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writing-for-life · 5 days ago

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Tales from the Flat Earth by Tanith Lee

A few thoughts on the supposed similarities with The Sandman—with actual comparisons (and a summary of the most important beats for those who want it)…

[This post is super long. It contains a lot of different thoughts, that’s why I broke it down into three parts: 1. General Considerations, 2. Boroson’s Claims and 3. A beat-by-beat summary of all five volumes of Tales from the Flat Earth. You might want to read this in instalments, or you might want to leave part three if you are still planning to read any of the five volumes.]

Part One: General Considerations

By now, many of you will have heard of Tanith Lee’s series “Tales from the Flat Earth”—not because the world all of a sudden woke up to a literary genius, but because of a Facebook post by Matthew Boroson in the immediate aftermath of the sexual assault allegations against Neil Gaiman. Boroson now made a further statement that he will “delete […] challenges so he can live”. I completely get the exhaustion of a post going viral—been there, got the T-Shirt—but why not just ignore it? Switch off notifications or comments altogether? Actively censoring only the people with different opinions, whom he even admits have mostly been engaging in good faith, because “he can’t do this 24/7”, while leaving up those in agreement (apparently he can do that 24/7)? He might not have thought through how bad this looks, and the irony of a man silencing dissenting voices and trying to control the conversation really shouldn’t be lost on people. But apparently, it is.

Anyway: I have absolutely no desire to defend Neil Gaiman. As should be clear from my blog, I stand with Gaiman’s victims and have done so since last summer when the allegations first broke. I believe those women, for both personal and professional reasons I won’t go into here. And I believe them, whether some author guy tells me I should or not. What grates on me is that this overshadows what’s actually important here, and I’ll get to why in a second.

I love Tanith Lee’s Tales from the Flat Earth and have read them first in the 1990s, and quite a few times since. For that very reason, I wish people would just read her work without trying to engage in a “gotcha” that is still all about Gaiman and not her. She was a great and talented writer who deserves more than now forever being known as “the woman whom Neil Gaiman plagiarised”. And to say it quite frankly: The sexual assault allegations can stand on their own and don’t need a male writer telling us, verbatim, “I have no difficulty believing the accusations against him. Because I know — KNOW — that he has felt entitled to take what he wants from a woman, without her permission, and without any acknowledgement of her contributions.”

I can’t even begin to say how problematic this statement is, for so many reasons. So all I’ll say is:

There is a certain tone-deafness in thinking a sexual assault claim holds even more weight because a male writer says, “See, he did this, so you should also believe that.” We should believe SA victims. Full stop. We don’t need wonky plagiarism or “inspiration without credit”-claims to give them more weight. These two things shouldn’t even be mentioned in the same sentence.

But all of that aside: Read Tanith Lee’s “Tales from the Flat Earth” because you are interested in a writer who crafted imaginative worlds in a florid prose-style that hearkens back to old fairy tales and Arabian Nights. If you only want to read it for a “gotcha”, I might be able to spare you the arduous work, although I strongly recommend you read it to come to your own conclusions (go to the source yourself. And I honestly wish more people did before they just blindly believe things). Again, spare a thought though if Tanith deserves to be “the woman NG plagiarised” to a new audience, because let’s be honest—that’s the only reason why so many people now read her works.

And that’s exactly why I thought so long and hard whether to even write this post, but there comes a point when people who actually know both works in depth need to speak up about the informational conformity bias that now has us at over 30,000 notes on Tumblr alone, all the while the person who put this into the world seems to actively censor anyone who dares to disagree. I get that Boroson’s claim is what a lot of people want to believe right now, but that doesn’t make it more true. Someone even said that “misinformation doesn’t matter in this case because only the result does.” That’s an incredibly dumb and also dangerous statement, but I’ll leave it at that.

Horrible people can create good art. We don’t need to pretend they were always hacks. We have to learn to sit with that cognitive dissonance and can disassociate ourselves from the creator regardless—because he’s an abuser.

Part Two: Boroson’s Claims

With all of that out of the road, let’s have a closer look at all that Boroson alleges in his FB post; quotes are verbatim.

1. “Despite the fact that the main character — a byronic, pale, otherworldly, deity-like character - is the prince of night and dreams.”

Here, we already have the first bit of wrong information. Azhrarn is one of the Lords of Darkness. He is the Prince of Demons. He is evil-aligned. He is not a “prince of dreams”. He is “Night’s Master” because he only walks the earth at night, and sunlight is lethal (oh?) for him. He is really nothing like Dream. One is all about rules and responsibilities, the other is about inconsistency, wickedness, mischief, changing his mind on a whim and treating humans as playthings (which he repeatedly admits himself). You could build a much stronger case for similarities between Azhrarn and Lucifer/Iblis (and Loki if you wanted to go Norse) than Dream, because Azhrarn actually hates the gods, and Lee’s whole series builds very strongly on how he (and then someone else) tries to bring them down. And Azhrarn might be older than gods, but whether he is truly more powerful depends on how you look at it—he even asks them for help at some point. Dream, on the other hand, is more than the gods. They begin in his realm, and they end there when people stop believing. Because gods come from the collective unconscious—and that’s who and what Dream is.

2. “Despite the fact that every time people see art depicting Tanith Lee's main character Azhrarn, they think it's Morpheus from the Sandman.”

This is interesting since the depiction Boroson chose for his FB claim is fanart. If you claim something like this, at least use original artwork, not works that have already gone through 20 subconscious filters. If you look at original art, you get this:

Azhrarn in the middle, Uhlume (Lord Death) to the right, Chuz (Lord Madness) to the left. And in the other picture, Azrharn in his eagle form. Which is just weird, soz. But that’s why he has feathers on his garb.

Maybe there’s a fleeting similarity in the one to the left, but there’s also literally none in the one to the right. And if you have ever read any dark fantasy of the 1980s and 90s (and even earlier), pretty much the majority of male protagonists fitted the stereotype of “pale, clad in black and byronic”. It was a dark fantasy trope—goths read that stuff in droves (I was one of them). And it became even more likely if the hero/antihero/villain was somehow aligned with the underworld. Which Azhrarn is.

And since artists are always influenced by other artworks and their own mental image of a character, have an actual description of Azhrarn’s looks from “Night’s Master”:

“marvelously handsome, with hair that shone like blue-black fire, and clothed in all the magnificence of night.”

But we also get this when he makes a not so great experience:

“He gazed to east and west, to north and south, and the face of Azhrarn, it is truly said, had become white. Long he looked, and long his pallor increased. A mortal man could not grow so pale and live.”

So we can reasonably deduce that he isn’t usually as white as Morpheus in his main form (I don’t know what else to call it)?

There are many other descriptions of a similar ilk. Is this really enough to say they look the same? Really? Instead of admitting that we might be filling in some blanks here if descriptions are so vague?

3. “Despite the fact that the dream lord's younger sibling is Death.”

That one truly made me laugh out loud. Apart from the fact that Gaiman’s Death is older and female (which one could say was a purposeful switch to “hide the tracks” 🙄)—only the least read people would assume this was in any way new or sensational and “borrowed” from any one particular writer. Hypnos (Sleep) and Thanatos (Death) are twin brothers in Greek mythology. And the closeness of Death and Dream in The Sandman (both conceptually and on a relational level) is much more of a mirror of that than the relationship between Azhrarn and Uhlume in Tales from the Flat Earth, because in all honesty: The latter two don’t get on that well, which Boroson conveniently forgets to mention. Their relationships are really nothing alike.

Hypnos is also a deity residing in the underworld, and you have to cross the river Lethe (forgetfulness/oblivion) to get to him. Lee borrows from that idea very heavily when she tells the story of Kazir visiting Azhrarn in Underearth. These are myths, told and retold by hundreds of writers over and over again, including Lee herself.

I don’t even know what to say about this one. It’s so thin that it immediately blows away if you as much as cough at it.

4. “Despite the fact that other members of his family include Delusion, Delirium.... They are not gods but beings older than gods, and when the gods die, Dream, Death, Delusion, and Delirium will remain. This family of immortal, eternal, unchanging beings, who each embody an eternal abstraction starting with the letter D.”

There are only two Lords of Darkness beginning with a D, and they are called Uhlume (Death) and Chuz (Delusion). Azhrarn is Wickedness.

There is no Dream, as I already stated. And guess what? There is also no separate Delirium. So wrong facts again. The character is Delirium’s Mistress (or at least that’s the title of the volume), and in that case, we are referring to her as being the lover of Chuz (so Delusion and Delirium are effectively the same person). And her name is Azhriaz; she is half human, half demon (and something else, but that would be too spoilery) and Azhrarn’s daughter. She looks like this in original artwork (sorry for the crappola photo):

Without wanting to give too much plot away because some of you might still want to read this: There are three Lords of Darkness (or one could argue five—more about that later) in Lee’s Tales, but they don’t all begin with a D—neither if you look at their names (their initials are A, U, C, K and A), nor at their functions (in which case it’s W, D, D, F and L).

Okay, the domains of two Lords of Darkness start with D. Is it really enough to be sure Gaiman borrowed from it, turning it into seven? Or is it perhaps far more likely that this still falls into the realm of literary archetypes? And even if Gaiman did expand on that idea—that’s not plagiarism (which, to say it very clearly, Boroson didn’t explicitly say it was. He just implied it a bit between the lines, and other people who probably didn’t read either ran with it). I don’t think it would even constitute “heavy borrowing”, especially since the characters, their relationships and the stories as such are so, so different.

Why is Boroson’s account riddled with inaccuracies? Why be so wrong in your descriptions of a work you supposedly know so well? I really don’t know. It’s either that he doesn’t know it as well as he says he does (which I can’t imagine, since he’s apparently been going on about this for years), or he purposefully misrepresents it to add more weight to it. Which looks bad to be honest. Or at least as if he’s a bit too taken with an idea and at the stage where he can’t let it go anymore.

5. “[…] description of a character who was clearly the inspiration for Gaiman’s Mazikeen.”

That’s also Chuz. As depicted in the art above, and also here:

One side of him is young and beautiful, the other old. I’ll let you decide if this is clearly the inspiration for Mazikeen:

“So she beheld the entire aspect of his face, one half youthfully bronzed, one half haggardly gray, the rusty hair and the blond, but it seemed to her it was the most natural face she had ever looked on.”

And to say it quite frankly: Framing it like that is a bit dishonest to start with? It’s not the description of “a character”. It’s the volume’s protagonist. Whom Boroson earlier insisted was the inspiration for Delirium (also a bit wonky that one, as I already wrote, since I bet most of the people who don’t know Lee’s work pictured her Delirium as a woman after reading Boroson’s account). But now it’s Mazikeen all of a sudden? Leaving out he’s actually talking about the same character here looks like wilfully obfuscating that neither of it truly holds water, so he’s picking little bits and offers them without context.

Mazikeen is a visual creation of Kelley Jones btw, so maybe Boroson should also take it up with him? The same could be said to everyone who might feel tempted to shoehorn a certain other character (DC’s Destiny) into this, woefully forgetting that Destiny is not a character created by Gaiman. He has existed in the DC Universe years before Lee wrote Tales from the Flat Earth. I don’t hear anyone complaining that Lee stole Kheshmet/Fate from DC because it would be quite frankly idiotic—these are literary archetypes!

6. “The prose, the characters, the narrative strategies, the mythology, the story structure, all of it: Gaiman found it all in Tanith Lee's writing and never gave her any credit.”

The prose is really hard to compare because one is a novel, the other a comic. I really recommend you read both yourself so you get the full picture, but just two examples here:

Tanith Lee:

“A mile from the enameled walls of the city, where the desert lay gleaming like golden glass, a beautiful woman sat in a stone tower, and she played with a bone.

“Will he come to me today?” she asked the bone, rocking it in her arms like a child. “Or will he seek me tonight? All the stars will shine, but he will shine more brightly. For sure, he dare not come by day, for he would outshine the sun. The sun would die of shame, and the whole world grow dark. But oh, he will come. Nemdur,” said the beautiful woman, “Nemdur, my lord.”

Her name was Jasrin; Nemdur was the king whose city stood one mile to the east. Once, he had been her husband.

No longer.”

