#anti wizarding world

[biggest-gaudiest-patronuses]

Young Hero Sent On A Quest meets other young heroes also sent on various quests—only to discover they're all being used as free child labor by the same flaky wizard as a scam to collect magical artifacts.

the Young Heroes' collective new "Quest" is now to Unionize.....

[fandoms-rants]

On this blog I’m just going to be asking and talking about things I’ve always wondered about some fandoms and posting some fanfic ideas I would love to read but sadly for me I can’t write.

So less start off with a soft ball rant. I’ve always been of the opinion that if I was in the place of one of the child heroes like Harry Potter, Percy Jackson or Danny Phantom I would tell everyone to kiss my ass and they can save themselves.

Like I know Harry and Percy got their prophecies and Danny probably feels guilty about turning on the portal and their kids and easy to manipulate. But I’ve always had a habit of self inserting myself into fics and characters I like. And if I was them I would say fuck the prophecies, fuck the Gods and Dumbledore and fuck Danny’s parents they can clean up the mess that wouldn’t even exist is it wasn’t for them in the first place.

It just always seemed unfair that Harry had to fight in a war he never even had a chance not to be apart of. Percy and the other demigods were seemingly doomed to die and painfully from the moment of their creation. And Danny was just fucked over by his neglectful parents. Children should not have to pay for sins they didn’t even commit.

And I personally am determined not to pay for anybody’s sins but my own. And with that in mind I’ve imagined various ways of leaving the magical, gods and Fentons to clean up their own messes with myself self inserted as Harry, Percy and Danny. And I’ve read plenty of the typical fics with the relatively same theme. You know the typical Harry leaves the wizarding world/calls magicals out on there bullshit or Percy ditches the Gods or Danny leaves Amity Park.

So? What are other peoples opinions on this? I’m curious if others agree with me. Might reply might not, I’m not good with talking to people; I’m just shy(read antisocial) so don’t think I don’t want to reply if you’re nice. Remember please be polite, if you’re mean I will have to block you.

Because in the word of my good bitch T.Swift “Say it in the street, that's a knock-out. But you say it in a Tweet, that's a cop-out.”

[velvet4510]

The fact that Draco Malfoy is canonically unable to cast a Patronus because he doesn’t have a happy enough memory to use for it is a MAJOR detail. He may be spoiled and doted on at home, and his mom clearly would do anything for him, but any kid with NO memories happy enough to conjure a Patronus whatsoever, is definitely not a kid with parents who are 100% warm and loving. I think this is a big reason why Lucius being full-on abusive is a common trope in fanfiction. There’s plenty of stuff in canon to contradict that - and yet Draco’s lack of Patronus isn’t exactly a point in Lucius’, or Narcissa’s, favor.

[silverbriseis]

99% of tomarrymort antis are so hilarious like whenever theyre complaining about how ""bad"" and ""immoral"" the ship is, they always point to the age difference and not... the murders😭😭😭 Tom literally murders Harrys parents and orphans him, attempts to murder everyone he knows then tries to take over the wizarding world all while ALSO attempting to murder him— so I feel like there's a very more obvious pressing issue here then their unrealistic age gap😭😭😭It's like those ppl complaining about hannigram and making top 10 lists about how problematic it is yet the fact that Hannibal is a cannibal and murderer never made it onto the lists😭😭😭

[wizengamot-chiefwarlock]

there are three types of fan reactions to snape.

type 1: he bullied harry and other kids for no reason, i hate him

type 2: he was bullied and misunderstood, i love him

type 3: ok i guess he kinda sucks but look at him *insert gif of snape swooping around like a bat* hehe silly

[fannedandflawless]

From Student to Staff: The Adults Who Watched Him Break, Then Welcomed Him Back

Severus Snape didn’t just return to Hogwarts as a professor. He returned to a castle full of ghosts—not the ones who drifted through walls, but the ones who once looked through him. The ones who had titles, robes, and responsibilities. And Merlin, the way they smiled when he came back.

These weren’t strangers. These were his former teachers. The ones who watched him unravel—slowly, painfully, obviously. They saw the weight—emotional bruises no child his age should have been burdened with. They noticed the robes that hung too loose, the way his voice softened into nothing, the eyes that dulled year by year. And then, as if memory had been Obliviated, they greeted him with polite nods and teacups.

Let’s name them. Let’s drag the velvet curtain back. Let’s ask what they refused to.

🧙‍♂️ Albus Dumbledore — The Grand Strategist of Silence

He saw everything. The twinkle in his eye? That was calculation. Dumbledore knew Severus’ pain. Knew his background. Knew the Marauders were brutal, and knew exactly how Hogwarts worked for boys who didn’t shine the right way.

And what did he do? Nothing.

Not until the prophecy.

Not until Severus—broken and desperate—came crawling with regret.

Only then did Dumbledore offer protection. And even then, it wasn’t mercy. It was strategy. It was cost-benefit arithmetic.

He kept Severus close, yes—but not out of trust. Out of necessity. And in that same chessboard logic, he raised Harry the same way. A pawn to be protected, yes, but only until it was time to be sacrificed.

Severus recognised it all too well. The same cold detachment Dumbledore had shown him as a man—keeping him close, not out of care, but for utility—was now being applied to Harry. Despite the tangled mess of resentment and reluctant protection he felt toward the boy���born of Lily, shaped by James—Severus could see the pattern. He could see the purpose.

He saw through it: "You've kept him alive so that he can die at the proper moment. You've been raising him like a pig for slaughter!"

Two lives. One broken young, the other burdened late. Both groomed to serve, both shaped for sacrifice—and in the end, perhaps, both meant to die on cue.

And when the war ended, Dumbledore offered Severus a position—not because he sought to make amends, but because it served a purpose. Severus had returned to spy, initially under orders, a reluctant shadow caught between masters. And once the mask was worn long enough, Dumbledore simply let it stay.

