#at this point i really tag any mildly negative post as critical

[cat-26]

This tales is lacking phil content.

This tales is lacking techno-phil content.

This tales is lacking techno-ranboo content.

[bewires]

fandom and the criticism paradox: an essay

So there was recently some twitter drama about a thread where people were supposed to post "cancelable" opinions about fanfic. unsurprisingly, someone saw something in that thread that applied to their own fic and then deleted all their fics off AO3.

there was some backlash to this incident in two specific ways that I saw:

(a) criticizing the author for being so sensitive/looking at this thread in the first place

(b) rejecting criticism of fanfiction bc fanfiction is not forprofit

to be clear, I have no particular stake in the fic trope in question being criticized or the author who deleted, they are specific to a fandom I am not in. what this makes me think about more than anything is the uneasy role of fanfiction as an art form. (if you disagree that fanfic is art you can stop reading here, that is my central premise).

I've been involved in fandom in one way or another for ~15 years, and I can still recall that in the days of yore on fanfiction.net, people would add "concrit welcome" or "read and CC!" in the notes if they wanted to receive constructive criticism. Actually, when I went back to delete my fanfiction.net account several months ago, I discovered also that I as a 13-year-old was exactly the kind of asshole who GAVE constructive criticism, in a tone that would make me furiously angry if someone left that kind of comment for me on AO3.

I can also recall that as a 13-year-old, I received some dismissive commentary that made me discontinue a fic entirely. It was a terrible fic, it was marauders-era HP fanfic about Sirius Black falling for an OC who was best friends with Lily Evans structured around Beatles lyrics. I shudder to think of it and am thrilled it is lost to the sands of time and internet decay. But when someone left a comment making fun of how unoriginal this concept was, it hurt my feelings and made me move on to a different fandom. (This was literally at least a decade before the two cakes meme).

When I moved over to livejournal, it quickly became clear that this was a safer space to experiment, the worst that would happen there was that a fic would go ignored, not that people would leave condescending criticism. Maybe sometimes someone would message you to point something out, or fix a typo or something, but any sort of criticism was happening in private where I couldn't see it. Livejournal is where I really started challenging myself to write interesting concepts or experimental styles (all of which I also shudder to think of now).

Fast forward to AO3, and it is entirely impolite and not the done thing to leave any sort of criticism on a piece of fanfiction. What's more, AO3 is an archive. The author appears far more as an author rather than as a lowly blog runner among many; it's only when you follow them to tumblr or discord that you get to know the person behind the story, otherwise they appear to you only as an author.

There's still a much greater familiarity than there is on, say, goodreads. Published authors have access to their goodreads pages, they can see everything you say about their books there and some of them do check, but the comforting distance of a publisher and a for-profit book makes us more okay with that than with an ao3-review that lands directly in the author's inbox or the snide remark in the bookmark tags that the author will also see. (although I see y'all out there creating goodreads pages for my fanfiction and that....my dudes that's just weird why are you doing this?)

At the same time, though, the fanfiction author did not invent being sensitive about negative feedback. Authors being butthurt about bad reviews has been around for about as long as books. And I get why! Writing is personal. You put a lot of yourself into each word, and having it be rejected, or even mildly criticized, is uncomfortable and unpleasant. There's something to be said for the fact that it's a lot easier to leave negative feedback than positive. It's much easier to pinpoint what you don't like about something than to praise specific things you liked - I actually think ao3 comments are a great practice arena for giving praise and valuing what's done well, a thing I know I don't do enough irl.

So we can say that one arena which separates the fanfiction author from the published author is the directness with which criticism is received. Critical comments go straight from one user to another. In most cases when I've received them, they have been anonymous, probably because the user knows they're breaking fandom norms. Sure, criticism is hurtful for published authors as well, but they have two benefits: one, they are spoken ABOUT and not TO. And two, which leads me to the second point, at least they're getting paid.

The other big issue people raise is that fanfic authors aren't being paid; they are contributing their fanworks out of love, often in spare time as students or while working full-time. Fanfiction is not a commodity, you aren't buying a service and as such you have no right, as a reader, to complain.

This is not a point I can or want to argue; fanfiction is a labor of love and to see the work someone put in and decide to tear them down over not being great at dialogue or whatever is just a dick move.

But.

The thing that gets to me, the white-hot burning core of this argument to me, is that it can't be absolute. And this is where I run up against the central issue of debates about anything substantive on twitter or tumblr, and also why this post is so fricking long - these points are made briefly and succinctly and when you do that it sounds like you're making an absolute statement about whether fanfic should be criticized at all, ever, and I don't think that works.

See, I happen to think a thread asking for "cancellable fanfic takes" is an easy way to stir shit - it's bound to step on some toes and if you're posting in that thread, you're going to have to be okay with stepping on toes.

However, I also think that people should be allowed to have opinions on fanfic tropes in general without authors taking it personally immediately. Like, here, let me out myself: I don't like high school AUs. At all. Don't read 'em. Sometimes I filter them out on AO3 because I don't want to see them!

What a hot take. If some seminal author of high school AUs in any of my fandoms happens to see this, I sure hope they don't take this as a personal affront and delete their fic, because I'm talking about the trope in general and I have not even read their fics because like I said - I don't like this trope! And I happen to think I should be allowed to say that without being criticized for criticizing!

I even, and this is where I'm being controversial, think I should be allowed to go on at great length about why and in what ways I dislike this trope (I think it often destroys adult characters' agency and I also think most high school AUs are wildly OOC). This is not personal towards writers of this trope in my opinion. I do understand why someone might take it personally and/or disagree, and if they do, it's my responsibility to be clear that I'm not saying this to be hurtful but to express my own issues with the trope, but I still think I can say this on my personal blog in my corner of the internet.

So why is it important that I can lay out my issues with high school AUs? Well, because a lot of the time, the criticism of fandom tropes in general that get the kind of "authors are doing this for free how dare you express criticism" response is not innocuous, it's criticism of fandom tropes that further racism, sexism, ableism, homophobia etc. And I don't think it's a coincidence that this particular case, where a fandom trend for this specific fandom was being talked about in general and an author took it personally, is being used to restate and enforce "no criticism in fandom spaces".

Like...no, fanfic authors are not being paid. Yes, this is a labor of love and doesn't deserve to be treated like published work, lacking both the time and attention from an editor. But at the same time, if you put something out there into the world and let people read it, they can think whatever they want about it, and if they think you are hurting people with it, that should be something they can say. One last anecdote to exemplify this point: A few months ago, I clicked on a fic featuring what was, to me, very clearly a situation of dubious if not entirely lacking consent. The fic was not tagged as such at all. I found it pretty upsetting that the fic did not acknowledge the consent situation at all, and left a comment asking for a dubcon tag. In order to do so, I felt like I had to praise a fic that had upset me wildly so the author wouldn't be hurt by me asking for a tag, and afterwards, I was annoyed at myself for basically grovelling in order to get an appropriate tag I could filter for.