Neil Gaiman:

As someone who’s read both many times over, my personal assessment is:

They are not very alike. Lee writes floridly, Gaiman is often fairly to the point. Even in Ramadan, which is one (out of 75!) issues that closest resembles the style of Arabian Nights (which is Lee’s inspiration), his voice seems distinct to me—as is hers. Lee’s prose always struck me as great, Gaiman’s as good (I always loved his world building more than his actual writing style). I think Lee’s prose is more accomplished, but that’s personal taste.

Characters: I already expanded on it.

Narrative strategy: This is so vague. Does he mean perspective? Point of view? Other narrative strategies like foreshadowing?

Since I don’t know what exactly Boroson is referring to because he likes to keep it nebulous, I really can’t say, but I don’t think the way the stories are told are in any way alike. And where they seem similar (“Night’s Master”, as an example, is told as interconnected stories in the style of Arabian Nights with a throughline. And of course the Sandman also contains some interconnected stories with a throughline, although they are in no way reminiscent of Arabian Nights to me, bar Ramadan), I seriously have to ask again:

Do we believe only one writer utilises these strategies and/or has a monopoly on them? Because there are truly only so many of them to go around. And we could say that Lee’s “narrative strategy” is hardly unique either. This is just a bit silly.

Mythology: Just no. Both Lee and Gaiman use themes that have been there a million times before them, I already brushed on it. Both lean heavily into existing mythologies, with Gaiman more into Greek, and Lee into Near- and Middle Eastern one (especially Mesopotamian/Babylonian—there are some parallels between her characters and deities like Nergal, Sin/Nanna and Ninazu), although they both also use others. But the bottom line is: Both have expanded on long existing mythologies.

Story structure: Again, what is Boroson insinuating here? He is truly the master of vagueness.

To say it very directly: The story structure is not the same. If you look at The Sandman in its entirety, it’s a clear three act tragedy with a lot of Hero’s Journey thrown-in. The fact that it’s told in 10 arcs changes nothing about that—you can clearly make out Campbell’s stages, like Call to Adventure, Crossing the First Threshold, Belly of the Whale… you name it. This is long enough already, but look at Campbell’s Hero’s Journey, and it’s fairly obvious (and no, the hero doesn’t always have to survive).

Tales from the Flat Earth have a throughline in their five volumes, but they are connected more loosely, with the odd referential throwback. Only “Delusion’s Master” and “Delirium’s Mistress” have an ongoing narrative (of sorts). “Night’s Sorceries” always seemed like an afterthought of material Lee would have liked in volume four but couldn’t fit in. They are all told in a way that hearkens back to oral storytelling (hence Lee saying she was inspired by 1001 Nights), and there is a clear sense of an unchanging, but not personally involved storyteller/narrator all the way through who sometimes even offers commentary.

7. “Tanith Lee was far more progressive about Igbtq+ identities, and that was twenty years earlier.”

Well, for starters: Ten years earlier (“Night’s Master” was published in 1978, the first issue of The Sandman in 1988).

Is Tales from the Flat Earth truly more progressive? I’m not sure. Both were progressive for their time, simply because they wrote about LGBTQ+ characters at all and gave them a voice. And to put it in a disclaimer: I don’t apply moral purity standards to fiction, neither do I believe certain things that would be problematic in real life can’t be written about in fiction (and dare I say: I find that take worrying, for many reasons, but that’s a different discussion). But if we’re talking about “progressiveness”:

A clearly bisexual Demon Prince grooms a child to then seduce him on his 16th birthday—in a time when gay men were often still thrown into one pot with groomers and even pedophiles?

A lesbian queen who basically gets cursed to have sex with many, many men because only a pregnancy can lift that curse (!), finds out she is barren and can only conceive if she has sex with a dead guy, makes a deal with Uhlume who then brings a man back from the dead so she can be impregnated and then, via many many twists and turns, turns into [I’ll tell you later if you really want to know]?

I don’t know, but it’d probably be the same people who find certain angles of the Sandman problematic who would also bolt or get outraged at this? And they would 100% engage in the same type of revisionist readings they now apply to Gaiman’s works if they ever found out that Lee did anything wrong. There is a lot, and I mean a lot, of rape, SA and questionable power dynamics in Lee’s work. But it’s also a work of fiction.

8. In the 1990s, toward the end of her life, she complained in an interview that magazines weren't buying her stories anymore.

[edit: Lee died in 2015, so Boroson’s claim the 90s were “towards the end of her life” also reads a bit weird to me—as if he’s consciously trying to appeal to the sympathy of his readers by portraying her as “the poor woman on her death bed”, when she still lived for another 20 years]

That’s a bit nebulous again. It’s amazing how some people never quote their sources. I am near certain that Boroson talks about this interview from 1998, but I stand corrected if it’s a different one:

Tanith talks about her troubles getting published, but she also says it’s a hard time for everyone right now. Plus, her bibliography also clearly indicates she still got published on the regular, and that the amount of works published in any given year didn’t really fluctuate all that much apart from a burst in the ‘70s (and “burst” refers to the difference of publishing four books instead of two per year), a dip towards the end of her life (when her output was probably affected by her illness) and then the sad thing that always happens when someone dies: Suddenly, there’s another uptick.

Someone even went through the trouble of visualising her published works in a graph:

Courtesy of Das_Mime

Does this honestly look like no one published her anymore?

Now, don’t get me wrong: Of course it is a nice gesture if those more successful put in a word for those who find themselves in a bit of dry spot. But to turn this almost into some conspiracy theory is just a bit weird if I’m honest. It’s much more likely that people are simply not on someone’s radar than that they are actively trying to hinder their career. Writing is hard. Getting published is hard, even if you already have a few published works under your belt. Ask me how I know…

These were the points Boroson made that I wanted to address directly. For those of you who want to get a feel if the story as such is actually in any way similar enough to even call it heavy borrowing, I’ll now do a summary of all major story beats for all five volumes.

Part Three: Tales from the Flat Earth Beat-by-Beat

I assume that most of my followers are familiar with The Sandman, but only a few with Tanith Lee. Hence I won’t do a summary of The Sandman, and once again: You really have to read both works yourself to understand why Boroson’s claims are so far out there. I’m more than willing to discuss and answer questions that come in good faith, but I’ll say it outright: I am not interested in engaging with anyone who just comes here to peddle conspiracy theories and platitudes like “misinformation doesn’t matter in this case because…” if they haven’t even read the works in question.

Just as a quick hint, because that’s where you’ll find the superficial similarities (and that’s my phrasing it with the utmost goodwill):

If you want to compare the entirety of both works, there’s no way around reading both.

For “Night’s Master”, I’d argue you also need to read the entirety of The Sandman, because in a nutshell, it is, at least at first glance, about the heel-face-turn of its protagonist. You’ll need at least Preludes and Nocturnes and The Kindly Ones, but it makes no sense to read them separately, so…

For “Death’s Master”, maybe read The Doll’s House and Season of Mists, because it is partly about a queen who wants to save her land (everything else would be too spoilery, but just so much: The similarities are fleeting at best, and that’s already generous).

For “Delusion’s Master”: Again The Doll’s House and Season of Mists, because at its very core we have a love story that gets torpedoed by a traitor. But other than that, said love story is truly nothing alike.

For “Delirium’s Mistress”: Honestly, I thought long and hard about this. I really don’t know because it is so different from the Sandman that I see absolutely no parallels at all. Maybe read Brief Lives, because there is something in there about parent/child relationships. But they are hardly unique in literature, so once again: I truly don’t know how anyone could find similarities here. And The Kindly Ones would be such an immense stretch that I won’t even go there.

For “Night’s Sorceries”: There are three stories that give a bit of context to the rest. If anything, I’d say read The Wake. But that would actually be insinuating Azhriaz is Daniel, and I’m like… no, massive stretch. If it’s just about loosely connected stories that somewhat fit into a greater narrative, read “World’s End”. But if we’re thinking that’s already a similarity, I truly cry for literary analysis…

Briefly about the world we’re in: The Flat Earth basically consists of four planes: Upperearth, home of the gods; Earth (the Earth of humans before it changed shape); Underearth, home of Azhrarn, Prince of Demons and Wickedness; Innerearth, home of Uhlume, Lord Death. Azhrarn’s kingdom, Druhim Vanashta, houses three classes of demons: Vazdru (most like Azhrarn himself, beautiful and prone to change into eagles and other animals), Eshva (basically mute servants to the Vazdru who can change gender at will) and Drin (ugly, exclusively male creatures and accomplished creators of beautiful and practical things). All three demon kind frequently visit earth to tempt and create chaos.

Volume One: Night’s Master

Night’s Master begins with Azhrarn finding a dying woman and her newborn son, Sivesh, on a hillside. After her death, Azhrarn becomes captivated by the beauty of the child and takes him back to Underearth to raise him (and then promptly seduces him on his 16th birthday). Azhrarn then creates a woman called Ferazhin from a flower for Sivesh (because, you know, Azhrarn thinks it’s good sport to sample a woman. As one does). However, nothing can prevent Sivesh from longing to live on earth because he is human, and the decision to leave Azhrarn for a life in the light offends the Demon Prince. So he consciously tricks him into death by drowning (by chapter three).

The next storyline shifts to a collar (crafted by a Drin) from Ferazhin’s tears because she is inconsolable. We follow the collar around on its journey to different owners (who all meet a gruesome end in one way or another). The final owner, the blind bard Kazir, is the only one not to get corrupted by it, and we conclude the first book with his journey to Underearth to give the collar back to Azhrarn in exchange for Ferazhin, whom he loves without ever having met her. Azhrarn agrees to let Ferazhin go if Kazir can answer a particular question, which he can (not going to get too deep into that, apart from: Azhrarn is rattled, and we’ll revisit it at the end of this volume). Kazir and Ferazhin are happy for a while, but as usual, Azhrarn changes his mind, and by the end of it, Ferazhin is dead (a bit of a nod to Romeo and Juliet in there, but that just as an aside). But lo and behold, Kazir manages to bring her back after a while, and “somewhere perhaps, some dark door slammed like thunder in a city underground.”

Book Two of Night’s Master focuses on Zorayas, who survived the overthrow of her father (a king) as a newborn but suffered severe disfigurement. After the death of the monk who took care of her, she seeks revenge for being raped by a Prince and takes back her father’s kingdom with the help of the Drin. And, as usual, she meets her demise through trickery orchestrated by Azhrarn.

Book Three. Azhrarn’s cruel prank on a young married couple goes wrong, escalates and ultimately leads to humanity teetering on the brink of destruction (the remnants of the husband turn into Hatred and wipe out everything). After seeking intervention from the gods of Upperearth in vain, Azhrarn makes, for once, a sacrifice to preserve humanity’s existence. But does he do so completely selflessly? Could be argued, and I guess Kazir knew, but that’d be too much of a spoiler… Suffice it to say, Earth enters an age of innocence without the presence of hatred and wickedness. Until… 🤣

Volume Two: Death’s Master

Narasen, Queen of Merh, is sexually assaulted by the magician Issak. Feigning cooperation, she manages to kill him. Before he dies, he curses Narasen and Merh, declaring that both will become barren. The curse can only be lifted if Narasen (we have deduced at this point that she is a lesbian because she “doesn’t lie with men”) gives birth to a child, but includes a stipulation that prevents this solution: “Your reluctant womb will never quicken from the seed of living man.” After numerous attempts to conceive, Narasen, driven by her desire to save her land and people, makes a deal with Uhlume to conceive a child from a dead man. In return, Narasen agrees to spend a thousand years in Uhlume’s kingdom. Narasen is poisoned shortly after childbirth.

After Narasen is locked in her tomb with her newborn child Simmu, Uhlume arrives to claim her, leaving the child behind. However, Simmu is rescued by two passing Eshva and lives with them by night. Simmu develops Eshva abilities, like changing gender at will. Eventually, the Eshva grow tired of Simmu and leave him at a temple near Merh, where he grows up among monks and becomes friends and later lovers with a boy called Zhirem.

Simmu and Zhirem eventually become separated and somewhat turn into the tools of Azhrarn (Simmu hates Death because he remembers him coming for his mother) and Uhlume, respectively.

Meanwhile, Uhlume and Narasen don’t get on too well—Narasen sets herself up as Lady Death and constantly struggles for power. To get her off his back, Uhlume grants her permission to spend a day in Merh, where she promptly destroys her city (yeah, after all that trouble…). Upon her return, she gradually takes over the supervision of Innerearth from Uhlume and turns into “Lady Death.”