As if a professorship could heal years of sanctioned cruelty. As if being called "Professor" would cleanse the memory of being a punchline in the corridor.

⸻

🧪 Horace Slughorn — The Collector of Potential

He loved talent. But only when it glittered.

Slughorn praised Severus’ brilliance in Potions—called him promising, sharp. But he never once shielded him.

He didn’t invite him to the Slug Club. Not until Severus’ name meant something. Not until his mind could decorate a shelf.

Slughorn’s affection was conditional. You had to be charming. Presentable. A legacy. And Severus? He was none of those things. Just a poor boy with a hungry mind and no surname to flaunt.

And perhaps that is why, years later, Severus held nothing but quiet disdain for him. Because if anyone should have noticed what was happening in the shadows of Slytherin House, it should have been its Head. Not McGonagall. Not Dumbledore. Slughorn.

He should have seen it first. And yet—he didn’t.

Slughorn used him on parchment, but never sat beside him in reality.

⸻

🐈‍⬛ Minerva McGonagall — Sharp-Eyed and Selectively Blind

Minerva loved her lions. James Potter was golden in her eyes—brave, brilliant, bold.

She watched him torment Severus in broad daylight. She called it mischief. At best, she scolded. At worst, she said nothing.

She taught Severus Transfiguration. She saw his talent. But she never once stepped in when he was dangling upside down in a public corridor.

And years later? She called him Severus. Perhaps it was meant as respect. Perhaps it was all she had left to give. But even that name, spoken in her steady voice, must have tasted hollow.

Because if I were Severus, I don’t know what I would feel beneath the careful nods and professional courtesy. Not really.

Respect? Yes. She was formidable, fair—in her own way. But also a bystander. A witness to pain who never raised her wand.

The bitterness would have settled in strange places. Not hatred. Not fury. Just that sharp ache that lingers when someone could have helped—and chose not to.

As if calling him by name could erase the silence that came before it.

⸻

📚 Filius Flitwick — Gentle, Brilliant, Absent

Flitwick was kind. Clever. Charms master of immense skill. The sort of professor whose praise felt like sunlight.

And yet—he kept to his corner. He didn’t speak up.

Severus wasn’t just a good student. He was exceptional. The sort of student whose talent should have lit up the classroom like a Lumos Maxima—quiet, focused, effortlessly precise. The kind of brilliance that doesn’t need to shout because it radiates.

He invented spells. Created incantations from scratch. If anyone in Charms class should’ve stood out like a blinking sign under a spotlight—radiating silent brilliance from the back of the room—it was him. You didn’t need him to speak to notice. You just had to be looking.

Surely Flitwick noticed. How could he not?

But maybe noticing brilliance wasn’t the same as seeing pain. Maybe house loyalty got in the way. Maybe the politics of Slytherin versus Gryffindor made it easier to stay silent.

Perhaps he thought it wasn’t his place. Perhaps no one ever taught the professors how to reach past a student's wandwork and into their wounds.

And so, in the silence between spells, a boy learned that even kindness could be hollow.

⸻

🌿 Pomona Sprout — The Kind Bystander

Warm, earthy, nurturing. That was Sprout’s image. A Hufflepuff’s dream.

But she, too, looked away.

Maybe she frowned at what she saw. Maybe she clucked disapproval over tea. But she never interrupted the hierarchy.

Not when Severus slouched through corridors like a shadow. Not when he withered a little more each autumn.

She believed in fairness—but not enough to fight for it.

⸻

🏥 Madam Pomfrey — The Healer Who Didn’t See

Out of all the professors, Madam Pomfrey may be the one I find myself most curious about. Not because she was cruel—she wasn’t. Not because she was blind—she couldn’t have been. But because if anyone should have noticed—it was her.

She could spot a fractured rib with a glance. She healed Quidditch injuries between spoonfuls of broth. Her hands were warm, her wards comforting.

And yet… she didn’t notice Severus returning each term thinner, paler, greyer?

No trace of curiosity when he flinched at loud spells? No quiet pause when he walked too carefully, too lightly—as if even the castle floors might punish him?

Did she not see the hex marks? The magical burns? Did she really miss the boy who never sought help unless he was near collapse?

Or perhaps... he hid it too well. Perhaps he wore silence like a second robe. Perhaps he'd already learned that pain, when visible, only made you more vulnerable. That vulnerability made you expendable.

But still—she was a healer. She would have known the signs. Malnutrition. Exhaustion. The long-term magical residue that clings to a child who’s been hexed too often.

Pomfrey, as matron, was in a position to notice it all—if he had come to her. But maybe he didn’t. Maybe he couldn’t. Maybe he knew better than to hope.

We know his home life wasn’t gentle. Tobias Snape, his father, was a drunk—furious, unkind, loud enough to silence the whole house. We weren’t shown every bruise or every scream, but we were shown the aftermath.

So when Severus came back each September—robes loose, eyes dimmed, voice flat—surely, surely she must have seen something. Anything. A flicker of concern. A whisper of doubt.

To be fair, we cannot fully blame her. Hundreds of students passed through her care. She healed what was asked, tended what was brought. Perhaps she was simply overwhelmed. Perhaps she assumed someone else would act.

But still… I can’t help but wonder.

She offered pepperup potions to those with sniffles. She wrapped bandages around bruised Gryffindors.

But Severus? The boy who never asked, who needed most?

She offered rest to others.

But not to him.

⸻

They all had eyes. They all had wands. They all had duty—but they wore it like a decorative cloak, not a vow.

And oh, how one wonders. How could they not see the bruises? The shoulders pulled too tight? The voice too low?

How could a castle brimming with portraits, portraits that whispered and staircases that listened, miss the slow crumbling of a child?

Perhaps they did see. Perhaps that’s what makes it worse.

Because silence isn’t always ignorance. Sometimes, it’s a choice. Sometimes, it’s self-preservation masquerading as neutrality. Sometimes, it’s indifference dressed as decorum.