Fanfiction is populated by people who love art so much they want to make more of it, they want to think about it and meta and create. Of course fans think about the art created in their own spaces, and of course they have takes about it!

But I think that when we are discussing the role of criticism in fandom spaces, we must crucially differentiate between

Personal, individually-given criticism

Criticism of craft, i.e. solicited, friendly and clear suggestions to improve pacing, dialogue, whatever

Criticism as abuse, i.e. unsolicited and abusive critical commentary

Meta-criticism, i.e. commentary on tagging/fandom norms (which can easily also be abuse

General criticism

Criticism of craft, i.e. criticism of fandom trends like the way anal sex is often written in ways not at all like it's practiced irl

Criticism of norms, i.e. criticism of structural oppression being recreated in popular story beats

Criticism of tropes, i.e. "why I personally don't like high school AUs" (this can blend easily with criticism of norms)

Why is criticism of norms not part of individually-given criticism? Well, because fandom keeps showing over and over that when racism within a fandom is called out, it ends up with the people doing the calling out being harrassed and threatened and the people creating racist content portraying themselves as victims because "you don't criticize fanfiction".

And that's why I think we need to talk about fandom's uncomfortable relationship to criticism.

[berlinbabylon]

Hi! A few weeks ago, in an answer, you made reference to Volker Bruch's role in Unsere Mütter, Unsere Väter. I've never seen it and had been wanting to (although I'm arguably less motivated now that Volker Bruch has been so ... ugh lately), but would you mind expanding upon what you meant? This whole situation is so disappointing and frustrating (but I say this as someone who only discovered BB/VB in December of last year)!

Oh boy, where to begin! The issues with Unsere Mütter, unsere Väter are so layered. I guess I'll break it down into: (1) Issues with the miniseries itself, and (2) issues with the reception of it.

1) So as to the first point, it's been a long time since I saw and I don't want to be too negative about it. It's well-made and some parts of it are better than others. I remember that I didn't think the writing was great (that's true for many German productions where the scripts tend to be the weak link), like it relied too much on coincidental meetings of characters in unlikely scenarios and so on. But okay, whatever. The actual issue with the miniseries arises from the way in which it was titled and marketed ("our mothers, our fathers" – of course Generation War sounds a bit more oblique in English and obfuscates that the people behind the miniseries wanted to do something that was supposedly representative of what "our" immediate ancestors went through during the war). From a historian's POV, the group of young people that they chose to focus on was really not in any way, shape or form representative of most young German people at the time and you can't blame the Polish for being pissed about the representation they got (which painted the Polish partisans as antisemitic and the issue with that wasn't that antisemitism didn't exist among Polish partisans but rather that the way the miniseries emphasizes their antisemitism while being way too revisionist about the German protagonists in that regard is just not a good look). A history professor put everything into words that I was thinking back then, it's in German but you can put it through DeepL and I highly recommend the read, regardless of how you feel about the miniseries: https://taz.de/Unsere-Muetter-unsere-Vaeter/!5070893/ ("Nazis are always the others" – yes there are some evil German Nazis of course, the cliché ones, the commanding officers, the Gestapo guy and so on but we are not invited to identify with them, we are not invited to consider them part of our ancestry and we are also not invited to consider that most Germans at the time were not victims of circumstance but active participants in the system, unless we're talking about resistance groups which were obviously the exception and not what the miniseries posits as the core 'generation' – one who, we might add, would've been exactly the one to have gone through the whole youth indoctrination unlike older people at the time). So yeah there's a lot to unpack there in terms of how German remembrance culture works and I'll leave it at that, it's a huge topic that would need its own essay. The miniseries is 'fine' TV but it has a certain role in cultural memory production that is, at the very least, questionable and should be considered with some critical distance from its qualities as a drama.

2) There's another issue though and that's more what I was referring to. Basically Volker Bruch playing a Wehrmacht soldier in that miniseries gained him quite a following of wehraboos and in some cases straight up Neonazis. For the longest time, whenever you were searching for posts about him here on Tumblr, they came from accounts that... man, how do I say this. Okay first of all wehraboos are Wehrmacht stans and I came across a big number of them in this context (and in the context of Volker Bruch fandom specifically) where their tumblrs were all about the aesthetic~ of German Wehrmacht soldiers and I just... to say that I found these blogs disturbing is putting it mildly. Often these were run by young women from countries like the Netherlands, Italy or wherever else in the world and my only explanation for this phenomenon is that they grew up with a very stereotypical view of Germans during WWII = evil, so when they discovered that some of them were young (sometimes handsome) men who were also just regular guys, they took this to mean that everyone had been terribly mistaken to lump in 'regular' soldiers with the SS and so they ran in the other direction. I mean, obviously there are distinctions to be made. But the Wehrmacht was also heavily involved in war crimes, so. All that teenage fawning over black and white pictures of real people who may have been involved in real atrocities... well. But that was still comparatively mild. When I first made Babylon Berlin gifs (before it was shown in the US on Netflix, before I made this sideblog, before there was a sizeable interest in these gifs aside from Volker Bruch stans), the accounts that reblogged them... I mean, there were actual Neonazi accounts among those. One I will never forget. Back then I still looked at reblogs to see if people had some commentary in the tags and so I opened this one blog and it was dedicated to Reinhard Heydrich, the "Butcher of Prague". On the front page, there were reblogs of Hitler gifs. Hitler greeting some kids, people doing the Nazi salute. The rest I've blocked from my memory. I had accidentally stumbled across a corner of Tumblr that was entirely sinister. I felt so sick. I ended up blocking and reporting it but this hellsite never gave me a reply so who even knows if anything happened.

So long story short: Ever since then I've resented the fact that Volker Bruch being in Unsere Mütter, unsere Väter gained him Neonazi followers (also tells you something about the miniseries, doesn't it) and I also resented that me just wanting to make Babylon Berlin gifs meant I had to see this stuff. So I stopped making any BB gifs (or at least any containing him) for a while and it's also the reason I never made many gifs of Gereon unless requested. I don't want to say that I feel vindicated after finding out that Volker Bruch is a complete idiot because I never paid much attention to him personally but I was also never his biggest fan, I find his acting range limited, he has a certain vibe and look that goes well with certain period dramas (actually only 20th century ones because he looked rough in the Goethe movie... I actually much prefer Alexander Fehling as an actor but that's neither here nor there). Anyway, there you go.