Azhrarn saves Simmu during Narasen’s attack on Merh. He instructs Simmu to obtain water from the Cistern of Life (a little throwback to volume one). His plan is to kill Uhlume, hence bringing death to an end. The well is guarded by nine virgins called the Golden Daughters—Simmu makes use of his gender-changing abilities and sneaks into each of their chambers as a woman and then takes their virginity as a man. With their virginity taken, the well cracks, and Simmu founds the City of Simmurad (populated by immortal humans) with the golden daughter Kassafeh (too long-winded to get into it all).

Zhirem has embarked on his own adventures and eventually returns to Earth as the magician Zhirek. He agrees to serve Uhlume, who plans to destroy Simmurad, perceiving it as a threat. With the guidance of Azhrarn, who has grown weary of Simmu and Simmurad (you see, Azhrarn is not very consistent and doesn’t abide by rules nor responsibilities like our boy Morpheus 😉), Uhlume lets Zhirek destroy the city by submerging it under water after re-introducing death via creating and killing an insect. Simmu seemingly dies at the hands of Zhirek, who casts him into a well of fire. Zhirek retires into solitude, and Simmu is ultimately saved by Azhrarn, who transforms him into an Eshva and erases all memories of his past.

The story concludes with Narasen effectively ruling Innerearth and giving death, while Uhlume spends most of his time on Earth, finding solace in the presence of Kassafeh.

Volume Three: Delusion’s Master

We’re starting with a tale about Jasrin, the young wife of King Nemdur of Sheve. Because she is jealous of her newborn child, she abandons him in the desert, where he gets killed by dogs. Nemdur banishes Jasrin to a tower, where her sanity gradually deteriorates. She is visited by Chuz, the Prince of Madness (the third Lord of Darkness). Inquiring about her deepest desires, Jasrin expresses her wish for her husband to share her madness. Nemdur awakens with a crazy plan to construct a towering structure that reaches Upperearth (where the gods live). Inspired by the legend of Simmu, he envisions attaining immortality. The Tower of Babyhelu, aptly named “The Gate to the Gods,” grows and grows until it becomes unstable due to its immense weight, causing it to collapse with catastrophic consequences: The fall of the entire kingdom of Sheve.

Azhrarn and a few of his demons are drawn to the commotion, and a conversation between him and Chuz reignites Azhrarn’s disdain for the gods, who had failed to assist him in “Night’s Master”.

Hundreds of years later, we meet 7,000 pilgrims on their journey across the desert to worship the gods at Bhelsheved (Sheve rebuilt). Azhrarn is incensed that his sacrifice to save humanity in “Night’s Master” is credited to the gods. Disguised as a prophet, he reveals that a Lord of Darkness (not the gods) is the true saviour of humanity. For this, he is lashed with a whip and sheds three drops of blood. Azhrarn continues with his quest to destroy Bhelsheved but is unexpectedly diverted by the beauty of a young priestess named Dunizel. Recognising Azhrarn’s true intentions, Dunizel bravely offers to sacrifice herself to appease his wrath. Azhrarn turns into a wolf and bites off her lower arm, but when she encourages him to bite again instead of showing terror, he hesitates. Reminiscing about his own sacrifice to Hatred, he changes his mind, heals her with his own blood, and falls deeply in love with her.

We then learn the story of Dunizel’s mentally disabled mother, who was held captive by the assistant of an astronomer (who was on a field trip to observe a comet passing by). After impregnating the girl, the assistant attempted to abort the child by exposing her to the comet’s energy as it passed. The girl was instead exposed to a rainbow of light captured by the astronomer’s magical engine, regained her sanity and gave birth to Dunizel, who was also affected by the comet’s light. Dunizel’s mother raised her but gradually transformed into a fire elemental and ascended into the sky. The assistant gave Dunizel to a grieving mother from a nearby village, who raised her until she was chosen to join the religious cult (like her mother, she is also part solar being).

We are panning back to the love story of Dunizel and Azhrarn. Dunizel gives birth to a daughter named Soveh, who is initially mistaken for a goddess on Earth and grows at unnatural speed. Through the workings of Chuz though, the truth about the child’s paternity is revealed, and Dunizel dies at the hands of an angry mob (she also comes into contact with one of the drops of blood Azhrarn had formerly shed in the desert). Devastated, Azhrarn takes Soveh, whom he renames Azhriaz, to Underearth. Before he departs, he addresses Chuz and declares their relationship as “un-brothers, un-cousins, and now, un-friends”. He also reveals he will go to war with him and considers it a kindness he has informed him in advance.

The story concludes with Chuz finding Jasrin, who is haunting her tower, and releasing her.

Volume Four: Delirium’s Mistress

So if you waited for this to start with all-out war between Azhrarn and Chuz, you’ll be disappointed. We meet Oloru, a court jester to tyrannical prince Lak Hezoor. Oloru convinces Lak Hezoor to take him on a sightseeing tour of Underearth. It’s not going well—Lak Hezoor is torn apart by Azhrarn’s red hounds. Oloru transforms into a “slender rod of yellow radiation, vaguely purplishly limned” and flies towards the island where young adult Azhriaz has been sleeping since her arrival in Underearth (it’s a been a few years). Oloru, who is actually Chuz in disguise, awakens her, convinces her to escape, and takes her back to Earth. And of course they become lovers.

Kheshmet (King Fate) enters the story, just like that, and in no time, Azhrarn arrives and ends his quarrel with Chuz— also just like that. But to atone, Chuz has to agree to live a mortal lifetime, disfigured, without his powers and truly mad. Azhriaz initially stays with Chuz, but he forgets who she is.

Azhriaz, now without Chuz, despairs. She visits her mother’s grave with Khesmet and decides to embrace her father’s legacy: discrediting the gods. She replaces a king who committed suicide and ascends to the status of a cruel goddess on Earth, conquering much of the world who revels in her cruelty. Her teachings to humanity are that the gods care nothing for them: “Remember, to the gods, you are nothing. To Azhriaz, the Goddess, you are only grains of dust or sand.”

Khesmet arrives to foretell a looming war with sea and sky.

And weirdly, that war starts because a god, whom Azhrarn kissed in “Night’s Master”, awakens and decides that was sacrilege, plus he’s also not pleased with Azhriaz’s activities on Earth. The gods consequently hurl three shards into the sun that transform into three angels—the Malhukim of the gods: Ebriel, Yabael and Melquar. Azhrarn holds the angels at bay while Azhriaz escapes into the ocean aboard a special fish-ship crafted by the Drin, pursued by Ebriel and Yabael. Azhrarn fights Melquar in the air and narrowly avoids incineration. Azhriaz escapes imprisonment in an underwater city when Yabael destroys it with his sword. She receives no assistance from Azhrarn because he lies in a death-like coma in Druhim Vanashta and has been usurped by the demon Hazrond. Eventually, Azhrarn recovers and reclaims his kingdom. Azhriaz is still pursued by Yabael, who conveniently undergoes a transformation and forgets his mission in the process. Then pursued by Ebriel, she travels with Dathanja (Zhirek making a reappearance) and ultimately engages in an eternal battle with the angel. Realising she’ll be otherwise stuck there forever, she convinces Ebriel to stop by revealing her plan to give up her immortality.

Ebriel departs, snd Azhriaz (who is actually called Atmeh at this point, but that’d lead too far) seeks out Kassafeh for a bargain with Uhlume (who is in the process of abdicating to Narasen) to become mortal. She reunites with Chuz, who has paid his penance, and they stay together for a while until Chuz helps her with her final transformation into a mortal woman.

Atmeh/Azhriaz approaches death after 200 years or so, and is visited by Azhrarn, who tells her, “Humanity is my plaything no longer, only a toy for those that are mine under the earth. But you, you are her child. You are hers. You are Dunizel. Not mine. Never mine. Though I made you to be my curse upon the world. Though I made you to be myself. You are Dunizel, that I loved, Dunizel who was the moon and sun together.” Azhrarn expresses his sadness over his inability to cry, and Azhriaz responds: “Each word you have spoken has been a tear.”

Volume Five: Night’s Sorceries

I wasn’t sure if I should even go into this one, because “Delirium’s Mistress” always seemed like the final volume to me to be honest, and it concluded the story for me. “Night’s Sorceries” is a collection of short stories that seem connected to “Delirium’s Mistress” and fill in some gaps (that’s why each of them has an introduction that explains where we are, and when). So I will only go into three of them (there are seven altogether):

“The Prodigal” is essentially about Narasen’s reign as Queen Death.

“Dooniveh, The Moon” is written like a fairy tale about a monk from Nannafir. He travels to the moon on a winged horse, and by the end of his adventures, we witness the wedding of the Moon Queen and the Sun King. And that’s connected how? Well, the winged horse was a gift from Hazrond (who usurped Azhrarn) to Azhriaz.

“The Daughter of the Magician,” recounts the tale of a magician who successfully resurrects the soul of Azhriaz. But the child, named Ezail, ends up being offered as a sacrifice to a monster. And that’s connected how? Well, the monster was created as the counterpart of the winged horse in “Dooniveh, The Moon.” But Ezail regains Azhriaz’ memory and lo and behold, Chuz just happens to appear in the reincarnation of a young boy named Chavir. Together, they decide to take the monster with them and embark on a life together.

The main reason I did include this volume is that it somewhat puts the former four in context. The last sentence of “Night’s Sorceries” is:

“Love is also an immortal.”

Which somewhat suggests that Azhriaz is operating on the same plane as Azhrarn, Uhlume, Chuz and Kheshmet. And we already get hints at that in the other volumes.

In “Delusion’s Master”, Azhrarn says to Dunizel that their child will be his feminine aspect. It’s just ambiguous enough, but we also get this in “Delirium’s Mistress” when Azhrarn wonders about love: “There is no such commodity. There is carnality, our plaything. There is worship, and there is obsession. Death you may perceive walking the world, and Fate, and Delusion, too, in a form that I have kindly granted him. But no man sees love, and no demon sees it.”

So while many of the stories of Tales from the Flat Earth can stand on their own, there is also an overarching theme: Establishing another power that serves to balance out the others: Wickedness, Death, Delusion, and Fate—Azhriaz’ four “sons” (cryptically mentioned in the final chapter of Delirium’s Mistress)...

#the sandman #sandman #tales from the flat earth #tanith lee #neil gaiman #long post #an in-depth look at #Matthew Boroson’s claims #and a full summary of all five volumes of tales from the flat earth #sandman spoilers #tales from the flat earth spoilers

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rebel-wrath · 6 days ago

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I'm something of a chaos goblin at heart, my DND alignment is always chaotic, and the only use I have for rule books is toilet paper, unless their on my kobo because that would not be comfortable. Or sanitary.

There is one rule I've found that cannot be ignored if you want to grow as a writer. Everything else you can burn. Show don't tell is great as long as you understand where to tell not show. Proper spelling and grammar can be ignored, if you understand how and can justify it. Don't infodump except when you are required to, because there's times when you have to. Don't head hop unless you're using a narrative style that allows you to head hop. Every rule except this one comes with caveats, and growth as a writer isn't measured in how well you learn the rules and can stick to them, but in how well you learn when they don't apply, and can write around them.

Don't believe me? The first Discworld novel starts with an infodump. It has to, because readers expect fantasy worlds to still be globes, and if you're breaking that rule you have to start by stating outright that you are breaking it. There are incredibly popular books filled with head hopping (the thriller genre especially). Even spelling can be ignored if you want to write in a dialect, or have a POV character writing the story who struggles with this.

I'm posting a serial story on here three times a week (Tuesday, Thursday, Saturday) under the tag #NofNA which repeatedly breaks rules that are constantly said to be inviolable. It works, because I write comedy, because my narrative style makes it work, and because I actively seek ways to break rules all the time.

So, what's the one rule that can't be broken? It's WRELA. And it's the most important writing rule there is, and the only one you should never break.

WRELA. Well, technically, W.R.E.L.A.

Write. Write something. Write anything. It doesn't matter what you write, and it doesn't matter how good it is. Write.

