course, you can do bigger things, like starting medically transitioning if you want (and that is encouraged), but you can start small if it's scary, too. I don't think there's one thing on this list that has worked better for me than medically and socially transitioning.

5. Look back on what you liked as a child and try it out again. Not everything will be winners, there's some things that were just better in the past than now, but you might rekindle something that is near to you enough to call a personality trait, too. If you don't have any memory of the things you liked in your youth, it's the perfect time to explore things, especially if they're hobbies that everyone else has seemed to be doing since childhood.

6. Be more social, and/or ask your friends to reassure you that they know you. Talking to people in any capacity can help make yourself feel more like a real person if you connect at all. If you have trusted friends, ask them if they'd list some traits about you that they know of. Help establish a foundation of moving around in the world.

7. Take special notice in the little things you like. I just realized I like cut up raw veggies instead of a lot of Actual prepared dishes. Thinking of this as a fun journey rather than something someone should have figured out about themselves years ago makes it easier.

These are in essence my resolutions for the new year. If you are also going through something similar, we are in this together! Good luck to you, I hope you find joy, happiness, and contentment.

oooohhhh ok. the more you deny yourself the more you lose yourself

[girlactionfigure]

THURSDAY HERO: Yitzhak Arad

Yitzhak Arad was a teenage resistance leader in Poland who became an Israeli army general, prominent historian and director of Yad Vashem. As the only member of his large extended family to survive the Holocaust, he devoted his life to making sure the Jews of Europe, and what happened to them, were not forgotten.

Born in Lithuania in 1926, Yitzhak grew up in Swieciany, a village in Poland. He attended Jewish schools and was active in the Zionist youth movement. Shortly before Yitzhak’s bar mitzvah, Germany invaded Poland. Life in Swieciany didn’t change immediately, but in July 1941, Germany occupied the town. The towns 3000 Jews were rounded up to be sent to a ghetto. Yitzhak, then 15, ran off along with about a few other 15-16 year olds and escaped to Belorussia.

A few days after they arrived in Belorussia, they learned that the Jews of Swieciany were not relocated to a ghetto but rather taken to a remote location and massacred. Yitzhak’s parents and 30 immediate family members were killed, along with most of the Jews of Swieciany. Only 250 people were left alive – skilled laborers who were forced to work for the Germans as tailors and craftsmen.

Yitzhak and his companions were safe in Belorussia – for a few months, until the Nazis came for the Jews of Belorussia. A teenage orphan, out of options, Yitzhak didn’t know what else to do so he returned to Swieciany. He found a handful of people he knew among the few survivors, but he was soon captured by the Germans. Yitzhak was sure his life was about to end, but instead he was put to work cleaning weapons the Germans had confiscated from the Soviets. Not one to waste such an opportunity, Yitzhak hid a small pistol under his clothing the first day and nobody searched him. Together he and a few other young Jewish workers stole ten guns over the course of a month, and in February 1943 they escaped to the forest.

They tried to create a paramilitary force but encountered opposition from locals, who informed on them to the Germans, leaving the Jewish would-be fighters constantly on the move and hiding within the forest. They needed people to help them with food and information, but had no success with the local Poles and the situation was dire.

Finally they met up with a group of Lithuanian partisans, people who’d escaped from the Soviet Union during the Russian retreat and were organizing a resistance movement. Yitzhak was a Lithuanian citizen so he was accepted into the group, although with reluctance because he was Jewish. He later said in an interview with Harry J. Cargas, “There were many problems for a Jew to be with the Soviet partisans. First of all, there were anti-Semitic feelings.  Then, a Jew would only be accepted in the ranks of the Soviet partisans if he had his own arms.  (Any non-Jew, whether a local peasant or one who had escaped from a prisoner-of-war camp, would be accepted without arms.)  Also, there was the image of the Jew as a bad fighter or a coward.  So you fought to prove yourself, to say, “Anything you can do I can do–if not better at least as well.”  So in the beginning we had to struggle for our places.  But after a few months I was able to prove myself–my courage–and was allowed to take part in mining many trains, in ambushes and other activities.”

More and more Jews joined the unit and by 1943 they had gained more power and influence within the partisan movement. Despite being one of the youngest, Yitzhak had status because he was the one who brought the first arms into the ghetto and he became a leader of the Jewish partisans. During his two years in the forest, he took part in blowing up sixteen German echelons. Yitzhak later said, “I knew the Jewish world in Eastern Europe that was alive and well and destroyed in the Holocaust. I saw with my own eyes thousands of Jews being led to the firing pits. I survived, and fate allowed me to join the partisans, the fighters against the murderers of our people, and in their ranks to blow up German trains.”

After the war, Yitzhak went to Israel illegally, on a small boat. He immediately became active in the underground movement to resist the British occupiers. When Israel became a sovereign nation in 1948, Yitzhak became an officer in the Israeli Defense Forces, retiring with the rank of brigadier general.

When he first arrived in Israel, Yitzhak tried to put the horror of the Holocaust out of his mind but soon chose a different path – to dedicate his life to making sure the Jews of Europe were not forgotten. He enrolled in Tel Aviv University and earned a doctorate in history. Yitzhak became a very well-respected historian specializing in the Holocaust in the Soviet Union. He wrote many books and articles on the subject. In 1972 he became director of Israeli Holocaust Memorial Yad Vashem, and served in that role for 21 years. Under his leadership multiple monuments to victims were created, including the Children’s Memorial.

Yitzhak later said, “I came to Yad Vashem as a historian, as a teacher. I have this obligation to the people who were less lucky than myself.  In order to survive, in addition to everything you did, you needed some luck. If you are religious you can say you needed God’s help.  What I am doing at Yad Vashem is my obligation to those who did not survive.  Fate enabled me to live, and I must do something to commemorate the war, to write about it, to make it more understandable to people.  I think there are many lessons from the Holocaust, for us as Jews, for human beings in general–there is a whole universal meaning.  If, in some way, I succeed in doing something in this direction – to promote more awareness, more knowledge, the lessons that should be learned – this is for me a great satisfaction.”

Yitzhak Arad died on May 6, 2021 at age 94. He was preceded in death by his wife Michal, and is survived by three children and numerous grandchildren and great grandchildren. May his memory always be a blessing.

For fighting Nazis and making sure the six million Jewish martyrs are not forgotten, we honor Yitzhak Arad as this week’s Thursday Hero.

[tyrantisterror]

At Sea Without a Map Post-Script

After two months of so, my little writing experiment At Sea Without a Map has come to an end. And because I'm vain, I not only felt compelled to share it, but to talk about it in depth after the fact, so here we are. This is going to be long, though, so I'm not only going to break it into sections, but put it all under the cut for the sake of your dashboard. So go ahead and dive into the depths of the Sea of Monsters with me one more time!

Part 1: Never Stop Blowing Up

The writing process of Wizard School Mysteries Book 3 was really strained - not because of the book itself, mind you. When I was actually able to work on it, Book 3 came together really well - I think it required the least substantial rewrites of any my novels thus far. It's just that real life was kind of beating the shit out of me while I was trying to get it done - or maybe the better metaphor was that it was just slowly but steadily draining me of energy all the time. I'm honestly surprised I got the book out in roughly the same amount of time as the first two - by the way life had been treating me, it should have taken longer.

But when I got done with it I was accutely aware of how tired I was. I still had the creative drive, but fuck I needed something simple as a palette cleanser - something easy, and more importantly, something that was allowed to be bad. I needed something creative to do that was surplus to requirements and fully within its rights to suck ass so long as I had fun making it.