[demauryss]

for mtea @bluronyourradar. based on her tags on this post. i had minimum knowledge of how speed dating works so i wrote what came to me with the bit of research i did!!! i hope you like this and i’m sorry for taking too long!!

slow motion (i’m watching our love) 💌 | 3.9 k

in which there’s speed dating, some unexpected friends, a brief stint of matchmaking and a whole lot of sunshine smiles.

Lucas didn’t know what he was expecting to happen when he’d agreed with Mika to come to this … event or whatever it was. Because apparently Lucas was like a house plant Mika had got and forgot to take care of – and now it was starting to rot and needed someone to looks after it pronto.

That had been Mika’s analogy in trying to convince Lucas to try speed dating. Something he hadn’t heard of before. And with the promise of Mika buying all of Lucas’s groceries for the month if he came, Lucas had landed himself in this place. And it was the most recent thing he was regretting.

It’ll be fun, I promise!                      

It’s stupid, is what it is.

He didn’t know what to expect – but it was certainly not resorting to hide in a corner away from Mika’s prying eyes after talking with a total of four people – and being a witness to a very explicit kiss.

He wasn't thinking he'd get anyone when he had agreed to this, if you ask him. His thought process has been more towards getting through the evening with avoiding as much human interaction as he can. But in a succession of events, Mika had dragged him to a table, and Even, taller than nine of Lucases combined and eyes which was the reason why Lucas's tongue had forgot to form words, had approached him, and that was the first negative spike in his brain's specified compartment for dread.

They had talked for eight minutes before the bell rang and Even moved on to the next person. Lucas had learnt he was from Oslo; in his second year of college. He seemed nice, if those eight minutes were anything to go by, and totally someone Lucas would probably consider himself with. 

But there was something nagging inside his brain.

So he'd smiled as Even had left. Totally chiding his brain for worrying about lost potential when there were more pressing matters to discuss. Like why the next person coming after Even looked like a live incarnation Jack Frost. His name was Sander, and he was a David Bowie enthusiast. And then had come Nico and David, one after the other. 

And if it hadn't been for the way his stomach had crumbled at the thought of being with any of them -that he was slowly feeling his insides coming to his throat whenever he as much as smiled at them, that there was this empty hollow feeling inside of him as he sat talking to them despite his brain accepting them to be nice as the first thing it made sense of – Lucas wouldn’t be sitting here in his natural habitat being miserable at cursing his luck.

But as it happens – there was something nagging inside his brain. A black space. A variable entirely missing from the equation.

Lucas looks around the multitude of people all in an assortment of fading lights and a cacophony of voices all going over his head of people conversing. Lucas has never been good at that part, and that's why he finds it all so surreal to see. And it’s between that, hiding from Mika and cursing his fate, that there’s a mild commotion behind him. It would have been impossible to separate it from the discordance around him, had it not been for the way the reason the said commotion is created comes to where he’s sitting in the corner. Lucas, without meaning to, trains his ears on – he does a quick counting in his head – four people.

“I’m just saying,” One of them says, rubbing a hand over his neck. He looks like how Lucas feels after having to deal with a stupid customer on the phone – which is a story of a daily basis, “If you want to find a match, then maybe you should try and – I don’t know – talk to someone! ---

“Shut up Marti! This whole concept is stupid.” The one Lucas assumes to be Isak snaps. He looks tired, and Lucas really can’t argue with that sentiment.

“But it won’t hurt you to try?” Marti begins as a final resort. Isak only glares at him, “I don’t know what you think, but going on a date once doesn’t make you a relationship expert.”

“And especially when you call us in the middle of it to help you fake an emergency so you could run away.” The third person speaks, and Marti turns his murder filled eyes towards him. Lucas watches, heart somewhat lighter, as Marti just about digs the grave of the person in front of him.

“I like you better when you’re stoned, Matteo.” Marti grumbles, and the person in question turns starry eyed towards him, his tongue peeking out as he takes a gulp of the liquid in the glass he’s holding. These people remind Lucas of his own group of friends, those he hasn’t seen in months. With Yann and Basile both gone to spend the summer with their grandparents and Arthur on that science camp he signed up for ages ago – it has been quite some time since he last saw of them.

And now he misses them, terribly.

Marti looks at his friends disapprovingly as Isak and Matteo and the quiet friend whose name Lucas hasn’t got yet fail to hide their laughs at Marti’s distraught expression. He sighs, turning sideways and catching Lucas’s eyes. Lucas feels heat crawling up his neck spreading over his face at the thought of being caught in listening to someone else’s conversation. His initial reaction is to looks away, but his brain prevents him from doing so. Whatever, it’s too late now.

To his surprise, Marti addresses him like he’s talking to an old friend or something. “Please help me clear a point to these idiots,” he begins, “I’ll owe you forever.”

As if on cue, three pairs of eyes turn towards him in sync. Lucas gulps down whatever he was feeling earlier at being caught. “I’m sorry I can’t do that,” Lucas starts, feeling foreign being the subject of unknown gazes.

“Because you also think it’s stupid, right?” It’s Isak who begins with a hopeful cadence in his tone. Marti frowns at him, and Lucas sends a small smile in his direction.

“Well, there’s no denying that.”

The yell that breaks past Isak’s lips as he jumps in triumph raises several eyes in their direction. Lucas chuckles, apologetically looking at Marti who’s watching everything with a scowl on his face.

“I knew you were one of us,” Isak gestures to himself and the two people standing behind him. He looks out into the ground, pulling a sour expression on his face, “No sane person would be willing to spend an entire evening out there. It’s what I’ve been trying to tell this idiot here. But I think he gets it now. Do you, Marti?”

Marti, who has turned his head away from them, grumbles childishly, “Whatever. You guys don’t care for me.”

Isak laughs, and it’s Matteo who comes forward at that instant, wrapping an affectionate arm around Marti’s neck. “Don’t be like that, Marti. We do care for you!”

“Yeah. You’re the one who opens all of our jars when we need them.” The quiet one steps forward, and Lucas watches with Isak next to him. He heaves a sigh, before rolling his eyes, “Yeah yeah, now you can stop being a diva-” he turns to Lucas, “-he’s just being dramatic. Ignore him.”

Lucas laughs, now all unease under the guise of the nervousness which comes from meeting these people. Isak steps forward, taking a seat next to where Lucas is sitting. His friends follow, and soon he’s include in a circle of unknown people in a place he’d rather bolt out of.

“If we’ve reached an agreement here,” Isak pointedly says towards Marti, who is busy drilling holes in his skull. There’s light music present in the air around him, filled with occasional ringing of bell. Lucas ignores it and focuses on Isak. “I’d like to formerly make an introduction. I’m Isak, that’s Marti, Robbe and Matteo, and we’re seriously not having a good time right now.”