Read. Read your own work back. Read old pieces you wrote years ago, and the thing you just finished. Read it out loud. Read it to yourself. Read it to others. Read things others have written. Read comments, blog posts, movie reviews, short stories, fanfic, scripts, and novels. Read the back of the cereal box, the receipt when you buy something, the terms and conditions, the small print. Read skeets and subtitles and emails and the sms from your granny, God bless her.

Edit. Go over the work you have written, again and again if you have to. Edit it once or edit it 1000 times. That story I'm serialising? It took me fifteen years (on and off) and two lifetimes (when I believed I was cis and after I learned that I'm trans) to write, and the finished version is as different a book to the original as it was possible to be whilst still being about the same thing.

Learn. Learn from your writing, from your reading, from your editing. Don't learn the rules. Don't take what worked for Vonnegut or King or Aristotle and blindly apply it to your work. Learn yourself. Learn who you are, what your voice is, what you're trying to say to the world. Learn how to say it. Some of those rules from other writers might work well with you. Some of them won't. That's fine. Learn what makes you a better writer.

Apply. Put the things you learned from the last piece of fiction into the next piece of fiction you write. Then do it again. Learn from that and put that into the next and then again.

The next section is me using my writing to back up my previous statements. It's a bit "markety" because I'm discussing my writing. Feel free to skip it if you want.

Okay, let's back this up: NofNA, Noun of Noun and Adjective, is a fantasy comedy that satirises our world and parodies other books. I have a few chapters up already, if you want to read it. It's about a transgender princess who joins a magic mirror reality show called Heroic Quest in return for a magical gender transition (she's a trans woman). Structurally, it has similarities to Discworld novels (one thing I learned was footnotes are a pain in the ass). Another thing I learned was that I had to keep editing the narration because I wanted to directly comment on the story as the narrator and it wouldn't work.

So I applied what I learned to the next book I wrote, Attack of the 50 ft Trans Woman.

This is a story about a Trans Woman who undergoes an experimental procedure to change gender. She grows to fifty feet, and the government sends the army after her even though she's done nothing wrong. So she heads to London to have a word with the Prime Minister.

But I knew what I'd learned from Noun of Noun and Adjective, I knew I wanted to narrate however I pleased. So the prologue makes it clear that the story is actually being told to you by an alien. As the alien narrator, I was able to interrupt the narration, go off on tangents, make jokes, and just generally be weird. It sounds like it shouldn't work, but it does. Even the huge dance scene near the end works. There's a scene from the POV of a terf, Karen, that doesn't have pronouns in it and was an absolute pain in the ass to write, but it works because the narrator is respecting Karen's insistence that Karen doesn't have pronouns. Therefore, no pronouns are used to refer to Karen in Karen's scene except the occasional first person when directly quoting Karen's tweets because Karen does not respect Karen's choice to not use pronouns for Karen.

Seriously one of the most difficult things I've ever written, but it backs up my point that you can ignore any rules you please if 1) you can justify it, and 2) you can pull it off. I ignored basic grammar itself there.

Attack of the 50 ft Trans woman is available from all major ebook retailers and a paper version is planned for later this year

Readers have told me it made them laugh, it made them sad, it made them angry. Since anger was the point, I can happily say it works.

It was also the most fun I've ever had writing and it took me a week to do the first draft. Remember, writing is meant to be fun, and when I applied what I learned from the previous book, I went from a book that took me 15 years from start to finish to a book that took only a few months.

So I took what I learned from Attack and I applied it to Bigoted Book Burners Bloodily Bludgeoned by Badly Burnt Books. I wanted to write about book burnings, and I decided the best genre for what I wanted to write was a horror. This story had a more traditional narration, but it's essentially two different stories told simultaneously, and has a bulleted list of content warnings a page long. The even chapters are the story of a kid growing up trans when the only parent she has is her terf mum. It was horrendous to write, there were days I could only manage a paragraph. I'm not looking forward to the edit.

The odd number chapters start with the book burning, with the grimoire of a witch being thrown on the fire, then causing all the books in the village to animate and kill people. It's a massively over the top splatterpunk extravaganza and is hilarious and the perfect antidote to the even number chapters.

What I learned from Attack was that I'm not a very reliable free flow writer. I need plans. And so every chapter of B5bB3 was planned before it was written. I could see how dark some scenes were, and it meant I knew where to balance them out with correspondingly funny scenes. I learned more about character agency and development.

And from B5bB3 I learned about building narrative tension, about holding off the horrible so it's not overwhelming until suddenly bang! it is overwhelming, and I'm applying that to TWTSQ, my current WIP.

B5bB3 will be out later this year, hopefully around June.

There's other books I've written, under various other names, but I'm only discussing the ones I write as Caledonia Fife. But everything I've written and everything I've read has taught me about writing, and I can honestly say that the books I'm putting out now, under this name, are so much incredibly better than the first book I put out in 2010 under a different name.

So if you want to be the best writer you can be:

Write

Read

Edit

Learn

Apply

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dogtoling · 3 months ago

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General life- and blog update , since I assume at least a few people might have been wondering where I've been and what i've been up to recently. I obviously haven't been posting or drawing much this year in general. This will probably be an important post if you care about stuff on this blog, and I already rambled on Sheezy, but that site isn't very populated yet and it's also very good at hiding journals so let's just ramble again...

The summary of this post if you hate reading: I'm heavily considering just stepping away from Splatoon. That decision obviously would affect this blog (mostly, my OCs, which is kinda most of the blog at this point). I don't think the blog itself will go anywhere, and I'll probably use it for something in the future... alternatively i'll cherry pick stuff from here into an archive for people who like the worldbuilding.

Longer post under cut:

So what have I been up to this year? The answer is quite simple: NOTHING. Like, actually absolutely nothing. Aside from Art Fight, this has probably been one of my worst art output years of all time, which is really frustrating. That's between my horrendous mental health and depression chasms this year and a complete lack of both focus and inspiration (which can also get chalked down to the depression to a degree, yeah). So the very real reason to why there hasn't been much activity on this blog this year is because I just haven't Done Anything in general.

Now because I know there will be a few people who think "that's fine! you shouldn't judge yourself based on productivity!" you're right! I also agree. However the issue for me specifically is that most (if not all) the time I spend NOT drawing or creating, I spend sitting around wishing I could start drawing or creating, because that is like the 1 thing that keeps me sane on this freaking earth. Unfortunately coming up with OC scenarios in my head doesn't really result in output I can feel fulfilled by in any form as much as I wish it did, lol.

Now; The Issue. It doesn't take a genius to see that if you spend 9 months trying to finish like a dozen OC pages that you COULD do in a week or 2 if you wanted to, then there's probably more than just the problem of executive dysfunction (even though that's at least 60% of it for sure). Obviously my other major problem is that I live by imaginary rules and structures that make sense, but aren't actually useful at ALL in reality and are more than a hindrance if anything (the mental to do-list in my head that says i can't do X until I've done Y doesn't do very much if task Y takes 10 months and I also don't want to do it, and it also has no structured ending).

How does this tie into stepping away from Splatoon, you may ask. Well, the issue is that I have foreseeably fallen out of love with the series. Which isn't exactly news lol. Currently, I'm not even sure i will get the next game, if and when the time comes. Yes, the loss of interest is also expected, given that Splatoon 3 has ended and every fandom has this kind of downtime and lukewarm in-between-titles period. But the truth is that modern Splatoon (almost 10 years old!!!!) is tangibly different from the way the series was back when I fell in love with it. That was Splatoon 1, and while the series has improved in a lot of aspects and is thriving, it's grown in a direction that I just don't really like. Splatoon 3 had the most freaking horrendous, immersion breaking story mode they could've done, then they followed it up with a DLC story that was pretty cool but also compounded a lot of my fears about the series' future and played into every single thing i do not want Splatoon stories to be - fully character focused, random fucking villain, mundane event that's unrealistically world-threatening just because a kids video game needs a scary climax even though it's immersion breaking AGAIN, the whole thing taking place in cyberspace and thus offering basically no worldbuilding even though there is SO MUCH WORLD. I COULD GO ON.

The gist of it is that nowadays, rather than playing Splatoon and being inspired and excited at what comes next, I mostly find myself dreading what dumbass plot they will do next to throw a wrench in the otherwise good stuff. And when that's like THE main approach I have to what's supposed to be my favorite series, it is HARROWING. I can't even really blame the game for this; the story is NOT its selling point, the developers probably do their best to get the bits to us that they really want to tell, and at the end of the day the game is unfortunately a product. Worldbuilding for Splatoon is fun to a point. It's less fun when in order to actually write or create something coherent, instead of filling in the blanks, the blanks are 90% of the freaking thing. At that point you're just better off making something of your own instead of being anchored onto an IP that gives more problems than answers and occasionally shoots you with like a machine gun. Working in the realm of Splatoon is frustrating because more often than not, the questions I have ARE NOT MINE TO ANSWER, and the likelihood that the specific-ass questions I need answers to will ever be actually addressed is really low.

Tying this back to my OCs. Obviously I love my OCs more than I love myself which admittedly isn't that high of a bar but you get the point. The problem is that I spend a lot of time mulling over worldbuilding that, again, frankly isn't mine to do. Because if I want it to be Splatoon, then it should be mostly accurate to how Splatoon is! But the problem with that is that there's really not THAT MUCH worldbuilding in the series that you can work with, and most of the core game mechanics are just abstract enough that it's actually horrendous to try and come up with workarounds and ways for things to make sense that don't require just constructing a full knockoff version mirror dimension of the game and saying fuck everything that's in place here because Inkopolis Plaza literally has no roads in or out of there and I have no fucking idea how that's allowed when your only option is to jump the fence (or, nowadays, take the train which also isnt connected to a street as far as I remember). Between the face value issue and the lack of REALLY IMPORTANT worldbuilding, like - I will always come back to this - THE INK TANK'S FUNCTION 10 YEARS DOWN THE LINE - there's a goddamn ocean of plot holes and things that end up being obstacles to creativity rather than inspiration. I feel like I'm pretty solidly at the point (and have been for a while) where hanging onto Splatoon is really only contributing to creativity block and frustration with lack of freedom and the ability to actually do things.

So I guess those are my reasonings that I've put together just sitting here for the time being. The TL;DR is that I wish I could just do stuff without Splatoon's canon getting in the way, which is a really stupid problem to have if you're making Splatoon OCs. I feel this frustration extremely strongly every time I have to work with actual bigger aspects of the world; we still don't have an Inkopolis map, we don't know what the world around Inkopolis looks like, we don't know what the wilderness is like aside from Just Normal Forest and Desert and very few snippets as to what modern wildlife MIGHT be, I still don't know how the fuck the Inklings teleport to the goddamn arctic ocean to play a turf war at Shipshape Cargo co. These are all actually really important things if you're trying to establish a setting in any kind of storytelling that's outside of immediate city bounds (and even there, you need to know the layout of the city and its important areas). Also a fucking mutant bear and a baby salmon and a squid not wearing suitable gear went to space and fought on a rocket in space. These are some things that would give me peace of mind to not have to deal with in my own writing, probably.

So where do we go from here? Unsure. I haven't really made a decision on this front yet, though right now I'm leaning more towards actually going ahead with trying to do my own thing. That will result in obvious design and setting changes for my OCs whenever I get around to it. This blog probably won't go anywhere (again, unless I impulse delete it during a mood swing like i've almost done on like three separate occasions this year), but it will probably get less use, and I will probably end up making a new blog to post about whatever I end up doing once I get to a point where it feels like it makes sense. There's a chance that I will delete this blog and put all the interesting stuff on an archive blog for the people who are here just for the worldbuilding. My actual true passion for a long time now hasn't even been Splatoon anymore, it's just been cephalopods. I'm kind of done having Splatoon get in the way of the cephalopods, as thankful as I am that it introduced me to them...

If you read this to the end heres a treat for you = 🍪

#rambles

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minniesmutt · 11 months ago

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♱ ━━━━━━ 𝐎𝐔𝐑 𝐀𝐍𝐆𝐄𝐋: 𝐌𝐀𝐌𝐀𝐂𝐈𝐓𝐀

♱ ━━━ CONTENT: MENTION OF DRUGS, ALCOHOL, VIOLENCE, PRISON, THERAPY MENTIONS, MORE OF A FILLER CHAPTER, WET DREAM, COCKWARMING, GRINDING, PET NAMES, IMPLIED MORE ROUNDS ♱ ━━━ WC: 1K ♱ ━━━ PAIRING: FELIX X READER ♱ ━━━ 18+ work!! minors and ageless/blank blogs DNI! you will be blocked, put an indicator on your blog somewhere that you are 18+ before interacting with this work/blog ♱ ━━━ a repost from my old blog

Information was always easy for Felix to find. Everything was on the internet. Everything was put into databases. Police files, card info, medical information, everything. It was such easy access.