Around this time, I decided to rewatch Dimension 20's Never Stop Blowing Up. Brief explanation of what that is: Dimension 20 is an actual play show, i.e. a recording of people playing D&D and other TTRPGs. I'd say its reputation is built on the contrast of its main DM, Brennan Lee Mulligan, who makes these meticulously crafted campaign plans, and his chaotic band of improv comedian players who promptly derail those plans spectacularly. Like, a good deal of the show's humor comes from Emily Ashford or Ally Beardsly doing something so off-the-wall that it shatters whatever the scene was going to be and creates a far more absurd and zany spectacle in its place. Which is why Never Stop Blowing Up is pretty notable, because it's the one campaign where Brennan himself is the agent of chaos, fully unleashing his own brand of madness that the players struggle to keep up with. And fuck does he seem to have fun with it.

Of course, all of the analysis above is purely from the outside looking in - it's likely that a lot of the "chaos" is played up for the audience. But still... there is something to the idea of a person who's been working on meticulously structured stories letting loose and just doing something extremely stupid.

So I decided to give myself a Never Stop Blowing Up moment - a short story that would be simple by design, with no standards to live up to or goal beyond "have fun telling a silly little story." I then came up with a few key criteria:

It can't be set in the Midgaheim/ATOM universe. I don't want the burden of figuring out where this story would fit among others.

It's gotta be a romance. People who've read my books might have picked up on the fact that I like to write about people falling in love, for the same reason I like to write about fire-breathing reptiles and friendly monsters (i.e. I use writing to indulge in things I'll never experience in real life). I've only used romance as subplots in my fiction before, and tend to feel a bit guilty if I focus on it too long - like I'm being self indulgent. Well, this is all about self indulgence, so the romance should be front and center.

It's gotta be SIMPLE, episodic even. Not complex plotting required.

I almost chose my xenomorph romance for this, but I had developed its outline to the point where it would be too complex to fit. I then considered a sort of superhero story that could be pitched as "what if Bringing Up Baby but Katherine Hepburn's character is a Harley Quinn-esque supervillain and Cary Grant's character gets turned into some sort of horrifying genetic mutant in the first ten minutes." That one hit a weird roadblock when I got to the character brainstorming phase (the first phase of any writing project I do) - I was trying to figure out what the mad scientist who turns out Cary Grant-figure into a mutant would be named, came up with the name "Dr. Skullfuck," immediately realized that having a character named "Dr. Skullfuck" is a Mark Millar-ass writing move that I could not allow myself to do, but then couldn't stop thinking of the name "Dr. Skullfuck" and giggling, which just brought all thinking to a grinding halt on that project.

(I'll still probably do it someday, though - just, you know, without Dr. Skullfuck)

Inspiration struck again, though. I'd been getting into Epic: The Musical, a musical retelling of The Odyssey, and it put me in the mood for a sea monster story. But, more than that, it got me thinking about one particular archetype from sea monster stories - but that brings us to the next part of this Post Script...

Part 2: It Was Always About Calibani

Ok, so, one of the big changes Epic: The Musical made involved Odysseus's encounter with the sirens, and before you read more of my rambling, I'd like you to watch two animatics for the two songs in question here:

A summary: one of the sirens takes the form of Odysseus's wife to try and tempt him into getting in the water, Odysseus tricks her into giving him directions, captures her and the rest of her kind, and proceeds to have his men slaughter them horribly. In the OG story the sirens don't die - nor does their song involve imitating a man's wife, for that matter, it's just a really pretty song.

This is done for an important narrative purpose - Epic: The Musical is focused on analyzing the moral ambiguity of Odysseus, and how it is constantly challenged by the impossible choices he is forced to make in his attempt to get home. At this point in the musical, Odysseus has decided to stop trying to be a compassionate man, shirking all mercy in favor of utter ruthless pursuit of his goals. These two songs are meant to be unsettling as hell - this is the beginning of a series of heartless choices by both Odysseus and his men that will culminate in the mutiny and complete annihilation of Odysseus's crew, as well as Odysseus himself being so hopelessly stranded that nothing short of divine intervention will save him.

I bring this up because when I first heard these two songs - specifically while watching these two animatics - it, like... it devastated me. I was so horrified and sad, so shaken by it. And part of it was for the reasons outlined above, but admittedly that wasn't the gut reaction I had. No, my immediate reaction was, and I quoute my own broken brain verbatim here: "You can't kill the sirens! They're not for killing, they're for loving!"

...now, those of you who know me are probably not surprised by this very stupid sentiment coming from me. One of my more popular posts is just me talking about how down bad I would be for various folkloric monsters whose whole shtick is "looks like a pretty lady but Watch Out." But as a person filled with immense self loathing and doubt, my brain immediately looked at that very stupid sentiment I expressed and said, "Wait, no, that's fucking dumb, I'm fucking dumb. The sirens are remorseless murderers. These sirens in particular preyed upon a man's love for his wife, who he has not seen in twelve years, to convince him to let them kill him. They are, by all standards of morality, Very Fucking Evil, and if they were not women you would not feel bad about them getting killed."

And as my brain argued with itself over this topic, I got to thinking about the various monstrous/othered sea women of The Odyssey - not just the sirens, but the witch Circe, the nymph Calypso, the monsters Scylla and Charybdis. And I thought about the others of their kind in other myths and folktales - selkies, mermaids, etc.

There's an archetype of sea monster that focuses entirely on one specific anxiety sailors are prone to, namely the fact that (for a good deal of human history) being on a boat meant spending a lot of time away from women. The horror of this monster is how it uses that desire for female company to tempt people into danger - like a mirage, it leads you to expose yourself to danger in pursuit of an illusory comfort.

But, unlike real world mirages, these monstrous sea women DO exist in their stories. More than that, they're often, like, sad and lonely. Their narrative purpose is just to be a temptation, but that doesn't change the fact that they do have lives of their own in these worlds. And, softie that I am, I can't help feeling sad for them, especially the ones who actually seem to want the same companionship the sailors they tempt want. Sailors don't stay with their Circes, they don't marry their Calypsos. The sirens live on a barren rock, alone, Scylla is left to wallow in misery at her monstrous form, and the selkie always has to leave for fear of being trapped by a person who won't love her on her terms.

I realized I had my hook for this simple, easy, silly little sea monster romance story: I was going to give a sea woman the happy ending she'd never get from anyone else.

Sailor may be the protagonist, but make no mistake: At Sea Without a Map was always, always, ALWAYS about Calibani.

The goal with Calibani was simple: I was going to set up a fairly standard Monstrous Sea Woman, but where other stories would let her be in one episode of the travel narrative and move on, this one would stick around. She'd be an unambiguous predator of human beings - an open and admitted maneater - but she would have no true malice to her. She, like all predators, eats what she can get to survive, and it just so happens that she's adapted to eat humans. And the story would pose the same question to the reader that my brain posed to me during Different Beast: is there any way you could make a siren-style sea monster sympathetic? Can you make a normal person who doesn't have my particular brain rot look at a maneating siren and think, "You're not supposed to kill her, you're supposed to love her!"

One of the few unavoidable plot points of At Sea Without a Map was that Calibani and Sailor's relationship would become romantic. What kind of romance it was could have varied substantially - it could have been one-sided, it could have been toxic, it could have been far more tragic OR far more comedic. But it was always, always going to be a romance of some sort - the goal of this experiment was to make you, the reader, love Calibani. All else was icing on the cake.

I decided to base Calibani's personality on Miranda from The Tempest - i.e. a sweet girl who is both wordly and naive, who understands the strange setting of our "lost at sea" story far better than the audience viewpoint character does, but views the mundane world of the audience viewpoint character with wonder and naiveté. In fact I almost named her Miranda outright... except I already had a character in the setting I chose for this story who had that name, and as an allusion to the same Shakespearean character no less. So I settled on naming her after Miranda's adoptive sibling (of sorts), Caliban - more fitting in some ways, as Caliban is a fish-human hybrid who is arguable more native to the magic island in The Tempest than Miranda herself.