Lucas grins, “I’m Lucas, and you can count me in that.”

“Then what brings you here, Lucas?” It’s Robbe – the quiet one – who asks him that. His eyes have a kind look in them, and it’s accentuated by the light hanging over his head.

“My roommate,” Lucas sighs, “He works here, and he kind of convinced me to come and by convinced I mean he offered to buy my groceries for the month, so.”

They laugh, even Marti, who lets his annoyed expression slip for a minute before picking it up again as if nothing happened. It does occur to Lucas that he’s basically oversharing to a bunch of random people he just met. But the thought evaporates when they smile together, a familiar glint to all of their eyes. Lucas follows the warmth and soon, he finds himself getting enveloped.

Matteo smiles, “I was tagged into this Instagram post and someone thought it’d be a good idea to try this out.”

“And I still stand by it,” Marti somewhat grumbles. Lucas chuckles as Isak shakes his head at him. Robbe pats him on the back as Marti turns to Lucas.

“Please tell me you atleast talked to people before forming your opinion instead of criticizing from afar like some people here.”

“Hey!” Isak, Matteo and Robbe shout in unison. Lucas smiles, shaking his head. “Yeah I did meet some people but –“ Lucas shrugs, “-they were not someone I’d consider eating a pizza with brought from my roommate’s money.”

“That makes a lot of sense. Why didn’t I think of it before?” Matteo asks Robbe, who just shrugs. It Marti who bites back, “Because you’re stupid, that’s why.”

Lucas looks between them, as Isak raises his hand, high-fiving Marti over Lucas’s head. This night is going to be fun.

//

Some twenty minutes later, and Lucas is now a member of a groupchat with the four people whom Lucas can now almost call him his friends. (They’ve exchanged numbers, followed each on Instagram, exchanged pretty heavy details of their lives and exchanged some solid opinions on the people they’ve found mildly interesting.)

Now he and Matteo are surveying the crowd, finding someone suitable for Isak to go and talk to since his great epiphany seconds ago about not wasting any chance he’s presented with. (Marti had the most smug ‘I’ve been saying it for ages’ look on his face which Isak had wiped away with a middle finger raised in his direction.) Robbe and Marti were helping them, but it wasn’t up to any use since so far Isak had rejected hundred percent of the guys they had picked, all with the same monotonous ‘I’m not feeling it now.’

And Robbe had coughed a laugh with Marti hiding his face in Robbe’s shoulder, Matteo had whispered under his breath, that’s not the only thing you’re going to not feel tonight if you keep this up, and Isak had landed a smack at the back of his head – and it was when Lucas had realized his evening had turned out quite different from what he was thinking. He may not have found a match tonight, and Mika hadn’t said that he must find one. Atleast he’d be walking out with this memory with four new contacts – and the freedom from worrying about buying his groceries for the next month.

He looks out into the crowd dimmed with light. He doesn’t know if any successful match has been formed yet or not, but he doesn’t have to worry about that for more as he spots Mika sashaying towards him with a shit-eating grin on his face.

“Damn Lucas,” he says. His eyes turn brighter as his gaze shifts from Lucas to the people sitting around him. “I thought finding one match would take you centuries but you’ve managed to snag four beautiful people from the crowd. I must be teaching you well.”

Lucas rolls his eyes as Mika goes on introducing himself to them. It’s when terms like Lucas’s gay guru and Lucas’s foray for the night are exchanged between the group, that he turns around, way past feeling embarrassed at his roommate’s antics. He’s so used to them now it’s not even funny.

“Okay Mika you can stop it now,” he says, watching as the guys including Mika act entirely too pleased at Lucas’s discomfort. “Sorry to burst your bubble but none of them is my match.”

“Oh he wishes he could get someone like me,” Robbe grins as Marti and Matteo fail to hide their terrible smiles. There’s a moment where Lucas remembers he called them kind, but that’s all gone now.

“Yeah. He was alone and miserable in the corner. If it hadn’t been for us he would have probably died from sadness.” Isak says, elbowing Lucas in his shoulder. Lucas musters his most perfect glare he could in that moment.

“I hate you all.”

“Oh but I don’t!” Mika laughs as if he’s having the time of his life. “I’m not pleased with anything Lucas does in his life, but I’m so proud of him for finding you guys!” He looks like a proud parent, Lucas would have felt to say had it not been for Mika declaring the sentiment himself. “I’ve work to do now, but you guys are welcome to come here anytime you want.”

Mika leaves, and Lucas glares at the four devils now grinning from ear to ear. Lucas rolls his eyes, scowling when their expressions don’t drop.

“Seriously?” Lucas asks.

“Yes,” they all reply in unison, and Lucas shakes his head.

“Now if you’re done being creepy can we go back to the task at hand?”

It gets their attention as Isak straightens up, a serious expression falling on his face. “I’ve come to a conclusion; I’m letting fate decide it for me.” as he speaks, he pulls out a coin from his inner pocket and puts it forward in his open palm in front of Lucas. “Lucas, take this coin and throw it in whatever way you want. If it lands on the floor somewhere, I’d go home and never try speed dating again. But if it lands on a table or hits someone on the head and that person turns then-“

He shrugs, and Lucas doesn’t see the logic in his plan. “It’s stupid,” Robbe says, to which Isak snaps in his direction, “Shut up I’m trying something here.”

So with one last hopeless look shared between Lucas and Marti and Robbe and Matteo, and a hopeful Isak jumping with glee, Lucas takes the coin, throwing it away and –

It follows a perfect projectile, a silver running through air, disappearing for a second. They all watch it and Lucas can swear they’re all holding their breaths. It’s silly, how they collectively exhale when the coin reappears into their vision before landing on-

Even’s table.

Lucas can tell he’s shocked when a coin lands on his table not far from them as he starts looking around. Lucas turns his head to the side, watching Marti and Matteo and Robbe do the same. But Isak- he stays with his stare focused on Even who’s now smiling at someone and Isak looks completely smitten.

“Um…Isak?” Marti waves a hand in front of his face, sharing a look with the three as Isak completely ignores him.

“Lucas you beautiful being!” Isak says, still in a kind of trance as he gets up from his chair. Lucas understands his intentions, and with a pat on his back, Lucas says, “Go on. He’s from Oslo too.”

It’s what sets the deal as Isak sets in motion. “I’ll catch up with you guys later,” he says off-handedly. They watch him make his way to Even, the crowd swallowing him just when he makes his way to the table.

Matteo turns to Lucas, “Is he one of the guys you said you talked too?”