From day one, Felix was already looking into Y/n, even before Minho asked him. He knew they didn’t find anything at her old apartment. So to the internet, he went. Checking her social media first. The fabricated life people selectively chose to put out.

Most photos were with friends. Trips, clubs, drinks, anything. Normal twenty-something-year-old behavior. Moving on to her friend’s profiles, it was the same story. Looking into them first.

Seana was clean essentially. She had no issues with the law and worked a good job to keep herself afloat. Posted about her friends just like Y/n. Nothing was an issue with her. Karina had a bit of a record; driving under the influence, hit and runs, possession of illegal drugs. She had a job but more of a part-time thing. Nothing that really helped support the lifestyle she wanted to portray online.

Looking into the family was next. From what he gathered and found out from reports, her dad hadn’t been in her life since she was young and was in jail on the other side of the country. There were no records of calls to anyone since his incarceration. Pretty content with rotting away in the system. Multiple times considering he had a bit of a history of being released and getting back in months later.

Her mom had passed away a few years ago. Coroners report stating a mix of drugs and alcohol. Grandparents having passed away or lived elsewhere in the country. Y/n essentially had no family from what Felix could tell. He felt a little bad for her, being on your own like that could hurt.

Checking through medical records were next on the list. The first thing he noticed was notes from therapy sessions. Becoming very interested, he made his own copy of the notes and saved it onto his computer before he heard the elevator ding.

“Felix?” He heard Y/n’s voice call.

“Yeah?” He called back as he minimized the windows and pulled up some other things he had been looking into for Chan.

Y/n walked into his little home office as he turned around in his chair. Sitting in his loungewear— a pair of sweatpants and a t-shirt— as she made her way over to him.

“What’s up, princess?” Felix asked as she made her way over to him.

“Just a bit bored, figured I come bug you,” Y/n said as he pulled her onto his lap.

“Keep me company while I work then, yeah?”

“Can do,” Y/n smiled as he spun the chair around back to his screens.

Y/n wrapped her arms around him and listened to his keyboard taps and mouse clicks. It was soothing to listen to honestly. Lulling her back into sleep on top of the blonde’s lap.

Felix noticed her asleep a few minutes later, gently rubbing her back before pulling her medical files out again. Reading through it, a few things jumped out at him. Trust issues, compulsively lying, unwilling to work through trauma.

Felix emailed the notes he thought were most important to Chan but kept reading.

“Client has mentioned early life with mother but not much. Briefly mentioned biological mother being under the influence often and redirecting anger onto the client.”

“Client laughs when explaining a core event in her life.”

“Clients says alcohol intake has gone down; was previously using to cope.”

Felix kept reading. He could make guesses now why she chose to stay with them. Given her family history, maybe some lack of attention growing up caused her to seek it from anywhere in her adult life. Now, she had eight men ready to do that at any time of the day.

Being a liar could be useful to them. But it made him wonder; only one friend had been caught by law enforcement and charged. The other one was clean from head to toe. Y/n seemingly had a history of issues— using to cope could mean getting into some trouble. But nothing.

But she seemed so unphased by the eight being gangsters. Maybe she’d never been caught? Maybe she was clean? It was a little difficult to tell.

Felix reclined back into his chair and wrapped his arms around Y/n. He gently rubbed her back as he took in the information. He knew Chan had a plan from the beginning of this arrangement, but he also had a feeling this information was going to give him a bit more of an idea to use her.

Felix chuckled a bit to himself as he went back to some other tasks. “Lix,” Y/n mumbled

“Yes, princess?” He asked looking down at her. Her eyes still closed but little moans came out of her as she subtly grinded on him.

“Silly girl,” Felix said as he moved his hands down to her ass and pulled her closer, kissing the side of her head, “Y/n.” He said

“Mhm?” She asked, moving her head to hide in his chest.

“Having a fun little dream?” Felix teased

“Yes.”

“Want some help?”

“Please.”

Y/n was happy she was just wearing panties and one of the boy’s t-shirts. Made it easier for him to move his sweatpants and boxers down and push her panties to the side. Lining his tip up with her entrance and slowly sank her down onto him. Y/n moaned as her walls stretched for him till he was fully inside of her.

“Feel so good,” Y/n muttered into his chest.

“Yeah? Think you just like having a cock in you princess,” Felix got back to work. Y/n held onto him tightly as she slowly started to grind herself against him.

“Gonna use me to make yourself cum?” Felix asked, his baritone voice going straight to her core.

“Please lix,” Y/n whined

“Go ahead, princess. Just know I get to use you to cum later.”

♱ ━━━━━━ ⇤prev| m.list | next⇥

♱ ━━━ please support writers by reblogging and/or leaving feedback

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maxdibert · 2 months ago

Note

Hello, I've been following you for some time and I love your posts and analyzes about Severus, I regularly update your blog hoping for more and I always wanted to send you something, but I never had the opportunity.

But recently I saw a video on TikTok, which I didn't pay much attention to, but I saw the comments and one of them talked about how if Harry was a woman and looked like Lily, Severus would be a pedophile and that that gave people the creeps. And I, personally, find this statement very funny, because as far as I remember, Snape never had inappropriate contact with any Hogwarts student, or with anyone, in fact. But people intentionally forget that the only person who had the opening to do this was Peter Pettigrew. Ron himself said that they slept together and, probably, Peter saw the boys, literal children, changing their clothes, but, obviously, it would be Snape who was the child predator.

Sorry if it wasn't very understandable, English isn't my first language and I'm using Google to help.

Hi! Thank you. I'm glad you like my rants and sometimes nonense lol

About your pint... Well, this is a very old story. If I had a penny for every time I’ve read someone spouting this nonsense, I wouldn’t be rich, but I’d have enough for a nice dinner at a fancy restaurant. It’s so absurd that I don’t even think it’s worth refuting, but just to clarify a few things:

Severus resents Harry for two main reasons, and neither of them has to do with being in love with Lily. It’s not something as childish as “uh, my crush married someone else.” No, there are several layers to it.

The first and most obvious is that, unfortunately, Harry is the spitting image of his father, who, unfortunately, was a jerk who spent his school years torturing people—specifically, and with great enthusiasm: Severus Snape. James spent seven years hunting him down and attacking him for sport, backed by his loyal ally Sirius Black and supported by his lackeys, Remus Lupin and Peter Pettigrew. While the latter two might not have physically assaulted Severus, they were there as enablers and complicit bystanders. Four against one, at the end of the day.

Severus never had the chance to heal from that abuse because, at 21, he was forced to return to the very place that had been hell for him. He had to teach students who were likely old enough to have witnessed some of those humiliations during his time as a student. A victim cannot heal in the place where they were consistently harmed.

Then Harry comes along, looking like an exact replica of James, and every time Severus sees him, it triggers him immensely. When he looks at Harry, he doesn’t see Lily’s son, nor does he see a child—he sees his abuser. And we all know Harry isn’t to blame for any of this, but the thing is, we can’t expect someone who isn’t acting rationally to be rational. Especially when we’re talking about someone who desperately needs therapy and probably medication, neither of which he’s ever had access to.

Then there’s another factor—a deeply emotional one—which is that Harry’s very existence is a painful reminder of Severus’s own role in Lily’s death. The fact that this kid is there, an orphan, is a constant reminder that Severus overheard a prophecy, reported it to Voldemort, and that Voldemort then chose to kill the most important person in Severus’s life because of it. It’s a perpetual mix of anger and guilt.

Looking at Harry forces Severus to relive his past as a victim, his most humiliating moments, as well as the terrible decisions he made because of them and their devastating consequences. This doesn’t excuse his behavior, but it does explain it quite well.

What I’m trying to say is that the reasons behind how he treats Harry are deeply tied to trauma. If Harry were a girl and resembled Lily, Severus would still feel deeply triggered every time he saw her. The only difference would be that instead of seeing James in her, he’d see Lily. I think, rather than anger, it would fill him with depression and guilt to such a degree that, instead of antagonizing her, he’d try to avoid her as much as possible. He wouldn’t want to get within ten miles of her because seeing her face would constantly remind him of the person he failed and indirectly condemned.

At no point do I imagine anything even remotely sexual crossing his mind. Especially when you consider that Severus never once confessed his feelings to Lily or behaved inappropriately toward her. I do think he’d act “softer,” but not because of her appearance specifically—more because Severus is always gentler toward women. I mentioned this in another post, but his more cordial relationships are almost always with female characters, and when he’s cruel, it’s typically far worse with men than with women.

People who lack even the most basic comprehension or analytical skills… Honestly, if they’re going to hate on him, the least they could do is come up with more convincing arguments. Sometimes it’s just exhausting to explain why their theories don’t make any sense.

#severus snape #pro severus snape #pro snape #severus snape defense #severus snape fandom #snapedom #lily evans #lily evans potter #james potter #sirius bkacj #marauders #the marauders #harry potter #harry potter meta #severus snape meta #severus snape headcanon #harry potter headcanon

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slamdunk-headcanons · 6 months ago

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Fights, haircut and basketball - Imagine Mitsui Hisashi

Hello guys! So I decided to bring my SD imagines to this blog. They were originally written in Portuguese, and I used AI to do the most part of translation and revised it after to do some corrections and adaptations. So this is the very first one I wrote for SD, in 2016, for my favorite character, Mitsui Hisashi. My writing style is in third person, not second person. I hope you all like it!

Posted on Spirit Fanfictions, Wattpad and Nyah!Fanfiction (all Portuguese version) Word count: 3.6k Warnings: fem!reader, mention of gang fights, a bit of cursing, angst Cover by @ezrealsicons

Synopsis: Mitsui and [Name] were unseparable friends. But when their feelings became something more than just friendship, everthing caved in. With the Mitsui's injurey and his subsequent withdrawal from basketball, his personality began to be dominated by resentment and anger. The boy started to despise everything related to the sport, including [Name]. However, two years later, a fight and and old dream would finally make him remember how important she was for him.

“You did what!?"

[Name] looked at Mitsui with wide, horrified eyes. The boy had shown up at her mother's beauty salon that late afternoon without warning, his face covered in bruises and dried blood. The girl had quickly pulled him to the back of the establishment so he wouldn't draw attention in case a client arrive. The last thing she wanted was for Mitsui's problems to spill over into her mother's business. Now they were talking in the break room, which was fortunately empty.

The boy still had the same intimidating appearance that [Name] had seen the last time they met. The face that had once been marked by the features of adolescence was now almost entirely covered by his blackish-blue hair that cascaded down to his shoulders. His navy-blue eyes, once so bright and full of energy, were now dark and heavy. And to top it off, [Name] couldn’t even remember the last time she had seen Mitsui smile.

Faced with his friend's accusatory question, the senior kept his head down and his hands buried in his pockets. The shame he had felt earlier, in front of the man who had given him the determination to win the regional championship, now seemed to weigh ten tons on his broad shoulders. He could endure the accusing looks from everyone, even from Kogure and Akagi, but from [Name]...

"Hey! Answer me, Hisashi!"

He hunched his shoulders even more. It was hard enough to confess what he had done, let alone repeat it. Besides, didn’t [Name] already have enough reasons to despise him?

"I decided to get revenge on Miyagi... I wanted to do it by disqualifying Shohoku from the Nationals through a fight. If the rumor that the players were involved in a gang fight at their own school spread, they would surely be banned from the championship. So I gathered the judo team members and asked for help from a friend of mine, Tetsu-"

Mitsui didn’t get a chance to finish. A sharp, resounding slap stung his already bruised face, causing him to stagger back two steps. His hands instinctively covered the spot where he had been hit, and his navy-blue eyes rose in shock to meet the girl in front of him.

"Are you serious!?" she shouted angrily. "Didn’t I tell you to never speak to me again? And you, not only you disrespect that, but you also come and tell me something like this!?"

The high schooler lowered his gaze again and returned to his previous dejected posture.

