#anyway i really like this story and i enjoy reading other people's opinions about it

[cathodic-clairvoyant]

You are actually the only person I have seen say anything that makes sense regarding HDWR recently, thank you for your good takes. I love this manga, but it really feels like I’m not reading the same story as most people sometimes

I for the record think that there is a lot (in fact i'd say majority) of interesting discussion about hdwr, even now, (just the other day in the main tag i saw a post that i liked talking about tamaki as a character & her and miwa's relationship and despite the subreddit having a lot of silly posts lately i think a couple months ago around ch. 113's release there were a lot of good comments about MiwaSae and both of their development throughout the story and I think even now there's good discussion about ch. 119 and miwa and tamaki burried in the silly stuff) and in some sense like i feel like the current wave with ch. 119 was always going to happen, it's a very emotionally charged topic that we're seeing how much it hurt a character people tend to like so like i understand being upset by it and having strong opinions about it.

That all being said, the kind of discussion that tends to surround the story of "sae was unfair/toxic to miwa" "tamaki has always been manipulative" "yuria is unfair to sae" are baffling to me because I feel like to get anything out of this story- to not instantly just be frustrated with it- you have to interact with it a little bit on its terms and I think part of that is acknowledging that these characters are more complex than the simple one word "abusive/toxic/manipulative/innocent" labelling and have complex emotions and imperfect reasoning that cause them to make mistakes, be cruel to each other, and do the wrong things. This doesn't excuse the characters' actions but that's not what the story is interested in doing anyway.

And like, I don't think the story is for everyone, I don't think everyone has to want to interact with the story on those terms; which is why while i personally don't agree with the kind of people who say "i had to stop reading when miwa and sae broke up bc it was too sad/too frustrating" and the like, I can at least understand it as just the story has goals that reader doesn't want to engage with, which is completely understandable. Where it confuses me is getting so far through the story and still not choosing to interact with the story on its terms. What are you getting out of this story then??? Does viewing sae as toxic enhance the story for you? Is it a useful way in looking at the narrative?

Especially since I feel like tamifull has attempted to make these characters realistic almost to invite us the reader to examine both ourselves and our relationships as we read. Is How Do We Relationship a useful tool to to analyze yourself or your own relationships with if you flatten the characters into good and bad? Is that a lens you'd want to view your own relationships with? I don't think so. I feel like the only things it could lead to is "i wouldn't make that mistake because I'm not toxic." "i wouldn't find myself in this situation because me and my partner aren't like them." So like. What benefit does viewing these characters in this way give you? You clearly seem to agree with/like the goals of the story if you're still here 100+ chapters later so like. What are you getting out of this?

I dunno. Like i said, I do think there's still a lot of good discussion about hdwr. That's why I still lurk the subreddit and read posts in the main tag. It's just this specific genre of discussion i can't understand especially when it happens with like more recent chapters

[akkivee]

KR!!!!!!!!!!!!! NELKE!!!!!!!!!!! WHOMST TF EVER!!!!!!!!!!!!!!!!!!!!!

LET ME IN!!!!!!!!!!!!!!!!!!!!! LET ME IIIIIIIIIIIIIIIIIIIIIINNN!!!!!!!!!!!!!!

[zuzuzuko]

Thoughts on The Boy Wonder #3:

Under the cut because it got LONG

I really really am enjoying this comic still. This is part of my favorite page from this issue:

Someone posted the Talia panel earlier but I think that panel with the context of the rest of the page makes it even better. It’s kind of a subtle nod to the fact that Talia and Ra’s do NOT fuck with these kinds of people and in fact think they’re a blight on the world. So I really really liked that.

LOVED Tim being all smarmy at the Gala. And I thought it was fun that Damian just thinks that’s how he is. It shows how much Tim and Damian misunderstand each other and how neither of them think very highly of each other at this point.

Glad they showed Tim’s distrust of Damian too because that is a big part of why their dynamic is how it is. Early Damian and Tim interactions are basically built on misunderstandings and lack of trust. I also thought this dialogue was interesting because it is a great reflection of how Damian originally DID stop killing just because his dad told him to and he wanted his dad’s respect. It took some time for him to actually BELIEVE that not killing was the right thing to do. So Tim saying “I can tell you feel bad about killing that guy. But do you feel bad because you hurt someone or because you got punished for it?” Was a very good insight to include in my opinion.

I don’t really have any commentary for this next page I just think it was a really fun silly page:

This next part was so cute 😭 Damian thinks Tim decided to be a better person that makes him believe HE can be a better person too. And in the last panel I post he says “I thought… I thought I was the one who got you to…” meaning he thought he inspired Tim to be a better person. 😭😭😭😭

so it makes sense that he’s upset then when he finds out that Tim was just ACTING like a smarmy socialite and was actually helping Damian with the mission all along. Because he kind of felt like “oh I thought you made mistakes and now were redeeming yourself which meant that I would be able to redeem myself. But you were actually just good all along…”

Completely off topic but Tim breaking in the night before and stealing the Batman statue head is so funny and definitely something he would do.

“He wanted to feel better, worthier than him so badly…” yeah Damian definitely saw Tim as competition when they first met.

Also the last panel I didn’t read as if Talia and Ra’s tell Damian he’s weak but I see it more as an unreliable narrator thing. Like Damian’s own insecurities are presenting themselves as his mother and grandfather.

ANYWAYS

there were so many more panels I wanted to talk about alas the 10 picture limit.

Overall I really liked this issue I think it was a simple story for sure but it also highlighted Tim’s distrust of Damian and them misunderstanding each other. I will say Juni Ba definitely made them nicer to each other which is my only real criticism tbh.

TLDR: it was good 👍

[nickeverdeen]

Hiii, I have a request for Caitlyn from Arcane x fem!reader whose struggling a lot socially headcannon / imagine (I still don't really understand the difference so feel free to decide).

Also since this isn't the first request I'm making, (I was the third Caitlyn matchup you did if I'm not wrong) do you take emoji anons? If so can I be 💐 anon?

Anyways enjoy your break

Hi, cariño! So basically imagine is something like a story and headcannon are points. For example I chose headcannons for this. And you can totally be my 💐 anon!

——————————

Caitlyn x socially struggling fem!reader hcs

Caitlyn is a wonderful listener, letting you express your social anxieties without ever judging or interrupting

Whenever she senses you’re nervous in public, she’ll give your hand a gentle squeeze, grounding you instantly

Caitlyn never pushes you into situations you’re uncomfortable with, always letting you take things at your own speed

She’s very intuitive, and if anyone makes you uncomfortable, she’ll politely steer the conversation or whisk you away so she can deal with them

Caitlyn’s perceptive and realizes that social settings can be overwhelming, so she never expects you to be someone you’re not

At gatherings, she’ll find quieter spots with you so you both can enjoy the evening without the crowd

If you’re unsure about social cues, she’ll gently guide you, helping you understand people’s reactions without making you feel self-conscious

When you’re together, she has a way of making you feel like it’s just the two of you, no matter where you are

She understands that social anxiety takes time to overcome and will never rush you or make you feel like a burden

A hand on your back, an arm around your shoulder—she’ll always be there with these small touches to keep you at ease

Every step you take socially, no matter how small, is a reason for her to celebrate and show how proud she is of you

Caitlyn will introduce you to new experiences but always checks if you’re comfortable first

She’s perceptive enough to know when you’re struggling and will step in to gracefully steer conversations or provide an easy exit

She’s always checking in with you, making sure you feel safe and respected, especially in social settings

If the environment becomes too much, she’ll find a way to bring you somewhere quiet, no questions asked

Caitlyn is quick to shut down any hurtful comments or disrespectful behavior toward you

In private, she’ll gently ask about your thoughts and opinions, helping you build confidence in expressing yourself

Caitlyn will subtly offer tips on social situations, knowing you might need guidance without making it obvious

She’s tactful about keeping you involved in conversation without putting the spotlight on you

Caitlyn genuinely admires your resilience and bravery, even if it’s just showing up to a social event

She lets you navigate social situations on your own but is close by if you need her

Caitlyn is perceptive and respects your social boundaries, helping you balance being present with avoiding overwhelm

In public, she’ll be discreet yet affectionate, making you feel loved without drawing attention

She’ll suggest quieter dates, like walks in the park or reading in a cozy café, where you can enjoy time together without social pressure

After you successfully handle a social event, she’s the first to congratulate you, making you feel seen and accomplished

She knows when you’re feeling drained and will offer to wrap things up early without you having to say a word

When making plans, Caitlyn always considers what will be most comfortable and enjoyable for you

Caitlyn’s affectionate but knows you feel most comfortable with private, intimate moments rather than public displays

After socializing, she’s there to talk it out, reassure you, and help you unwind from any lingering stress

Caitlyn helps you see the strengths in being a quiet, observant person, building your confidence in who you are

If others ever misinterpret your shyness as aloofness, she’ll step in to set the record straight

Caitlyn can sense when you’re on edge and will find a way to help you relax without drawing attention

She’s steadfast in her support, reminding you that you don’t need to change to be loved and appreciated

She’s always putting your comfort first, from choosing seating arrangements to suggesting quieter venues

Caitlyn encourages you to be proud of who you are, reminding you that your uniqueness is what makes you special in her eyes

[skyfallscotland]

We really need to talk about this obsession with toxic positivity in fandom.