And still—they looked away.

Severus Snape returned to Hogwarts as a man.

But once, he was the boy they failed.

And they seated him at their table as if none of it ever happened.

[dragon-of-grandeur]

As someone who has never read or been interested in Harry Potter:

Can we stop being little arogant pricks about Harry Potter fans? Fuck JKR. She's an awful woman who shouldn't be defended. She's transphobic trash. We can all agree on that.

But what the hell do you think you're accomplishing by making book fans feel guilty? Do you really think you're so smart, so morally superior, so original? When you leap at the opportunity to crush something that once helped someone connect with themselves? Something they loved, most likely as a CHILD?

Any media can be criticized for its flaws. Some are more glaring than others. Children don't choose what brings them joy and comfort. And it isn't like you can just erase all of that. I'm sure everyone has a certain media they enjoy that falls short of being progressive. Especially older media.

You can like Harry Potter without liking or supporting JKR. The books don't promote transphobia or homophbia, right? So, who cares? You want to do something that will actually have a slight impact? Help people find ways to get books and merchandise second hand. Let people like Harry Potter while speaking out against JKR. Steal Harry Potter from her like the gays stole the rainbow from god. If we can reclaim words, then why not a whole book full of them? Fuck's sake. You people are nicer to people who read the fucking bible.

[stars-and-darkness]

why does so much of mel discourse on this site centre on to what measure she did or did not manipulate jayce like that's the extent of her complexity and grey morality, as if she has not directly and indirectly been contributing to the opression of zaun not because she's prejudiced or hates them but simply because she profits from it, like i am so sorry my queen that they don't get you like i get you

[yubikyu]

Silco... Snape?? Professor Silco??

Do not be confused, we do not tolerate J.K transphobe on this blog thank you very much, he is a proud trans man in this au because I said so With that out of the way, this idea has been pestering me for way too long holy shit do I hate it??? I don't know??? An excuse to get back into a more illustrative style???

[just-an-enby-lemon]

"The kid seems scared.

Tip had always been a little nervous. Or at least that was the reality when the two had met.

It was fairly obvious for everyone that met them that the child had not been treated well by their formar guardian and in a way that Elphaba sadly recognized still seemed to afraid of facing the same pain and rejection again.

Still lately the kid seemed more relaxed and open, treating her with the same easiness and earnest they did Jack. More determined to learn than eager to please. Following her around with questions and vibrating with excitement as she turned wooden sticks into dolls and toy swords alike. It made her think of Nessa in a very bittersweet way.

She failed her sister and she would not allow herself to fail another young person she became responsable for.

That's to say Tip's strange turn to the same scared kid she met soon after leaving her behind and being declared and enemy of Oz scared her.

"Miss Elphaba, I have something very serius to tell you."

Maybe they want to leave. They are not in fact different in the same way Elphaba is. Tip is a normal if deeply magical child who just ended up in the care of a horrible woman. Being her aprenticce is actually the only thing turning them into a dangerous and hated figure.

"I understand."

The kid takes a deep breath. Elphaba tries to think on the best words to explain that of course they can leave if they want to and that they can take as many provisions as they need. Tip will never again be a prisioner.

"I don't think I am a boy? Wait no. I know I'm not a boy. Like the idea of it is still a bit scary because it seems like it will be a big deal but I'm fairly sure I'm a girl actually. I just never though about it before but Jack called me she accidentaly and it just makes sense. I am still the same Tip and please let me keep being your aprentice." She says in a single breath.

"What?"

The girl looked scared. "I'm a girl." She says. Than in a smaller voice. "I can try to be a boy if you want?" It does not appear to be something she wants and the fact she still sugests it breaks Elphaba's heart a little.

"Oh! Oh. No, no, that's fine. Do you want to be called something else?"

Her eyes go huge and she stops deep in thought before answring.

"Uh. I guess so, but I'm still thinking on it. I don't mind Tip for now."

"Okay, tell me when it changes?"

"Will do."

"Anything else?"

Tip looks a bit shy for half a second before a excited smile covers her face. "Could you let me borrow a dress?"

Elphaba laughts.

"You are too tiny for my dresses, kid. But I can help you magic one for yourself. "

Her eyes shine. "Cool!"

[...]

"Morrible says you'll marry some prince soon." Dorothy says making a face.

"I don't see why you are soo distraught, my dear, I'm pretty sure she'll find me a great prince." Glinda says with false cheer.

"I doubt it. Princes are all very dull."

"Met many princes did you?" She jokes lightly, trying to find a way to change the subject. She loves the kid dearly and for all it's bleak consequences will always be glad the tornado ended up bringing the girl into her life but she would preffer not to discuss those subjects. Specially not in her own bedroom in a rare moment of relaxation.

"Well no." The girl pouts. "But most boys are dull and I can't imagine liking to marry even the ones that aren't. I guess I just thought you were the same? I'm sorry."

"No need to apologize. And I sure hope marriage is unimaginable for you, you are way to young for it."

The girl smiles a tiny bit before frowning.

"I can imagine myself marrying a girl one day."

"Oh!" Is all Glinda says.

"I told Aunt Em once she told me to never say it again, she told me I was too young. But I'm ten now and I feel the same. " Dorothy rarely talks about home, sometimes Glinda tricks herself into beliving it is because her the kid just loves Oz better, that she forgot all about it, but she knows deep down that Dorothy will always miss Kansas, always miss her uncle and aunt and Toto, she just accepted home as a place she'll never return to. In the good days Glinda knows Dorothy would also miss Oz, would miss her munchkin friends and mostly would miss being Glinda's apprentice. In the better days she thinks about bringing Dorothy's family here. After all Kansas always seems sad and hungry. "Girls don't marry each other in Kansas." She continues. "But I though maybe they did here. "

"I think they do everywhere, Dorothy, is just some people pretend they don't because the different scares them."

"Like the Wizard and the animals?"

Glinda had only recently convinced Dorothy to only speak her very dangerous beliefs on the Wizard in private and even there she sometimes corrected the kid. But right now it felt too much like liying to Elphaba she couldn't do it, not when she knew Dorothy to be right.

"Yeah. Just like that."

And after a second she adds.

"Between us, I would also like to marry a woman".

Dorothy smiles, just a little bit.

[...]

She knows she should not be here.

But it's fun, she likes the dancing and the food and the small chance of going back home with something that can actually help Elphie. Maybe a magical item or even just some usefull information.

Besides the girl she is talking to is very pretty and fun and smart and she is not open about it but she's definitivaly not the biggest fan of the Wizard either. Oh and a great dancer.

"I'm sorry" the girl says "but I think I did not catch your name?"

Now it's the moment to say something clever like 'i never gave it to you' or maybe just invent some fake name. She can't say her name. It's too easy of a conection to make. But she doesn't need to lie. After all it was never really her name. And she has a name now. Has had it for days and just keept it a secret in some weird form of fear. But it felt like time. She would tell it to Elphie and Jack when she went back.

"Ozma. I'm Ozma. What's yours?"

[...]

Dorothy had never had so much fun at a party before. Her new friend was the most beutifull girl she ever met and the funniest and cleverest and it had never felt so easy to talk to someone before. In fact the only thing Ozma didn't appear to be was a good dancer but Glinda had teached Dorothy well and she found herself leading the other girl steps into the best dance she ever had.

She noticed Ozma did not gave any surname but it was not her place to pry. She just hoped to mert the girl again.

"Dorothy." She says and takes the hand. For a second she considers continuing in the way she was instructed to (Dorothy Upland at your pleasure and a kiss to the hand) but while she loves Glinda that's not really her. And she somehow trusts Ozma enough to be honest. "Dorothy Gale." She shakes the hand just like Uncle Henry used to.

[valleyian]

Thoughts on Cursed Child becoming a movie

A very random late night rant, but here we go. I’ve seen a lot of fake trailers circle around the web and on social media in regards to a potential HPCC movie. And whilst that’s all fun and games, I also want to talk about the actual consequences a movie like that would have on both the fandom and people.

First off I need people to understand that HPCC is an (almost) separate entity of the Wizarding World franchise, being mostly excluded or regarded as “non canon” by the mainstream. However this does NOT mean JKR doesn’t receive royalties from the play, she still earns money from it. The ethics of spending money on the play is also something to be discussed, however I want to specifically talk about the consequences that a potential movie would have on the HPCC story and the representation within it.

First of, HPCC although it has controversies, is in my opinion the best installation in the Harry Potter universe when it comes to representation. What do I mean by that? Since HPCC is a theatre play, it follows general casting rules which in most cases is colour blind. This is implemented in most theatre productions where ethnicity of actors do not matter, HPCC is not an exception. This means that a lot of POC actors get opportunities to be on stage and portray these characters, not to mention the deliberate casting of Hermione Granger. (Although I will note that this casting has caused a lot of stir, in addition to the fact most of the productions have yet to cast a POC lead in the role of Albus, not counting Tokyo or Brazil).

Although only speculation on my part, I can’t imagine a HPCC movie would be able to deliver on the representation shown in the play, with the numerous casts that have been. I also would assumed they’d return to the white casting of Rose and Hermione, which obviously would erase the theatre play castings purpose.

Then onto my second point; being queer representation. Although it’s not confirmed 100%, and also wouldn’t be able to be confirmed as long as JKR has her dirty grubby hands on the IP, Scorbus is as close to canon as possible. This became evident after the script rewrite, a rewrite that was deliberately written by the current queer actors of the play. It was also written as a retaliation agains JKRs bigoted statements which she had began to spread at that time. So as of now, the play leaves the relationship between Albus and Scorpius ambiguous, yet it is very obvious there is a romantic undertone. This is the closest to any LGBTQ rep in the Harry Potter Universe, (no I will not count Dumbledore and Grindewald) and it means so much to people. A movie by Warner Bros and directed by JKR would most certainly remove all aspects of this, and return to the original script with the very forced addition of Scorpius x Rose. (Nothing against the ship, but I’m against the way it was used as a last minute ploy to remove any assumed gayness).

A subsection to this topic I want to touch upon is also queer representation within the casting. It’s not uncommon for theatre to feature a diverse cast both in ethnicity and orientations. HPCC again is no exception. Over the shows 8 year long run, there has been countless of queer and trans actors who have played in it. There have been gay and trans leads in the roles of Albus and Scorpius as well as the ensemble, and this representation is crucial. Especially since this is an IP within JKRs hands, casting people of said groups is such a powerful move. I can almost guarantee a movie would NOT be as inclusive.

And lastly, if there is a movie, should you support it? It’s not my place to say, and I will also acknowledge I am hypocritical when it comes to what I chose to consume and spend money on in regards to the Harry Potter franchise. However I also want to acknowledge that when you are supporting the theatre play, you do give money to JKR, but you also give money to the numerous queer and POC actors in the cast, a lot of whom are activist. I personally will stay away from any HPCC content that erases any of the current representation added. Unless the movie follows the new script, with POC and queer actors, as well as minimal influence for JKR, I WILL NOT support it. Thank you for coming to my TedTalk.

Also, feel free to correct me if I stated something incorrect or false in this rant!

[nyxshadowhawk]

A Retrospective on Harry Potter

Why did I like it in the first place? What about it worked? Where do I go from here?

I have decided to give up Harry Potter.

J.K. Rowling’s reputation now stinks to high heaven. At this point, she is quite indefensible. And even if that weren’t the case, she is not someone that I would want to associate with anyway. Meanwhile, the internet has not only turned against her, but against Harry Potter itself. An innocent question on Reddit, about which Hogwarts Houses the ATLA characters would be in, got downvoted to oblivion. Innumerable Tumblr threads insist that fantasy fans should get into literally anything else (suggestions include Discworld, Earthsea, The Wheel of Time, and Percy Jackson). And now that Harry Potter is no longer a sacred cow, there has been a recent slew of video essays that rip it to shreds, attacking it for its poor worldbuilding, unoriginality, and the problematic ideas baked into the original books (like the whole SPEW thing), etc. Those criticisms always existed, but now they’re getting thrown into the limelight.

It pains me to see such an ignoble downfall of Harry Potter’s reputation. If Rowling had just kept her damn mouth shut, Harry Potter would have aged gracefully, becoming a beloved children’s classic. I'd still plan to introduce it to my own kids one day (after Rowling dies and the dust settles). It’s not surprising that not all aspects of it have aged well, since it’s been more than twenty years since its original publishing date, and everything starts to show its age after that long. I acknowledge that most of the criticisms of the series that I’ve seen lately are valid, and I’ve read plenty of better books. And yet, when I return to the books themselves, even with the knowledge of who JKR really is inside my head, I still really enjoy reading them! There’s still a lot about them that I think works!

None of the other things I’ve read have had as collossal of an impact upon my identity, my values, and my own writing as Harry Potter. It’s hard to move on from it, not just because it’s something I enjoy, but because I have to literally extract my identity from it. I don’t know who I’d be without Harry Potter. I don’t know what my work would look like without Harry Potter. I don’t know how to carry it with me as just another piece of media that I like, as opposed to a filter for who I am as a person. So, with all that in mind, I have to ask myself why I liked Harry Potter so much in the first place. If I’m going to move on from it, then I have to be able to define and isolate the things about it that I want to keep with me. Something about it obviously worked, on a massive scale. So what was it?

It’s not the worldbuilding. The worldbuilding is objectively quite terrible, especially in comparison to that of other fantasy writers who knew what they were doing. At best, it’s inconsistent and poorly thought-out, and at worst it’s insensitive or even racist. Is it the characters? The characters are, in my opinion, one of the stronger parts of the story. But I felt very called-out by one of the many online commentators, who said that anyone who identifies with Harry is too cowardly to write self-insert fic. (I do not remember who said it or even which site it was on, but I distinctly remember the phrase, “Reject Harry Potter, embrace Y/N.”) The reason why people get so invested in Harry Potter’s characters is because they’re easy to project upon, and it’s possible that my love of Harry comes more from over a decade’s worth of projection than anything else. The incessant arguments over characters like Snape, Dumbledore, and James Potter ultimately stem from the fact that these characters do not always come across the way Rowling wanted them to. As for the writing itself, it’s decent, but not spectacular. Harry Potter is something of a sandbox world, with less substance than it appears to have and a crapton of missed opportunities, making it ripe for fanfic. For more than ten years, I’ve been doing precisely that — using Harry Potter as a jumping-off point to fill in the gaps and develop my own ideas, some of which became my original projects.

So what does Harry Potter actually have that sets it apart? Why are people so desperate to be part of Harry Potter’s world if the worldbuilding is bad? What, specifically, is so compelling about it? I think that there’s one answer, one thing that is at the center of Potter-mania, and that has been the underlying drive of my love of it for the past decade and a half: the vibe.

Harry Potter’s vibe is immaculate.

You know what I mean, right? It’s not actually a product of any specific trope, but rather a series of aesthetic elements: The wizarding school in a grand castle, with its pointed windows and torches and suits of armor, ghosts and talking portraits and moving staircases, its Great Hall with floating candles and a ceiling that looks like the night sky, its hundreds of magically-concealed secret doorways. Dumbledore’s Office, behind the gryphon statue, with armillary spheres in every single shot. Deliberate archaisms that evoke the Middle Ages without going as far as a Ren Faire: characters wearing heavy robes, writing with quills and ink on parchment instead of paper, drinking from goblets, decorating with tapestries. Owls, cats, toads. Cauldrons simmering in a dungeon laboratory. Shelves piled with dusty tomes, scrolls, glass vials, crystal balls, hourglasses. Magical candy shaped like insects and amphibians. A library with a restricted section. A forbidden forest full of unicorns and werewolves. That is the Vibe.

There are five armillary spheres just in this shot. They are unequivocally the most Wizard of tabletop decor.

There’s more to it than just the aesthetic, though. The vibe is present in something that writers call soft worldbuilding.

There’s a phrase that writers use to describe magic systems, coined by Brandon Sanderson: hard magic and soft magic. Sanderson’s first law of magic is, “An author’s ability to solve problems with magic is directly proportional to how well the reader understands said magic.” A hard magic system has clearly-defined rules — you know where magic comes from, how it works and under which conditions, how the characters can use it, and what its limitations are. Examples of really good hard magic systems include Avatar: The Last Airbender and Fullmetal Alchemist. If the audience doesn’t understand the conditions under which magic can work, then using magic to get out of any kind of scrape risks feeling like the writer pulled something out of their ass. It begs the question, “Well, if they could do that, then why didn’t they do that before?”

You may come away from that thinking that having clearly-defined rules is always better worldbuilding than not having them, but this isn’t the case. Soft magic isn’t fully explained to the audience, but that doesn’t matter, because it isn’t trying to solve problems — its purpose is to be evocative. Soft magic enhances the atmosphere of a world by creating a sense of wonder. If your everyman protagonist is constantly running into cool magical shit that they don’t understand, then the world feels like it teems with magic, magic that is greater and more powerful than they know, leaving lots of secrets to uncover. Harry Potter, at least in the early books, excels at this. The soft magic in Harry Potter is what got me hooked, and I think it’s what a lot of other people liked about it, too.

The essence of soft magic is best summed up by this scene in the fourth film, in which Harry enters the Weasleys’ tiny tent at the Quidditch World Cup, only to find that it’s much bigger on the inside. His reaction is to smile and say, “I love magic.”

That’s it. That’s the essence of it. You don’t need to know the exact spell that makes the tent bigger on the inside. You don’t need to know how Dumbledore can make the food appear on the table with a flick of a wand, or how he can make a bunch of poofy sleeping bags appear with another flick. You don’t need to know how and why the portraits or wizard cards move. You don’t need to know how wizards can appear and disappear on a whim, or what the Deluminator is, or where the Sword of Gryffindor came from. You don’t need to know how the Room of Requirement works. Knowing these things defeats the purpose. It kills the vibe, that vibe being that there is a large and wondrous magical world around you that will always have more to discover.

One of the best “soft magic” moments in the books comes early in Philosopher’s Stone, when Harry is trying to navigate Hogwarts for the first time:

There were a hundred and forty-two staircases at Hogwarts: wide, sweeping ones; narrow, rickety ones; some that led somewhere different on a Friday; some with a vanishing step halfway up that you had to remember to jump. Then there were doors that wouldn't open unless you asked politely, or tickled them in exactly the right place, and doors that weren't really doors at all, but solid walls just pretending. It was also very hard to remember where anything was, because it all seemed to move around a lot. The people in the portraits kept going to visit each other, and Harry was sure the coats of armor could walk. —Philosopher’s Stone, Chapter 8

Many of these details don’t come back later in the series, which is a shame, because this one paragraph is super evocative! It establishes Hogwarts as an inherently magical place, in which the very architecture doesn’t conform to normal rules. Hogwarts seems like it would be exciting to explore (assuming you weren’t late for class), and it gets even better when you learn about all the secret rooms and passages. The games capitalized on this by building all the secret rooms behind bookcases, mirrors, illusory walls, etc. into the game world, and rewarding you for finding them. The utter fascination that produces is hard to overstate.

Another one of the most evocative moments in the first book is when Harry sees Diagon Alley for the first time, after passing through the magically sealed brick wall (the mechanics of which, again, are never explained). This is your first proper glimpse at the wizarding world and what it has to offer:

Harry wished he had about eight more eyes. He turned his head in every direction as they walked up the street, trying to look at everything at once: the shops, the things outside them, the people doing their shopping. A plump woman outside an Apothecary was shaking her head as they passed, saying, “Dragon liver, seventeen Sickles an ounce, they're mad....” A low, soft hooting came from a dark shop with a sign saying Eeylops Owl Emporium — Tawny, Screech, Barn, Brown, and Snowy. Several boys of about Harry's age had their noses pressed against a window with broomsticks in it. "Look," Harry heard one of them say, "the new Nimbus Two Thousand — fastest ever —" There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels' eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon.... —Philosopher’s Stone, Chapter 5

What works so well here is the magical weirdness of wizardishness juxtaposed against normalcy. Eeylops Owl Emporium is just a pet shop to wizards. A woman makes a very mundane complaint about the price of goods, but the goods happen to be dragon liver. Broomsticks are treated like cars. All of these small moments contribute to the feeling of the wizarding world being alive, inhabited, and also magical. It gets you to ask the question of what your life would be like if you were a wizard. What do wizards wear? What do they eat? What do they haggle over and complain about? What do they do for fun?

In Book 3, Harry enjoys Diagon Alley for a few weeks when he suddenly has free time, and we get to experience the wizarding world in a state of “normalcy,” when he isn’t trying to save the world. He gets free ice creams from Florean Fortescue, gazes longingly at the Firebolt, and engages with delightfully weird people. He’s a wizard, living a (briefly) normal wizard life among other wizards in wizard-land. And that is fun. It’s so fun, that people want that experience for themselves, enough for there to be several theme parks and other immersive experiences dedicated to recreating the world of Harry Potter.

One of the greatest things about Universal was its phenomenal attention to detail. You can hear Moaning Myrtle’s voice in the women’s bathroom, and only the women’s bathroom. The walls of the Three Broomsticks have shadows of a broom sweeping by itself and an owl flying projected against the wall, so convincingly that you’ll do a double take when you see it. Knockturn Alley is down a little secret tunnel off of the main street, and that’s where you have to go to buy Dark Arts-themed stuff. It’s really well done.

Another thing that contributes to the vibe, in my opinion, is that the wizarding world is slightly macabre. They eat candy shaped like frogs, flies, mice, and so forth, and they have gross-tasting jellybeans. In the film’s version of the Diagon Alley sequence above, there’s a random shot of a pet bat available for purchase. In the third film, when Harry is practicing the Patronus Charm with Lupin, the candles are shaped like human spines. In the first book, this is Petunia’s description of Lily’s behavior after she became a witch:

Oh, she got a letter just like that and disappeared off to that-that school, and came home every holiday with her pockets full of frog spawn, turning teacups into rats. I was the only one who saw her for what she was — a freak! —Philosopher’s Stone, Chapter 4

I remember reading this for the first time, and it just kind of made intuitive sense to me. I suppose it fits into the “eye of newt and toe of frog” association between magical people and gross things, but somehow it works. Unfortunately, this is retconned later with the knowledge that wizards can’t use magic outside school, but before that limitation gets imposed, the idea of Lily amusing herself by turning teacups into rats seems like an inherently witchy thing to do.

That association between magic and the macabre shows up elsewhere, as well. In The Owl House, Luz’s interest in gross things is one of the things that marks her as a “weirdo” in the real world. When she goes to the magical world of the Boiling Isles, weird and gross stuff is absolutely everywhere. That world’s vibe leans more towards the macabre than the whimsical, but it works because you sort of expect the gross stuff to exist alongside the concept of witches, and that they would be an intrinsic part of the world they inhabit. You don’t question it, because it’s part of the vibe.

(The Owl House is one of the few things I’ve encountered that has a similar vibe to Harry Potter, but it’s still not the same vibe. In fact, The Owl House outright mocks the expectation that magical worlds be whimsical, and directly mocks Harry Potter more than once. The overall vibe is much closer to Gravity Falls.)

The Harry Potter films utilize a lot of similar soft worldbuilding with the background details, especially in the early films that were still brightly-colored and whimsical. For example, the scene in Flourish and Blotts in the second film has impossibly-stacked piles of books and old-timey looking signs describing their subjects, which include things like “Celestial Studies” and “Unicorns.” When Harry arrives in the Burrow in the same film, one of the first things he sees is dishes washing themselves and knitting needles working by themselves, taking completely mundane things and instantly establishing them as magical. In that Patronus scene with Harry and Lupin, the spine-candles and a bunch of random orbs (and the obligatory giant armillary sphere) float around in the background. One small detail that I personally appreciate is the designs on the walls above the teacher’s table in the Great Hall, which are from an alchemical manuscript called the Ripley Scroll:

It’s all these little things that add up to produce The Vibe.

Obviously, much of the vibe is expressed very well in John Williams’ score for the first three Harry Potter films. The mystical minor key of the main theme, the tinkly glockenspiel, the strings, the rising and falling notes that mimic the fluttering of an owl, the flight of a broomstick, or the waving of a wand. That initial shot of the castle across the lake as the orchestra swells, as the children arrive at their wizarding school:

If you grew up with Harry Potter, just looking at this image gives you The Vibe. The nostalgia hit is definitely part of it, but The Vibe was already there, back when you were a child and you didn’t have nostalgia yet.

In my opinion, only Williams’ score captures this vibe — the later films, though their scores are very good, do not. But the soundtrack of the first two video games, by Jeremy Soule (the same person who did Skyrim) absolutely nails it. This, right here, is Harry Potter’s vibe, condensed and distilled:

This is why I feel invalidated by the common advice “just read another book.” I have read other books. I’ve read plenty of other books, many of which are wonderfully written and have left an impact on me. But there’s still only one Harry Potter. To date, there’s only other book that has filled me with a similarly intense longing for a fictional place, and that is The Night Circus by Erin Morgenstern. That book deliberately prioritized atmosphere over everything else in the story, and actually lampshades this in-universe. The Night Circus has a plot and it has characters, but it’s not about its plot or characters. It’s about the setting and its atmosphere. It swallows you up and transports you to a fictional place that is so evocative and so magical that you just have to be part of it or you’ll die. And even then, The Night Circus has a different kind of vibe from Harry Potter. In this particular capacity, there’s nothing else like Harry Potter.

The thing is, I don’t think Rowling was being as deliberate as Erin Morgenstern. (In fact, given many of Rowling’s recent statements, I question how many of her creative choices were deliberated at all.) She was throwing random magical stuff into the background without thinking too hard about it, which works when you’re writing a kids’ story, but stops working when you try to age it up. Actually, scratch that — soft worldbuilding is definitely not just for kids! The Lord of the Rings has a soft magic system, for crying out loud, and Tolkien is the original archmage of worldbuilding. Don’t listen to anyone who tells you that prioritizing atmosphere over meticulousness is bad worldbuilding. That is a valid way to worldbuild! Not everything needs to be clearly explained, not everything needs to make sense. The problem is that Harry Potter doesn’t balance it well. Certain things do have to be explained in order for the magic to play an active role in the story (and the setting of a magic school lends itself to that kind of explanation), but no rules are ever established for the kinds of magic that need rules. When you begin thinking about the rules, you’re no longer just enjoying the magic for what it is. At worst, you begin running up against the Willing Suspension of Disbelief.

It wasn’t actually the “aging up” of the story that did it in, per se, but rather, the introduction of realism. The early books were heavily stylized, and the later books were less so. A heavily stylized story can more easily maintain the Willing Suspension of Disbelief. That’s why, for example, you don’t ask why the characters are singing in a musical — you just sort of accept the story’s outlandish internal logic, and the inherent melodrama of it doesn’t take you out of the story. Stylized stories are more concerned with being emotionally consistent over being logically consistent. The later Harry Potter books changed their emotional tone, but without changing the worldbuilding style to compensate.

In addition to the more mature themes and darker tone, Harry Potter introduced more realism as it went, but Rowling did not have the worldbuilding chops to pull this off. There’s the basic magic system stuff: When you begin thinking about it too hard, something like a Time-Turner stops being a fun magical device, and starts threatening to break the entire story. Then there’s the characters: Dumbledore leaving Harry on the Dursleys’ doorstep in the first book is an age-old fairy tale trope that goes unquestioned, but with the introduction of realism in the later books, it suddenly becomes abandonment of a child to an abusive family. The exaggerated stereotypes of characters like the Dursleys become tone-deaf. The fun school rivalry of the House system is suddenly lacking in nuance. And then there’s the shift in tone: The wizarding world that we were introduced to as a marvellous place is revealed to be dystopian. You start thinking about how impractical things like owl messengers are, you start wondering if Slytherin is being unjustly punished, the bad history appears glaringly obvious, the quaint archaisms become dangerously regressive. Oh, and the grand feasts are made through slave labor! The wizarding world suddenly feels small and backward instead of grand and marvellous. J.K. Rowling’s bigotry throws it all into an even harsher light.

This is why I’ve always preferred the early books and films to the later ones. There’s a lot of things I like about the later ones, but they’re not as stylized — they don’t have The Vibe. Thinking about things too hard is just a necessary condition of adulthood, but it’s still possible to tell a dark, mature story that is highly stylized. I really think JKR could have better pulled off that shift if she was a more competent worldbuilder. But it is painfully obvious that she did not think things through, and probably didn’t understand why she had to. In her defense, she did not know that her story would end up being one of the most scrutinized of all time. As it stands, her strength in worldbuilding was in the softer, smaller, deliberately unexplained moments of magic that were there just to provide atmosphere. And there were less and less of those as the books went along.

Pretty much all the Harry Potter-related content released since the last film — including Cursed Child, Fantastic Beasts, Hogwarts Mystery, Hogwarts Legacy, Magic Awakened, and that short-lived Pokemon Go thing — have been unsuccessful attempts at recreating The Vibe. In fact, the only piece of supplemental Potter content that I think had that Vibe down pat was the original Pottermore, back when it was more of an interactive game. And of course that got axed. That was right around the time things started going downhill.

Some of the art from Pottermore’s original Sorting quiz.

So what now? Well, that’s the question.

I think I can safely say that The Vibe was the reason I liked Harry Potter. It’s the thing I still like the most about it. I’ve spent years chasing it, like an elusive Patronus through a dark wood. If I can capture and distill that Vibe, and use drops of it in my own work, then perhaps I won’t need Harry Potter anymore.

I'm gonna write the story that I wish Harry Potter was, and when I'm a famous author, I won't become a bigot. I'll see you on the other side.

[velvet4510]

For the record, “DON’T KILL HIM!” - Draco’s yell when Harry is being attacked, caps lock and all - is not the kind of thing an ordinary bully screams when someone they despise is in danger, it’s more like the kind of thing that … you know … a person in love screams when the object of their affections is in danger. That’s just a fact.

[xeyesofstardust]

James stans want to hold it against Snape for only wanting to save Lily and not James.

I cannot even fathom that logic because who among us would be like “yeah, you know that kid that bullied me so aggressively in grade school. I totally want to save his life and don’t need to be talked into it.”

Are you guys serious? I would need to be blackmailed, threatened with Azkaban, threatened to drown me in the Black lake with the giant squid monster, cast crucio and have the imperious curse cast on me for me to even consider saving my tormentor‘s life. And even then I might find a way to not go through with it.

[dinarosie]

Even if Snape's inner motivation for joining Voldemort was a desire for acceptance, control, power and belonging, surely to achieve that he must have harbored some toxic beliefs about muggles and muggleborns? I cannot imagine someone as intellectual as Snape would not try to justify the dislike for muggles and muggleborns of the other purebloods in his head? He probably thought muggleborns were lesser in some ways to purebloods and muggles were ruining the world or something. He couldn't rationalize Lily's hatred for the dark arts and people like Mulciber, therefore I think he held delusional and negative beliefs towards muggleborns and muggles because his mind distorted the truth to fit his selfish narrative. He was moving in pureblood circles, heared their opinions all the time I believe he started believing some of that stuff too even if he wasn't violent about it. He tried to appease Voldemort, strived to be his follower he must have internalized some of the anti muggleborn beliefs in order to do that. What do you think?

Prejudice in the wizarding world isn’t something exclusive to the Death Eaters or even to one specific time. It's woven deeply into magical society, and even after the Second Wizarding War, we don't see convincing evidence that these biases are completely eradicated. Throughout the books, we see that many characters even those like mcgonagall, Hagrid and Weasleys, who oppose Voldemort's ideology still display some prejudice toward Muggles and other magical beings. They may not condone Voldemort’s tactics, but for example they actively try to sever all ties with their Muggle relatives as if they don’t exist at all or they show amusement at using magic to fool Muggles (think Ron, teenage James and Sirius). This reflects a norm and heritage within wizarding culture, a subtle acceptance of superiority that has been passed down for generations. This societal undercurrent of prejudice was so pervasive that, in the early days of the First Wizarding War, many actually supported Voldemort’s rise, at least until his methods became excessively violent. If the prophecy hadn’t intervened, he might have won, showing how ingrained these biases were.

When it comes to Snape, I get frustrated with interpretations that try to paint him as some "mini-Nazi" from age nine. Looking at his childhood, it’s clear that young Snape didn’t have a love for the Muggle world—and honestly, can you blame him, considering the harsh, painful reality his family life created there? To him, magic was a ticket out, a lifeline. But what’s interesting is how he responds to Lily’s magic, a Muggle-born witch. Instead of seeing her as “lesser,” he immediately recognizes her as one of his own:

“You are,” said Snape to Lily. “You are a witch. I’ve been watching you for a while. But there’s nothing wrong with that. My mum’s one, and I’m a wizard.”

Here, he embraces her as part of the magical world. He doesn’t see her as an outsider; instead, he’s excited to introduce her to magical world and help her feel like she belongs. This moment shows that even from a young age, Snape saw her magic as normal and valid (natural and valid like him and his own mother), even if she was Muggle-born.

I think it’s reasonable to believe teenage Snape (like most of the wizarding world) had some biases, especially given the difficult conditions he grew up in and the House he was eventually sorted into. But I don’t think these biases were the main driving force behind his choices. His prejudices weren’t extreme enough to fuel violence against Muggles or Muggle-borns. There’s no evidence that he ever wanted to actively harm someone simply because of their heritage, even in his Death Eater days. So, while he likely absorbed some prejudices from the pureblood-dominated world he was in, it’s clear that these beliefs didn’t reach the fanatical level they did with the other Death Eaters. And as he matured, these biases seemed to fade even further, to the point where he ultimately sacrificed his life to protect people.

Part of the differences between Lily and Snape’s perspectives on the Dark Arts, I think, can be traced back to Hogwarts’s own black-and-white view on magical disciplines. In some wizarding cultures, Dark Arts are studied and understood as a form of complex magic, not inherently evil. Interestingly, these communities, despite their engagement with Dark Arts, don’t necessarily produce other Voldemorts, so perhaps the Dark Arts have legitimate applications beyond harm. This difference in perspective is, I think, part of why young Snape couldn’t fully grasp Lily’s rejection of Dark Arts. To him, the Dark Arts were an area of knowledge, filled with awe and potential power, rather than just danger and malice. He believed that by mastering these aspects, he might impress her. Rowling’s narrative makes sense this way; Snape wasn’t trying to seduce her with dark ideas, but rather to share something he found fascinating and intellectually rich, even if misguidedly so.

[wearerecyclebins]