Lucas nods, “Yeah he is – and come to think of it, I think I met some people you guys would like.”

And as Lucas plays matchmaker, he looks for the remaining three people he had met before. It’s funny really – this fate or kismet or whatever was going on when he met these people each of which bears a connection with the people he’d met earlier – and he spots Sander, his lighter than blond hair standing from the crowd. Lucas turns to Robbe.

“You see that guy over there? He’s Sander, and I think you’d be perfect together.”

//

It takes him a minute or two to find Nico and David in the crowd, and it takes him a minute as he convinced Marti and Matteo to go talk with them. Unlike Robbe who had fled straightaway, these two were difficult, and Lucas had resorted to quoting Marti’s own lines to him.

“It doesn’t hurt you to try, does it?”

And now he is left alone on their table as he tries to check up on his friends in the crowd. He had seen Isak disappearing with Even, and he’d shot him a thumbs-up when he’d met his eyes from across the room. The rest of them are still in the talking stage from what Lucas can see, even Mika, who’s now stood talking to someone much too familiarly – and Lucas can’t help but be envious of apparently how easy that looks for him.

He’s thinking of calling it a night after Isak sends a message in their newly formed groupchat, saying how he doesn’t think he’d be back anytime soon (which Lucas kind of guessed, by the way). The other boys reply in variations of same sentiment, and Lucas guesses his attempt at matchmaking was more successful than he thought it would be.

Lucas shakes his head, sending a message back into the groupchat, making sure the guys knew he won’t be missing them if they end up getting murdered tonight.

(But in all seriousness, he tells them to be safe, and he smiles when gets all affirmative responses in return.)

It’s when he’s beginning to leave that he feels a presence beside him. It’s a repeat of just a few moments ago, and he turns, expecting it to be Robbe or Matteo or even Mika and-

-and it’s not them. Not by a long shot.

For a moment it feels like one of Lucas’s daydreams as the light turning green and blue dances over the stranger’s head. His lips are curved in a smile, and Lucas really feels he’s tripped and transported into one of the universes he’s created during many of his bouts of daydreaming.

“Hi. You’re Lucas right?” The stranger’s voice carries over the noise of the club. It’s soft, sweet, and Lucas would have lost it had it not been for the stranger to be standing literally in a meter’s distance of him.

The stranger meets his eyes, and Lucas feels all the conversation skills in him reverting to zero. He was having no problem talking about his life to then-strangers just moments ago. Why does it brain have to be filled with hay now?

“Um – yes?” It comes out as a question, and the person smiles. Lucas feels his idiot brain transporting him to somewhere else – where it’s only him and the stranger, where the voices in the background aren’t filling his mind like white noise and where the sun is shining directly over him so Lucas is able to make out the colours lighting up in the stranger’s eyes.

Lucas’s heart beats heavily in the hollow of his chest.

The stranger cocks his neck to one side, “I’m Eliott,” he says. Eliott, Lucas rolls the name in his head. “And I’ve been watching you play matchmaker for a while and I’ve been meaning to ask -,” he takes a pause; Lucas hangs onto it, “-which of these beautiful boys do you think I’d match perfectly with?”

It’s a wonder Eliott doesn’t notice when Lucas’s heart tears his chest and lands on the table in front of him, beating so heavily it’s a struggle trying to calm it down. Eliott has been watching him. Eliott, who looks like he makes a living out of appearing on billboards and photoshoots, has been watching Lucas for a better part of his night.

Lucas wets his lips, thankful for the dim lighting of the café to hide his burning cheeks. What he wouldn’t give to-

“Do you have your eyes set on someone tonight?” Lucas mirrors the position of Eliott’s head. Eliott’s face lights up even more, and Lucas feels a shiver of unknown reason pass through the length of his spine.

“I do, actually. He has a nice smile and pretty blue eyes. And his hair is the wildest thing I’ve ever seen.”

Lucas looks around, confused for a moment, “That’s like, half of the people here?”

Eliott wrinkles his face adorably. Something jumps inside Lucas’s stomach at the sight. Eliott mutters something under his breath which Lucas fails to catch. And then he looks up, his eyes now gaining a glint which wasn’t there before. Lucas focuses – and it’s of nervousness.

“I suppose I should be more direct,” Eliott begins, taking a step forward so he’s just an inch away from Lucas, “If you’re free now then I’d like to take you somewhere.”

What?

Lucas chokes on the air caught in his throat at Eliott’s sudden statement, neck whipping towards him so fast it’s a wonder he doesn’t break it. Eliott himself looks taken back, and Lucas doesn’t know if it’s at his own words or something else.

“Wait no – that was so straightforward I’m sorry!” Eliott’s voice is frantic, and Lucas feels a beginning of something in his chest. “I – uh – I wanted to know if you’ve found someone tonight.” He says in one single breath. Lucas feels his face getting warm. The good warm you get after spending a day out in the sun as it washes away your sadness and takes it from you as it begins to set. He feels ants crawling inside him – those who begin from his heart and spread like a warm fire all around him with his blood.

Eliott looks like he might mass out when Lucas comes back. This doesn’t happen to him. It isn’t often that people actively seek him out. And here’s him – Eliott – in all his beauty sitting in front of hm. There’s something restless inside his arms, a nervousness which rises from the feeling which he’s refusing from letting it set in his bones.

“I haven’t,” Lucas’s voice is small, but it’s everything which brings a light to Eliott’s face which he can’t wait to follow. The warmth settles over him, and Lucas turns his head to the side when it becomes too much. He finds the guys, minus Isak, who have now taken the role of an audience for Lucas, and apparently look shameless when Lucas catches them staring.

(It isn’t like Lucas can judge them or anything.)

Lucas tries to convey a message to them with his eyes, and they get it, thankfully, as they turn to their respective partners, now forming a small circle which Lucas watches from afar. He turns to Eliott, his eyes in half-moons and smile in all suns. It really feels like a dream, and he wastes no moment in sending a prayer above.

“So – the place you wanted to take me?”

Eliott laughs, his voice soft and high. He leans forward, and Lucas meets him halfway.

[catsvrsdogscatswin]

Vol 6-7 Hiatus

Okay, I think I’ve finally isolated what I ACTUALLY disliked about the whole thing with Bumblebee advancement in the last volume.

It wasn’t the ship itself. Bumblebee is goddamn adorable and its amazing to see Blake and Yang resolve their abandonment/self-esteem issues together and grow as people. Beautiful. Amazing. Cinematic. Adam died the shitty death he deserved.

It wasn’t even really so much the reactions of other fans. Everyone was more or less polite about things, as far as I could tell, and spent their well-earned high drawing cute fanart.