There are corners of the internet (tumblr, reddit, in some respects AO3) that were made for discussion and exploration.

Part of being in fandom is, and has always been, discussing canon through a critical lens. This should be expected, not lambasted as if the creators themselves are going to read every post and be so viscerally offended they skip their dinner for the night.

If you’re required to only “be positive” about something, the community devolves into an echo chamber and that's boring. Going against the grain, believing something different, never used to make you a 'hater'. Where did we go so wrong that it’s perceived as such now?

Everyone has a valid viewpoint to add to any discussion, however my viewpoint is only welcomed if it’s in agreement with the majority of people—which it generally will never be given I am, in fact, a minority and therefore do not view the text through the same lens as most people. My lived experience means I don’t think like most of you, and I'm frustrated that I’m essentially told to sit in a corner and be quiet because of it. Why are you even posting under a discussion flair if any opinion different to yours is met with vitriol? You clearly don't want discussion.

Here’s the thing—you don’t love this book more than me just because you don't have any critiques. Your opinion is not more valid than mine (or anyone else's) because you lack the ability or the inclination to imagine, to explore, to question.

You (we, if I may) can love something and still believe it can be improved upon. Generally, if you love something, that is what you want—you want it to be the best it can be.

And even if you don't think the same way I do, here's the thing—ultimately, how the hell does it affect you if I don’t agree with an aspect of the text or your interpretation of it? My criticism of the way certain books are lauded for bare bones disability rep or their inclusivity when they have *checks notes* a character of ambiguous skin tone, should have no bearing on your enjoyment of the book. My opinion that a character has ambiguous morals should have no bearing on your enjoyment of the character.

You wanna know what I think it is? (You don't, but I'm going to tell you anyway)—people seek to find themselves in stories. We want to feel seen, that’s normal. But now, especially in these fandoms, people are getting the lines blurred. They’re getting their identities completely entangled with these books.

It’s ok to love something, but to become so entrenched in it that you can’t separate the book from your own sense of self? That's dangerous.

These unfortunate people need you to say only ultra-positive things about it because anything else is perceived as an attack on them and who they are—because they think they are the things they enjoy. Positive opinions on the text and its characters, in line with their own, are self-validation for them.

Enjoying something doesn’t mean it has to be a part of your identity. Things can be beloved and formative without affecting your self-esteem and sense of worth.

And I think, for me at least, it all trickles down to this: at the end of the day, if I disagree with something, I attempt to counter the opinion, that's how my brain rolls—people who disagree with 'being negative' (and I say that with the utmost derision, because usually it’s not negativity at all) don't have an argument that you're wrong, they just don't think you should talk about it. They go straight to attacks and vitriol, and telling you to get out.

You can still like something and admit it’s flawed.

There are a great many things I love about my fandoms, I just don't always mention them because it's been covered already 😉 Why bring up something ten other people already have day in, day out?

In closing, I'll leave you with this:

Even when fandom is being critical, it ultimately comes from a place of optimism and devotion, one that centers on the hope that a beloved property might stop fucking everything up and start being good again, x

Oh, and no, I won't "quit reading fantasy" just because I want to see a protagonist with my physical limitations. That's ableist as fuck. Have the day you deserve!

[zettaireido-emotion]

Camus character analysis: games VS anime

If you finished the Uta no Prince-sama anime and your opinion of this man is "wow, he's kinda terrible," I don't blame you. in fact I've seen a lot of people say this

In this post, I want to talk about his characterization in the games and give my two cents on what the anime was trying to do with him, especially in his single focus episode Saintly Territory (S3E6).

Disclaimer: I wrote this on a whim because I'm sick and stuck at home so if anyone reads this, sorry I might go all over the place

Spoilers for all of the games!

The "be my slave" thing

Starting with Anime Camus's most egregious crime: treating Haruka like a servant/slave (however you want to translate it)

Basically in his focus episode, Haruka is tasked with writing a song for Camus. She wants to learn more about him in order to write it, but Camus will only let her follow him if she acts as his servant. She accepts without complaining, Cecil is rightfully angry, Haruka continues anyway and the song gets completed.

Now, am I about to say that Game Camus would never do this? No because he literally does lmao.

The anime doesn't pull this "servant" plotline out of nowhere, here's the context in his route:

Haruka accidentally overhears Camus talking about a plot to assassinate Saotome on the phone. When he notices that she heard everything, he basically tells her that he has to kill her now. But if she served him, he'd be able to keep an eye on her, make sure she doesn't leak anything, so she could escape death.

Okay uh "work under me or DIE" isn't exactly better, nor is it a good start to a love story, but I'm not finished!!

(A side note: I have to add that the anime made him look like an even bigger asshole and borderline dumb when it came to the things he made her do. Like he expected her to know that snapping your fingers means you want coffee without prior explanation. bro

^This might have been for comedic effect but I promise he can be actually funny and endearing.)

What the anime couldn't cover

The Camus episode wraps up with Haruka pulling through and writing a song that makes Camus "sincere," he says it's cool at the very end and that's the episode. I think the problem is that we technically didn't see him being sincere or what that even means to him, besides when he was singing (banger song btw)

It's a shame because in a 20-minute episode you really can't show the game experience of slowly piecing together what this man's problem is.

First of all, in Debut and AS you'll be quick to notice that he always has homeland and duty on the mind, constantly reminding himself that he's in Shining Agency/Japan for a reason, and it's NOT to have fun or make friends

The truth is, he slowly starts to appreciate the banter with his colleagues, music, and working there in general.

But because of his initial mindset, he has to rationalize & justify every connection he forms, like "it's just for work" or worse: "actually it was ALL A LIE and I NEVER ENJOYED A SECOND OF THE TIME WE SPENT TOGETHER, I'm such a great actor haha"

He uses that to fool himself and to push the other person away so it doesn't happen again. This scene is probably the best example:

(I'll be using google lens because it's faster but I checked that the tls were okay)

He also does this in the Non-Fiction drama, which may or may not have actually happened, but I think it's still a pretty good reflection of what could happen in reality because he tells Ranmaru their bond was a lie, then mopes around in his guilt thinking about the good times and wondering why he's sad, and THEN later doubles down on the "it was a lie, I don't care about you" because he just can't let himself get attached to anything.

Basically, he's terrified at the thought of forming actual bonds because he genuinely thinks he's nothing if he stops being a cold weapon:

At one point he does admit he sucks (as a love interest)-

-which is pretty huge by utapri standards. I love these games, but the amount of times where a male lead does something icky, and everyone, including Haruka, acts like it's normal or like it's Haruka's fault is ehhh but I digress

Upbringing

Of course he's very proud of his homeland and status, but sometimes it's to the point of thinking he can't be anything other than his title. So why is he like this?

We got to hear about his childhood from Camus himself a few times, and it often ended with Haruka thinking "wait? that's kinda messed up?" and Camus insisting it's nothing/it's normal so yeah that's something...

His parents were in an unhappy arranged marriage, and his mother was forced to birth an heir which traumatized her so much that she can't see Camus without falling ill. Overall it's a pretty tragic situation since what happened to her was horrible, though not Camus's fault either. Even now she refuses to see him, and I wouldn't say that makes him sad because he never really met her, but simply knowing of her sacrifice probably adds a lot of pressure. As in, he only exists for this one purpose (inheriting his father's title and serving the country), so if he doesn't play his part correctly, it would have all been for nothing.

He was raised by his father not as a child or son but as the heir, always treated and judged as an adult (even during physical training apparently, make of that what you will)

When Haruka asks about childhood memories he has a very hard time finding something that doesn't have to do with his duties or the nation. And then admits he didn't truly have a "childhood" since he was never treated like a child

As for the queen, I think his love for her is sincere: she taught him a lot of things growing up, and according to him, she's also a victim trapped by her duties so he wants to ease the burden.