[Name] had been his friend for years, and they had met because of basketball. She always played on the neighborhood’s public court, and it was there that he saw her for the first time. He clearly remembered being captivated by how she smiled while playing, and that made him interested in the game. He really wanted to experience the joy that made that girl seem so happy.

Mitsui then asked [Name] to introduce him to basketball. Reluctantly at first, the girl agreed to be his tutor. She taught him everything she could, from basic movements to the tricks of faking and three-point shots, which were her pride and joy. It was on that quaint basketball court that their friendship flourished.

Over the years, Mitsui and [Name] became inseparable, and their friendship began to take on new dimensions. However, neither of them had the courage to make a move, as neither was sure of their own feelings.

And that’s when everything caved in.

After Mitsui’s accident and his subsequent withdrawal from basketball, his personality started to be consumed by resentment and anger. The boy began to despise everything related to the sport, including [Name].

One day, the girl invited him to watch a street basketball game that was going to take place on the same court where they had first met. With disdain, he laughed in [Name]’s face and said he had better things to do.

"I'm not going to waste any more time with stupid things like basketball," he said with a mocking smile.

The girl looked at him in horror, unable to believe that those words had come out of Mitsui's mouth.

“What!?” she shouted, shocked.

“That’s exactly what you heard,” he spat. “I’m not wasting another second on basketball.”

And without giving [Name] a chance to ask any more questions, he spun on his heels and walked away.

After this episode, the high schooler began getting more involved with gangs and street fights, and the chasm that had formed between him and [Name] grew ever wider. Finally, one incident in particular completely ruined their friendship.

Angry after the beating they took from Mitsui’s gang, some troublemakers from Kainan High investigated Mitsui’s connections and discovered [Name]. After obtaining her address, they observed her routine for a few days. After a week, they ambushed her as she was heading home in the late afternoon. Meanwhile, one of them was tasked with delivering the message to Mitsui.

As soon as he found out, the boy was overcomed with an intense feeling of guilt and rage. He never imagined he would end up involving his friend in his fights, let alone as a hostage. Blinded by anger, he ran without hesitation to the agreed location, making a decision along the way: he would distance himself from gangs once and for all so that she would never be at risk because of him again.

When he finally reached them, he realized the true extent of the trap he had fallen into. [Name] was at the back of the alley, held by two burly high schoolers with contemptuous expressions. As soon as they spotted Mitsui, the other gang members blocked both exits of the alley, giving the boy no chance to escape.

“I knew he would come,” their leader sneered. “Let the girl go. We’ve got what we wanted.”

A momentary sense of relief washed over the student, and he searched for [Name] with his eyes. The girl was rubbing her forearms, marked by the strong grip of the thugs, and as soon as she processed that she was free, she looked for Mitsui among the figures present. When her eyes locked on his face, distorted by a mask of conflicting emotions, she marched toward him with determined steps, tears welling up in the corners of her eyes.

How? How had it come to this? How had he let something like this happen? And to her, of all people!?

Everyone turned to look at the slender back of the girl, who was walking forward with clenched fists. As soon as her childhood friend's face was within reach, she raised her right fist and delivered a solid punch to his left cheek.

"Bastard!" she shouted, tears streaming down her cheeks. "How did you get to this point? When did you stoop so low as to drag me into these stupid fights!?"

Mitsui kept his face turned away, his dark blue eyes vacant and empty from the shock.

"Never again..." she said through gritted teeth. "Never speak to me again."

Those words from [Name] hurt more than any punch or kick he'd ever taken in a fight. They hurt more than his knee injury. They hurt more than giving up basketball.

Even when he had given up on everything, she hadn’t. She believed that one day, the bitterness from what had happened in his first year would fade, and Mitsui's passion for basketball would resurface. And even as he sank deeper and deeper, she tried to support him, tending to his wounds so that he wouldn’t have to hear so much from his parents.

And he had simply dismissed all of it.

That day, the beating he took after being insulted and humiliated by the Kainan thugs didn’t compare to the pain of losing [Name] completely. He had deluded himself into thinking she would stand by him despite the stupid mistakes he’d been making. What else would he lose?

Since then, [Name] had never spoken to him again, and Mitsui had no choice but to respect her decision. In her absence, he continued to get involved in more and more trouble and fights, and the little hope hidden in his heart of returning to basketball disappeared completely.

However, the incident in Shohoku’s gym that day awakened old memories of basketball for Mitsui. The feeling of sinking the ball with a simple flick of the wrist, the euphoria filling his chest as he drove past opponents toward the basket... Remembering all of this, Hisashi Mitsui finally realized just how much he missed basketball and, most of all, how much he missed the person who had brought that wonderful sport into his life.

God! How he wanted to play basketball again! How he wanted to play with [Name] and see her smile in that unique and captivating way...

It was because of all this that he swallowed his pride and ran to see the girl he had dismissed out of pure arrogance and selfishness. He had to make things right. He would never forgive himself if he didn’t try.

Mitsui lifted his melancholic dark eyes to [Name] and took a deep breath.

"I know what I did was unforgivable. I really was a selfish idiot, only thinking about my whim of becoming Shohoku’s ace... and it ruined everything." He squeezed his eyes shut tightly and then reopened them, this time with a determined look. "But I need to tell you something."

The girl straightened where she stood and crossed her arms. Her eyes shifted to the floor, filled with pain and anger. She wanted so badly to believe Mitsui’s words. She wanted so badly for him to have truly recognized his mistakes and turned things around... But what he had done wasn't that simple.

With a furrowed brow, she bit her lip and lowered her head.

"I'm going back to playing basketball," Mitsui blurted out, as if the words were forcing their way out of his mouth. "I don’t want to keep pretending that I don’t want to."

[Name]'s eyes widened, and she immediately locked them onto her friend’s face.

"I know it might be a little late since I’m in my third year. But I still want to make the most of the time I have left in high school. I’m going to...

The sentence weighed heavily on his tongue, and he had to press his lips together to prevent the words from spilling out awkwardly. He wanted to show [Name] that this was once again his dream.

Taking a deep breath, he closed his eyes, then opened them to look at his friend with a crease of determination on his forehead.

"I'm going to help Shohoku conquer Japan."

[Name]’s lips parted in a small “o,” but not in horror or anger, but rather in surprise. Before her eyes, she finally recognized the determined expression of the Mitsui she had known on the court in their old neighborhood. The boy she had taught to play basketball, who had become much more than just a good friend, was once again standing in front of her.

"Hisashi..." she murmured, her eyes widening further.

Mitsui straightened his shoulders, pulling his hands out of his pockets. He raised a hand to his neck and scratched it, looking down at the floor as shyness took over his gaze.

"So... [Name]-chan... I’m really sorry. I didn’t mean to say or do all those stupid things to you. I know it’s not something that can be fixed with just an apology... But today, I really need you."

As soon as the last sentence left Mitsui’s lips, both felt a rush of heat rising to their faces. [Name] averted her eyes to the floor and began rubbing her fingers together with her thumb. The teenager scratched his neck even more quickly and continued:

"It’s-it’s just..." He blinked and, with great effort, looked back at the girl standing in front of him. "Since you helped me take the first step in basketball, I want you to do it again. I want you to help me take the first step back into basketball."

[Name] shifted her weight to her left leg and looked at her friend with a mix of insecurity and suppressed hope. She wanted so much to say yes. She had dreamed so many times of this moment—the moment when Mitsui would tell her that he was going back to basketball, returning to being the boy who had won her admiration in such a simple, genuine way...

But [Name] was fully aware that Mitsui's mistake was almost unforgivable, and she wasn’t going to let him think it would be easy to make everything right.

"I'm not going to play basketball with you, Hisashi," she said in the sternest voice she could muster.

The high schooler flinched as if he'd been punched in the gut. My God! How those words hurt. [Name]’s disdain was worse than any beating he had ever taken. But he deserved it; after all, he had also treated her with disdain... and in the worst possible way.

"I know," he said sadly. "But I need something only you can do."

[Name] furrowed her brows and waited. Mitsui raised his left hand until his fingers reached a lock of his dark hair.

"Could you... cut my hair?" He paused, trying not to stumble over his words, and laughed nervously. "Don’t worry. I’ll pay."

[Name]’s eyes widened so much that Mitsui thought they might pop out of their sockets.

Since girls tended to do this more often, she knew the significance of a haircut at a moment like this. Mitsui really wanted to change and wanted to leave a physical reminder of his new goal: to conquer Japan wearing Shohoku’s jersey.

After a few seconds, [Name] lowered her head and, turning on her heels, said, "Come here."

Surprised that he hadn’t received a harsh response from the girl, Mitsui promptly followed her with an astonished expression. She led him to the bathroom used by the staff and opened a cabinet containing a stack of white, fluffy towels. Grabbing one, she pushed it against the broad chest of the teenager and said, "Wipe off that blood so you don’t scare the other customers. When you’re done, go to the salon. I’ll be waiting there."

Mitsui nodded promptly and quickly cleaned himself up. When his face finally lost the most alarming signs of the fight, he folded the towel, leaving it in a corner, and headed to where [Name] was waiting. The girl was already dressed in a smock, with a cape draped over the same arm holding a pair of scissors.

"Have a seat," she said, her face wearing an indecipherable neutral expression.

Mitsui obeyed and sat down. [Name] adjusted the chair’s height and looked into the mirror to meet the boy’s blue eyes reflected there.

"So, what will it be?" she asked, running her fingers through the teenager's overgrown hair. Her touch sent involuntary shivers down Mitsui’s spine, and a slight blush spread across his cheeks.

"Ahm..." he muttered, glancing at the countertop cluttered with beauty tools. "You can cut it all off."

"All of it!?" she replied, her expression once again showing shock.

"Yeah. I mean, really short. It’s more comfortable for playing..."

The girl ran her fingers through Mitsui’s hair once more, taking a few measurements, and nodded.

"I’ll cut it little by little, and you can tell me if it’s okay, alright?"

"Uh-huh," he murmured, trying to stay still as he heard the first snips of the scissors cutting through his hair.

[Name] worked in silence, avoiding Mitsui’s deep blue eyes whenever she checked the cut in the mirror. However, it was impossible for her not to notice his features as the long hair stopped covering his face. Now that the black curtain had disappeared, [Name] could finally see the changes puberty had brought to her friend’s face. His jawline had become well-defined, but in a gentle way. Dark circles under his eyes marked the edges of his cheeks, which were covered in bruises and scratches, yet this detail still gave him a certain maturity. His straight nose had the same effect. His thick, black eyebrows perfectly crowned his pair of navy blue eyes, which had always captivated [Name] in a way she would never admit. Now they were much more visible, and this pleased her deeply.

In the end, Mitsui’s new haircut suited him very well, giving his face a more playful and determined look.

Yes... This was the Mitsui she had known.

"So?" she asked after making the final touch on the left side. "What do you think?"

He turned his head from side to side to see the new hairstyle from different angles and then smiled, satisfied. [Name] went to the counter and grabbed a square mirror so Mitsui could check the back of his hair too.

"Oh!" he said, smiling even more. "It really looks good! Thank you so much, [Name]-chan!"

While the teenager admired his friend’s work, [Name] couldn’t help but notice his features again. Mitsui had turned out much more handsome than she had anticipated.

Realizing this, her cheeks involuntarily heated up, and she lowered her face, afraid he would see her embarrassed expression.

"You’re welcome," she murmured, moving to the counter to put away the mirror and the brush she had used to remove the excess hair.

As soon as she removed the cape that had covered him, he stood up and quickly reached into his pocket, pulling out some green bills.

"How much do I owe you?" he asked, checking the amount he had.

[Name] had her back to him, organizing the counter and sweeping some leftover hair onto the floor. She bit her lip at Mitsui’s question, and the phrase he had said earlier echoed in her mind:

"I know. But I need something only you can do."

"Could you... cut my hair?"

Now that she could finally see Mitsui's eyes without his long black hair in the way, she was certain that he wasn’t just talking for the sake of it. She recognized his stubborn determination in the navy blue of his eyes. The haircut was his way of telling himself that he wanted to, and would, become who he once was. If she charged him for it, Mitsui's request would lose all its meaning.

"Nothing," she said, reaching out for the broom that was leaning nearby. "It's on me."

"But...!" he blinked, stunned as he stared at the back of her head. "I said I’d pay!"

"Shut up and accept it, idiot," she replied, too afraid to turn around and meet his eyes.