No, I think what somehow (still) mildly irritated me was the fact that Bumblebee then (and now) FILLED the RWBY tag. In and of itself, there’s nothing wrong with this, but like…it’s all I can see, sometimes, when I click on RWBY. I didn’t get into RWBY to hear about Bumblebee. And every single post about Blake, or Yang, had to deal with Blake & Yang as it pertained to Bumblebee. There were no more dissertations about them as individuals, and when they DID discuss other issues (Yang’s PSTD, Blake changing her style with the new haircut and stuff) it was always tangential to BB. Blake cut her hair because it’s the Bi Cut, confirming her availability for Yang, and no other reason. Yang’s PSTD is going to be helped because she discusses it with Blake, not because any other characters in this show close to her also have major PSTD issues that she can perhaps have a word with. It annoys me that people seem to have condensed their characters into nothing more than two halves of a ship, and literally everything they ever do or anything anyone ever says about them revolves back to that.

Bumblebee, of course, is not the sole instigator in this. A lot of the more recent posts in RWBY, when they react to what’s going on in the show, tend to revolve around what ships were confirmed/denied/made-progress-on, and not anything to do with the actual plot. That is equally annoying, but Bumblebee’s really the loudest right now, hence my focus.

Of course, I could block that tag, but then I might miss a really cool post. I don’t hate the ship, so I don’t want to eliminate it completely, but it’s just…there’s so goddamn much of it right now. I just feel like I need a break. (And I’m not so fucking arrogant as to say “Hey, all you fanartists out there, stop making so much Bumblebee content! It’s annoying me right now!” Everyone making art is valid and they should not feel ashamed or that they should stop because of another person.) 

So I have finally found what truly vexed me about Bumblebee: it’s being shoved at me all the time, and its overshadowing the characters that are part of it. I have identified the problematic parts of that ship, and now I can enjoy it better.

Peace.

EDIT: Man, such negativity over this! To help you guys out, since many of you seem to have not read a few important points in this post, I’ve highlighted them, so now you can offer more constructive criticism, should you wish to send a reply, than “just block the tag, bitch”. I feel sorry for the people who post genuinely negative discourse about BB –they must get a lot more flak than someone who just wrote down their epiphany!

[thelightofthingshopedfor]

@kiwimeringue replied to your post “I know it’s generally rude and very unwise to reply to a fandom...”

ok I'm super curious now, feel free to message me if you want to talk about it all stealthy-like~

@veliseraptor replied to your post “I know it’s generally rude and very unwise to reply to a fandom...”

i'm so curious

apparently I did want to talk about it, because this got looooong (also please do not add more discourse to this post, it’s probably kind of shitty of me but I don’t super want to have a dialogue about it, I just want to barf out my thoughts and defend my own faves on my own post, so if you want to argue with me I would really rather you didn’t and just made your own post instead)

(I also only just realized that I only put “tony stark negative” and “tony stark critical” in the tags, not anywhere before the cut, so here’s your warning now if you didn’t see the tags that this is me being frustrated with a lot things about how Tony is written)

I can't find the actual post now to screenshot or link because I just came across it on my dash, got annoyed, scrolled past, and then made my post when I couldn't stop grumpily thinking about it (so at this point I also don't remember who the OP was or who reblogged it onto my dash, which is probably just as well), but the gist was that almost all MCU title characters have storylines establishing that they're wrong about something and they show growth by accepting that and working to improve...except Steve, who never acknowledges that he might ever be wrong about anything, with the implication that this makes him a bad, self-righteous character who is basically incapable of growth. several other characters--Tony, Thor, Dr. Strange, Peter Parker--were mentioned, but the state of fandom discourse makes me assume any Steve-negative post exists at least in part to show how much better Tony is, which...may not always be a fair assumption on my part, but I do think it's fair to say that's still a relevant context. and of course Steve is one of my favorite characters, so anything even mildly Steve-negative puts me at least somewhat on the defensive right away, which again is not necessarily fair. (the other post that’s already sitting in my notes is about Ragnarok, which is probably even less surprising.)

anyway the post made me grumpy to begin with and then doubly so because I couldn't think of a good way to refute it aside from "yeah well maybe Steve's just a better person than your faves and he doesn't need a whole character arc about realizing he's been an asshole and needs to change because he didn't start out as an asshole to begin with, bet you didn't think of that huh" which is of course VERY unhelpful. but then I started thinking about how I don't think OP is right about the changed characters to begin with, given that a) it's not really fair to compare a character who's only had one solo movie (Dr. Strange) with characters who've had more, b) Spider-Man is kind of an edge case because he's a teenager and a lot of the problems in his movies stem from a combination of him being a fucking teenager and Tony dumping him with tons of dangerous tech that he doesn't have the training or adult impulse control to use safely and then blaming him when disaster inevitably results, and c) the characters who have had multiple movies and arcs focused on realizing they were wrong about something (just Thor and Tony, really) are...maybe not actually great examples because like 75% of that character development seems to reset after each movie and, actually, the narrative still operates under the premise that these characters are basically right even if some other characters don't agree. like...I mean, the only lessons Thor really, consistently seems to learn are "humans are at least not totally worthless (but lbr they're mostly silly and cute)" and "Odin is extremely wise and probably right about almost everything despite mountains of evidence--that grow with every single film he's in--to the contrary". 

and Tony, well--yeah, that's his arc, in theory, and in theory I don't have a problem with flawed characters who keep making the same mistakes because let's face it, that's a very human thing to do. but with posts like this, it's like...you're effectively arguing that he doesn't really make mistakes overall, though, because it’s really just an opportunity for growth? and that when he does, the narrative shows he's wrong, he admits he's wrong, and he makes consistent efforts to change? which...again, obviously I have my own biases, but I have to see this as a weird interpretation because he's basically been the main character of the entire MCU thus far, which means he's likely to get sympathetic treatment and justification from the narrative even if he's ostensibly being called out for fucking up, and that's something I've definitely seen. his entire first movie is about him realizing how wrong he was and working to do better, definitely, but he ends up being his own worst enemy half the time and other people suffer for it. like...he wants to protect the world, okay, that's a reasonable goal. you can argue that the vision Wanda gave him made things worse, and that's possible, but I don't know how much that might be true given that I'm pretty sure he was working on Ultron before that too (and her mind-magic mostly seemed to work by emphasizing something that was already there, not planting new ideas). so he ends up creating a murderbot, with good intentions but he still does it and he keeps it secret from the other Avengers, and now-sentient murderbot immediately reaches the conclusion that humanity is awful and they won't need protecting if they're all gone, and everything breaks very bad, and then Tony...basically does the exact same thing again, without telling anybody else, in hopes that it'll work out better this time because JARVIS? and it does but that seems like mostly luck? and everybody manages to defeat the murderbot, barely, but a not-insignificant number of civilians die anyway because that tends to happen when a sentient murderbot goes on a rampage, and Tony feels really guilty about this when it's shoved in his face, so he deals with his guilt by kind of...spreading it around and allowing the possibility of other major problems down the line so they can hand over some of that responsibility and he can feel less guilty. (that’s not the most charitable interpretation, yeah, but I also don’t think it’s an unreasonable one, based on what’s there in the text.) and then of course things blow up and other problems get dragged in and it's a huge mess and half the Avengers are fugitives, and the general consensus sort of seems to be that nobody was completely right or completely wrong but Steve is the only one who actually apologizes for any of it (no wait, I guess Wanda and Vision apologized but just to each other) and Rhodey reinforces the idea that the Accords were a good idea with no major drawbacks...and then Thanos shows up and things get SO VERY MUCH worse.