So hypothetically, if he found things or people that made him happy in Japan, he would feel obligated to lock them away because that happiness is incompatible with his life: he'll have to leave when his mission ends, he shouldn't be spending time on things that aren't "useful" as he doesn't have the free will to pursue them

In his mind he's completely tied down by the fact that he was born and raised for a single reason, and the fact that he does want to serve the queen.

(This is Saotome describing him btw)

Also it might sound ridiculous to bring his self-worth into question because of how pretentious he is, but I've counted a few situations where he seemed to have complete disregard for his own life, only worrying about Haruka and Cecil's safety in scenes when they were present. And he thinks wanting to be loved unconditionally is a childish thought he shouldn't have.

"Double Face" was a lie. There's like at least 10 layers

On the surface he does have two personas, his perfect polite butler act for the media, and his cold bitchy attitude off camera. But honestly, even when he's not acting as a butler, he's often putting up a front to hide any form of vulnerability (from himself as well)

His main struggle is finding who he is outside of what he's being told to do. Before, he never actually stopped to think about what he WANTS because it just never occurs to him, or if it does he ignores it.

That's why realizing that he has his own desires is essential to his character development, and him staying with Quartet Night (and Haruka in his routes) is so important. It's why Reiji feels the need to reach out and when he does, Camus either freezes up or tears up;

This all makes him the opposite of Ranmaru (being true to yourself and sincere), and similar to Ai (gradually learning to view the world in a less cold and logical way), but I kind of want to save that for another post lmao

He is especially hard on Cecil because Cecil says & does whatever he wants, and everything still works out for him, which is a way of life that Camus can't imagine for himself at all (despite maybe wanting it?)

That he can realize this and eventually admit out loud, despite all his pride, is also one of my favorite things about him

Season 2 does hint at something, so that's pretty cool!

Side note, I really love that his theme in the new Oracle series is "Change," the melting of ice.

So what was the anime supposed to do??

Of course there's no way to show all this in a single episode or even during the runtime of the anime, and I never expected them to because the story is very surface-level (that goes for all characters).

It's just unfortunate since the anime is the most accessible and well-known utapri media in the western fandom, and the character's main episode is bound to leave the biggest impression.

I understand the choice of being laser-focused on the servant plotline, it's supposed to be funny (?) and waters him down to a trope that's easy to understand at first glance (the step-on-me guy I guess)

Still, I can't help but compare it to Ranmaru's episode, who was also hard to work with in the games but was chill in S3E7 and got to pet cats. Anime onlys will never know how much Camus loves to dote on his dog smh.....

[danandfuckingjonlmao]

me, waking up drenched in sweat, violently sitting up in bed and letting out a gasp: IT'S A METAPHOR FOR BEING A YOUTUBER

idk if someone already thought of this and this is also probably the most obvious reading of it but here i go anyway: i was just walking a dog and listening to potato prints and when phil said "you've come a long way daniel" i was like "huh phil is in the teaching position in all of these just like he was for youtube" like phil just gives editing pro tips the whole time and it all parallels their story as a youtube duo.

and obviously the entertainment industry is rife (not proper usage of that word but it Feels Right so fuck you) with satanic symbolism/imagery/iconography/motifs. being an entertainer is "selling your soul to the devil" etc etc and we know dan hates being a youtuber and does feel that way. you gotta upload twice a day every day in order to be the number one art channel on youtube dot com after all. you gotta make those crafts for satan. bo burnham has a ton of lyrics/songs that i'm thinking about rn like "you used to do comedy when you felt like being funny but now you're contractually obligated so dance you fucking monkeeeey DANCE MONKEY DAAAANCE" and in "repeat stuff" which is a commentary of how mainstream pop love songs and pop stars have to be really superficial and unoriginal because they need to appeal to everyone and at one point he sucks satan off lmao and is like AHFRUEHQFWIIO I AM A VESSEL IDUSHISKA 666 KAJSDFI ILLUMINATI UIGDFSAHIO FREEMASONS. highly recommend looking at the lyrics to that song if you're into that kind of thing.

also the (very rightful) dig at phannies for the "don't cry craft" spamming like "we love all of our crafty audience that spread the message of this channel on all the other videos on the internet! everywhere! everybody enjoyed that!" is how creators who want to keep status have to address their audiences no matter how annoying or harmful they're being. thinking of the ajr line "stay out of politics, stay on the fence / stay out of all of it to keep half your fans" because like,, yeah if a creator ever expresses an opinion that declares their feelings on one side of an issue then they will lose support (smosh is a perfect example of a bunch of people never ever ever expressing an opinion if it could be considered controversial among their audience, like refusing to address the genocide happening right now and just taking their zionist member who the fans are mad at out of some videos to be like "shhhhh nothing to see here we don't know what you're talking about"), ESPECIALLY if that issue is the behaviour of their audience.

obviously the first dapc video was not made with any intended meaning, they just woke up and were like "let's be weird and freak people out" and they did that, and then adding in symbolism and making it all mean something developed with time. but i'm gonna pretend that it has always had consistent meaning because i'm neurodivergent and love overanalysing silly little media.

i am so jhfbvdahfkiufadkhlj right now so if anyone has more theories or things to add lmk and thank you for coming to my ted talk

[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.

[ask-whitepearl-and-steven]

I admire your patience with those readers who need you to spoon feed them the story. Everything is in the comics but they still manage to go pass it. I can't help but feel a bit sad for them? Do they not understand what they read? Are they not attentive when reading it? I'm legitimately concerned because I function so differently I can't fathom this. If you like a story, isn't it normal to make your best to grasp it's essence and reflect on it? I know I project a lot about this, everyone works and registers things differentely of course but sometimes it's very frustrating to see people consume any media and just completely miss all the important messages in it, or even just fail to get the scenario sometimes, and it feels like it's very common now... Idk I just wanted maybe to have your perspective on this? Sorry for the long post (Been here for a few years now and your a true inspiration to me. All my luv to you! ❤️)

You know, I'm gonna be honest. I used to stress out about this... a LOT.

As a story-brained person, this is definitely something that comes naturally to me, and perhaps to you, and to many other people who are wired similarly. To us, following the path of a story in an analytic, highly detail-motivated manner and unwrapping the themes can be as exciting as lifting up a rock to see the bugs underneath. It's an exciting mental activity that's stimulating and feels effortless.

And yes, as an author who spends literally 60% of my day thinking about this comic and how to draw it, panel it, script it, make it better (I script and panel in my head constantly)........ I have trouble realizing/dealing with the fact that some people are just here to CASUALLY enjoy the story that I am lowkey obsessed with.

But I've come to realize that... that's NORMAL! And healthy.

People have different attention spans for different things.

People have varied ways to read a story and engage with it.

People have unique interests.

People don't have the same amounts of energy to devote to reading!

Maybe someone missed a detail I lovingly and painstakingly put into the dialogue because they're reading the update late at night after a long shift at work. And maybe someone scrolled past the dialogue completely and just got the gist from looking at the art, because they're in a hurry to get to practice at their favorite sportsball.

And maybe someone just had a really bad day with a really bad encounter, and they're reading the update in a terrible mood and instead of seeing MY grey-morality narrative, they're focusing on all the negative points and misread the vibes because of their own biases that stem from places of hurt.

The thing is, I have to be okay with that as an author, because I will NEVER be able to get into my audience's heads and read this comic 'correctly' for my own sake.

They will always have a slightly different interpretation of things, and they will always misunderstand details and miss clues. And sometimes, they will be wrong about the way they read a character's motivations... and sometimes maybe they won't be! That's just a part of communication. That's a part of telling a story.

An imperfect delivery, and an imperfect reception should, in my opinion, be a natural and accepted part of storytelling. We're human, and we all have a different lived experience, and we will ALL have different takes on a comic, even if it's so close that we THINK we are both getting the exact same thing. That small human interpretation variation is a home-made touch that makes it feel more organic.

In short.... Not all light particles make it here from the sun, but damn the result is stunning anyway.

[lumizold]

Opinions and analysis of Illumi Zoldyck

Does he feel emotions, feelings and sensations?

A popular opinion in HxH community is that Illumi doesn’t feel any emotion because, as he says, in the Zoldyck family they are raised only as killing machines (even if they have other roles too: Illumi has an educational and training role and Killua is designed to be the future patriarch of the Zoldycks), but in the story he actually has a different behaviour.

Let’s just concentrate on his actions, not only on his facial espressions and on what he says.

We know that sometimes Illumi gives his victims the possibility to ask for a last wish. We know it because of the guy in the Hunter exam, Illumi’s target, that asked him to let him fight Hisoka before dying and Illumi accepted his wish, letting him go (and letting him try to fight him until the guy was about to hit Hisoka). Hisoka than says that Illumi of course accepted his last wish and the other says that it’s true because he had pity of him.