(Calibani isn't the only Tempest name homage, either - her mother, Sycorax, takes her name directly from Caliban's unseen but oft-spoken of witch mother. Dr. Antonia Warefore takes her first name from Antonio, one of the human villains in The Tempest who hopes to use being lost at sea as a way to perform a coup. And the mothman Iriel takes her name from Ariel, the wind spirit in The Tempest who aids the wizard Prospero in controlling the magic island. If Sailor has a "real" name, it's probably either Ferdinand or Miranda, the two lovers who manage to blend civilization and the wilderness together with their romance.)

Visually, I wanted Calibani to not be any common archetype of sea monster woman, but rather something that evokes the popular images while still being her own thing. She's not a mermaid or a siren or a selkie - she's basically "what if a sea serpent was also a girl." In-universe, she's chubby because she, like all marine megafauna, needs blubber to survive. Out-of-universe, she's chubby because I've found that routinely drawing cute chubby girls is good for my mental health.

Part 3: CYOA

Now, while we live in a post-Muncher society where shame and cringe are emotions only the cowardly should experience, I am nonetheless Very Catholic about expressing my own feelings of, like, liking girls and shit. I cannot help feeling guilty when publicly expressing adoration of women without, like, an excuse - it's gotta be a joke or something, you know? I can't be genuine about it, or else Jesus will beat me with a cane for disrespecting women with my lecherous gaze.

But luckily I've cultivated a loyal audience of fellow monsterfuckers, which meant I had an excuse lined up: if I made this a choose your own adventure type deal, a story with audience participation, then you all would be my accomplices. And Jesus can't cane all of us! He doesn't have enough hands! I found a loophole bigger than his stigmata!

Plus I love collaborative story-telling - there's a thrill in not having total control of where the narrative is going. As Brennan Lee Mulligan must know, there's a joy in having to deal with the chaos thrown your way by letting others grab the figurative ball, even if just for a moment.

Part 4: Offbeat Melody

Since I did not want to set this story in Midgaheim, I decided to steer myself away from a vaguely medieval setting altogether. But I also didn't want to limit myself with the need for "realism" that putting it in a normal sea would require, and making a new setting whole cloth would start pushing this project into "not easy" territory.

Luckily, I had a setting lying around that I hadn't played with in a while, which just so happened to have a location that was PERFECT for the sort of Never Stop Blowing Up style madness I was aiming for. For a few years I ran a Monster of the Week TTRPG campaign called Offbeat Melody, and one of its core setting elements was taking the goblin universe hypothesis in paranormal science (yeah it's a real hypothesis) to an illogical extreme. We had specifically seen glimpses of the Sea of Monsters in Offbeat Melody, i.e. the parallel universe where monsters like Nessie, Ogopogo, Champ, and the like all hail from. Well, why not have a whole story set there? It's literally a universe devoted solely to creating sea monsters - what better place to strand our modern Odysseus?

Offbeat Melody was always sort of a Never Stop Blowing Up project, or at least NSBU adjacent. Some of my most unhinged story-telling moments are in that campaign - you could make a supercut of just the "commercial breaks" in the various sessions and it'd basically be an I Think You Should Leave episode. Taking one obscure corner of its multiversal world and exploring it in detail was perfect for this project.

Part 5: Monster by Monster

With our main romance as sorted out as could be for a CYOA story, it was time to figure out the "episodes" of this sea voyage. I settled on there being ten to roughly align with The Odyssey - just in terms of number, mind you, not in a one-to-one comparison. The first was, obviously, Calibani herself, which left nine more slots for me to fill with monsters. Let's go through them together in brief:

Tree Storks - any lost at sea story eventually has to get its protagonist into an island at some point, but this immediately begs the question, "Why don't they just stay on the island where it's safe?" The answer to that question has to be, "it's not safe there, actually." The Odyssey does this quickly and cleverly with a one two punch: the first island seems safe until you realize the food on it brainwashes you into forgetting everything except your desire to eat it, and the second island is full of delicious sheep but also giants who will eat you just as easily as they eat the sheep. When other islands show up in the story later, you immediately regard them with suspicion, because you don't know HOW they're going to be fucked up, but they definitely will be. My goal with the second episode was to establish the same sort of danger - that land is NOT safe, that islands WILL be fucked up and dangerous in ways you might not expect.

I also wanted to establish that this is not just a sea of monsters, but a very WEIRD sea of WEIRD monsters. It couldn't be any old monster on this island - it had to be one that was unique, unexpected, and maybe just a bit silly while still being menacing.

I've always felt that there's a lot of un-mined horror potential in storks, cranes, and herons - any bird with a long neck and spear-like beak it uses to stab smaller creatures from above. Just imagine yourself in a frog's place in the world - tiny, going about your business, when suddenly something shoots down at you from above and impales you before you even feel the shadow fall over your face. Or perhaps you did see the shadow - some of these birds spread their wings to create shade specifically to attract fish, and then spear the poor little bastards.

Well, what do people often look to islands for when out at sea? Shade - the shade of a palm tree. And palm fronds kinda resemble feathers, don't they? Wouldn't it be both ludicrous and terrifying is there was a stork big enough to mimic a palm tree - and wouldn't that be a DEVIOUS trap for a sun-drenched sailor to fall for? So the Tree Storks were born.

The Globster - I made a list of sea monster archetypes in the early planning for this project, and one I wanted to include was a kraken, i.e. some sort of tentacled sea beast. But I didn't want to do JUST a big squid or octopus, or even a riff on them. I wanted to take the idea of "big sea monster with lots of tentacles" into a stranger direction.

Since the Sea of Monsters is explicitly the home universe of lake and sea monster cryptids, I thought it might be fun if ASWaM's kraken equivalent was a globster - just a big ball of rotten meat. I love drawing monstrous faces, so I decided it'd just be, like, MADE of hideous rotten faces, all melting and congealing together, with its tentacles doubling as the tongues of its many mouths. A perfectly wretched image that, like the Tree Storks, would do well to establish how Fucked things could get in this setting. Plus similar monsters had appeared in Offbeat Melody, which would make for a fun sense of familiarity for the, like, five or so readers of mine who had listened to that campaign before.

Captain Peter & the Dolphin - Another thing I did in the early planning stages of this project was make a list of the different sea voyage stories I know and love, the most contentious of which is The Life of Pi. That's a story that I love on a literal level but kind of hate on a figurative level - its whole theme/message is that doubt is the worst thing you can have, that if you don't commit to believing something with zealous conviction you are a coward. As a person who thinks doubt is valid, that "I don't know" is sometimes the ONLY truly valid answer to a question, I have issues with that message.

But I can't help loving the beautifully ludicrous idea of a non-anthropomorphic tiger sailing the ocean on a big Odyssey of its own. Like, if that story didn't actively hate me for being agnostic, it would be one of my favorites.

So I decided to, you know, just steal the idea of a tiger Odysseus. The tiger in The Life of Pi is named Richard Parker. Richard Parker also happens to be the name of Peter Parker's dad. Hence we get Captain Peter - the figurative son of Richard Parker, if you will. And to ratchet up the absurdity of a tiger Odysseus, I made him a pirate and the sole sailor of his voyage. Somehow, this tiger has manned a boat on his own.

Captain Peter was intended to be the hero of another story - a sign for the readers that it IS possible for a stranded person (or, in this case, tiger) to survive out here. To that end, he had to rescue our heroes from another threat, but not one that would be interesting enough to take the focus off of the tiger pirate. Originally I planned for that threat to just be a big shark, but I ended up liking my shark design too much to put it in a role that small, so I quickly designed a nasty dolphin for the role instead. I think that worked out well, honestly.

Dr. Neptune - Episodes 5 and 6 were the mid-point of this journey, so I wanted the two monsters of those to escalate things significantly. I figured episode 5 was probably a good place to FINALLY give some meaningful exposition on what was going on, and there are a lot of stories about mad scientists doing weird shit on islands in my big list of sea voyage stories I love. So we get Dr. Neptune, a classical brain-in-a-jar mad scientist who's affable enough to give more-or-less accurate exposition but loony enough to be a problem. This also felt like a good spot to remind the reader that Calibani is not just a girl with a tail but rather a Sea Monster herself, and one that we'd been making stronger by allying with.