and Tony is once again stricken with grief and guilt (not to mention half dead), so lashing out at Steve is understandable, but what he actually says is basically that this is all Steve's fault because he wasn't there (even though he immediately sent Tony that phone, which means Tony could have contacted him at any time but hesitated to do so even when monsters were basically falling from the sky), and he was right about the Accords and Ultron even if the latter didn't work out so well in ways that probably could have been predicted, and...that's what we're left with. nobody else has a meaningful opportunity to say "now hold on a second, you cannot possibly be arguing both for accountability and for your right to decide for the entire world that exchanging some freedom for some potential security is a good trade, and also how are you saying you were essentially right about Ultron when Ultron is what kicked off the desire for the Accords" or, like, anything. (does the world need a security blanket? going by the evidence...yeah, probably? but again. Tony. you tried that and you made a sentient murderbot instead so like, your track record is not great!!)

and then it all culminates with Tony sacrificing himself to save the universe, which I do at least think was a climactic, thematically resonant send-off for such a major character--for the final time, in the most final possible of ways, he reaches a point where there's no more clever tricks and he reacts by selflessly taking the entirety of the consequences onto himself. I can't say I'm happy with it, because I'm not a fan of character death in general even when it doesn't involve my top faves, and it absolutely would have been possible for the filmmakers to keep him alive if they hadn't gone into this with the specific intention of ending Tony's arc with his death. (ditto on all the other major character deaths, which is a big part about why they make me mad--none of them really, honestly had to happen, some even less than others.) but regardless of my feelings on whether it had to happen, it's inarguable that his entire arc from Iron Man to Endgame is that of a brilliant but selfish manchild who changes and grows until he doesn't hesitate to make the ultimate sacrifice for the sake of the entire universe.

BUT THEN THERE'S SPIDER-MAN AGAIN.

spoilers if you haven't seen Spider-Man: Far From Home but like, the entire conflict of that movie was based on two major things: a bunch of disgruntled Stark Industries employees, at least some of whom had to have legitimate, recent grievances (and frankly that whole mess demonstrates--among other things--that Stark Industries must have unforgivably lax security around its arsenal of world-ending weapons); and Tony's decision at some point to essentially REMAKE ULTRON AND THEN DUMP THAT RESPONSIBILITY ON A FUCKING TEENAGER WITH ABSOLUTELY NOTHING IN THE WAY OF WARNINGS, TRAINING, OVERSIGHT, OR EVEN BASIC FAILSAFES, like holy shit my computer spends more time making sure I definitely want to delete that file than EDITH does about confirming that yes this random teenager is a legitimate target for IMMEDIATE DEATH. all the other adults involved in this clusterfuck bear a good share of the responsibility for this too, given that not one of them ever seemed to think either "hey, maybe saddling a smart and very good but basically normal sixteen-year-old boy with the power and responsibility (but not the resources or experience) of a grown-ass adult with unlimited resources is not the smartest move here, and yelling at him when he inevitably fucks up this power and responsibility we dumped on him with no training whatsoever is not actually fair or reasonable" or even "maybe before giving a piece of massively powerful and dangerous tech to a sixteen-year-old boy, we should spend at least 15 minutes going over the device's major functions and how to not accidentally kill someone, even if we figure things like ethics and privacy rights and knowing when not to use this tech aren't that important".

but, but, Tony still made the decision to give it to him, and he did so without building in any precautions at all, which is the exact same thing he did in CW/Homecoming with Peter's new suit (yes, the Training Wheels protocol was a good step, but the fact that it could just be turned off that easily--and that Tony isn't shown even trying to tell Peter to use the training programs or safely practice with the suit--shows that it really, really wasn't good enough) except even worse because EDITH is about 100 times more invasive and destructive than the suit. and he pretty much scolded Peter in Homecoming for getting ahead of himself, but then the second Peter did well in a bad situation Tony was right back to making this teenager an official Avenger and giving him all this power and responsibility he'd just decided Peter hadn't really earned, and Peter turned him down because at that point he had a better idea of his own limits and need for growth than Tony did, and then!! in what must have been one of his last acts alive!! Tony dumped an even bigger, more dangerous power/responsibility combo on him!!! way way bigger than the one he'd already turned down and maturely decided he wasn't yet experienced enough to handle!!! without even giving him a chance to say no!!!! and did not take any of that (or the mess with Ultron and the lessons he theoretically learned there, or the mess with the Accords and the lessons he theoretically learned there, or for that matter the lessons he theoretically learned in his three solo movies about treating his employees well and making sure he knows exactly what his company is doing at all times) into account when designing it, handing it off to other adults who also should have been more responsible about it, and leaving it to a teenager against that teenager's stated wishes, thereby ensuring that this teenager will follow Tony's footsteps in being unable to have a normal life!!!!!

...................but, okay, the point of the original post was that Steve is generally deemed to be Always Right and therefore he never has to change, and that makes him unrelatable at best and also not a great character. which...well, that's part of the point, that's why he was picked for Project Rebirth in the first place because he's a good dude dedicated to doing what's right; even before the serum, he was literally willing to die to protect a few people he barely knew (the grenade scene, remember). he was already starting from a point of selflessness and an understanding of responsibility that the others lacked, so it would be tough to give him a similar character arc without undermining or ignoring the whole point of the character. sure, though, even a character like Steve is imperfect and human and bound to be wrong sometimes, and when that happens he should acknowledge he was wrong and take steps to make amends, and if he's never shown doing any of that, it's true that it's not great even if part of the issue is that he's never really put in a position to do so. 