A whirlwind of emotions tore through her chest. Her head was spinning with confusion. She wanted so badly to celebrate this, to support him at his games, and to train with him... But at the same time, she couldn’t forget what he had done. And that stopped her from showing what she truly felt.

The teenager remained silent for a few moments before saying, "[Name]-chan... Please, let me pay for the haircut. I'll feel really bad i—"

"I already told you it’s on me!" she exclaimed too loudly as she turned her body and began sweeping with her eyes fixed on the floor. She walked past Mitsui and bumped into his shoulder hard. "I’m done here. You can go."

Mitsui didn’t move. His eyes went blank, staring into nothing as he digested [Name]'s harsh words. He had known from the start that he wouldn’t win her trust right away, but that didn’t lessen the weight of being treated like this by her.

However, even though she was clearly resentful, [Name] had granted his request. And if she didn’t charge for the service... it meant that, deep down, she wanted to do it for him and was happy that he had come back.

A slight smile curved Mitsui's lips as he realized this, and he quietly approached [Name] until he stood just behind her.

"[Name]-chan," he called, letting the gratitude he felt fill her name.

Hearing his voice so close, [Name] tensed up, feeling her cheeks flush once more. Trying to sound as harsh as possible, she turned sharply and growled, "Hisashi, I already told you to—"

But she couldn’t finish the sentence. As soon as she turned around, a soft, warm touch on her left cheek silenced her instantly. Mitsui was leaning in, his hand gently resting on her left shoulder as his lips placed a very sweet kiss on her blushing face.

The touch lasted only a few seconds, but it was enough to make all the hairs on [Name]'s body stand on end. Internally, she wished Mitsui’s touch had lasted a little longer. Pulling back slightly, he whispered, "Thank you."

He then straightened up, running his hand through his hair in a slightly awkward manner.

"Well, I’ll be going. See you later, [Name]-chan."

He turned on his heels and headed toward the exit of the salon. The girl remained frozen, staring at the back of her childhood friend. She hated herself for being so affected by his gesture, and even more for knowing that deep down, she really wanted Mitsui back... for herself.

Maybe it wasn’t the right time for them to reconnect, but they could start, right?

She went back to sweeping, and just as he stopped to open the door, she raised her voice: “Hey, idiot.”

Startled, the teenager turned his torso enough to look at [Name] with a questioning expression. “If you don’t make Shohoku rise to the top of Japan, I swear I’ll beat you to death".

Mitsui's eyes widened, and gradually, a smile replaced his shocked expression. He chuckled quietly as he remembered the countless times he had said he would conquer the nation. There was no turning back. This time, he had to succeed.

Widening his smile even further, he looked at [Name] defiantly and said, “I’m on it.”

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humanintownau · 3 months ago

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☆Human in Town!☆

Welcome to the blog! This is all the information you need about this blog! (Updates will be notified!)

Last updated: 11/27

My main blog: bbqgrape

•

What is this blog about?

By the title, this blog is about my new BATiM AU "Human in town!"

Now, about the environment:

• This story takes place in Toon Town, or as most refer to it "Toonsie town". A small fact, toons can immediately tell what type of personality a toon has just by which name they use for the town.

• Toon Town is the equivalent of New York, which was infested with all sorts of different toons, considering it was a big town. The smaller towns are Inkfell (Full of mafiosos with ink businesses), Hale Halos (Populated by mostly angels, I'll get into it on why later on).

• As by the first cover I did for the AU, this au takes place in 1961.

• Toon Town and other towns or living areas are separate from the human world. Each toon has the ability to leave the human world, but none can leave the toon world. This is important.

The characters:

I removed the refs for each of the characters' scars, because Tumblr only lets 10 per post 😔

• Daniel/la Darling:

(Couldn't fit each personality trait, so everything is a bit specific sorry `^u^)

Oooh boy, Daaaaniel, I have a lot to say about him...

And you probably already guessed, Daniel is a human in disguise. Well, he's technically a toon now, but with all the differences he has compared to toons, he might get his own category soon.

Daniel was a victim of "Angel farming" (will get into that later), and was a subject to torture and experimenting. And with no choice, he had to use one in a lifetime chance to escape. And that cost, well...a lot. First off, he's homeless, hungry, and even craving those peas he was force-fed back in the facility.

As I mentioned before, he was a victim of "Angel farming". This is an old project that has been active since the 1930's. This project is about turning humans into toons, more preferably angels, or any feathery toon. They are used for their wings (or halo). After those parts are removed, they make them regrow back by ink. This is a cycle that brings a lot of money to not only criminals, but also studios. Yes, studios. Money is money.

"Toon farming" is more popular, due to having less resources to make and sell them. (One of the reasons barely any toons are in the Human world).

Next on the list is...

• Benedetto 'Bendy' Stein

For now, I'll keep this short, since I don't want to spoil much. And I'll have elaborate on why Bendy's personality traits are too short (Yeah, it's because Bendy's gotta be the center of attention).

Soo... Let's start off straight and clear, Bendy's a mafia boss. And a good one at that, despite being kind of a dumbass. However, he's kept quite a reputation for the past few years, especially in 1959 (I ain't telling you why 🤫🧏).

His partners in crime are Boris (his best friend, and also a part of the mafia), Samuel 'Sammy' Lawrence (One of his soldiers), The Butcher gang (which joined Bendy's gang as an agreement), Katie, and Daniel.

And for his personality, well...

He's... confident to say the least, it's what scares the rivals, and other things... 😨

Anyway, he's, despite his attitude or "occupation", he's quite loving and caring to the people he loves or cares about. One of his redeeming qualities. And if we compare him to the other mafiosos, he'd be a saint. But it doesn't mean he doesn't get his hands dirty when he needs to.

• Boris Stein

Another mafia boss to the list (Benedetto and Boris run the same one. They were forced to share /j)

Okay, Boris seems like a prick on the outside, but is quite caring and soft to the people he thinks deserves it (except Katie, they don't get along well...). His tough exterior and physique helps him in fights, and also to intimidate rivals.

Benedetto's short temper and anger problems always have to be relieved, and Boris is there to do it as the calm older brother.

• Samuel 'Sammy' Lawrence

Oh this grumpy old man...

Anyways... Sammy's a human as well. And has been here FAAAR longer than Daniel is. He died in 1935, when he was 26 years old, and is now pushing his retirement age. He hides his true age so Benedetto wouldn't place him in the retirement home. He's still 54, but his "body" and mind is one of a 30+ year old. He isn't that wise to be a grandpa, but isn't ignorant enough to be your typical older brother.

He's a trustworthy man for Benedetto, with his intelligence surrounding ambushing, and unlocking different closed off places, rooms, vaults, etc.

• Cinnamon --------

Toon Town's biggest sunshine. She's basically the kindest person you could ever talk to. She's amazing at advice and enjoys spending time with her friends and -----.

She, despite her sweet and optimistic personality, is quite reserved, afraid of saying too much. She always tries to display herself the best way possible. She's afraid to show her true self.

• Katie M'lady

Born to be a tiger, forced to be a lap cat.../j

Katie is a fierce soldier who will always protect her fellow comrades. If you're being jumped, she'll probably help you (unless if you stole her favourite booze from the bar cabinet). Benedetto always takes her everywhere during chaotic missions, because of her experience with fighting, and also her capability of working under pressure. She's quite reserved, so no one knows much of her. Only that she'll beat your ass if you look at her the wrong way.

• ----------

Wait, who was she supposed to be again?

•

~~~~~~~~~~~~~~~

Differences between humanoid toons (Non-native toons) and real (native) toons:

Let's take Daniel (outdated design, will be remade in the future, but so far everything is canon) for example...

~~~~~~~~~~~~~~~~~~

Tags:

#BBQGrape's art: all my art is in this tag, including my main blog.

#Human in Town au lore / or just lore: lore about the au, environment, characters, backstories and so on

#Human in Town au: Anything related to the au / blog

#Daniel Darling: Mentions or drawings of Daniel (my oc)!

#Oc:Daniel Darling: Same as the previous one

#Benedetto Bendy Stein: for that cheeky bastard Bendy

#Boris Stein: for the big ol' woof

#Katie M'lady: ladies first.

#Cinnamon --- the ferret: Mmm, Cinnamon buns...

#Samuel Sammy Lawrence the old bastard: the old bastard.

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Qna:

• Is it okay for my ocs to interact with the characters?

A: of course! I am more than happy to answer them! ^^

• Can I make ocs for this au?

A: Of course! Feel free to draw them and most importantly, tag me; I'd love to see them!!!

• What kind of asks will you ignore?

A: I won't ignore any, except for ones that are basically not related to the blog in any way.

Or being inappropriate. That's an option too.

~~~~~~~~~~~~~~~~~~~~~~~~

Thank you for reading!

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badaziraphaletakes · 11 months ago

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can you please stop? screenshotting someone else’s post is extremely rude and only makes the fandom a worse place. talk about a bad take you saw, describe how it’s harmful, and vague all you want, but don’t screenshot. i agree that most of these takes are awful but that’s no excuse to do this to people. either confront the person who’s take you don’t like or make your own post. stop screenshotting, please.

Either confront the person who’s take you don’t like or make your own post.

The assumption that I didn’t try that is where you went wrong. I (mod X) started this blog only after I tried many, many times to confront people about their offensive takes directly and it didn’t work. I was subjected to appalling harassment and even bigotry. That’s what happens when you try to engage with someone who’s being offensive.

I had been throwing the idea around for weeks and what finally decided me on starting it was that I found out that I wasn't alone. That the anti-Autistic bias and the ableism and the transphobia and the victim-blaming and the misogyny (and on and on and on) that we kept seeing and being subjected to was ruining our enjoyment of this show. This was bigger than just me.

FTR, most of the takes that are submitted to us (note that I'll be switching between "I" and "we" in this reply depending on the context) don’t have a handle attached to them, but of the few that do include a handle, 99% of the time I have recognized it as someone who I have seen being so bigoted that there was no possible way I could engage with them. We don't confront people directly partly because we don't want to direct people who disagree back to the OP's blog, and partly to keep the mods safe.

You say “do this to people” like this blog is committing some kind of outrage, which is absurd. We are, at worst, being slightly rude (which I think is justified considering sarcasm and humor are one of the only weapons we have to fight back against hate), whereas most of the posts we comment on are outright hateful. They’re the ones “doing this to people”.

We are being far more considerate of the writers’ feelings and their dignity than they ever were of other people’s in the fandom. The takes are not just ‘awful’ (although, that too haha); they are actively harming vulnerable members of the fandom, and, more concerningly, are spreading messages that will poison our views on how we should treat Autistic people, ab*se survivors, and the like in broader society. Quite frankly, the people who are spouting the kind of anti-Autistic/ableist/victim-blaming/otherwise bigoted crap that forms the bulk of the content we feature here deserve to have their posts screenshotted. People who say things like that do not deserve to be handled with kid gloves in response.

(Also I don’t have time to re-type and slightly paraphrase every bad take I see. And if I did, people would throw out “no one is really saying this”. And even if it weren’t for that, I don’t think it’s reasonable or appropriate to expect me to use my time that way.)

Incidentally, nothing is stopping people from messaging/asking us or commenting if they recognize a post as their own, but only one person has ever done that, asking if a post was theirs. I replied that it was, leaving the ball in their court. So far we haven’t heard back from them about the matter, which is fine. But I digress.

As for this blog making the fandom a worse place - even though it’s only a few weeks old, I’ve had an average of two new people a day, every day, tell me how grateful they are I created it and how it makes them feel safe and how it’s the only reason they haven’t left the fandom. I’ve even had multiple people say “I was going to leave the fandom because of that specific post and then your blog called it out and I felt like I wasn’t alone”. So yeah, I'd say screenshotting is important here.

There is a subset of the fandom - many of us Autistic, Disabled, ab*se survivors, GNC, trans, and/or otherwise oppressed - who have been made to feel EXTRAORDINARILY unsafe by the Aziraphale hate (which far, far too often is thinly-veiled hate for some of the aforementioned groups of people) and the truly scary way people double down when we push back against it. So I don’t care if people are annoyed by my sharing a screenshot of their post. Not when this blog has become a safe space for so many people who otherwise would have had Good Omens ruined for them by the bigotry and general hatefulness we keep seeing.

LSS I will not stop building this tiny lil corner of the internet that is the only part of the fandom where many of us feel safe.

I actually made a post addressing almost this exact thing a couple weeks ago; if I can find it, I’ll add it here in a rb.

#good omens #goodomens #good omens 2 #badaziraphaletakes #goodomens2

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mcflymemes · 1 year ago

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just spotted that rant complaining about shipping in the rpc (the one using an ableist slur as an insult, which already discredits the post's validity in my eyes) and i just wanted to offer my two cents.

"remember when people wrote with you nonstop, bombed your DMs with headcanons and gushings, tagged aesthetics that reminded them of the shipped muses? remember when people actually knew how to juggle and be a partner? it was a double effort and we had loads of fun."

i just did a poll on this blog to determine how long people have been in the rpc... and 66% of the people that voted have been here for 8+ years. do you know what that means? it means "back in the day" when we were "writing nonstop" or when we "knew how to juggle and be a partner" many of us were younger. a lot of us were in high school or college, or we didn't have jobs, or we weren't old enough for huge responsibilities. many didn't have families or kids. we didn't have the responsibilities 8 years ago that we do now.

many of us have busy irl lives with travel, work, children, spouses, family members to look after, animals to care for, money troubles, schoolwork, medical issues. homes to look after, groceries to buy, mental health struggles, irl friends to visit with, etc. as much as we all love this hobby, and we want to find people who are passionate about our characters or our writing as much as we are... you are not owed this. you were never owed this. it was simply easier a few years ago.

you are owed kindness, basic human decency, and a respect for your blog rules. you are not owed ships. you are not owed someone's passion or their constant enthusiasm or their time away from irl events. you are not owed their daily messages, their instant replies, their eternal passion for your ship.

"i long for the days that when someone said they wanted to ship with your muse, they meant it."

they still mean it. unfortunately... they don't always have the time. our lives have evolved and with that, the rpc has evolved into something with less pressure, less demand, less of an obligation. and that's okay, because we have irl things to worry about. this is a hobby. this is not a job. more important things in our lives have taken priority. the rpc has changed... and that's okay.

finally, and most importantly, you should know better than to use the term "spastic" as a derogatory term in your quest to insult these people.

#rp psa #roleplay psa #rpc psa #important #sick and tired of people feeling an entitlement to your time or your passion #ableism tw #ableism //#ask me to tag this with more and i will!!!! for your comfort!

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blazescompendium · 10 months ago

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Blaze's Compendium Entry #8:Explaining the Origin of ShikiOuji

Note: This post was originally published in April 2024. However, since it is a complete research and dive into this monster, I figured out i could just repost it as a Compendium entry.

As always:

Warning: Faith and religion are important real life topics, that tackles the culture and way of life of millions of real life people. It is a cultural expression, and must be respected by all means. Here, we use a video-game ( some times) and other media series only to ignite the flame of learning about the matter, using its art when well depicted, but we do this with all due respect to the cultures we talk here, grounded by real life sources, cultures and people. And i mean this with respect. Hope you all enjoy.

I am sure that, if you played any Megaten game in the last 20 years or so, you ended up seeing this paper dude. His name is always stated as Shiki-Ouji, and he once shared the same design with the Demon called Shikigami.

The weird thing is that when researching Shikigami on my studies, I never found anything about this one so i put some detective work to find out about the origins of Shikiouji, the (yet another) dude who often repels physical damage in Megaten.

The creature is described in many of the series compendium as a powerful Shikigami, that only the most powerful Onmyoji could summon, and they have a vicious temperament.

When we talk about Shikigami, the first thing that comes to mind are paper dolls. This is no surprise, since Shikigami are summons Onmyoji binds to paper dolls or talismans, so they could interact with the physical world. This is also because paper is a very easy material to destroy, if things go south. Onmyoji are the equivalent of western sorcerer, that followed the Onmyōdō, a esoteric cosmology. It started in the 6th century in Japan as a divination practice, and evolved from there. I won't go into detail, because this is meant to be a short post. But materials about this practice are abundant on the internet.

The main concept concerning us here is the Shikigami. These are basically some kind of familiar, a spirit or demon if you want, the sorcerer could conjure to protect him or do his biding. The Cultural Alliance Brazil- Japan, which i already mentioned in other posts, states that:

''Shikigami can be Oni or demons, that should serve and protect an Onmyoji. Your abilities would be determined by the abilities of his master.

A Shikigami could assume the form of small animals, birds, etc... One Shikigami from a powerful Onmyoji could possess and control one animal. But only a real powerful Shikigami could possess a person.

When an Onmyoji is fighting another Onmyoji, they employ the use of their Shikigami. Some Onmyoji could spot the enemy Shikigami beforehand, and try to convert it to his side with magical powers. In this game, the converted Shikigami would come back to the old master, and attack with double the force. This pratice was called Shikigami Gaeshi.

Abe no Seimei is said to be the most powerful Onmyoji to ever exist. Some rumors say he had twelve Shikigami, while regular Onmyoji would rarely have more than one Shikigami at the same time.''

So, that is a rough definition of what a Shikigami is.

But, when researching this creature you would not be able to regularly find Shiki-ouji. The fastest method for him to appear, was the English Wikipedia article about Shikigami, which weirdly had this part about Shiki-ouji, but offered no source to it:

Having the kanji to Shikiouji, and some keywords, i found someone at Tumblr who asked the same question 6 years ago, in Eirikr's blog.

From there, Eirikr offered a link to a blog post writing about Izanagi Ryu Shikoku. Ryu Shikoku is an ancient folk religion and pratices from the Kochi prefecture. It is still practiced in the area to this day!

In this belief system there is the tradition of the Shiki-kui masks. Which.. bear a very uncanny resemblance to our paper guy, subject to this post:

These masks would be hang above the place the ceremonies of the Izanagi Ryu take place. They would have magical powers that could repel evil spirits, and non believers from coming to the ceremony and disturbing it. They would also serve as talismans, or paper dolls, in a simmilar vein the regular Shikigami pop image you have in mind.

Since they are used to summon spirits, bind them, and as talismans, these creatures can be, technically called a Shikigami.

With this knowledge in hands, i went to the Japanese web. And sure enough, i found this site: The Nippon Foundation Library. It has an article detailing the paper talismans used by Izanagi No Ryu Onmyoji, and their meanings, powers, and also explained a bit about Shiki-Ouji!

Here is what they have to say: (Please be warned that i do not speak Japanese, and used machine translation. Any corrections are Welcome!)

Shikē Ōji is a spiritual entity invoked by the taisa during prayers for the sick and the "toriwake" ritual to expel evil spirits causing illness or calamity. Its birth is described as abnormal, and due to its excessively violent power, it has no place to reside. Usually, it is sunk in the pond of Tendō-nanta, and summoned only when needed to guard ceremonies, to pray as the guardian deity of ceremonies, or as a prayer deity of Jumon no hakase. There seem to be several types of Shikē Ōji depending on their purpose, such as Takata no Ōji for toriwake, Gotai no Ōji for prayers for the sick, and Ōtaka-shiki for insect prayers. Additionally, talismans such as Sangoku Arashiki, Chimura San Ōji, and Sakago no Ōji are handed down, and it is inferred that they were used according to the content of the prayers, although many details of their usage are unknown.

Using the powerful Shikē Ōji against humans becomes a curse. In Kochi Prefecture, "hitting a ceremony" is widely used to curse people. Many people use this term without understanding its original meaning. "Hitting a ceremony" refers to attacking someone using Shikē Ōji. While Shikē Ōji can benefit people if used for good, it can harm them if used for evil. Talismans of Shikē Ōji, possessing such terrifying power, often have several incisions on them, each containing twelve notches, giving them a rough impression. However, unlike talismans found in mountains and rivers, they do not seem to have incisions for eyes or mouths. In this regard, they are closer to the cutting style of talismans for house gods and sacred gods. Here, one can sense the emphasis on the powerful nature of Shikē Ōji's talismans while also distinguishing them from strange monsters.

So, as you can see there is some key information about the creature here. But the most important ones:

1- It is bind to a talisman, just like other Shikigami. The text here explains it is a paper talisman with notches, just like regular ones used in religious ceremonies.

2-It has a powerful and violent nature, just like the compendium often indicates in Megaten games. It seems hard to tame and use properly without getting hurt.

3-Shiki-Ouji can be powerful and violent, but it seems they dislike being used to hurt people. Instead, they are better employed to use their magic to other deeds. However if you still use them in that regard, they will most likely curse you.

4-Their talismans have twelve notches, no incision for eyes and mouth due to their aggressive nature. This would help to control their interaction with the material world.

I am sure that, if we follow this trail we will find many more sources. Going by key words i found in this text, i found many other sites and books, but since i have no time now to fall a rabbit hole, nor do i speak Japanese... That is it, i think this is a satisfactory answer to where this Megaten Demon came from!

The real forms of Shiki-Ouji

The last thing in want to talk about, is Shiki-Ouji real appearance. Since we have a seemingly wrong impression of they in Megaten, since Kaneko took some artistic freedoms.

First and foremost: From the few things i studies about Shikigami, we know they do not have a real physical form. The paper talismans are just a way to give them physical form. But it was incredibly hard to find a Shiki-Ouji talisman, which was weird because it was so distinguishable. The main reason being that: Shiki-Ouji seems not to be believed to be easy or safe to summon, and also their talismans would be destroyed asap after use.

But with the description i got, it would be this one that matches it the most:

No eyes, or mouth. Twelve Notches, six from each side, and some incisions. Very similar to a regular talisman found in other types of ceremony. Just as the text suggested.

I got this picture from this book:

Tosa, Monobe Village: Shapes of the Gods

Monoba being the village where most of these rituals came from. The book is from 1999, and contains many pictures of actual talismans.

You can see that, aside from the head shape, Kaneko took some freedom with this design. The sources state that Shikiouji talismans should not have a face, nor limbs, since it was too powerful, and should have 12 notches. For some reason, Kaneko drew it in a human-like form, but the face still resembled the Shiki-kui masks. The earlier design of the demon was even more closely resembling the masks:

Shiki-ouji earlier design from Devil Summoner (1996). It was later repurposed as the demon Shikigami. It is almost an exact match to this talisman. I can not however identify the original source.

Shiki-Ouji current design by itself could have been based on this one talisman in specific, at least some parts of it like the head with horned-shaped appendages:

By the looks of it, its face could turn inside out, just like the Megaten Demon can do.

It was sourced by the National Museum of Japanese History, but the post went down. The low quality image of the talisman can still be seen on google, but the link is dead, unfortunately. It seems that this item is still in possession of the Museum in Japan. Kaneko could have seen it in pictures, or in person. This one seems NOT to be displaying a Shiki-Ouji thought.

Maybe the Kaneko take is that Shiki-Ouji was summoned with limbs, and facial features and became much more stronger as a result? We may never know...

And finally there is also an occult book that i found in Amazon Japan that is called: Exploring Izanagi No Ryu: ShikiOuji.

It is supposedly a manual on how to practice Izanagi no Ryu, and magics. I could not find the book online, just the summary. But it mentioned nothing about Shiki-Ouji. Probably has some sort of tutorial to summon it, in fact i was able to find many of those tutorials on the Japanese web.

Now, that is it. I think this puts to rest a little bit of mystery involving the origins of this specific demon. Kaneko sure took some freedoms, but it is still one of the more popular and recognizable characters in the series.

Final considerations:

This most likely is the answer to its origin, but i am not some sort of owner of all truths, so feel free to correct me in anything i said wrong. I am still an amateur scholar, and even if i do know a lot about mythology and ancient religions because i read many books and study a lot of hours of my days, i am by no means a specialist in Japanese Mythology specifically, specially Shikigami practices. The reason is that, i find it very difficult and time consuming to research Japanese sources, since i do not speak Japanese. I will one day, try my best since there are a lot of good Yokai to cover in future Scientific Papers.

I can, however, guarantee that i did my best possible effort in a deep search!

And i have spent a lot of time looking through pictures of Shikigami talismans, and i found some really cute. Like this one. What a whimsical little fella...

#shin megami tensei #atlus #kazuma kaneko #blazescompendium #megaten #mythology #japanese folklore #japanese mythology #shikigami #megami tensei #smt #blazescompendiumentry

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