With his human-but-not-quite nature and cyclops eye, Dr. Neptune could sort of be seen as the Polyphemus of this story, couldn't he?

The Crocodisle - One of the sea monster archetypes on my list was "the island that's actually a sleeping monster," of which there are many in mythology and folklore. My favorite is the Jasconius from the voyage of St. Brendan, mainly because it's more or less benign and actually comes back to help St. Brendan and his crew at the end of the story. I always love when I can find an old story with a friendly monster in it.

When thinking of my own spin on the island monster concept, I remembered the only Magic the Gathering card I had as a kid, which I still have and love to this day: The Sandbar Crocodile. This card already inspired Crocogon's color scheme in The Atomic time of Monsters, but I felt I could go to that well again one more time, and so made a crocodile that wasn't just a sandbar, but a whole damn island to itself. And, like Jasconius, it turns out he's pretty chill.

I did not think of the pun name "Crocodisle" until I was actually writing the chapter in question.

The Femdom Mermaids - These three were a late addition to the roster. When I had Calibani bring up mermaids early in the story, I realized as soon as I wrote her rant about them that we'd HAVE to meet some later on in the story.

The readers had significantly shaped Calibani and Sailor's romance by this point, and I decided that it could be useful to have a chapter that was devoted to showing definitively how these two were good for each other. I thought the mermaids could provide a good contrast: have them act out a seemingly more benign take on the monstrous sea women trope (they abduct our hero to protect and care for them!) only for it to quickly feel MORE deranged than Calibani's comparatively simple desire just to eat him.

The spirit of Calibani's rant about mermaids was taken from weird* girls I knew in high school complaining about cheerleaders, so I wanted the mermaids to look like the sea monster equivalent of popular kids to Calibani's chubby weird girl. Two of them got the names of famous beauties - Helyne = Helen of Troy, Clio = Cleopatra.

(*when I say "weird" I mean it in a complimentary and affectionate sense)

Bob, meanwhile, kinda... rebelled, I guess? Before I had names for them, I listed "bob" by her as just, like, a descriptor for her hair cut, but then I liked it as her name, and once she was named Bob she became more than just a mean popular girl. She was a weirdo too, the little punching bag of the two mean popular girls who did their dirty work and smiled through their abuse because hey, at least they included her. It gave the trio an easily defined dynamic, helped make two of the three more visibly nasty, and gave us comic relief in an arc that could very well have gotten too uncomfortable otherwise.

And I guess it worked - readers REALLY loved Bob, and were very vocal about it, and I realized mid-arc that I had accidentally made her too likable to just leave in this arc. So Bob got to be rescued from her awful friend group thanks to readers like YOU.

Lord Ironteeth - yeah, this was the shark that was too cool to be a minor threat. When I drew his noggin, I realized he would need a chapter of his own, one with gravitas. I decided he'd specifically be the threshold guardian -once we beat him, we'd know for sure how to get home, even if there were a few more threats in store.

Spindle Inc and Sycorax - when I was a kid I used to have this recurring nightmare about being on some sort of underwater sea station that had this huge sea serpent trapped inside it. I'd look at the sea serpent from a window within the station and see it coiling in its tank, only for it to look at me with fury. In that glance I would suddenly realize two things with absolute clarity: first, it was going to break free and kill everyone, and second, we deserved that destruction for what we had done to it. The terror of the dream was less that the sea serpent was going to break free, and more the guilt of knowing that all the mayhem that was about to unfold was our fault to begin with.

I thought that would be fun to homage with the penultimate chapter of this story. OBVIOUSLY the sea serpent was Calibani's mom, obviously the trauma of its capture was why Calibani grew into a predator that specializes in hunting humans, obviously we would have to free the sea serpent despite that running counter to Sailor's goal of getting home. Easy, easy, easy plot point to include.

Spindle, Inc. is the primary antagonistic force in Offbeat Melody, so they easily slotted into the role of the arrogant humans who captured this monster for nefarious and selfish motives. They could tie a lot of other plot threads together too - Dr. Neptune was a scientist who worked for them as a contractor only to get screwed over (i.e. they stranded him in the Sea of Monsters, expecting him to die, and then used his research to make their own base of operations in it), we'd learn of him through a spindle briefcase left behind by some unfortunate rogue agent who got eaten by the Globster while he was trying to escape, hell they could even be one of the possible origins of Sailor themself (more on that later). Very useful villains, Spindle.

The Abyssal Mother - I knew the last sea monster would need a lot of punch to it. I briefly considered just a big whale - the Moby Dick to Spindle's corporate Ahab - but it felt underwhelming after all that came before. So I went for arguably the most dramatic possible sea monster, a full on Cthulhu-style elder god. If you're a frequent follower of this blog, you might know I have particularly high standards for Eldritch Abominations, so I realized this was going to be a pretty big challenge for me to live up to, and decided to keep the cthulhu in question reserved to the last few entries as a result - the less it appears, the less it has to live up to.

I realized I had a good angle when my experiments with the Cthulhu "squid for a head" concept ended up having a face framed in shadow - you know, the same visual that our protagonist has in most appearances. That provided some very juicy parallels between the two that made this final monster feel particularly noteworthy to me, ones that I'll leave you to ponder, since they tie into...

Part 6: Themes

I did not set out to have a theme in this story. I just wanted to make a sailor and a sea monster kiss. That was my only goal.

But I really don't begin with theme in ANY of my writing. I figure out topics I want to address, but for all my novels I feel like the themes didn't start coming together until about halfway through the first draft, when enough of the elements of the story had been set down and interacted with each other enough for me to realize what I was saying with them. A huge part of my second and third drafts for my novels have focused on making the themes of my stories more concrete and unified.

Well, ASWaM is very much a first draft of a story, but it's a simple enough story that I think the theme found itself pretty well despite lacking subsequent drafts to refine it.

ASWaM is about doubt and direction. It's about being adrift in a world that is in many ways hostile by nature, about not feeling like you're where you're supposed to be or even WHO you're supposed to be, and about setting off aimlessly in the hope that maybe you'll find your way to that mythical land of "what my life is supposed to be."

When I began the story, Sailor had amnesia and wore clothes that obscured their identity as a way to make it easier for anyone to step into Sailor's role. Sailor had to feel like You, the Reader, and so we don't know their name, their gender, their eye color, their hair color, even their skin color (note that their hands are always wearing gloves, and their face is always in shadow).

But it also meant Sailor is, well, undefined, at least at the start of the story. Sailor doesn't know who they are, what they are, how they came to be. Sailor feels distinctly that they should be Something Else, should be Somewhere Else, should be Someone Else, should not be who/what/where they are. Sailor is plagued by doubt, by a need to go in a different direction, by a need to be other than they are.

This initially contrasts with Calibani, who begins the story very confident that she is doing exactly what she was designed to be doing and acting exactly like she should be. As they interact, they begin to shift each other in opposite directions - Calibani questions her existence and nature, sometimes to a self destructive degree, and Sailor begins to find something about who and where they are that they like. They find a healthy middle ground together - doubtful enough to want to be better people, but with love for themselves that allows them to not feel the need to up-heave their lives entirely.

I knew at the start that I would build an expectation for there to be some answer to the question of who Sailor is and where they came from, because those are the questions that begin the whole narrative. I brainstormed a number of answers to those questions, but once I got a few chapters into writing the story and saw this theme of doubt developing, I realized I couldn't answer them. From a thematic standpoint, the doubt HAD to remain. So I gave hints to possible answers, bits of evidence to support the possibility of them being true, but never planted a smoking gun that answered it for sure.

Sailor can't know the answer because NONE of us know the answer. Outside of blind Life of Pi style faith, you cannot know for sure that you are living the life you're supposed to live. All you can do is figure out whether you're happy with the life you've got, or if you need a change. Sailor will never know who they are supposed to be, but they did learn who they are, and they love that person now.