So Illumi feels pity.

Next he says, during his transformation from Gittarackur to his real appearance, that isn’t a nice sensation, but he’s glad Hisoka is enjoying it.

So he can actually feel discomfort and feeling glad that other people enjoy something about him.

He is proud of his brother reaching the last part of his exam and feeling annoyed because of his willingness to be with Gon instead of him and the family.

He can feel proud and annoyance.

He thinks that Hisoka is fully trustworthy or wouldn’t explain him the secret of Nanika (something that Zoldycks don’t want people to know outside the family) and, even if his family says Illumi never works with others, before doing anything on his own he usually asks Hisoka for help.

So Illumi feels trustful towards Hisoka.

He gets really angry when Killua doesn’t obey him because he thinks he’s doing the right thing to protect everyone in his family.

Illumi feels even anger.

And when Hisoka does his joke (joke? 🤨) about you-know Killua Illumi basically explodes in a homicidal rage and is about to kill Hisoka instantly.

So he has problems to control his emotions sometimes (angry issues?) and his homicidal instincts. He even cares a lot about Killua.

This is another point. Illumi acts against Killua, true, but because he thinks that what he’s doing is the best thing for Killua and the family. Even Bisky said that Illumi loves his younger brother a lot, a sick and perverse love, but still love.

Illumi even feels love.

That’s why i think that Illumi can actually feel anything like a normal person, but since he’s trained to be a machine has a tendency to not show emotions and ignore them if they goes against his goals and orders (but he still has problems to control anger when is about Killua) and experiences his emotions in an atypical way compared to ordinary people.

Anyway, that was my analysis and thank you for reading! I wish you all a nice day!

[thank you @suckitdeku for helping me with the grammar corrections]

[leavemealoneplsandthx]

THIS IS A RANT ABT COD FICS

Guys lmk if you share this same opinion because it drives me crazy. If you enjoy this just ignore it because it obviously isn’t aimed at you please don’t be dim.

But does anyone else hate when a fic is labelled as cod x reader and the characters spend most of the fic being gay with each other 😭

Like I’m not into throuples and I’m also not into gay men like when I read an x reader fic I’m expecting me to be the centre of attention yk unless the fic is literally supposed to be a throuple. Like say for example the entire fic is about you joining ghoap or smth that’s fine because I already know what I’m getting into. But when I read a story and they’re all gay for each other when it’s supposed to be about ME pisses me off 😭😭😭

I also really hate it when people make the 141 boys just absolute pussies. Like these are British military men they will likely be cocky assholes not shy or emotional.

And when a fic is an x reader and the characters nationality has nothing to do with the story but they make you American 😔😔😔 it acc really throws me off and makes me not enjoy the story anymore because if there’s no need to add it why add it? Also what is an American doing on a British military base anyway? Sometimes the story NEEDS the reader to be American if they work for the CIA or something but why add it if it’s not relevant because now I am thrown off balance and if there’s anything a British person fears it’s being forced to be an American

Thanks for reading my rant guys 💙

Edit: hey guys I see some people seem to be getting upset over this post and I’m here to say IDC!! If you see it’s a rant and decide to get mad over that then that is simply YOUR problem!! I never said other people couldn’t enjoy these tropes but I am allowed to dislike it and actively talk about my dislike of it because it is 💖my opinion💖 and you trying to say I can’t have an opinion is very Adolf hitler of you uwu

Anyways, cry all you want but if you comment I will laugh about it <3

[panlight]

I know I've mentioned this before, but sometimes I think it's a blessing that SM hadn't really read/watched much Vampire Stuff before she wrote Twilight.

Don't get me wrong--there are definitely times where I'm very frustrated by this, where she misses a key moment that someone more genre savvy would have taken full advantage of. The main character being turned into a vampire in such a clinical way removes so much of the intimacy and eroticism of vampire lit, for example. Or the way she didn't give her vampires any weaknesses and how that makes it so much harder to raise the stakes and put them in any real danger. Or to feel bad for their cursed existence because like . . . it actually seems not that bad without all the weaknesses and limitations.

But It's a blessing in a way because it allowed her to come up with characters like Emmett, Esme, and Carlisle. MOST of the sympathetic, 'good' vampires in fiction end up being like Edward. This brooding vampire who hates what he is and probably has some kind of Dark Past (Edward's vigilante era in his own opinion) but wants to be good but oh, the endless midnights! And obviously that's a compelling story; these tropes are used so often because people ENJOY them.

But then you have Emmett, who is a 'good' vampire too and just . . . doesn't care. He's nice. He'll protect you. But he's also killed people. Whoops. Probably felt bad about it at the time. Probably still feels a little bad if he thinks about it now. But he's not brooding about it. He's generally pretty happy and fun and doesn't take things too seriously. Normally this would be a 'bad' vampire or at least morally gray vampire but as written by SM, he's clearly intended to be a good guy. Just one of the bros who happens to be a vampire.

Then there's Carlisle, who had every reason to be the brooding vampire who hates himself (was actively hunting vampires when he was turned! son of a pastor! alone for centuries!) but instead he . . . just got on with it. Also I think his success with vegetarianism is in itself kind of unusual and refreshing for the genre. I know lots of people think he'd be more interesting if he had killed people but as someone who read Twilight during a marathon read of other vampire fiction the fact that he HADN'T was actually what made him interesting to me. It was bizarrely . . . hopeful? It's the kind of thing that someone actually vampire genre savvy probably wouldn't have done.

Likewise Esme just being this white suburban midwestern vampire mom and playing it 100% straight. This isn't some commentary on how vampirism is a shallow perversion of motherhood or whatever, Esme IS the mom. She does mom things. It's taken seriously. She's not some sinister Other Mother, she is genuinely loving and gentle and motherly and again, I feel like someone genre savvy wouldn't have played it that way.

Anyway, yes sometimes I long for more typical vampire stuff in Twilight, but sometimes the lack of genre knowledge worked out in its favor.

[girlreblogger]

the annoyance with blk y/n and the stories she’s in is hilarious. her characteristics might be the problem one day or her side characters the next. it legit feels like we may never get to a balanced solution on what to do with our own representation since the wrong ppl always talk about it and create it. we have mean and shallow ppl who take over the conversation, ppl who really self hate but try and cover it up with “i just don’t want her to be a stereotype” and then the ones who probably love and support tyler perry movies.

the bottom line is the ppl who do write those niggafying, toxic (it’s a buzzword but that’s what they are) or smutty fics (not talking abt the actual good ones with a blk reader though 🧎🏽‍♀️) can do wtv they want and owe you nothing. that’s why they get so frustrated. i don’t think all the times those should be crucified for what they write when other groups of ppl (or our own) write all kinds of other crazy shit.

and.. i know a lot of ppl who don’t want to say it but y’all keep bringing up the smut and niggafying as the main problem, but i think it’s some of the ppl writing it and their underlings. it’s just no one wants to say anything.

an excerpt from a draft of mine

“a lot of ppl on here be weirdos or mean asl. so when someone block you don’t be like “oh what i did” “they that mad cause of my (internet—fictional—digital on screen) presence”

like nobody got time to go to your acc and say “i don’t like you” who cares. oddly some miserable ppl do actually but still. the lack of awareness is ridiculous. that’s why ppl don’t f with y’all.”

i was talking abt all of tumblr and every other app but it applies here.

from what i see on here, some are just straight up weird, cliquey, and chiesty (if that’s how you spell it) and that’s why ppl be so mad abt those types of books 💀. we also have to acknowledge the amount of overwhelming & honestly damaging blk yn fics (not to be confused with ppls screwed ideas of stereotypical) there are. i understand why ppl write them for personal reasons but when it comes to our own reflections of ourselves as blk women it’s almost hurtful to read some of the things people put “her” through. i mean even her with a white man that use aave and has cornrows is hurtful.. 😔 (i’m trolling now 💀) naw but fr. i personally don’t like reading blk women just being written for smut or going through crazy situations or kinda like.. i don’t wanna say unfulfilling but like.. idk i can’t think of the word. (edit: ppl write blk yn to be in unfulfilling situations) but girl i can watch a tyler perry movie for all that.

again. ppl write these stories for there own personal reasons, relate to them and enjoy them for those reasons as well. that’s why depending! on what it is i don’t think blk writers should be bombarded with hate like that. also ion think smut should be banned like y’all go to far can we just slow down on it … there are some nice ones out there i promise 🧎🏽‍♀️

but in all seriousness there are many other reasons why i feel toxic and smutty fics are popular for blk yn but i don’t think anyone cares to hear that and the conversion will prolly go back to nigga eren somehow which is crazy cause y’all be arguing over a fictional white man.