except, except DID YOU ALL COMPLETELY FORGET THE ENDING OF CIVIL WAR

like, sure, if what you wanted was to hear Steve say "I was wrong about everything and Tony was right about everything, and I will humbly submit to whatever you think is best regardless of my own convictions, my very good reasons for having those convictions, and my personal concerns for my friends, or at the very least I will humbly ask for forgiveness and accept whatever you throw at me, because Tony Was Right About Everything," then...yeah, I'm sure it was a disappointment, especially if you figure Tony was right about the Accords and at least the intentions behind Ultron. it's true Steve doesn't really address any of that, which indicates he definitely still believes he’s right about those parts. but...look, the last time he saw Tony, he was fighting to save his lifelong friend from being murdered from a crime he didn't necessarily remember and really wasn't responsible for. once again I don't blame Tony for reacting emotionally and lashing out at the nearest targets instead of the people who were really at fault, but that doesn't change the facts of the situation, which are, Steve was fighting to save Bucky's life. and when he did that by incapacitating Tony, he didn't go any further; he took Bucky and left. and then he almost immediately sent Tony a letter of apology and a means of contacting him in return if an emergency comes up--and again, yes, his apology wasn't "I'm sorry for everything because I was wrong about everything," but it was a genuine, compassionate apology for the ways he'd hurt Tony even if his intentions were basically good. (this of course assumes that he really did know for a fact that Bucky killed the Starks and consciously chose to hide the knowledge from Tony, and frankly I'm not convinced that's true, but it's not really the issue here.) honestly, I thought his letter was kind of funny because it so closely followed the format of the apology-note meme--you know, "I was trying to do X, but I see now that I hurt you because Y" and everything. he didn't apologize for opposing the Accords or protecting Bucky or fighting in Germany so he could get to Siberia in time to stop what he had every reason to believe was a much bigger threat, because all those actions stemmed directly from his convictions and sense of morality and he wouldn't be Steve Rogers or Captain America if he was willing to compromise his most foundational convictions--but he absolutely did apologize for hurting Tony and recognized that he'd made at least one big mistake where Tony was concerned. 

Tony...didn't. even before doubling down on the Accords and Ultron, I don't think he ever really said, hey, at least some of this was my bad; most of what he said boiled down to "okay this situation isn't ideal but I'm sure if I throw more money at it things will work out fine, more or less". in the Raft and in Siberia he got close to saying that maybe he'd been wrong about a few things, but that all went out the window pretty quick, and I don't think there's ever a point where he--just for instance--at least apologizes for trying very very hard to kill Bucky. and by Endgame, apparently he’s pretty much walked back what little he did kinda sorta think he was maybe wrong about. so.

that's...basically what I've got, OP’s interpretation is wrong because their facts are actually wrong and I was apparently annoyed enough to barf out all these words when I could’ve been doing anything else, the end

[dlamp-dictator]

Okay, so... after reviewing some of my essays and being mildly tempted by Xenny, I figured I’d actually fully clean up, edit, and post that little essay I had talking about the smut writing stuff. I mean... it’s April, and silliness in early April is still a thing, so... here’s a fun little excerpt from an old essay on writing I did a few months back where I talked about smut, porn, and generally writing about semi-taboo topics.

Xenny if you clown on me for this I swear I’ll find you and kick you.

Okay, Guess We’re Talking about Porn Now

I don’t how we got on this tangent, but I might as well explain my feelings on this matter too.

When it comes to smut, or really any media discussing controversial/taboo topics I feel like we as a community need to understand that art as a whole is about expression first and foremost. It’s about taking all those feelings, desires, and wants that one has and expressing them in a healthy way on the page. This includes erotica and general erotic literature. People shouldn’t be afraid to write or draw about these just because our current culture has a negative bias against it. To constantly hold yourself back and hold in those desires isn’t healthy and if you have to write or draw about how horny you are then... fine, rather on a random google doc than having it spill over into somewhere inappropriate. And frankly there’s a lot of money to be made in these fields as well. And as far as topics go even the most taboo stuff is on the table. It’s fiction after all, it’s not hurting anyone and the worst that’s going to happen is you using up memory space in your hard drive or cloud. At the end of the day all art is about expression, and this genre is no different.

And this something I absolutely stand up and defend until we talk about publicizing it.

Once that happens, it’s open season in terms of criticism and critique. It’s one thing to write or draw something for your private enjoyment, it’s another to show it off and expect everyone to at least give you a pity clap. You can’t really hide from criticism or condemnation once you post something. Granted, the likelihood of someone going at you, a random writer with only 100 views of your weird smut fic after a month because it’s a rare pair or OC thing no one really cares about, is small to nonexistent, but the chance of someone seeing the shota tag in your Ao3 fic and reporting it for improper tags is there. And while you can say some specific criticism and condemnation is stupid that’s about all you can really do unless they’re doing outright slander or writing an objectively incorrect critique that damaged your bottom line (which is a conversation in itself).

And just to state the obvious, no, I’m not saying you can write some pedophile r*** nonsense and hide under the umbrella of expression and art when someone rightfully calls foul. I’d like to think most of us are adults that know the limits of what to write and how to give proper respect to the subject matters that are being written about, but believe you me I’ve been shocked and appalled by certain things as much as some of you have.

Though, if you want Allen X’s two cents on this, then...

Allen X’s Two Cents on Smut Writing

Honestly, I recommend reading this thread here if you want some actual advice on writing decent smut, as it gives far more helpful advice than I ever could, but for a short version of this forum thread: Don’t add random smut scenes in your story unless the sex is the point of said story. If you can switch out sex with some intense kissing scene then do that instead.

Now, for some actual advice and general opinions on this matter...

I think I’ve said this a few times in the past, but adolescents getting involved in sexual topics and exploring is a sort of loophole in my book since being a teenager and exploring you sexuality is something that really needs to be normalized nowadays. With that said, there’s an ocean of difference between writing adolescents coming into their own and understanding themselves as sexual beings and writing pedophile nonsense for the sake of a fetish. It’s the difference between O Maiden in Your Savage Season and Mother of the Goddess Dormitory. Do not. Watch. Mother of the Goddess Dormitory. Here’s the big question you should ask: Are smutty things happening because the characters want them to happen, or because you, the writer, are forcing a smutty situation to happen?

In terms of tags, triggering content, and controversial subjects I’m not going to bother asking the entirety of the internet to stick to wholesome smut, but there is some actual research that confirms jacking off to the wrong tags is psychologically damaging, and as I said before, not handling certain topics with the proper weight it needs can and will bring people’s ire.

Speaking of tags, tagging your stuff properly can save you from some of that ire, just a little. People know what they like and what they don’t and usually won’t go actively looking for things that upset them. Again, no guarantee you’ll be spared a call out or lecture, but it helps, especially in certain fandom spheres.

But now that I’ve gotten that tangent out of my system, let’s go back to talking about general writing.