For those curious, the possible Sailor origins are:

Occam's Razor: they're exactly what Dr. Neptune theorized, i.e. a human who got stranded in the Bermuda Triangle (or the Devil's Triangle or any other number of paranormal triangles) and fell into the Sea of Monsters. The trauma of that experience gave them amnesia. It's just brain damage and bad luck.

A Spindle Experiment: Dr. Warefore mentions that Spindle has been trying to find a way to make a human who can evolve like the denizens of the Sea of Monsters. Sailor may well be an attempt to do just that, perhaps one they wrote off as a failure and abandoned (they do that a lot)

A Deep One: Sailor is the offspring of one of the denizens of the Sea of Monsters (most likely the Abyssal Mother herself) who has somehow been tricked into believing they are human, to the point where they seem to be human to everyone else, even other monsters. Maybe a human summoned a sea monster to breed with on earth, and Sailor ended up being subconsciously drawn back to the Sea by their blood. Maybe Sailor never actually lived on earth at all, but was only made to THINK they had as part of the transformation into a human.

The Platonic Ideal of a Sailor: the Sea of Monsters is full of archetypal concepts, and arguably a sailor trying to find their way home is just as archetypal as any sea serpent, mermaid, or kraken. Our only proof that humans aren't native to the Sea of Monsters is Dr. Neptune, and he's not as reliable an expert as he claims to be.

This theme of doubt and direction also made the compass more important to the narrative than a simply mechanic for audience participation - a compass, after all, gives direction, and the feeling that Sailor is not where they're supposed to be, that they need to head in a different direction, is ultimately the catalyst of the plot. The compass is, in many ways, the antagonist of the story - the force that keeps Sailor from accepting themself. I realized this a little after I started making the different directions have personalities - initially they just represented broad concepts (North = follow conventional wisdom ala the North Star, South = preserve your short-term self interest at all costs, East = act with curiosity and be willing to take calculated risks, and West = throw caution to the wind and do anything that seems novel and exciting), but over time they became little characters themselves.

Since it was our thematic antagonist, I decided to pepper in some ideas about what the compass might be in-universe - and, in a move that would no doubt frustrate the compass, we also don't know for sure which of those is "correct." Is the compass a poltergeist, some amalgamation of dead sailors who try to steer other lost souls home? Is it a malign entity that leeches off of those desperate enough to seek its aid, living through them while pretending to aid them? Is it a device Spindle made to lure sailors to their clutches, OR to guide their experiments in human/monster hybrids? Was it a cursed item that forced a sea monster to assume a human shape? Who can say - the compass sure can't, it can only tell you a direction to go in.

Part 7: Q&A

Since this was an interactive story, I felt it was only fitting to add one last interactive element to this post-script write up, and some of your happily obliged me by sending in questions.

When I noticed how fast readers were falling for Calibani, I figured there was a good chance we'd end up staying in the Sea of Monsters. By chapter 7, I figured it was more or less a given, and by the end of the Lord Ironteeth encounter I was almost 100% sure Sailor would remain at sea. There was always a chance, though - while a look at the polls shows that the audience got more and more on the same page towards the end, there were always dissenting voices, and the desire to get an answer to the question of Who Sailor Was remained strong, as a number of people kept trying to find angles where they could get that AND stay with Calibani.

I was surprised early on by how easily the audience fell in love with Calibani, to the point where I made a few posts commenting on it. I mean, I shouldn't have been - as I said earlier, I have cultivated an audience of fellow monsterfuckers on here, and I know at least a few of them saw my bait and knew they could get me to be freaky in a way we found mutually agreeable (thank you all again for helping me escape being caned by Jesus for being horny).

Like, we REPEATEDLY ignored developing the plot in the Tree Storks chapter for several days just to spend more time with Calibani - something that I enjoyed immensely (this whole thing was an excuse for me to write and draw a cute chubby sea monster girl as much as possible aftter all) but also knew as a storyteller was not what most would consider a good story call. I like how it turned out, but it defied conventional narrative wisdom, you know? I was surprised.

On the other side of the coin, I was also surprised by how the audience NEVER chose an option that was humorously disastrous. I gave plenty of them, and, like, generally in collaborative storytelling there will be at least one moment where your collaborators decide to do the really, REALLY stupid thing that makes everything spiral out of control really quickly. I figured at least once the audience would choose the troll response, but no, you guys worked hard to keep Sailor and Calibani alive. You refused to let them hurt each other, refused to let them throw themselves into danger, refused to imperil them for your own chuckles. It was very sweet and unexpected.

I say "you refused" but to be fair it's not like NO ONE voted for the troll options - they generally got a handful of votes, just one that was beaten by a landslide of more reasonable options. Hopefully those of you who voted for the troll options enjoyed Bob throwing you a bone by disintegrating Dr. Warefore - that was my consolation prize to you.

Yes. I knew at the beginning that there would be two endings for this story: either Sailor leaves the Sea and goes home, or Sailor stays there forever. Or, you know, Sailor dies as a result of you guys choosing several stupid options in a row, but as stated above you guys avoided those scenarios pretty decisively.

Had Sailor gone home, the following would have occurred: first, they would forget everything that happened in the Sea of Monsters. Second, they would wake up in a hospital, having been found in the Atlantic Ocean by a human-recovery charity run by... oh, isn't that funny, some tech company named Spindle Inc! Spindle would foot the medical bills and even offer Sailor a job, but Sailor would decline because even now they're still not sure what Spindle even does. Sailor would go back to their life and find it familiar and utterly mundane, but not particularly happy. Their father died when they were 18, their mother was never in the picture, they have no siblings. They worked an office job and were sort of a nonentity - that position has long since been filled, but Sailor gets a new job and lives out much the same life: simple, mundane, dreary. Every now and then they get a pang of desire to leave, to go to sea, but they push it out of mind. They never even see the ocean again as long as they live.

Sailor would have gotten the normal life they thought they were supposed to have, the normal memories and name and identity, the mundane life of a normal person. And they just had to trade everything they found in the Sea of Monsters to get it. A question is answered, a direction is followed, but is it the right answer, the right direction?

Well, I think doubt would have remained.

I had a very vague idea for there to be some sort of man-eating giant in, like, a crystal castle. He got cut to make way for the mermaids.

I wanted to fit in a big whale and a giant crustacean, but there wasn't room or an interesting angle for me to want to make room for them. Saved for a possible sequel, I suppose.

I also wanted to have a scene with, like, DOZENS of sea monsters, including some of the ones from Offbeat Melody, but the goal of "this should be EASY you dumbass" made me kill that idea pretty quick.

Thank you!

The primary inspirations were:

The Odyssey and Epic: the Musical

The voyage of St. Brendan

The many "weird shit happens on an island" movies in Toho's filmography, i.e. Godzilla vs. the Sea Monster, Son of Godzilla, Yog Monster of the Deep, Matango, etc.

The Island of Dr. Moreau

The Boy and the Heron

Ponyo (specifically Ponyo's parents - I wanted Sailor to have the same desperate energy as that wizard who fucks the giant sea goddess)

The Life of Pi

Slay the Princess (perhaps most obvious in the use of second person narration, multiple voices in the protagonist's head, and falling in love with a creature that has tried to kill you at least once)

I'm going to use this to springboard to a related point in a second, but first a genuine yet humorous answer: Yes, absolutely yes, I am enough of a big romantic sap that I would give everything about my life away to be with a person who loves me and explore a world of monsters in a heartbeat. Hell, I would have jumped in the water the minute Calibani asked and died with her fangs in my neck and a smile on my face. I am dumb this way. Do not follow my example.

On that related point, though... Most stories like this, I daresay ALL stories like this that I know of, end with the hero abandoning the fantasy world in favor of reality, never to return. And that seems like the proper choice and lesson on the surface - we don't want to tell audiences to give up their real life in favor of a fantasy, after all. That's encouraging escapism, and that's not healthy!