oh! 😒 i almost forgot 😒 the ppl who are against “ghetto” y/n to try and advocate for more fluffy or like.. normal (healing) stories and from what i see the ppl who are the most up in arms about it in my personal opinion seem to dislike certain parts of blkness that i appreciate personally and so i just straight up disregard their opinions. y/n doesn’t have to “act” (😒) blk but i see ppl get mad about her protecting her hair….. with a bonnet….

sigh, anyway but yeah we need more soft and sweet fics or just like calming ones? but someone gon have to write it! i don’t like this app or my writing all too much so i gave up a while ago.

just like many other blk writers….

gaspp! we should also do like a fluff challenge or sumn where writers do like fluff … march? girl idk so maybe that will trend and all the ppl who spend time arguing and going back and forth with ppl who write stories they don’t like can like idk look for other writers who write soft, normal, fun stories and reblog them or make a list of them. or maybe like possibly write their own stories too????

everyone says the smut fics gets the most likes and they do. that’s why you keep seeing them. so maybe support or refreakingblog the fics that are comforting to you so others can be as well.

i actually made this page to repost softer fics because i was tired of blocking certain tags so i can avoid heavy smut and subtly abuse fics. also pls leave the ppl who niggafy anime characters alone they will not be stopped. i mean we still have ppl who have been calling chris evans jamal since 2020.. calling him that to this date. married and all.

sigh… 2 more days until blk history month ends. maybe next year we can find a balance between “dramatic” and smutty fics and soft and slice of life ones for blk y/n next year. remember this is tumblr too and the ppl writing aren’t even getting paid for this but it’s for the ppl yk.

ppl who are respectful and reblog tho.

muah

[fireboltcrystal]

The Mishandling of Varric Tethras

How Dragon Age: The Veilguard utilized a fan favorite, only for the worst....

Just a little bit more salt. I wasn’t initially going to post anything else, but I kept thinking about all the things that have frustrated me about vg. & the one that just keeps driving me insane, is how Bioware treated and used Varric in The Veilguard. I just wanted to expand/rant a little more about my disappointment and disgust. Both in what was done to Varric and how it shows off the cracks in vg’s understanding (lack) of characterization.

WARING, SALT, BASIC CRITIQUE, WITH BIOWARE/VG BASHING + IT’S LONGER THAN I INTENDED, SORRY)

~

For consideration; first I admit fully I did not play The Veilguard, I watched a friend who is also a fan, play the game from beginning to end, alongside watching others live-stream the game. Re-watching clips and reading story summaries for clarification.

I’m not a lore expert by any means, I will occasionally investigate other parts of the series for fun. But I mostly know about the series from playing the games. Extend universe is fun but should not be necessary. Plus, I should not have to pay potentially $100+ for a game and its extended universe of comics and novels, just to talk about my opinion on disappointing story aspects.

Second, I’m not a professional or semi-professional writer. So, pardon for any mistakes.

Third, Varric Tethras is my favorite character of the Dragon Age series. My bias will be on full display.

Does this all mater, no but I want to be honest just in case other fans find this and think I am trying to ‘stir the pot’ and make people who were somehow able to enjoy vg sad.

Truthfully, I do not care if anyone reads this. I just needed to compartmentalize my feelings beyond trying to only ignore and move on. Also, if you do not like Varric, fine but please don’t waste your time commenting on how you hate him. It is annoying and pointless. I do not care, have a nice day, anyways.

Character Background:

(feel free to skip to the next part, if you don’t want a refresher)

From the song 'Companions',

Varric charms with clever words

Vender of exotic goods

Writer of salacious books

A rogue, a dwarf with ragged looks

Varric Tethras is the rouge, dwarven companion of da2 and dai. Second son and first of his family to be born on the surface. Scion of House Tethras, which once held prominence in the underground kingdom of Orzammar. Which now resides in the Free Marches, city state of Kirkwall after scandal had the family banished. Though Varric does not come off as really interested in the traditions of his family’s homeland or following heavily in the faith of ‘The Stone’.

He is ironically a deeply ‘human’ character; as cunning as he is compassionate. A merchant prince with a decent ‘spy network’ (though has a difficult time not being worried about his agents). Known for wielding his signature crossbow, named Bianca; he clashes with his elder brother Bartrand and the Dwarven Merchants guild and holds a substantial tab at the “The Hanged Man” tavern. He also to extent is Andrastian, though not as pious that is traditionally acceptable. He frames it more so as enjoying an ‘great story’. But he does speak on the life of prophet, Andraste with far more understanding than even some of the most faithful characters can. Could it just be storytellers’ intuition or maybe more…

Segway into the fact that he is also a serial novelist, who writes everything from crime dramas, epics, to romances novels. He is a deeply ‘romantic’ person, loyal to friends and those he loves, at a times to a fault. Varric is a self-described liar but it never feels deeply malicious. Only as way of obfuscating when dealing with painful memories, hiding info to protect his friends from and to optimally fuck with the Chantry. His friendship with Hawke, is so close to point that he was willing to lie to the Chantry guard, and put his life and freedom on the line to protect them.

Another major example would be in his tempestuous relationship, with Bianca Davri; a dwarven engineer of tremendous skill. Though we do not get all the details as it is part of the Bianca, the crossbows naming, ‘the one story he will never tell’.

What we do get is a very complicated affair. Were the two honestly should and in some parts have already moved on from each other. It is mature, messy, and shows a flaw in his character; that though he lives in the present, he can be weighed down by his past mistakes.

-

Game-wise, in da2 he is the unreliable narrator for the story of Hawke and a rouge companion. As his background as a storyteller, he spins a yarn to Seeker Casandra Pentaghast, about the Champion of Kirkwall. Along with has a part in the main quest that ties into his relationship and ultimate the fate of his brother, Bartand. He can potentially become either a best friend or a rival to Hawke.

In dai he is again a rouge companion, initially ‘arrested’ by the Chantry, he joins the Inquisition to help save Thedas. He has a substantial role in the story; he acts as a re-introduction to Hawke (and can affected by their potential fate later in the story) and the main antagonist, Corypheus (featured in da2 dlc). Along with he is a first-hand witness to the dangers and damage red lyrium can cause. This also includes a connecting quest to destroy lyruim deposits, to which we can even finally meet the mysterious Bianca herself. He can become another friend with high approval or he can become disillusioned with the Inquisitor if low.

In Trespasser/post-game, we learn that he has been chosen to become the Viscount of Kirkwall and though the job drives him nuts; he shows a genuine zeal for the position. In the both the power he utilizes to make genuine changes for the city that he loves and to abuse it, as an excuse to give his friends ‘free shit’. Including bestowing the Inquisitor a title, estate, and key to the city (or mechanism to control the giant-ass chains lol).

~

Quick moment of positivity before vg proper, I will say I think Varric’s new design works for an older interpretation of the marksman. He has his fundamental details, the leather coat, ring necklace, obvious flash of chest hair and of course crossbow Bianca. But the new additions like the Inquisition belt buckle and the three, crossed facial scars are nice touches to his look. Minor criticism, a little confused at hair color change, but hair can turn darker as one ages, and the gray does look great on him. A little less okay with is the beard, in part since Varric known to be indifferent to the traditions of Orzammar, like having a longer beard. Prior games his face is shaven or with very faint scruff. But I can also see it as him leaving it to the way side during the hunt for Solas. Also, he is missing his three earrings, Bioware what did you do with the man’s jewelry!

VG Prologue:

Varric’s introduction in the game starts at the beginning of new protagonists Rook. In a nameless bar in Minathous. Rook can choose to react with wordplay or violence. After which Varric, chilling out in corner (which he should, let that old dwarven man rest!) comments on how Rook handled themselves in the standoff/scuffle and how they are his second in command (woof sheesh, tough break Harding). Without any time to spare they are off to find their contact.

Fist off: The bond that Rook and Varric have; is that there's kinda isn't. Normally a player is introduced to character and we naturally grow interest with them, through game play and conversation.

But in vg there is no built up, it’s all a preset relationship. “I know your can do this, you’re the best, Kid,” blah blah. Other than a few half-baked dialogue choices that pretty amount to nothing. There is no moment to talk with him, ask him questions beyond getting the main story into motion (all go, go, go find this person, here, that, there & etc.).

Something separate I bring up, not only to Varric and Rooks ‘relationship’. But an issue that I could have actually help (a little bit) of vg’s starting issues.

Why the fuck are the devs. so terrified of the original Origins.

Because this is the game that probably needed those kinds of intros back, more than ever. Be it for players returning (or first introductions) to the world of Thedas. & no, the half-baked, faction summaries are not enough when most of them barely factor into how you build and detail out your background. Some factions like the Shadow Dragons get just a few scraps to role-play or as everyone I have seen and spoken to has said that the Lord of Fortunes might as well have been cut completely, there is so little.