But, like... textually speaking, the fantastical world IS real to the characters in these stories. And it's often not really an escape - was Sailor's life devoid of conflict and suffering in the Sea of Monsters? Fuck no! It's just that they figured out how to deal with that conflict and suffering - they built skills and a support system, they adapted, they learned how to overcome what was there.

I think it can be argued that sometimes the return to a "normal" world is, in itself, an escape - the idea that your life can spiral into chaos but that's ok, you can just reset everything and go back to The Way It Was and Should Be is just as unrealistic and unhealthy an idea as You Should Escape to A Better World. Sometimes your plans for your life fall apart, sometimes you're thrown into a place you never intended to go, sometimes you have to learn skills you never anticipated needing and ally with people you never thought you'd befriend to deal with problems you never dreamed you'd have to overcome. And sometimes it's ok to look at your derailed life, your Not Where You Should Be life, and say, "Well, I've learned how to live here... maybe I can stay."

Especially if there's a cute chubby sea monster girl who loves you.

Bob was never supposed to appear past chapter 7, but about halfway through that chapter I realized the audience and I myself would be heartbroken if we didn't rescue her. Definitely for the best - she provided some well-needed comic relief in the final chapters.

This is gonna sound snarky, but, yeah - there were 58 choices with four options a piece, and we only chose one of the four. While some of the options would have similar results, almost none would have had identical outcomes. And some would have been VERY different.

Like, to go back to the beginning: when Calibani attacked, we could either throw a net on her, harpoon her, try to drive around her, or hide below deck. We picked the net, but for the other three options:

Harpooning would result in us hitting her in the thigh, causing her enough pain that she collapses on our deck and we, horrified at the violence we committed, just sort of push on. Calibani would be wounded for at least the next chapter, perhaps longer, and significantly weaker (and probably harboring a great deal of hidden resentment while also being genuinely scared of Sailor). She would be vulnerable during the stork attack, forcing Sailor to take a more active role in that chapter.

Trying to steer around her would result in us essentially fighting her with our boat, resulting in the boat capsizing and Calibani getting tangled up in it. We'd wake up alone on Stork Island and have to travel in search of our boat, alone and vulnerable among man-eating trees. We'd run into Calibani again, also beached and in trouble, end up recruiting her to help us get our boat out of the sand.

Hiding below deck would end in a sea storm that leaves us inside our boat as it's beached on Stork Island. We'd fend off the storks alone, and run into Calibani once we get our boat out to sea, as she got away more or less unscathed.

All of these would have majorly changed the trajectory of our relationship with Calibani and our identity as Sailor, despite seeming to have the same component parts on the surface. Now account for how similarly slight changes in the other options could have gone, and we could have had a very different story indeed.

Part 8: Our Girl

I just think she's neat!

[rareblackcat]

I was tagged to participate by @liondrakes

1/ Which category of alterhumanity do you belong to?

I have adopted quite a few labels over time. Therian was the first label I was introduced to and my main label to describe my animal identity. I am a vacillant therian specifically, as I don't have an animal-human side and am both simultaneity while still experiencing shifts that vary in intensity. I also use transspecies because it aligns with my feelings of being a werecat trapped in a human body and my wanting to change my body. I also use the border term Nonhuman because I am simply not human despite my current form.

2/ What/who is/are your type(s)? (if you have any)

I am a winged werebombay but I just say werecat. Bombays are a specific breed of cat. I am a Bombay specifically because of my domestic nature, as Bombays were bred to be pets and I look like them in my full and feliped forms. As a werecat, I can transform and have three different forms. One is felinoid (Humanoid cat), the next is Felianthro (anthropomorphic) and the last one is fully cat. You can see what they look like here

3/ Do you experience shifts? If so, can you tell us your most common shifts and your strangest cameo shift (if you've ever had a cameo shift)?

I am permashifted and I experience mental, phantom, and envisage shifts. How am I permashifted while being a vacillant therian? Because my shifts never reach non-existence. If shifts are on a scale of 0-10 with 0 being completely human, I simply never reach 0. My strongest shift is my phantom and envisage one. The two types of shifts come together for me allowing me to see my in my mind's eye/imagination. I can feel my whole body being covered by a phantom body or just specific limbs.

4/How do you experience your alterhumanity in everyday life?

My animality affects the things I like to do. I love to eat meat and fish, sun basking and, I'm pretty social for a cat so hanging around my friends is always nice. Being a blend between human and cat I'm pretty good at blending in. I'm my most cat when I am alone or with my boyfriends. Being cuddled and taken care of like a pet is the best.

5/ What do you think of the community?

I am in many different Alterhuman communities, I'm on TikTok, I occasionally look through Reddit, I'm in a few Discord servers, Pinterest, YouTube, and even some forums. I can't give a proper answer because the community is just like any other community, it has its good and bad parts, its misinformation, and its joys. I will say that information about different alterhuman experiences is lacking in certain communities and would be useful. All in all, I think the community is both chill and fun but also a bit high-strung in some places.

6/ What are the things that make you most comfortable and euphoric in your alterhumanity?

Being able to talk to like-minded individuals who understand me always makes me comfortable and euphoric, I also enjoy looking at media and pretending I'm in that world in my true body (though I don't have a hearthome,) I do enjoy wearing gear even if It doesn't help with my dysphoria, and my boyfriend treats me like a cat so talking to him is nice too. I also enjoy sleeping, eating meat, rubbing myself on soft blankets, sitting in the sun, biting, and play fighting.

7/ Are you experiencing species dysphoria?

I do experience species dysphoria almost every day. It to me, feels like I have an incomplete body that doesn't quite fit me. I don't hate my body and my true body would still incorporate this one, though it would look a bit different, It's just this one doesn't quite fit who I truly am on the inside.

8/ What advice would you like to say to a young alterhuman who has just awakened?

"Education is elevation" is something a beloved content creator of mine says. When looking for what labels fit you don't fret about asking for other's experiences who use that label and jump into some ask boxes. Do your research and ask around, hear both sides of the argument before you make up your mind on something.

9/ Do you have/want to have gears?

I do! I have a pair of ears, a tail, and some gloves. I do have a mask but I don't wear it unless I need to protect my identity. I've already ordered some black fur leg warmers and some more ears. I'm looking to buy a pair of wings and some fake teeth.

10/ Do you know/have any theories about the origin of your alterhumanity? If so, tell us! (all beliefs are legitimate)

I consider my Therianthropy to be psychological but I do not think I was born a Therian but I was born a bit animalistic. I watched a lot of animal media that helped foster my identity. My identity is behavioral and something that just feels right at the same time. I act like a cat and so calling myself one feels right. I think my animal identity is just something I developed over time. I think from a psychological standpoint the idea that therianthropy might be psychoneurological. Our brains might be wired differently and that causes us to act more animalistic and then our brain either latches on to an animal that matches what the brain experiences or we push it away and train it out of ourselves.

11/ Tag someone/a creature to answer these questions!

@zith-ipeth @bunnyboyzyon @creatureheart @wanderingcritter

@thatintrovertedbobcat If you're a mutual and have already done it please @ me!!/nf

If you are a alterhuman, reblog and answer these questions!

(don't be afraid to write a lot, do what you want ¯⁠\⁠_⁠(⁠ツ⁠)⁠_⁠/⁠¯)

1/ Which category of alterhumanity do you belong to?

2/ What/who is/are your type(s)? (if you have any)

3/ Do you experience shifts? If so, can you tell us your most common shifts and your strangest cameo shift (if you've ever had a cameo shift)?

4/ How do you experience your alterhumanity in everyday life?

5/ What do you think of the community?

6/ What are the things that make you most comfortable and euphoric in your alterhumanity?

7/ Are you experiencing species dysphoria?

8/ What advice would you like to say to a young alterhuman who has just awakened?