It feels so hollow to have hardly any dialogue choices to help flesh out Rook as a different character. Instead, they are a carbon copy personality dumpster fire, bland in a way a single-cell hero could be. Quippy and Inhuman.

Now back to Varric; how in the world do they know each other, why did they join in with the Inquisition or what remained of it, how did Varric end up deciding on a chess themed nickname, all these question & more could have been answered with a character Origin! *hooray* (Wow, look at that!)

In this have Varric play the role of recruiter like Duncan. He will meet the players, intro into combat, have quick convos on what the hell is going on, speak to the people and to show off a part of the world.

But in this case to create the foundational bond between the new player character and now mentor, Varric. So that if there are any dramas moments, the player will actually feel, if or when an npc is in peril…

But instead, the dev. team opted to just simply have Varric already know Rook, no build up required. Just a pre-established association with no real input from the player. Which creates a disconnect, new players are not going to automatically know who the hell Varric is. Most will just roll with it, so to finally get to the game proper, but it will not add up down the line…

For returning players, the writers did something kind of nasty on reflection; they used our nostalgia to do the heavy lifting of character development. We do not get to know Varric as a new person, just as extended cameo (which happens to other characters in vg). That one we are only able to understand because of playing the previous games, who though had their own development woes, still had developers with their priorities straight when creating them, its world, and its characters.

So if you are not a fan or feel neutral about Varric. Rook has a casual-esq working relationship with him. Clean, bland, sanitized (like the rest of the game).

But if you are a fan of him, it ends up feeling like an old friend you have lost contact with and now you have become different person (literally) but with the nostalgia strangling you. Varric feels slightly the same, but older, exhausted and one who’s writers should have let gently retire years ago…

It feels sad and lackluster in comparison to how full and interesting his prior introductions were.

Da2 had two Varric intros; first with his arrest and interrogation, he becomes the narrator of the game, though under distress. It creates mystery, why is this guy being dragged around though a dungeon, what has he done, does he know something, or maybe someone…

But in-game proper, after Hawke’s failed meeting with Bartrand. Varric stops a pickpocket from running off with Hawke’s stolen coin purse, he lands a bolt into the thief, taking back the money, punching them out for the trouble and returning the coins with a flourish. They talk about his brother and their plans to venture into the Deep Roads for fame, glory but money for profit.

You get a little taste of both points, Varric brought low and also at the top of his game.

In dai slightly similar but without the framing device, Varric is fighting alongside Solas (oh we will get to you). & after sealing the tear, Varric introduces himself, there is even a dialogue choice where he compares himself to us as we are both technically prisoners to the Chantry, though his arrest by Cassandra is kind of null after the explosion. It helps build a link between him and the prisoner, later Inquisitor. For new players, you get to see peak Varric charm. But also perfect for old players ready to bond with him again, after so long and to a forge a connection with a brand-new protag.

With this we not only see that Varric still has his wicked charm, but that others also react to it, Solas chuckles (heh) with a snide remark, when we say we are pleased to meet him and Cassandra’s frustration at his arrogant charisma is so endearing, for both characters. (Cassandra and Varric, have genuinely some of the best character interactions of the entire series, I will fight anyone on that).

~

Moving ahead since more of the dialogue after meeting Harding and Neve, is mainly, taking about state of Minrathous and needing to stop Solas. We reach the ritual site in the Arlathan forest... Before confronting the Dreadwolf, can either choose to support or convince against Varric talking Solas down. Regardless of choice, he still goes on head.

Varric is a man whose friends have become his family. He feels that he must try at the very least talk with Solas. Though it does go against his reactions to Solas being an agent of Fen'Harel; back in Trespasser (but I think the team kind of forgot most of the character motivations they established…).

Regardless Varric confronts Solas while the team try to stop the ritual and hold off the demons. Though I hate the result, I kind of liked the scene at first, Varric’s cheeky grin calling Solas, ‘Chuckles’ was a great touch. Especially since the two did have slight back and forth friendship in dai.

& the reaction Solas has when he sees Varric is excellent, first annoyance at who would dare distract him, then shock with a little bit of sadness when it sees who it is, but then returns into haughty determination.

But I think this is indicative how better the characters of the prior games and the weight of established relationships are from this scene. Like if Veilguard is your first game in the series, this entire scene means practically nothing other than, a super intense moment between ex-friends (where the world is at stake).

But gravitas of these two characters, the performances of their actors and the tiny shred of decent writing. Probably tricks a lot of newcomers into thinking this will be a far deeper story than it actually is…

So, after a back-and-forth, Solas will not see reason and Varric aims Bianca and Solas destroys the crossbow (I’m still devastated at the loss of such an iconic weapon). During which the ritual is disrupted, Varric attempts to stop it further by attempting to grab the ritual dagger from Solas’s, in turn Solas stabs Varric. He falls, and we are uncertain of his fate. Ancient elves Ghilan'nain and Elgar'nan escape the fade and Rook loses consciousness.

The Rest of the Game:

After the ritual Rook awakens in the Lighthouse, to see a bandaged-up Varric. He looks awful and is noticeably in pain. But something is bizarre, something doesn’t seem right, his tone is off, it’s unnatural.

Other companions, seem to speak or react to him. I kept thinking why doesn't any look at him. No scenes of characters visiting him, to see how he's feeling. Nothing.

Let me tell you before I learned the truth, I was so fucking relieved to see he was alive. After all the dodgy trailers, on which Bianca being destroyed. I was just so happy to see him alive, that I didn’t see the signs. I thought maybe we would check in on him over time and watch him heal. Maybe there would be point before the end where we see him hang up his leather duster and return to Kirkwall as Viscount accepting that his adventuring days are at end. & in turn pass on the mantle of leadership to this current party. For Rook to step out and up as the new protagonist… But we will get to the full truth later.

So from now till the end Varric has two functions in vg: narrator again, but without the same wit or gravitas of da2.

& sort of back seat hype man, he is mainly resting in a dark corner of the new base, the Lighthouse. His conversations are essentially recaps of main quests, occasional references to the prior games, what the dev. team must have thought were oh so clever hints to Varric’s death (as clever as a cinder block) and then pseudo-HR training about how “Rook is the leader, and you are a part of team, and you got to work together,” yada yada…

Ultimately meaningless moments, awkward and stilled, hamstrung by vg’s blunt force repetitive dialogue.

Now to his final part in this story, close to end game Rook is trapped in a fade prison by Solas (who fell for the dumbest trick, who also can be tricked in return, wtf) they are confronted by companion(s) that were killed during a prior quest.

And here is the big revel, that Varric had died after being stabbed by Solas at the beginning of the game.

The real Varric died at the ritual site…

So, anytime that Rook spoke to him, it was not actually Varric the man, the dwarf, the living person.

Honestly, I do not know entirely what was talking to Rook.

At first, I thought he was illusion created by Solas to fuck with Rook. Maybe a shade made from a spirit (like dai where a spirit &/or Divine Justinia helps the Inquisitor). Or more likely a figment created by Rook from their repressed grief after Varric was murdered. (Honestly this is all embarrassing, like who ever wrote this, along with anyone else who let it go to print should be ashamed of themselves and then fire their therapist...)

They have an awkward come to Jesus’ moment about accepting grief (um, ok) and a stilted, rushed good bye.

(Oh and there is one moment right before the end credits where Varric appears in the clouds like he’s Mufasa or something idk; just a final slap in face before game ushers you out the door.)

~

Final Feelings and Frustrations:

So most of his inclusion of the game was not even but a hallucination, a mere idealistic interpretation of him, always supportive, always accepting, and empty.

A fandoms interpretation, a wasteful dev. teams idea.

Used as ‘character development’ for a mediocre protagonist.

Rook is as heroic as wet rag and as interesting as a rubber dumbbell.

What a tragic waste of one of the series most iconic characters…

-

Varric being killed off and used a lesson in accepting grief, was one of the most meaningless acts of literal character assassination and emotional manipulation I have ever seen a team of writers pull in some fucking time.

I would not be surprised if that was Bioware's excuse for not wanting to write anything more complicated or interesting. That they only did it for a cheap cameo and had Varric be a sacrificial lamb to create ‘tension’ between Rook and Solas.

Which can I just say for a dev. team as notoriously ‘chronically online’, the fact that they couldn’t see how a loud subset of the fandom, who are willing to forgive literally any if not all of Solas’s actions, including being involved in the death Varric, another fan favorite, is cosmically laughable.