9/ Do you have/want to have gears?

10/ Do you know/have any theories about the origin of your alterhumanity? If so, tell us! (all beliefs are legitimate)

11/ Tag someone/a creature to answer these questions!ㅤᵕ̈

[cowboyjen68]

Hello Jen, wishing you a happy year ahead thank you for still being around. Its been a rather tough time so i wanted to ask how do you deal with heartbreak? recently my long distance partner broke up with me, I'm trying to come to terms with everything that happened and now I'm devastated *besides missing them of course* that I'll never a partner again, being a lesbian in my country is already a taboo and i dont know when/if ill be able to leave so those feelings of loneliness and hurt are even stronger. It was thanks to this partner as well I managed to stand up for myself and accept I'm a lesbian, I think thats what I'm mourning the most now

Thank you and sorry for the bother, stay safe and healthy I wish you well and all the best in life

The good news is you will become proud and content as a lesbian with or without any partner. It can take time and work but you can get there. Your sexuality is not contingent on the affirmation of anyone else. Only yourself.

I can't imagine what it is like to be in a country where your sexuality endangers you both socially and due to the laws or traditions. I mean, i came out to a USA that was pretty hostile but I had the support of friends and family to some extent. I was free to protest and have conversations with the opposing side which is more that many countries allow lesbians to do.

The ending of a long distance relationship has its unique challenges, especially if you never met in person. The time that was filled with texts or video chat seems very odd and quiet leaving you checking your phone or computer out of shear habit. You were available to each other 24/7 as opposed to relationships in the same physical area where you met up and had mostly set times to date or spend time. Texting was a side bar to set up dates and only one mode of communication and not the sole contact. It will feel strange as you reset your schedule to be all yours with no need to look for and respond the a partner. It some ways lonely and in some ways freeing.

Getting over any relationship that was meaningful just takes time and work. My advice is to be sad and let yourself feel all the emotions from anger to angst but don't let it go on and on just because you are not sure what is next. Start to list things you don't miss about her. Make notes as you move through your day about things you are now free to think about and change in your life, in the direction of your life.

Don't date right away. Don't even try. Use your time and energy to pursue existing friendships or relationships with relatives or people you have not spoken to in a while. Write letters.

Rest assured that feeling that overwhelming sensation that your relationship was your one and only shot at love a shared Lesbian experience. Lesbian isolation and loneliness is a very real feeling but the reality is it is not true. You have a while life and and whole world of women to meet WHEN you are ready. You will be okay but in the meantime it is nature to hurt and second guess and worry.

As an older lesbian with break up experience in my life I can tell you it gets easier, you heal and love will come again.

[slightly-sigilant]

I feel like the thing that the Fallen London fandom knows me for is Correspondence, and indeed, I love the squiggles. But in truth, the part of the setting I think about most is Parabola, the world behind the mirror. The land of the Is-Not; the realm of dreams.

I've had some flavor of chronic fatigue throughout my life. Without getting into the gruesome details, no doctor in a decade-plus of searching has been able to diagnose or treat it. At this point, I've more or less moved on to trying to accept it, work around it, and not linger on the looming dread I feel whenever I think about being disabled in This Society We Live In. I'm fortunate enough to have a remote job, one that mostly tolerates me working weird hours and sneaking off now and then to nap, so my days are something like a patchwork. Irregular swaths are cut from my life for sleep, and for lying in bed trying to muster up my energy, with the things that I need to do packed into the periods in-between, the precious moments where I feel well and truly awake.

At some point, I decided that if sleep was going to take up over half my life, I might as well make the most of it. I wouldn't call myself an expert on dreams - I've read Some websites on lucid dreaming, and One (1) book. But I do have vivid dreams on the regular, and I try to engage with them with my own particular means.

(It looks something like this: I let myself sink, and then, at a place between waking and dreaming, I float. I focus on my childhood room - a place my dreams have taken me, again and again, as of late. I brush my fingers along the walls, asking them to keep the terrors out, rather than trap me within. I speak to the ghosts that haunt this memory-place, inviting them to truce, to rest. I remember my present - of being an adult in a household that respects and cares for me - and breathe it into my past. With luck, the next time my dreams take me here, this place will be a sanctuary, not a prison.

Or like this: holding still, careful and quiet, in the moments before a dream dissipates. This one had been suffused with a powerful, yet curious melancholy. I hold onto the feeling as best as I can, studying the curves of its sorrow, the angles of its longing. I realize that it is a feeling I have taught myself to no longer feel in the waking world. The realization cuts, like a scalpel.)

It started as a necessity. A tendency to have nightmares doesn't mesh well with a life riddled with opportunities to have them. But it also became a quiet passion. Small wonder that it would be Parabola that would be my hook into Fallen London's world. While I only became an active player a year ago, I spent much longer than that reading the wiki. I remember combing through Wikidot for every scrap that I could on the mirror-realm and its inhabitants. I remember being elated to find out that you could become a Silverer (or "Glassman," as they were once called) and that you could set up a Parabolan Base-Camp of your very own. When I made Lukas, my current main, I planned for him to become a Silverer. His character arc took him down the path of a Correspondent, but Rafael would take up the cosmogone spectacles instead.

My readings are not the only valid ones, of course. But it never appealed to me to treat Parabola as just a wacky otherworld, and the Fingerkings as just sinister. My personal experience has been that dream logic is logic, something to work with rather than against, shown respect rather than bullied into submission. It is reciprocal - in order to shape my dreams, I allow myself to be shaped in return. They yearn and I yearn; I feed them and they feed me; we move together in ever-shifting dance.

This is the kind of perspective I try to weave into my interpretations of Parabola. I would like them to live somewhere other than just in my head, and I've thought at some point of creating some kind of compendium of My Personal Parabolan Headcanons. But that format doesn't really sit right with me - it's a vibe, not a set of rules. I think I would like to write some kind of playable fan-Exceptional Story, but it's really hard to beat the feeling that It Has To Be Perfect. The perils of writing about something that you're passionate about, I guess.

For now, I daydream and I doodle and sometimes I inflict my thoughts on my friends via Discord. But someday! Someday.

[navybrat817]

Hi! Thank you for being a huge inspiration. I am trying to be a writer too, but I can't stop checking for notifications every couple of minutes to see if people like what I've written. Any advice on not thinking about the results and not caring about the gratification? 💜

Hi, nonnie! It means the world that I've been able to inspire you in some capacity. I know it's difficult to not check notifications or look at note count. And let me preface this by saying that it's more than okay to want feedback. Every now and then I see negativity come out to play when writers/artists/gif makers/creators say that they want feedback for the creations they worked hard on.

Some things I do at times:

I congratulate myself for my accomplishment. Writing is hard. 50, 5k, 50k, it should be celebrated.

Log out of the app/desktop completely helps to not look. Out of sight, out of mind, so to speak.

I remind myself that my writing worth isn't tied to my note count.

Comparison is the thief of joy. The second I start to compare my writing/word count or anything to others, I step away.

I remember that my feelings are valid. I'm allowed to feel down if feedback is low, but I do not allow myself to say in the headspace.

I sometimes go back to other fics of mine and reread feedback. Past positive affirmations give me a boost now and again.

NEW FOR 2025 - I want to put my energy back out there. If I post something new, I want to reblog a fic from someone else. Focusing my energy on others in a positive way shifts the negative feelings swirling around inside me.

Lovelies, please feel free to jump in and add more. Nonnie, sending you all the good vibes. Love and thanks! ❤️

[daydreamdoodles]

Is it cheesy to hope everyone feels as loved and/or wanted as this

[utilitycaster]

I truly have no patience for "criticizing a creative choice is disrespectful" as a statement. If you can't tell the difference between sending hate or harassing creators/fans, vs. saying "I didn't like this and here's why" you are an idiot. And on the flip side if you're a creator and someone says "I didn't like this" without any sort of personal attacks or hate involved, simply on the basis of critique and personal preference, and that makes you feel bad enough to stop creating then maybe you should step back and either get offline or make room for someone who has an actual creative vision that isn't "I want everyone to like me."

[ganondoodle]

everyones more than welcome to send me asks about stuff* btw, i know i havent been that good in answering, but i think thats largely bc i always want to do too much, like .. drawing entire character design sheets and everything and then never having the energy or motivation for it so it sits around like all of my hundreds of wips i never finished bc i lost energy/motivation, waiting for it to come back .. which might never happen (and i still dont know how to handle compliments ,, i might never will tbh- if i havent answered a compliment its very very likely i dont know how to properly convey my gratitude- feeling like theres no amount of things i can do or say to 'pay back'? ... kinda weird if you think about it .. but i am weird so what do i know jsklfnhsdk, i promise you i treasure it)

im pretty sure not everyone that sends an ask expects a drawing or multiple and pages long text right? thats my skewed perspective isnt it?

*stuff being like .. about my ocs, about my zelda comic, about the totk rewrite project, suggestions, ideas, rants too, kind of anything though im less likely to respond to personal things (and in case theres anyone newer to tumblr, asks dont have to be literal questions, you can write in those what you want, i like them alot bc its a lil message without the chat type of commitment to it ... im even worse at keeping up responding in chats (not intentionally .. my short term memory sucks) o3o)

[angelnumber27]

It’s so embarrassing and heartbreaking being in so much pain over losing someone while knowing they don’t give a fuck if you live or die. Your favorite person becoming a stranger is a special kind of hell.

[puppppppppy]

*through gritted teeth* sometimes. The way people go about their lives will clash with mine. And it will be harmless. And you have to be ok with that sometimes. You’ll learn to live with it. And if u can’t do that rn imagine grabbing them in a chokehold until it passes

[liquidchocolatecake]

currently captive audience to a knock down drag out fight in my brain between desire to respect the wishes of the creator and not look for anyone redistributing the comic and god i fucking miss wonderlab i miss wonderlab so much you have no idea i want wonderlab back so bad

[walking-loather]

When it comes to hygiene tasks and self care with disability and chronic illness, its pretty much a constant case of: don't let perfect be the enemy of the good.

Basically: it's better to do something, than to do nothing at all.

TLDR: Just because you can't do something "properly" doesn't mean you shouldn't do it at all. Do it half-way. Do it shitty. Do it barely. Do it on a technicality. But do what you can. Just try, because doing something will help you.

If you don't have the energy to scrub your body with a sponge, just rub soap over your skin with your hands.

If you don't have the energy to wash your whole body with soap, just hit the places where sweat accumulates, or where you're smelliest.

If you don't have the energy to wash with soap AT ALL, just sitting in water is better than nothing. It will wash away dirt and oils.

If you can't bathe or shower at all, a warm wash cloth is your new best friend. If that's too much, then try bath wipes. They're a bit bigger than regular wet wipes, and a bit more heavy duty. They're designed to help keep bed ridden patients clean in hospitals.

If you don't have the energy to dry yourself after a bath or a shower, just put on a bathrobe and get into bed. If you don't have the energy to get dressed afterwards, just don't. It can wait until you can.

If you don't have energy to brush your teeth for two minutes, honestly, just a cursory scrub is better than not doing anything.

If you can't brush your teeth twice a day, brush in the evenings. It will help take away the build up of food from the day.

If you don't have the energy to brush AT ALL, honestly, just take a cloth and wipe the plaque off your teeth. Rinse with mouth wash after if you'd like. Something is always better than nothing.

If you can't floss twice a day. Try once. If that's too much, try a few times a week. If that's too much, try setting aside a day once a week as a goal. If you can't keep a schedule, do it when you're able to. Hell, I keep some floss next to my bed so that if I forget and don't have the energy to go get it, I can just reach over.

If you can't iron your clothes, don't bother. Wrinkles are fine. Wear jumpers over wrinkly t-shirts. No one will know, and honestly, most people won't even care. If it's really wrinkly and it's A Big Deal And It Needs To Be Ironed, here's my life hack. Step 1: take a spray bottle, and spritz the item of clothing (while you're wearing it is easiest) until it's lightly damp. Step 2: use a hair-dryer on the clothes until they're dry. It gets rid of creases like nobody's business, it's easier than lugging out the iron and ironing board, and you get to have nice toasty warm clothes afterwards.

If you can't fold your clothes, try just hanging them up. It's less commitment. It's quicker to do. Granted, you need to have the space in order to do this, but it is also good at helping you downsize, and lets you visualise exactly what you have.

If you can't put your clothes away, invest in a couple of laundry baskets, and then just keep your clean clothes in the baskets. You can then separate washed clothes into underwear, pants, and shirts baskets. You can just leave them like that. I'm giving you permission to never fold your laundry again if you can't. Just leave it unfolded. Who's going to care? Something is better than nothing. If you can, try to put those baskets into your closet so that you can keep the clutter out of sight, and give yourself a more restful environment.

If you can't separate your clothing out into different categories and wash them "properly" (whites, warm tones, cool tones, darks, delicates / switching between hot & cold washes / paying attention to laundry instructions on the label) then just don't worry about it. If you cold wash your clothes, colours won't bleed. Maybe gradually over the course of dozens of washes there'll be some changes in hue, but it's really not as high stakes as the One Red Sock In The Whites Turns Them Pink trope makes it out to be.

I've pretty much come to the point in my life where if a piece of clothing can't survive the washer and dryer, then it's just not meant to be. I colour separate my clothes, and if I have the energy/remember I'll take my bras and jumpers out of the washing machine to drip dry. But otherwise, I leave it to the universe.

If you can't separate out your recycling, then don't. If you have a large amount of rubbish you need to get rid of but the idea of separating it out properly is stopping you from doing so, then just don't worry about it. I know it's not ideal, but if you have garbage in your room/house and you need to get rid of it, please just get rid of it. Don't let the problem get bigger and harder to deal with. Don't let "doing something properly" get in the way of keeping your living spaces clean. Please. Give yourself understanding.

If you can't wash your dishes, get paper plates. Obviously, it's not ideal, but it is better that you eat food than skipping meals. It is better that you have a clean kitchen, rather than having dishes piling up and making it harder to look after yourself.

If you can't prepare meals for yourself keep making the tasks easier and easier. If you can't do recipes, then simplify. Use pasta sauce from the jar instead of making it. Eat canned soup. Buy food you can just stick in the oven. If you eat fish fingers and microwave veggies every night, it's better than not eating anything at all. It's better than having to fork out money on take-out. If you need ready-made meals, then get them. If you're literally just eating a raw cauliflower for dinner; 1) I see you, 2) me too, sis, 3) something is better than nothing.

These are the basic things you need to do every day to function as a person. They are your activities of daily living. Brushing your teeth. Bathing or showering. Using the bathroom. Getting dressed. Eating. Drinking. Sleeping. Keeping your environment clean. You don't need to do these things perfectly, but they need to happen in order for you to have a decent quality of life.

And it breaks my heart, because I know that so many disabled people can't do these things every day. I'm not saying this to guilt or judge, I'm saying that these are basic needs; you deserve these things. These things bring dignity. If a disabled person is unable to do these things, it diminishes their quality of life. It robs them of dignity.

If you need help to do these things, Its okay to ask for help. It's okay to need help. But if you can't get that help and you have to do these things by yourself -- or you just plain want to be independent and do it without help-- then don't hold yourself to standards you can't meet.

Don't let perfect be the enemy of the good. Doing something is always better than doing nothing. Even if it's not perfect. Even if it's not done well. Do what you can.

[sexiestsex]

i know it depends what you're resting from and all that but I'd really like to hear about it! I feel like I'm running against a wall with all my strategies and everything I'm trying is counter productive and leaves me more stressed and in pain. So i just want to know what helps other people.

Please give me your How To Have Energy.

[spoonietimelordy]

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