Solas’s could turn an entire box of puppies to stone and he would be forgiven at large; esp. if it was framed as him doing it for the sake of the Elvhenan. Like please be real Bioware, you made a sympathetic villain. Fucking own up to it, you guys could not have been this delusional (though your interviews do say otherwise).

It is sooo bizarre, like does this current team even like these characters (the series even), supposedly in the development in the prior games, Varric was constantly being talked about like his time was up (like why, you made him a charming fella, what are players supposed to do, not want to friends with the guy!). They even had very early ideas for a dlc where you could romance him (I will morn this loss forever), but that he would potentially die at the end… (fml)

Hell, even Solas in this game; that was once titled as ‘Dreadwolf’. has this constant feeling from the writing that the team both adores him but also fucking hates him. Like, “Please keep talking bald elf man you have so many fans willing to pay full retail price; but also shut the hell up and begone to the shadow dimension!”

I mean, I am not a huge fan of Solas personally, but I am genuinely surprised at how many of his actual fans could be okay with Bioware’s meager crumbs. (idk toxic positivity, maybe sunk cost fallacy)

Like at one point this guy was THE main antagonist and beyond! Elven spies, manipulating nations, sowing discord to the create the perfect environment to tear down the Veil! But nope, just nothing really. Stuck in the Fade, being a big sad boy.

Strikingly bland here, esp. in comparison to the real intensity brought forth at the end of Trespasser.

[Bonus: After her threat in dai, I would not be surprised if Bianca found a way of going into the fade just so she could beat the ever-loving shit out of Solas (and all Inquisitors) for getting Varric killed.]

~

An Idea for a Thematic Polarity:

Of clinging to the nostalgic past, how to accept a conflicted present & to move forward into an uncertain future.

Solas is a person fixated on the ideal of a post-Elvenuris past. A past that never actually came to be and desires to bring it to fruition, even if means potentially destroying world. He even dissociates from the people of the ‘Dragon Age’ because, he cannot visualize them a fully fledge people. This can change, but he still goes for it. He knows there will untold death and destruction, but refuses to let go of the world before. In a better written story, he could’ve still becoming one with the Veil. After further being confronted by the reality that you cannot return the past, not like it once was. But let go for the sake of protecting those who live here and now, to go on, learn the past and make a better world for everyone.

Varric also clings to the past; even his place as a storyteller is him dramatizing, sensationalizing events, real or otherwise. He glosses over painful memories, adjusts for the audience (but mostly himself). But he is also a man who has not abandoned the present or even the future. He lives still gathering info. for his next bestseller. He is deeply conserved for the living; friends, citizens of Kirkwall and beyond. And if there is nothing to be done, we might as well take a break for now and play a round of Wicked Grace.

The team could have done things much different in the finale to Varric. They could have Varric be (actually) injured during the ritual. After which he decides to retire, he is not getting any younger and returns to Kirkwall as Viscount. Passing the torch to the next generation of heroes and storytellers.

He has sort of given up on Solas, not his friend, (he will always care about his friends) but in the hunting of the Dreadwolf, the two Elven ‘gods’ and their double-Bight. He could continue working to make Kirkwall into a bastion of the Free Marches, improving the lives of the citizens and the city he takes so much pride in.

(well ignoring the destruction of Southern Thedas, god so pointless and vindictive on the part of the devs…)

He could have still been the narrator but from a tangible distance. Only retelling it from second hand accounts, etc.

Or maybe just a lore drop, a supportive letter that finds it's way to Rook with some words of encouragement.

But all that is for head-cannons, fanfictions and fan art.

~

So with that, moving forward I think I am going to be a little of both, I will go into the future, beyond the disappointments of Bioware and The Veilguard. To different studios and new series.

But I will still continue to always love and enjoy, Varric Tethras and the Dragon Age Trilogy.

Thank you very much, either to the void or to any one for taking the time to read this mess.

[gay-disabled-characters-showdown]

LBGTQ+ Disabled Characters Showdown Round 3, Wave 1, Poll 11

A character being totally canon LGBTQ+ and disabled was not required to be in this competition. Please check qualifications and propaganda before asking why a character is included. 

Check out the other polls in this wave and prior here.

Yoite-Nobari no Ou

Qualifications:

Heavily heavily coded relationship with another boy, canonically intersex and can be read as trans. (implied to be cafab) Suffers from flashbacks, emotional dysregulation, depersonalization due to abuse and neglect. Also terminally ill and progressively loses his sight/taste/hearing and has more trouble getting around and staying awake. Super autism coded, for that matter. To me. And many of the fans actually.

Propaganda:

A very sad boy, in a story about very sad boys fighting for self determination and learning the importance of community. He's a shinobi and can kill people by manipulating their lifeforce from the inside, but he also likes sweets and baseball and mathematics and he communicates like a shy, neglected cat. He's also named after someone's cat. Extremely good character written by an aroace and x-gender author

Anything Else?:

He is the bestest boy ever and should win this tournament by a landslide if the series were more well known

Melanie King-The Magnus Archives

Qualifications:

Bisexual and blind

Gay and blind and amazing

Melanie ends up being blinded by herself in the fourth season of the Magnus Archives, and ends up in a romantic relationship with another woman in the same season

She is blind and has a girlfriend. Canon disabled and canon wlw win 👍

she has a girlfriend and is blind

She is blind and sapphic (I'm not sure if anything exactly is ever confirmed in canon, but most people refer to her as a lesbian)

Propaganda:

she’s iconic

I love her

Oh I love my horrible woman who did many things wrong but in a way I sympathize with and also enjoy because she deserves to be a hater. Anyways so Melanie's very first appearance involved her arguing with Jon and and dismissing the way the Magnus Institute takes statements, which is a very good introduction for her in my opinion because she will continue to be a hater in regards to John. Melanie got stabbed by a ghost prior to her next appearance and briefly became a meme because turns out, when you get stabbed by a ghost, you'll want to tell people about the ghost, and she did this as she was being dragged away from where this happened. Her professional credit went downhill after this. She ends up being the catalyst of a big plot point in season 2 after this statement, because she's the only one who recognizes that Not-Sasha is, in fact, not Sasha. Then it turns out she cannot catch a break because she gets shot by a ghost later, and the ghost bullet turns out to not be a good thing later on. Melanie starts working for the Magnus Institute after Elias, her to-be horrible boss, proposes the role, since her credit has gone down so much that the job opportunity is very much needed. Then she realizes that she does not like her horrible murder boss and that she is bound to the institute, she keeps trying to kill him, which honestly I think she deserved to do because he sucks and she deserves a kill count. Though he shoves the knowledge that her father, who she thought died peacefully, actually died an agonizing, drawn out death in her brain so she stops doing that afterwards. She does help to get him arrested though, even if she really wanted to murder him. After this it is noted that she, at one point, fended off horrible flesh monsters with a knife single-handedly. John ends up realizing that the ghost bullet from earlier is still in her leg, and is more over making her far more murder hungry than she would be without it. So naturally the next step is DIY, non-consentual surgery, which she, after waking up shortly after the incident with her leg frozen and her friends committing medical malpractice, naturally objects to, which leads to her scarring John and overall not trusting him or Basira nearly as much as she might have before. Then she decides to actually prioritize her mental health a bit after going through every horror imaginable by going to therapy and insisting that, due to how the way tapes work in the archives, that none of her sessions be recorded, all while being just a bit paranoid about her therapist. Then it turned out that the only way to sever herself from the eye was to simply not have sight, and she's the one character who chooses this, getting rid of her eyesight very painfully and then moving in with Georgie, who ends up being her girlfriend. She's a little less hostile towards John after this, though she does not want to be in any archives business considering everything she went through there. Then, during the Eyepocalypse, she and her girlfriend, due to her not having sight and Georgie not having fear, are unaffected, and they sort of accidentally start a cult while trying to keep other people protected. Though it does not help that Melanie lied about having a vision that the whole thing would end, since the truth is really hopeless and bleak. She meets up with John and Martin again, is involved with the discussion of how the world can be maybe saved and is ultimately one of the three main characters to make it to the end of the finale, the others being Georgie and Basira. This is just me highlighting all of the wild things she's been up to and this would have gotten even longer if I had more propaganda.

She's so cool she tries to poison her evil boss she kicks ass she was a ghost hunter and she's also managed to escape her shitty situation by blinding herself to be able to quit her evil eldritch horror archiving job and just chill w/ her gf georgie and their cat (until the evil boss she tried to poison fucks everything up for everyone but in the end she and georgie still live and are presumably as fine as they cam be after all the shit that happened)

Only Melanie can accidentally become the Blind Prophet of the Apocalypse with her literally fearless girlfriend after trying to distance herself from the Beholding. She also had a ghost bullet infected with with The Slaughter in her leg which she got because she was a ghost hunting YouTuber/paranormal investigator.

Sometimes you gotta take your eyes out to escape your shitty job. And then you and your girlfriend live as prophets (and basically accidental cult-leaders) in the apocalypse

[artificial-transmutations]

Out Now: Dam Breakers

Hello everyone! I'm extremely excited (and, quite frankly, more than a bit nervous) to announce that I finished my fantasy romance novel Dam Breakers!

For the very TLDR-version: It is available here! Be sure to read the disclaimer below, though.

First of all, thank you! Everyone who reads my stories or likes them shows me that there is at least some interest in my mediocre writing. And even though the novel is not exactly like my stories here (more to that later), it gives me hope that you and other people might like it.

Now, for the actual novel!

Dam Breakers is the tale of Jared, a rather normal modern day college student, and Aleron, an apprentice mage living in a secluded tower with his teacher. One fateful day, they meet and are drawn into a maelstrom of magic, change and love - and dark secrets threatening to destroy everything they loved.

With over 120000 words, this is not only my longest story yet, but also my most carefully crafted one. I will attach an image of my Obsidian graph for the story at the end of the post.

Disclaimer:

As I have mentioned, it is a bit different from the stories I usually post here. First and foremost, it's a lot tamer. This novel isn't meant as a porn piece, but as an intriguing fantasy and romance tale. While there is love, desire and sex, of course, it's way more sparse and less explicit than, for example Closer Than Flesh.

It also features transformation themes, and the concept of change is one of the main focus points of the book, but, again, don't expect 500 pages full of transforming bodies because of it :)

And, finally, for a multitude of reasons, it does not contain AI generated images. I wouldn't be able to generate any that do the story justice, anyway.

Now that you know what not to expect, here are some things you MAY expect:

Transformation. Both in the sense of bodily changes but intriguing character development as well.

Gay Love. This is a story about two men from different worlds falling in love with each other, and their stony road to being together.

Magic. It's a fantasy story, and a truly enchanting one at that, with a fresh concept of magic and change.

Story. Last, but certainly not least, it's a good and interesting read, at least according to my opinion. Since I might be a bit biased here, let me tell you that my beta readers agree.

If you still want to read it (and I hope you do!), then you can grab your copy here:

If you are not in the US, you can just replace the .com with, for example, .co.uk to go to your local Amazon marketplace

I have not forgotten, of course, that I promised a special condition for you folks at Tumblr. Since Amazon makes it a bit difficult to actually implement that, I plan to offer a time limited discount or giveaway in a few weeks. I'll announce the exact time here on my blog beforehand.

If you really want to support me, it would mean a lot to me if you could leave a review on Amazon. That influences the algorithm a lot and helps the book get visibility, which is incredibly important . So, please, if you like the book, leave a review.

Teaser / Preview (mild spoilers)

And here is a short look into the book, from chapter 4. It contains some mild spoilers, but nothing too important. I also added an AI image, which is not in the book (see above).

[...]

Even though the weather was unstable, Jared enjoyed the journey through the vibrant spring land. It was a closeness to nature he had never experienced. Even back home with his parents, in rural Texas, the land had seemed different. Back there, the wilderness had been tamed decades if not centuries ago. There was no wonder, no adventure. Here, there were hills and forests, rivers and bogs, and who knew what else. It was as if Jared was seeing the world for the first time. Not to mention the smell. Jared could not remember a time when he had smelled the spring air like this.

In addition to the landscape, Jared's traveling companion also played a big part. Aleron was an intelligent and witty conversationalist, and Jared learned a lot about his new friend. They spoke of everything under the sun, and Jared told stories of his home, of modern inventions and the differences between this world and his. Even though Aleron was fascinated by his tales, he was also clearly skeptical about some of them, especially when it came to the more complex topics. That was only fair, though, as Jared himself had a hard time believing the fantastic stories of this world, even after having experienced some with his own eyes. Dragons, for example. It didn't matter how often Aleron recited what little information he had about those magnificent beasts, something in Jared resisted fully believing in them. He hoped that he would be able to see one of them for real - although Aleron repeatedly stressed how dangerous they were - in order to be able to fully believe in them.

While Aleron's world was certainly magical, it wasn't all like in the Lord of the Rings. There were, for example, no other humanoid races, as Jared learned. No elves, dwarves or orcs, at least to Aleron's knowledge, which, to be fair, mainly included the Kingdom of Myrthien. Although the Whispering Woods were not technically a part of Myrthien, and were generally considered wilderness, it was clear that they were no part of another nation either. The closest neighboring country to the Whispering Woods would either be the Golden Isles beyond the coast south of Eldoria or the Verdant Lands to the west. According to Aleron, the Verdant Lands couldn't really be considered a nation, too. It was more of a loose confederation of tribal communities, living in the characteristic dense forests of that region.

As Helena had promised, Luminara wasn't difficult to find. The capital of Myrthien was well known and if there was a sign post somewhere, it was sure to point to Luminara.

There was no shortage of smaller and bigger settlements, and about every third or fourth night they were able to sleep in beds. During the other nights, they made camp a bit off the road in order not to attract too much attention. It was one of those nights, about two weeks after they had left Eldoria, that Jared woke up in the middle of the night. Aleron, who was sleeping next to him, was moving in his sleep and occasionally made a sound, which had caused Flicker to gain a bit of distance to the sleeping man.

It was clear to Jared that his friend was dreaming, and he briefly considered waking him up from his nightmare. However, judging by the sounds, Jared began to suspect that Aleron was not having a nightmare but quite the opposite, although the dream seemed to be just as intense.

Quietly, he left the tent, careful not to wake the sleeping mage. Outside, he was greeted by the stars and a clear sky with an almost full moon. The campfire was almost dead, just a few embers and ashes were left. It was a quiet, peaceful night, and Jared decided to go to the nearby lake to drink. Aleron had never once shown a single sign of sexuality before, except for demonstrating a certain uneasiness around nudity and related topics. He never had commented on any woman - or man - in a suggestive way, so Jared had been half- convinced that this whole topic didn't have any relevance to the mage at all.

Of course, for his own reasons, Jared had avoided the subject as well, so, perhaps Aleron thought the same about him. Jared didn't mind that. As magical as this world was, he had yet to encounter a single sign of same-sex attraction. Perhaps this wasn't a thing here, biologically, or perhaps it was socially frowned upon, like in his world's medieval ages - or rural Texas, present day. In any case, there was absolutely no reason to bring that topic up, so he didn't. Not bringing up his sexuality was a sport he was very experienced in for 9 years straight now, after all.

As Jared neared the lake, he was feeling weird and tingly all over. It was not entirely unpleasant, but it stirred a vague memory in Jared. He had felt this feeling once before, but he couldn't quite recall when.

When he bent down to scoop some water into his hand, he stopped before his fingers touched the surface of the lake. The moon was bright, and Jared could see his reflection in the mirror-smooth water quite well. The only problem was that it was not him who was looking back at him.

Of course, there was a strong resemblance, but the details weren't right. His face looked somewhat stronger, his jawline a bit squarer. His hair a bit lighter and styled like the day he first stepped out of the mirror. On his chin, there was a short well-groomed beard even though he had shaved just last morning. It wasn't just his face, though. As he looked down on himself, he looked fitter than he should, as if he was visiting a gym regularly. In fact, the definition of muscle on his torso increased further, just as he was watching. Suddenly, the wonder was replaced by fear. He had felt that way before, and now he remembered when. It had been during his first visit to Aleron's world, when his body was 'destabilizing' as Aleron had put it. Given, the feeling had been stronger then, but it was definitely the same. And now, his body was changing again, and he was weeks of travel from the magic mirror.

Half-panicking, he sprinted back to the tent, not caring about being quiet anymore. Perhaps Aleron knew what to do! He ducked into the entrance and called out to the mage.

"Aleron, wake up!"

Almost immediately, the apprentice jolted awake. "Jared? What is wrong?"

"I... don't know, it's me. Look at me!"

After a few words of encouragement, Flicker began burning brighter, allowing them to see in the tent as well. Aleron looked at the half-naked Jared critically for a few moments before asking: "Okay... what am I looking for?"

"Can't you see? I'm..." However, as Jared looked down on himself, everything was fine again. He was looking at his plain old self, just as he should look like. The tingling feeling was gone, too.

"Oh." Jared felt incredibly stupid all of a sudden. "I... must have been imagining things."

[...]

If you liked the teaser, be sure to give the whole thing a read :)

Let me close with another whole-hearted Thank You for your continued interest!

Stay awesome!

And here, as promised, a peek at the creative complexity of the story: