#because she creates from the arbitrary

[apollos-boyfriend]

this is like. all fully speculation. but i was rewatching some of jaiden’s nuzlocke videos, and them combined with a recent clip of hers i saw talking about how she’s not even sure why quackity chose her for the qsmp made me connect why he might’ve picked her. because like. i think nearly everyone was a bit shocked, if not confused, to see her on the lineup. despite having been in the scene for a while—her first public animations were for ihascupquake, after all—jaiden isn’t your first thought when you think of minecraft youtubers. as far as i’m aware, she was on one smp before the qsmp—epicsmp, and we all know how that ended.

no, jaiden isn’t who you’d think of when you think minecraft youtuber. but she is who you’d think of when you think storyteller. which, yeah, is kind of obvious. there’s a whole subcategory of youtube for animated storytellers, and jaiden’s been one of the front runners for years now. but the thing about jaiden specifically is that she doesn’t just tell stories. she shapes them. you can really see that the most with her animated nuzlockes. she’s given scenarios and events that are largely random and arbitrary, fully just game coding and out of her control, and she turns them into her story. her platinum nuzlocke specifically highlights this with the giratina, two jaidens storyline she creates to explain her resetting the run and attempting the elite four again.

live mcrp HEAVILY relies on having to go with the flow of the game, and learning to work around in-game mechanics and limitations to create a storyline out of. things that are story-important, like pets or npcs, are fragile and can be taken away at any moment, be it by a mob, glitch, or player error. you have to be able to think on your feet to not only work around it, but create a narrative to explain that decision fitting into the canon and story instead of just taking it at face-value. and that’s exactly what jaiden’s been doing for years now with a lot of her gaming-based content. quackity would need people accustomed versatile storytelling as much as he’d need people accustomed to survival minecraft itself, and jaiden is nothing short of an expert at her craft

[determinate-negation]

im making this post for @wafans-blog because she is trying to reach the goal of 80k by sunday august 18 in order to evacuate her sister and brothers families who are trapped in gaza. wafa went to egypt before the war for medical treatment and has been separated from her family since and is extremely worried about them.

throughout my life ive read so many historical stories about jewish refugees from nazi germany where peoples families were separated and never saw each other again despite searching for years after the war, people who were deported to their deaths a day before they were planning to escape, people who acquired the right papers just after it became useless for them anyways, people whos lives depended on the whims of strangers, border guards, officials, workers, passerbys- on whether they would choose to help someone or do nothing. the actual difference between life and death made into completely arbitrary decisions that are out of the control of those suffering, for the most part. this is the type of existential situation that is created when a people are targeted for destruction, like in the genocidal war israel is waging on gaza right now. i cant help but think about everything ive been told about history since i was young when i see what is happening in gaza today. i dont want that to happen to anyone else.

wafa told me earlier today that the situation now is gaza is getting worse and worse for her family members. the other day they were forced to evacuate at 1am and sleep on the street, leaving behind everything they had in their tents because of another idf bombing on areas previously deemed "safe." they have a young infant, salem, with them who was born during the war and has only been exposed to suffering and devastation. salem is sick right now and theres very little access to medicine or any of the resources that a newborn baby needs. its really urgent that they raise enough money to register them for evacuation so they can join wafa in egypt when the border opens soon, god willing.

out of so many arbitrary decisions that life is reduced to under the conditions of a genocide, one of the less arbitrary ones is that anyone on here, especially those in the west who likely have a higher income in a stronger currency than non-westerners, could help someone today escape death.

i really implore people to donate. especially if you have a degree of disposable income or economic security– consider your life circumstances and how much you can actually afford to give to help save something that really can not be monetarily quantified, which is human life. please donate to this campaign and help reach its goal. if you cant donate, share this with someone who can.

$65,035 raised of $80,000

[labyrynth]

genshin fans really will be like “i can excuse child combatants but i draw the line at young-looking adults”

[ree-duh]

The thing with Taylor swift releasing her billionth version of the same album now with her shitty voice notes is that even if you ignore the clear dirty tactics she’s using to try and block other artists from receiving any recognition for their work so she can hold onto some arbitrary number… she’s kind of just forfeited her right to be considered their peer because her work no longer holds artistic value because she has rehashed her already imo mediocre music so many times they no longer have anything to say like you see a lot of swifties say she’s a businesswoman but last I checked creating art is kind of her job and if you have to keep releasing the same thing over and over again for two months to remain relevant you aren’t very good at the one thing people are paying you for

[yelsapo]

I honestly think this episode was meant to be confusing in a sort of Alice-in-Wonderland-ish way, where the loose ends won't/aren't meant to be tied up later. It's confusing and random, but that's the point.

Kate tells Ruby, "It's what we all do. We see something inexplicable and invent the rules to make it work."

And I think that might be exactly what Ruby does. Stick with me PLEASE

The premise of the episode opens with a superstition: a fairy circle. Something surrounded by stories and myths that don't necessarily make sense, and yet many people form their entire lifestyles around these belief systems because they explain the unexplainable for them.

The woman that follows Ruby appears to chase people away from her, or convince them to abandon her, which is clearly a common theme within Ruby as a character. She's afraid of being abandoned.

Typically breaking a superstition means that you're going to suffer some sort of misfortune as a result, right? If you were to break a superstition that you believed in (ie. ruining a fairy circle), what misfortune would you fear most happening to you? For Ruby, it probably centers around her fear of abandonment.

We know that Ruby is supernatural in some way. She's definitely not a typical human. She can make it snow on command? Who's to say that the "silly little explanations" that she makes up to make sense of her unknown don't ACTUALLY come to fruition. What if she has the power to do that?

So, let start from the beginning. Ruby and the Doctor break a fairy circle, an action which culturally means bad luck. In Ruby's mind, her worst luck would be to be abandoned by everyone, and to never find her birth mother in the end. And that's exactly what happens.

Roger Ap William is a name mentioned by the Doctor in the first couple of minutes of 73 yards. The only information that is given is that he was evil, welsh, and almost brought the world to nuclear destruction. That's all Ruby knows. Mad Jack appears at first to be some arbitrary name Ruby reads on a piece of paper, but is later revealed to literally be Roger Ap William? How coincidental is that? I don't think that Roger and Mad Jack are actually the same person. In fact, Mad Jack probably WAS just someone's dog. They were just two names that Ruby had recently heard, and then drew an imaginary line between. To further the point, Roger is SUCH a caricature. His only three personality traits are quite literally evil, welsh, and likes nukes, which is all the Ruby knew about him.

Throughout the episode Ruby finds herself in a situation that doesn't make sense, so she comes up with her own explanations to make them make sense. She invents her own rules and her own mission. She comes up with a string of tasks that aren't logical to us, but it's the explanation she has come up with given the information that she had. She's convinced herself that it makes sense. She starts to form her lifestyle around a belief system that she created because it explains the supernatural she is experiencing.

And because of whatever supernatural abilities surround her, she's actually making her percepetion of reality the REAL reality.

(Edit: Not to mention that superstitions have been a common theme this season (ie. 14 invoking that salt superstition in WBY kicked off this season's entire plot) AND WBY is the first case in which we see Susan Twist as well...

It all leads back to that moment.)

[antiyourwokehomophobia2]

I wish women did not feel so strongly about the fact men, on average, are physically stronger than them. I feel like women have such negative feelings about this that it drives them to ridiculousness. Listen, I get it. I get it, I get it, I get it. The fact men are stronger is frightening. It’s scary to know that if a man decided to physically attack you then you are probably fucked. The USWNT, women who have spent years honing their skills on the field, lost to teenage boys who—when compared to the women—were basically just beginning to develop their talents. I understand how demeaning that can feel to every woman who hears this fact. I can imagine how demeaning it was for the USWNT. I’m sure every woman has been in a situation, playful or threatening, where they have tested their strength against a man and lost miserably. I’ve seen videos where women hit and slapped men with genuine rage and fury and the man barely even flinched. I understand how embarrassing and scary it can be to come to terms with the strength disparity between men and women, but you simply must come to terms with it. Far too many women have taken to pretending that it's not there—this is not a good approach.

Women choose to pretend it's not there because acknowledging that it's there makes them feel inferior. I ask women to remember that this world was built with the ideals of men in mind and to cater to their specific strengths. Men value strength and violence so of course the world is going to seem like those two things are all that’s valued in it. It's no coincidence that many male heroes are physically strong/easily able to cause harm—such as Naruto or John Wick or the Avengers. Of course it feels shitty, as a woman who inhabits this world, to have to acknowledge that your biology generally prevents you from being able to have the ‘can beat anyone in a fight’ type of strength that gets constantly praised.

However, I implore women to consider that men being physically stronger than them is no more of a significant fact than women being able to give birth while men cannot. Women also have biological advantages over men but when was the last time you saw a man calling himself inferior because of them? Imagine if the world was built with female advantages in mind. Imagine a world where the ability to give birth was seen as some sort of pinnacle of human worth. I mean, the ability to give birth is crazy. You are literally creating a whole new life. The female body is capable of providing the necessary tools to bring about a whole new person. Every brain that has thought of something life changing and every hand that has built something new was brought into existence by a woman’s reproductive system. Every single person that has ever so much as breathed was brought to life by a woman, but men never think women are superior for this fact.

Oh, but women couldn’t get pregnant without men, right? No. IVF exists. But even without it, the correct thing to say would be that women cannot get pregnant without sperm. A woman can get artificially inseminated. She never has to go out and find a man to have sex with. Is that not an advantage? Because, I mean, what can a man do if he wants to have a child but no woman is willing to give him one? Hire a surrogate? That comes with a list of complications, is far more intimate than artificial insemination, and is incredibly expensive. How is that not a disadvantage of being male? You may be thinking that you, as a woman, never want to become pregnant, but that is not the point!  The point is that it's arbitrary to look at biological advantages as anything other than completely neutral.

Women also survive famine better and live longer than men. Imagine a world where women held this over men’s heads? But we don’t live in that world. In this world, I’m certain a man would say that they die sooner because of being braver, taking more risks, and doing dangerous jobs. However, if it were women putting themselves in danger and dying as a result, men would not be quick to call us brave; they'd call us the opposite. Idiotic. Foolhardy. Too stupid to take the necessary precautions to keep ourselves alive.

It is just so painful to see women lamenting over the physical disparity between men and women. Let it go. Consider being neutral on the subject of biological advantage. Consider that male strength isn't something to pretend doesn't exist and isn’t something that proves women are inferior.

I understand that acknowledging vulnerability is against the survival Instinct—I get it—but come on. How can we let this get to a point where we’re saying it’s okay for males to enter female sports and beat the absolute crap out of/wipe the floor with women? Them being stronger is neutral! It does not mean anything! But it’s fact. Pretending it’s not only serves to put women in a losing position. Pretending it’s not only serves to make women into a laughing stock. Men will gladly collect medals that belong to women—they’ve been doing that forever. If there was no reason for male and female leagues then there wouldn’t be any. You cannot deny your way into something being true. I also wish it were true that the average woman was evenly matched against the average man, but it’s simply not reality. In the same way that it’s not reality that the average woman is taller than the average man.

I am begging women to think neutrally about this topic instead of being in such deep turmoil over it that they open the door for men to walk all over us.

[rockrosethistle]

I actually fucking hate Mr. Jägerman here's why

Mr. Jägerman is a character in the Hatchetfield universe who is never onstage and only mentioned in 1 (one) line. This was enough to ignite my rage.

It's because in this one line, so much is revealed about Max's character. So let's dissect that.

Max is mean. We know this. The very first thing established about him is how threatening he is. But I think his character often gets lost in the 'bully' identity, because just like every other Hatchetfield character, he is layered and complex.

We also find out two other things about him pretty much immediately: He has a crush on Grace (we'll come back to that) and he needs to feel in control.

There's a lot of evidence to support this. He repeatedly refers to himself as the 'god' of Hatchetfield High. He creates arbitrary rules around who his friends can date. He creates arbitrary rules around where the nerds are 'allowed' to go. And the moment someone implies he is not as powerful as he thinks he is, he retaliates violently.

This isn't just Max being a jerk. These are all signs of someone who is almost certainly deprived of control in their home life, which forces them to find it elsewhere. Max likely has little to no say in what happens to him at home. He's clinging to a sense of control wherever he can find it. And that line basically confirms that his home isn't a safe place for him.

Back to the crush on Grace, when you look objectively at the actions Max takes in the show, you'll find that he's not really a bad person, he's a mean person. He's a little shit that processes his need for control in the entirely wrong way, but people are shaped by their surroundings. The actions that come from him are different.

His crush on Grace only supports this. Every other bully in every piece of media sees the girl they like and whistle and say "yo lemme hit that." And if the girl rejects them, they resort to "tease bitch." Not Max. The first thing he does is start a conversation with her, laughs at (what he thinks is) a joke, then offers to carry her books. Like, I wish my highschool bullies were that nice to their own girlfriends.

When she rejects him, it's true that he continues to pursue her and calls her "dirty girl," but that once again comes back to his need to feel in control. But he doesn't get aggressive, he doesn't do anything that screams 'bully.'

We don't get a lot of scenes with pre-ghost Max. But when we do, they're interesting to analyze. Like, have you ever noticed that when he finds Steph in the Waylon Place, his very first instinct is to tell her, "Get behind me, I'll protect you" from, as far as he knows, actual ghosts? He feels like his life is in danger, but he's still putting Steph's safety first, despite having no interest in her romantically. That's huge.

There's even some evidence to support that Max terrorizing the nerds is, from his perspective, not so one-sided. When he finds out they were the ones who pulled the pranks, he says "I thought you guys hated me."

And he's open to change. He's not stubborn, he's not brutal. He doesn't continue hating the nerds just because it is what it is. Moments before his death, he is showing signs of opening up to them, and actually seems like he's coming around.

And none of this is meant as trying to defend Max's actions. I know he's the antagonist. I know he treats people unfairly. But all of this has to come from somewhere. I'm trying to say that there was clearly a foundation of a good person underneath all that cruelty. So what toughened his shell?

Mr. Jägerman. Max reveals in that one line that if he were to go back home from the 'party', his dad would call him a 'little cuck.' "can't even fight off one lousy skele'uhn." In this, he reveals his dad is demeaning to him. He's the kind of man who would hear that his son was in a life-or-death situation, and instead of comforting him, he would have made fun of him.

What must that do to a person? As someone who grew up in a home where Dad wasn't always a safe person to be around, I know that when I was younger, a lot of my bad bad behaviours were something I learned from him.

The prank meant to scare Max was the nicest thing anyone's ever done for him.

I think a lot of what happens in NPMD is indirectly Mr. Jägerman's fault. "Knowledge is knowing Frankenstein is the doctor, wisdom is knowing Frankenstein is the monster" type of shit. It is directly because of his actions and the way he treated his own child that any of this happened.

or maybe I'm reading too much into this. But I fucking hate Max's dad so much.

[gretavanlace]

Hush

Josh Kiszka x reader

18+ only Minors do not interact

Warnings: graphic sexual content, dirty talk, choking, light degradation, praise, slight dom/sub/switch dynamic, language, etc

Josh is vocal.

That is certainly no secret.

Anyone who has watched him strut about a stage, microphone in hand, knows that.

Off stage, he talks incessantly about both the things that matter to him, and the mundane. Things he is passionate about. Things that light fires within him and drive him to create and pack this world as full of his heart as he possibly can. Arbitrary ideas and notions. Strange ponderings.

Pontification, he likes to call it.

He’s also vocally boisterous when agitated. He loathes waiting, and will mutter complaints near your ear in line until you’re willing your eyes not to roll. A phone call to vent about the antics of one brother or another from the studio is a regular occurrence and can be counted on just like death and taxes.

“Samuel was even later than I was,” he might huff, “and now Jake’s guitar needs to be restrung because fuck this whole world if he has to use a backup. I hate them, and I want to come home to you, light of my life, keeper of the stars, goddess of all that is— oh, we’re ready…gotta go.”

Josh murmurs in his sleep, sings in the shower, talks himself through menial tasks, hums in the grocery store, carries on one-sided conversations with the cat who simply chirps along while swirling around his ankles.

At least twice a night he snatches you from drifting off to sleep with a question: Do you think I should call my mom more? If I miss her, she must miss me. Or, Did I ever tell you about that time that Jake ate shit and fell in the lake? I was thinking about it today, and…

Random thoughts and idle musings he can’t help but verbalize, you hear them all. Mostly. The ones you aren’t privy to, fall upon the nearest ear - but he’s so fucking charming even a stranger is happy to play sounding board.

Josh is also expressive when you’re wrapped up in soft, linen sheets…or wherever else he’s decided he can no longer wait to have you.

Whispers of devotion swelling like a gentle breeze across the hum of your pulse when he makes love to you. Filthy, dirty, blush-inducing declarations when he’s fucking into your trembling body like he’ll never touch it again.

And you love it…all of it. But now - with your visiting sister slumbering in the guest room on the other side of the wall - is certainly not the time.

“Baby, please…” his mouth is sucking gently along your collarbone as he grinds into you slowly, friction hard and constant against your greedy, swollen clit, “let me fuck you faster…c’mon, I need it.”

”What you need, is to be quiet,” your voice is a stern whisper, but your hands are tender in his hair.

He could easily set a pace as brutal as he desired if he felt inclined to disobey…but, ever the sweetest switch, he has opted to play nice tonight.

”I’ll be quiet,” he promises. It is a lie he truly believes, and to prove that point, you clench around him and draw forth a pitiful groan from deep within his chest.

A swift pinch at his side serves as punishment ”Shut. Up.”

”Fuck you,” he sounds deliciously desperate, “You did that on purpose. Squeezing me with that beautiful pussy…goddamn.”

”What’s going to happen if I let you make me cum? Hmm?” Your mouth falls into a delicate pout as if you just feel so sorry for him, “You know how tight I get. How I just hug your cock all snug and wet…”

”And warm,” he adds, lost in it, daydreaming in the dark of night and twitching inside the embrace of your cunt, “Soft as satin, sucking me right in…oh my god, baby, please.”

He begins moving with more purpose, dragging the head of his cock against that lovely little spot that will render you incoherent if you allow it to.

”Oh my god, please,” you mock quietly, “Look at you Joshua, what a whiny baby. What are you begging for? Pussy? Is that what you need?”

He nods frantically against your sternum, as though he doesn’t trust himself to look up at you.

You feign confusion wickedly “But you’ve got that. You’re already inside me…”

“Faster,” he breathes, biting and mouthing at your shoulder now, “Need it faster, and harder. It’s too slow, I need more.”

Clicking your tongue like he is a poor, pathetic sight to behold, you shake your head, “Slow down.”

”No, please don’t make me,” he slows, as instructed, but trails off with a whimper.

So, maybe there’s no ‘like’ about it, maybe he really is a poor, pathetic sight to behold. Yes, you decide, that’s exactly what he is…

…so why not push him even further?

With a swift tug on the roots of his curls, you issue an order ”Stay still.”

Despondent and mournful, he groans into the crook of your neck and grabs at your hips so tightly you’ll be admiring raspberry bruises in the mirror come morning. “C’mon, baby girl…lemme take it. I fucking want it.”

If he were looking at you, he’d see the devilish gleam in your eye. Aren’t you an awful witch tonight? “What? Don’t you like it when I keep your pretty cock warm for you?”

He flexes hard inside of you, simply to gain even a hint of friction. “You’re being so fucking mean.”

”Mean?” You coil around the throbbing length of him and he shudders out the tiniest sound, “If I was mean, I’d lock your pretty cock in a cage and fuck your face all night.”

For a moment, he shirks his submissive edge and hisses in your ear, low and slow, “Liar. Not with little sister in the next room…you couldn’t keep quiet with my face between your legs if someone fucking paid you to.”

In response, you shove him back and roll until your thighs are locked around his waist, the crown of his cock nestled against your clit as your hips swivel heated circles.

”Does that feel good, baby?” You’re taunting him cruelly while, in contrast, lovingly reaching up to smooth the furrow from his brow. “Does that just feel so good?”

”Wanna put it back inside,” his eyes squint shut and anyone who didn’t know better might think his expression is that of suffering. “Perfect fucking cunt, so tight, so…”

”Shh,” you quiet him with a hand wrapped around his throat, relishing the way his adam’s apple slides against your palm when he swallows hard, “shut your mouth for once.”

He’s staring up at you, wide-eyed and needy, like you painted the stars in the sky, gorgeous and glittering, just for him…and how you wish that were true. How you wish you could give him something so profound. Something worthy of his light.

”I won’t make a sound,” his vow sounds out, a cross between the honesty he wishes it to be rooted in, and the lie he knows it to be. “C’mon baby, please…fuck me sweet.”

Does he really want it sweet? Or is he simply aware that that’s all he is capable of quietly handling?

Likely the latter.

Your fingers have found your nipples, twisting and tugging on them as they tighten into pink pebbles that send shivers crawling down into your stomach with every pull. His eyes lock in on you, watching you tease them as his breathing kicks up into a frenzy.

“You’re pushing it,” he warns, grip pulling you down closer as he rocks his hips up to meet you. “Keep it up and I’m gonna fucking take it. Be a good girl now, baby…I’m done with your shit.”

”Yeah?” Your eyebrow raises in silent challenge. Does he have it in him tonight?

“Yeah.” He nods, licking his thumb to swirl much too gently across your clit.

”I think you should just behave and be grateful for what you’re—“

Stunned and dazed, the room blurs around you as you’re flipped and tossed until your cheek is pressed against the cool, crisp sheets. They smell of him, and you breathe Josh in until your lungs ache while his cock teases at your entrance from behind.

His body folds over yours until his lips sweep the shell of your ear, “You’ve done it now, baby girl. Better be quiet, yeah? Not a sound.”

With a swift snap of his hips, the silken glide of his cock fills you full as his palm presses against your lips to muffle the high-pitched moan that gasps out of you.

”Now who’s the whiny baby?” his perfect teeth sink into your earlobe and tug until it blooms with heat. The moan that seeps into his soft skin causes his lips to curl into a smirk you can feel. “This is what you wanted, you think I don’t know that?”

He has begun moving at an excruciatingly slow place, the head of his cock dragging gently inside you just right…but you need more.

”You think I didn’t know that you wanted me to just fucking take it all along?”

You nod urgently, tangling your hair against the pillowcase. Of course he knew, he knows you better than you know yourself. There are no secrets to be hidden away when it comes to Joshua. He hunts each and every one down like glittering treasure with ease…your body his map, the pools of your eyes ciphers he decodes without even trying.

His tongue is dancing its way along your jaw now, springing chills to life upon your flushed skin ”Tell me how good my cock feels and I’ll fuck you full.”

Another woeful sound shakes out of you and a rumbling, gravelly laugh huffs warm against your cheek, “My poor, sweet baby can dish it just fine tonight, but she can’t take it? Is that it?”

With a shhh that makes you feel weighed down heavy with lust, he lifts his palm away from your mouth. “I can take it,” you promise in a hush, “Please…I can take it, I swear.”

He is so still inside you, but the familiar stretch is enough to send a tremble tripping up your spine, spider-cracking like a jolt of electric pleasure. “But can you take it quietly? Can you be a real good girl or should I gag you like a whore?”

”I’ll be a good girl,” you breathe, relishing the sound that slips out of him, a cross between famished desire and worshipful devotion.

“Yeah?” He’s enjoying this little game too much to wave goodbye to it just yet, “You’ll be a good girl if I give you this cock?” He presses in so deeply there’s nothing left for him to give, “You’ll take it quietly and squeeze it nice and tight? Soak it with your little wet cunt when I make you cum?”

He can feel you clenching already, twisting around him like a fist, milking him, pulling him in, starved for more.

”Yes, yes, yes,” you chant softly, begging for him to get on with it, “Just fuck me, Josh…please,”

There’s that sinful mouth of his again, ghosting over your ear, “Just fuck me Josh,” he mocks in a velvet whisper, “Please.”

A sob escapes you and turns the apples of your cheeks pink…he echoes the sound back to you and fans the flames of your delectable shame.

”Quiet now, baby…” he reminds you, tone taunting and laced with self-satisfaction, “You just bite down on the pillow if it gets to be too much, and I’ll bite down on you.”

You tighten around him at the mere thought of it and tug an achingly gorgeous grunt from deep within his chest, “You like that? You want me to bite you to keep quiet? Mark you up all pretty?”

”Fuck…” you reach back and grab for him, fingers sinking into the curve of his waist, begging for it with your entire body.

You can’t seem to manage much more, but it’s enough for him, and with a swift pull back, he snaps his hips hard and fast and sets a relentlessly feral pace in motion.

The head of his cock, thick and suede-soft, kisses your cervix with each inward push, driving a wild sound out of you that you smother into the pillow, tongue dragging against the worn cotton as though it were his mouth.

His teeth are peppering your back and shoulders, gnashing his own moans way down deep into your flesh where you will secret them away forever. He gifts each sound to you on a gorgeous, stinging platter and you only want more, more, more. It is never enough with him…you are gluttonous for whatever he sees fit to offer.

”You feel so fucking good, baby,” it comes undulating across your cheekbone like a warm, languorous breeze, “So fucking wet, I can feel you all over me. You’re gonna make me cum.”

He grows impossibly hard within you and that, along with the filth he is sighing into the night and the drags of his teeth, sends you careening over the edge you had no idea you were so close to. You explode around him, and his weight grows heavier atop you as his thrusts lose rhythm.

“That’s it,” his praise is clipped and winded, “just - fuck - just like that. Keep going, so tight, messy pretty fucking pussy, make me cum, baby, please…make me fucking cum.”

He’s babbling like a brook you want to lie beside and listen to for the rest of your life. So beautiful. So Josh. But so quietly, and you know how difficult it must be for him, how hard he must be trying, and you love him all the more for it.

With a final, vicious bite, he coaxes a hiss out of you that makes him see stars as he lets go, fucking himself deeper and deeper as he rides it out, moans pressed into your glazed, shivering body like flowers in between the pages of a book.

And still, you only want more. You want his jaw to lock, his teeth to break the skin, to draw blood, to scar you…soft pink, raised marks tattooed by his kiss to remind you.

A long sigh flutters your hair, and your eyes drift closed at the soothing lilt of the sound as his fingers begin to card through your hair.

”You thirsty, baby?” His nose nuzzles at you, drawing forth a lazy smile that is half smashed into the pillow.

“Yes, but stay a little longer.”

He cuddles down into you, cheek to cheek, the weight of his body keeping you warm and safe in the silence.

Taglist: @gretasintrees @greta-van-chaos @celestialfauna @s0livagant @groggyvanfleet @kiszkathecook @brokenbellz @llightmyllovee @doodle417 @seventieswhore @jake-kiszkas-smirk @weightofdreams-gvf @imdepressedaf1996 @alisonwonderland29 @gretavanfleas @gretavangroove @sparrowofthedawn @profitofthedune @xserenax-13 @tbagggvf @obetrolncocktails @tripthelightfandomtastic @tripthelight-fanfic @jakeslovehandles @jakesgrapejuice @poofyloofy @70sgroupielovr @heatmyfleet @age-of-nyahh @sammiboo162 @spicedandicedtea @jakekiszkasleftnutsack @saoirsemaeve @mywickeddivinity @lvnterninthenight @paintmyhouse @mckenna4 @sarakay-gvf @theweightofjake @thewritingbeforesunrise @joshsmama @sammysvanfeet @rhythm-of-space @highladyofasgard @calumspretty @sad1lynn @demolitionndann @gvfpal @starcatcher-jake @gretavangroupie

[paper-mario-wiki]

Shangri-La Frontier mid-season review

This is by far the best fake video game I've ever seen written in fiction.

Most MMO-centric isekai stories have trouble with providing accurate and realistic depictions of the complexities and minutia that give MMOs the allure they have. I've seen so much handwavey bullshit tacked onto fake-games that introduce unrealistically overlooked mechanics for reasons like giving the protag immense power just because they're the protag and the story is about them. A good example of this is another MMO Isekai airing this season, "A Playthrough of a Certain Dude's VRMMO Life", wherein the main character becomes extremely rich, powerful, and famous by episode 2 because he stumbled into a stealth archer playstyle, a build which apparently no human in that universe had ever conceived of before, and then making a fortune by selling basic potions to everyone after NPCs stopped selling them (another thing he was uniquely able to do because not a single other player had the forethought to spec into alchemy). These lesser, dime-a-dozen isekai add up to be boring fantasy strories with gaming elements clumsily put in so that the author can demonstrate how powerful the world's inhabitants are by showing their stat allocation screen instead of, say, explaining anything about what they do that's so uniquely powerful and how they figured it out. Ya know, stuff you'd hope to hear about from any competent story.

Shangri-La Frontier is a breath of fresh air for anyone who, like me, is sick of authors ignoring the things that actually make video games compelling in service of creating a stock-standard narratives in fantasy worlds because it allows them to get away with bullshit. I've always found it very convenient that many isekai narratives indulge in things like chattel slavery, because it's societally normal enough for the protag to purchase a beautiful, vulnerable girl to add to his harem (dont worry, she is always inexplicably in love with him no matter what because he's SUCH a kind master). And it never really seems to go anywhere. Because the Video Game Isekai, while an interesting premise in theory, is more often than not used exclusively as a means to simplify the structure of a world's power scaling to abide by an arbitrary set of omnipresent universal rules (e.g. what people who have never cared to look into game development think of video games). This anime, by comparison, is VERY clearly authored by someone who plays a LOT of games.

Every piece of logic used to drive the plot forward, so far, is congruent to a real-world example of video game conventions, and I'm not just talking about levelling up and selling monster parts. Story elements that I've rarely (if ever) seen explored in other isekai are ever-present and genuinely clever and amusingly introduced. My favorite example of this so far has been the way the protagonist has been able to go head to head with so many overlevelled foes in the first 9 episodes. The story of course makes note of how good of a gamer Sanraku (our hero) is, but much like in real life games, being super duper good at dodging attacks doesn't really make up for a 70 level gap in items and learned skills. For that reason, he gets his ass whooped more often than he actually outsmarts others (so far he hasn't beaten a single player in pvp). So how is he getting out of these situations without dying so frequently? Simple: he got access to a later area too early relative to his level (sequence break) and got access to a high level follower NPC that's been carrying him. This is something he acknowledges directly several times, specifically using words like "Emul has been hard-carrying me for a while." This, to me, is extraordinarily meaningful. That's something you can exploit in Skyrim, man. That's REALISTIC CHEESE STRATS. The excitement and wonder I find in this show doesn't come from watching the protag do something unexpected, but by watching him do something that I would think to do.

This knowledge the author has demonstrated regarding modern gaming culture extends further into the actual realistic nature of game design and community. The story exists in a reality where full-dive VRMMOs are the be-all-end-all of gaming, and given the prohibitively expensive nature of developing and designing expansive, immersive worlds, most games are pretty shit. It's been hinted at so far that this is due to a monopolistic megacorp which is one of the only entities rich and powerful enough to make a good game (the game in question being the one that shares the title of the anime), but so far the strife of the characters have been pretty centralized to the happenings of the game world and its politics. By the way, lets talk about the game world's player base politics, which I'm also quite pleased with. It exists in the form of guilds and clans who struggle for power not by participating in seemingly random pvp with other powerful players to see who is the most epic and badass warrior (again, like many contemporary isekai typically opt for), but by gaining actual realistic support from a fictional playerbase with realistic desires and playstyles. Some guilds are interested in lore, some gather for alliance and boss raids, some for things like animal husbandry, and (naturally) at least one is dedicated to trolling and PKing. Each of these factions, through the very little that we've seen of them so far, communicate on forums and only know as much as is reasonable for them to know. The only reason they give a shit about the protagonist at all is because he gained access to a high-level unique scenario quest that they want information on how to access, and the only reason word of that got out in the first place was because someone posted a screenshot of him with a unique NPC onto a forum, asking about it as "where can i find this pet summon, its super cute!" That's real. That's video games, baby.

I like this show a lot so far. I like that it cares about video games, but I also like its writing. I like the main character and how hes less of an ultra badass super cool guy, and more of an earnest challenge-run lets player. Like, a lot of his dialogue straight up sounds strikingly similar to Japanese youtubers. And he's naturally always quick to point out inconsistencies in the game world's logic. I ALSO really like his community of pals from a janky old fighting game, and I ADORE the girl from his school who has a crush on him and also just so happens to be an exceptionally high level player from a top clan, and how she had to spend 9 episodes working up the courage to send him a friend request. I love that so, so much, dude.

I highly recommend this show if you're into a single thing I've mentioned. The animation is great. The world is beautiful. The character design is immaculate. And I'm looking forward to watching it continue.

[soon-palestine]

Palestinian Territory - The Israeli authorities continue to enforce their ongoing arbitrary blockade of the Gaza Strip, refusing to allow humanitarian aid and necessities that are essential for survival—such as cleaning and personal hygiene supplies—into the Strip. This comes amid the spread of infectious diseases and on top of the precarious living conditions faced by the approximately 2.3 million Palestinians in the enclave, constituting a perpetuation of Israel’s comprehensive crime of genocide, which began on 7 October 2023.

Euro-Med Human Rights Monitor emphasises that the consequences of Israel’s intentional worsening of the humanitarian situation in the Gaza Strip, by blocking people’s access to cleaning and personal hygiene products, medical equipment, and sterilisation supplies, are dire. Nothing justifies subjecting the population to conditions that can cause widespread death, including by causing the spread of serious skin diseases and and infections, including hepatitis.

Israel continues to systematically and arbitrarily deny hygiene supplies and equipment to all Gaza Strip residents, exacerbating the catastrophic health crisis that Israel has caused there. This crisis has been made worse by the population’s forced, widespread, and repeatedly occurring displacement, as well as the lack of personal hygiene supplies and disinfectants in shelters and camps housing hundreds of thousands of displaced people. Israel continues to prevent and obstruct the entry of the most basic supplies into the Strip, creating conditions that are ripe for the spread of infectious diseases, water pollution, and the absence of sanitation services, as Israeli army forces have destroyed these facilities.

Since the beginning of the genocide nearly, Israel has arbitrarily closed crossings into the Gaza Strip, blocking the entry of humanitarian supplies and the flow of food and water. These actions have resulted in a dangerous accumulation of crises that directly threaten the lives and health of the Gaza Strip’s residents, most notably due to their lack of access to food, clean water, medicines, medical supplies, sanitary tools, and cleaning supplies.

Aya Kamal Ashour Abed, a 20-year-old displaced mother of two at the Deir al-Balah Preparatory School for Girls in the central Gaza Strip, spoke with the Euro-Med Monitor team. “We are more than 30 people living in this classroom for about nine months,” she stated. “A few months ago, we numbered roughly 70, but after some of the displaced individuals relocated to tents outside the school, our numbers dropped somewhat.

“We only receive cleaning and personal hygiene supplies in small quantities every two or three months, despite the fact that our number is very high and we require them constantly,” Abed continued. “Sanitation supplies, like tissues, soap, and shampoo, are extremely expensive [or] even nonexistent in the markets.”

Added Abed, “A bar of soap, for instance, now costs 30 shekels (roughly nine USD) while a bottle of shampoo costs 90 shekels (roughly 25 USD). We do not have anything to eat, so how can we afford these amounts for basic hygiene?”

Abed, who was displaced from her home in the Jabalia refugee camp in the northern Gaza Strip following its bombing last October, said that her two sons had become afflicted with allergies and bacteria, for which she is unable to provide ointments because they are unavailable in UNRWA clinics. “I showed my son to the doctor, and he told me that his entire body is seriously infected with bacteria due to poor hygiene,” Abed told Euro-Med Monitor.

Obtaining sanitary pads—which are pricey and hard to find in local markets—is one of her biggest challenges. “Even though my children’s diapers are completely unusable, I have to cut them into tiny pieces and use them as sanitary pads,” Abed explained. “During my period, I also have to use a single pad for the entire day, which has led to numerous infections and rashes.”

Approximately 680,000 women and girls in the Gaza Strip are of reproductive age. These individuals lack access to menstrual pads and other essentials, and also face other challenges such as inadequate access to water, toilets, various hygiene products, and privacy. Additionally, they must use contaminated or unsterilised materials, which puts them at risk of developing infections that can lead to infertility and uterine cancer.

Since Israel has cut off electricity to the Gaza Strip, there is a growing risk to all residents caused by waste accumulation and sewage flooding of roads and markets due to the inability to drain it. Israel has destroyed most of the Strip’s vital infrastructure, including sewage networks, and forced over two million people—the majority of whom have been displaced more than once—into shelters and tents that lack the basic necessities of life, personal hygiene, and health care.

Forty-two-year-old Mohammed Saad Abu Haitham said that his family of eight, which resides in a tent in the Mawasi neighborhood of Khan Yunis in the southern Gaza Strip, is severely impacted by the lack of cleaning supplies, laundry detergent, and bar soap. Due to its scarcity, soap is unusually expensive and therefore difficult to purchase.

“We do not have the money to buy enough meals for our children, so we cannot buy cleaning materials and soap in light of their high prices and the lack of availability,” Abu Haitham told the Euro-Med Monitor team. “My spouse and kids’ hair has been infected with lice, and we all have skin diseases as a result of not washing and not using enough soap and shampoo.”

Food dyes are used instead of traditional dyes for making liquid soap and sterilisation products, which have not entered the Gaza Strip in months due to the Israeli closure of the crossings and the imposition of an arbitrary siege. These alternative and primitive cleaning products are made locally, are unsafe, and are generally insufficient in both quality and quantity when sold in the markets of the central and southern Gaza Strip.

Tens of thousands of cases of skin diseases, including eczema, have been reported to medical facilities as having cropped up in shelters and camps for displaced people living in tents. This is particularly concerning for women, as eczema often appears on the hands of people working to clean food utensils using antiquated and dangerous materials. Meanwhile, reports from the United Nations indicate that skin rashes and skin infections, especially among children, are sharply increasing in the Strip.

The Israeli authorities have placed an arbitrary and oppressive siege on the Palestinian people there, squeezing them into a tiny area with exceedingly limited resources; denying them access to food, clean water, and other necessities; and leaving them exposed to extreme heat.

The right to dignity is an internationally recognised human right that protects people from humiliation, among other forms of unethical treatment. It is meant to ensure fairness by providing the means for people to live in dignity, as well as other fundamental needs and rights, like the right to health and the right to water and sanitation. These rights are essential to maintaining human dignity and preserving the lives of the populace.

The only way to guarantee the rights of Gaza Strip residents is to put an end to Israel’s crime of genocide, lift the arbitrary siege on the Strip, and rescue what remains of the currently uninhabitable region. Delays will either cause the region to irreversibly deteriorate, or incur significant costs in terms of civilian lives and health.

The international community is required to guarantee the entry of humanitarian aid into the Gaza Strip, including the entry of non-food essentials needed to respond to the dire circumstances faced by the Strip’s entire population. Euro-Med Monitor stresses that swift and effective action must be taken to safely deliver aid to civilians across the entire Strip, including the northern section, which is particularly isolated right now. Additionally, the international community must prioritise providing adequate supplies of personal and family hygiene products, as well as products for menstruating individuals, plus sexual and reproductive health care services to prevent and mitigate further harm to women and children in particular, and the entire Palestinian population in general. These actions are mandated by international human rights law and relevant international obligations.

Pressure needs to be put on Israel, as the occupying force, to maintain sanitation facilities and services in the Gaza Strip, as well as to guarantee the safety of the technicians charged with repairing and renovating water lines and their various sources. The main water pipelines that enter the Strip need to be restored, particularly those that enter it from the north.

In addition to ensuring the entry of enough fuel to operate the Gaza Strip’s water and sanitation infrastructure, including desalination plants, water wells, and mobile toilets, it is crucial to exert pressure on Israel to permit the entry of materials required for repair work and rehabilitation of civilian infrastructure. These services are essential to the civilian population’s survival in the Strip, and will protect them from the threat of further health disasters.

[notalittleatall]

Also I think a huge part of what makes Worms superpowers feel better is that the people with superpowers actually act like people. They experiment! They test out what they can and can’t do, and think of ways to use their powers effectively. In a lot of superhero media the characters act like they just got their powers 5 minutes ago and barely think about how to use them as opposed to using their power like something thats been an extension of their body for years , because the writers only spent 5 minutes thinking about how they would use them. Like in this scene from the boys. I have a specific grudge here, because I think it exemplifies a lot of the issues with superhero media. Starlight has the power to create powerful burning beams of light, but still opts for kicking and punching which does essentially nothing compared to using her power. Anyone with this ability for a day or more would at least realise that they could blind someone fairly easily, but she doesn’t. Stormfront has the ability to hit people with bolts of lightning, that act nothing like lightning actually does. Fights often dissolve into meaningless cgi slogs due to things like this. It could be far more interesting if her bolts would burn and electrocute people like they should, but instead her lightning affects people the same as hitting people with lasers which affects people the same as throwing them telekinetically which realistically ends up affecting people the same as if punching them in the face. Their powers become boring,useless and homogenised making their fights meaningless.

In contrast, Worm takes time to make to make each power unique and to make each person use it in a way that makes it feel like they’ve actually learned how to use it. No character just has something like the ability to teleport, because that necessitates a whole bunch of questions that completely change how this character behaves in a fight. If their teleportation cancels momentum, they can use it to survive falling from great heights, or to stop themselves getting knocked back by a punch and catch their opponent off guard. If it doesn’t cancel momentum, that opens potential for some devastating dropkicks: teleport up 50 feet, fall a bit, teleport 6 inches above the other guys shoulder. Most things don’t bother with these questions, meaning what a character can and can’t do is frustratingly arbitrary. In Worm, these questions are both answered and relevant.

[magussanctorium-if]

The Magus Sanctorium. Pentagiim's elite and esteemed school for mages across the continent. Hard to get into with an advanced curriculum and hands-on experience, many would kill to be accepted into the fray. But behind shiny spells and gilded bookcases belies a lit powder keg of pent up tensions and small slights that threaten the whole continent with all out war. A single slip up will light the fuse, so be careful. And don't forget your 7 page essay is due next week!

The Magus Sanctorium is a highly ambitious WIP and new interactive CYOA pair of games. The focus is heavily on romance, relationships, and fantasy adventure with high-replayability value. It is inspired by JRPGs, romance visual novels, any media with a magical boarding school, and Dungeons and Dragons, among others. It will lean more towards a story-based focus, but will have stat-based mechanics.

You play as a new transfer student, having transferred to The Magus Sanctorium after moving continents. Being homeschooled to suddenly thrust into an elite boarding school is a culture shock. As you go about going to classes and making friends, your schooling is abruptly upheaved as war breaks out across the continent. Which house you decided to join determines how the war will affect you and how you can help or hinder your former classmates or lovers.

Note: Because this is still a WIP, some names of characters or places may change during development.

Genre: Fantasy, Romance, Adventure

Rating: 18+

Tracked Tag: #the magus sanctorium

Status: In Development (Outlining)

Demo || Character Introductions || House Introductions || FAQ || Ask Guidelines || Tag Navigation || World Lore || Current Anonymous Survey Form || Dev's Main Blog ||

Create and customize your character. Select their gender, pronouns, appearance, their proficiencies and deficits, and personality among others.

Choose between 5 different houses each with their own cast of characters. Each student is divided into houses by which nation they come from, not by arbitrary traits.

Decide how to build your stats by choosing which classes to attend and which skills to train in. Influence your house members to train or attend certain classes to boost group skills.

Romance any of the 15 romance options (5 male, 5 female, 5 nonbinary), or select any of the 10 poly routes instead. Choose for a softer romance by picking one of your house members or go for an angsty romance by romancing someone outside of your house.

Build your relationships with your classmates before you're turned against each other and get to know what makes them tick. It pays to have friends across house lines.

Explore and learn about a high fantasy world steeped in magic and years and years of conflict. Perhaps it takes an outsider's perspective to bring about peace...

Participate in a war and potentially reveal long kept secrets that could change the fate of Pentagiim.

Thalen Oakdane (they/them) - The proud and rigid Leader of the Fern Bears, the house from the Rasuaides Empire. They are strict with their rules.

Sumiel Tidewood (she/her) - The graceful and shy Leader of the Cobalt Snakes, the house from the Espersland Republic. She just wants the best for everyone.

Casithar Seedcloud (he/him) - The young but earnest Leader of the Maroon Rams, the house from the Iseadesh Alliance. He's trying his best.

Ariela Wyvernhair (she/her) - The prickly but well-meaning Leader of the Violet Foxes, the house from the Lupuv Caelait Territory. A rose wrapped in thorns.

Zanis Ironforce (he/him) - The charismatic and cunning Leader of the Sun Eagles, the house from the Quailax Kingdom. He is always 5 steps ahead.

Drelyth Hollymoon (she/her) - The vice-leader of the Fern Bears. She is kind and confident, always pushing herself to aim higher and higher.

Afthel Scalesun (they/them) - A member of the Cobalt Snakes. Quiet and introverted, they prefer the comfort of their books than that of their house members.

Anwyn Greenspear (he/him) - A member of the Maroon Rams. He is a known flirt and playboy, often earning him the ire of his house members.

Lamatri Glowillow (they/them) - The enigmatic and mysterious vice-leader of the Violet Foxes. You barely see them, but they seem to know everything about you.

Traki Goldreaver (they/them) - A member of the Sun Eagles. It's also their first year enrolling. Enthusiastic and energetic, but a work-in-progress.

Azaha Elmbasher (he/him) - A member of the Fern Bears. An idealistic and daydreamer artist who enjoys making life hard for his house leader.

Rumik Gullcaller (he/him) - A member of the Cobalt Snakes. Sumiel's childhood friend, he is protective and intimidating often scaring away most classmates.

Daeri Silkdream (she/her) - A member of the Maroon Rams. A bit ditzy and arrogant, her exaggerated personality belies her true strength.

Saevain Sageblossom (she/her) - A member of the Violet Foxes. Stuck-up and arrogant, she has a family legacy to fulfill as a Prime Magus. But is that what she wants?

Cyian Stonepelt (they/them) - The vice-leader of the Sun Eagles. Gloomy and apathetic, they'd much rather be doing anything else but this.

Poly Romance Options: Thalen & Azaha, Sumiel & Rumik, Casithar & Daeri, Ariela & Saevain, Zanis & Cyian, Drelyth & Saevain, Afthel & Traki, Daeri & Afthel, Ariela & Casithar, Traki & Drelyth

[writingdirectory]

Notes from a 5-day creative writing course:

Motivation

Make it a habit. That way, each time that familiar voice of self-doubt makes its appearance, it’ll be easier to ignore it, because writing will become something that you do-your thing-and you’ll gain confidence in it.

Visit your novel every single day. It doesn’t necessarily mean that you have to write something every day. You could outline the plot, or write character portraits, or draw a special part of your world. Your subconscious will work on your story even when you don’t. So, each time you visit the story consciously, you’ll find that things have developed in the story.

Manage the time of writing in a way that it is manageable for you. (It can be that one hour between classes or your lunch break or the morning before you go to work or at night before you sleep - Schedule it in a way that suits you and then, be serious about it.

Set a goal. For example, 100 or 500 words a day.

Character Development, Word Choice & Description

At first, characters incarnate ideas. A poor man who wins the lottery, a young boy who travels to a magical land. As we develop the story, they become people - real people with backgrounds and unique choices.

Ways we perceive character: through actions, thoughts (conflict), dialogue, interactions with others.

Bring intentionality to the representation of a character.  Don't give arbitrary information.

How a character reacts is a question of how you want to represent them through all those multiplicities that are dialogue, actions, interactions, etc.

Characters always want something. They are never static. With wants come obstacles and transformation.

Create tension between what a characters thinks, feels and says. For example, set external confidence and internal fear and then change that as the story develops. Characters can also be comfortable or scared depending on the situation.

Explore complexity. How a character talks to their lover is different from how they talk to their friends and family.

Give secondary characters a characteristic beyond their function to make them more prominent.

Make a hierarchy out of characters.

Exercise: Write the portrait of a character, how you would introduce them in the story and a description of them from a character that a) likes them and b) dislikes them.

Word Choice. When it starts sounding like writing, cut it out - Kill your darlings. Example: The car was spotted with rust - shows the car. As opposed to: The car was acned with rust - shows the writing. Sometimes a more refined word works against the object/image.

Description: Don’t just put in details. The details need to be significant for the image you want the reader to see.

Don’t use metaphors and lyricism in the expense of clarity. Be precise. Metaphors and similes should fit the narrative and not distract the reader. For example, saying “He barked like a dog” sounds fine, but if there are no dogs in your world, it is out of place and breaks the narrative. Be specific. Name things. Don’t be vague. Precision grounds your fiction.

Determine if you need static or lively description. Lively description is when you describe things through actions. Like “She passed her fingers through her blond hair”, instead of “Her hair was blond”.

Sense of authenticity. When you describe a place precisely, you gain your reader’s trust. A column is different from a golden column. That kind of attention gives a sense of authority and makes the narrative convincing.

Parts of description: smell, sound, sight, taste, touch, temperature, pressure.

Dialogue & POVs

Dialogue a) informs the character, b) moves the story forward, c) develops relationships between characters.

Dialogue isn’t just about how people talk.

What’s said can suggest what isn’t being said.

Use dialogue interspersed with description and visuals.

Choose the POV that suits your story.

(From David Lodge, ‘The Art of Fiction’.) A fictional story is unlikely to engage our interest unless we know whose story it is. Even with an “omniscient” narrative method, the writer should privilege one or two “points of view”. An objective approach may be a worthy aim in journalism, but not in fiction.

Pros and cons of 1st person POV. Pros: personal and direct, immediacy, intimacy, immediate credibility, easier to build character. Cons: limited, biased, unreliable, writing can become simplistic. When writing in 1st person, keep in mind that characters change, hence their perception changes. That has to be obvious in the narrative.

Pros and cons of 3rd person limited POV. Pros: thoughts can still be on the page, flexibility, wider view of the world, more complex language can be used (usually we think in simple words, so complex writing might sound pretentious and out of place in 1st person POV). Cons: distance (he/she).

GOD MODE. Or, commonly, 3rd person omniscient. You can jump in and out of characters’ minds, but there’s a danger when writing with such freedom. Be aware of structural harmony. Don’t write 10 pages in Sally’s POV and then jump into omniscient.

Use free indirect speech (1st person thoughts in italicized form, eg. No!) to eliminate the distance in 3rd person POVs.

Change POV with reason. Don’t suddenly jump to another POV just because it is interesting. Plan it. Make the change of the POV deliberate and make the reason clear.

Give equal weight to all POVs.  

Setting

The setting of a story is mediated through a character’s experience. It amplifies the theme. It shouldn’t be an arbitrary decision. The setting can make achievements more difficult for characters.

For children, places have magical properties, they are places of significance. The place of someone’s childhood can transform later in the novel, because the character has transformed. There’s a fluidity of meaning attached to places. But keep in mind that, places don’t change. Characters do.

How a character views a place is stated through the language we use.

When writing about a place that exists, have fidelity at the facts.

Editing

Be open to ideas changing.

If it’s not working after 3-4 rewrites, cut it out!

Make sentences active. Things don’t happen to characters. They do things.

Pay attention to rhythm.

Every sentence needs to have a reason to be there.

Usually, we overwrite in dialogue. Use context. Dialogue should be suggestive, rather than explicit.

Edit backwards, because perfectionism kicks in at the beginning.

Isolate. Edit single parts of the story. A chapter, a scene.

Read aloud. It will help find long sentences, pretentious words and unreadable language.

When words become over-familiar, put it down, give it to someone else to read.  

What to look out for: a) Character confusion. Make sure minor characters are introduced properly and find subtle ways to remind your readers who they are. b) Too much exposition. c) Plot holes, inconsistencies - there must rational reasons for coincidences, you must be able to provide logical and credible reasons behind the actions of a character. d) Over-written description.

What to do when editing: cut things out, put new things in, change sentence order and structure, look for repeated words, strengthen verbs (or prune), expand, trim, look for continuity errors, change order of events, introduce a delay in the reveals, rewrite using another POV or tense, determine if each sentence is pulling its weight.

Techniques: a) Prune. Delete text you don’t need. b) Isolate repetitions and delete or substitute with synonyms (look out for pretentious words). c) Cut and paste paragraphs to change order and rearrange. d) write a whole new draft, only looking to the previous one for factual material. e) Use a reader.

Bibliography

Hills Like White Elephants, by Ernest Hemingway (suggestive dialogue)

Concrete Island., by J.J. Ballot (how setting makes goals harder to achieve)

Driving Through Sawmill Towns, by Les Murray (lyricism, setting)

The Art of Fiction, by David Lodge (POV)

The Great Gatsby, by F. Scott Fitzgerald

On Writing, by Stephen King

[bestworstcase]

in light of the v9 lore confirming the unreliable nature of jinn’s narration (light was not the “elder” brother), together with the glaring falsehood in the narration implying that salem lied when she truthfully “blamed the end of the world on the gods”

i’m not hedging anymore. we cannot trust jinn’s account of what salem told people during her rebellion, full stop.

“If she were to turn humanity against Light and Darkness, she could rid herself of their curse—or at the very least, she could make them suffer. Salem traveled from one kingdom to another, telling tales of how she stole immortality from the gods, inviting any swordsman to cut her down, and demonstrated her powers. With the kings and queens in awe, she pulled them deeper into her scheme; she painted them pictures of a time when they would no longer have to watch their loved ones wither and die, when they could claim the powers of their creators for themselves, and in turn, perfect their own design. All they needed to do was destroy their old masters.”

jinn describes this campaign as if salem deceived everyone, maliciously tricked them into serving as pawns in her hatred of the gods—but

when she’s beaten, salem stands up and vows to “tell the world of this massacre”—she’s enraged and horrified on behalf of the slain. she’s horrified when the god of darkness tells her he killed everyone. her reactions do not support the implication that these people meant nothing to her.

there is a strong ideological continuity between “overthrow our old masters, claim the powers of our creators for ourselves, and perfect our own design” and “we could be the gods of this world […] create the paradise the old gods could not.” this continuity suggests that salem actually believes in this cause, enough to hold onto it for millions of years.

so, did salem really claim to have ‘stolen’ immortality from the gods… or did she tell her allies that she became immortal through submersion in the fountain of life? that the gods can bring people back from the dead, and simply choose not to because they care only about enforcing their will? did she “pull them deeper into her scheme” or did she talk openly of what she had learned about the cruelty and fallibility of the gods? did she deceptively trick people into following her with fantasies of immortality or did she just pull back the curtain to reveal that the permanent ending of death only existed by arbitrary divine fiat that self-evidently can be changed?

just as jinn’s narration framed salem implicitly vowing to revere darkness above light if he helped her as salem deceiving and manipulating him by “making no mention of his elder” (<- why would she? this bargain was between her and darkness), this account of what salem did to foment rebellion against the gods aligns closely enough with the truth (salem did gain divine power, eternal death is an arbitrary rule, and the gods are fallible) that what it really comes down to is whether we trust jinn’s description of salem’s intentions.

did salem lie, or did she tell the truth in defiance of how the god of light thinks the world should be? did she deceive people, or did she reveal the brothers’ deceptions?

the god of light—and therefore ozpin and therefore jinn—see salem as a puppet-master making the whole world dance to her tune. “who has led you down this path?” he asks. she’s his scapegoat. but salem knelt before thrones and invited people to slit her throat to prove that she was telling the truth, and she isn’t the one who leads the army into light’s domain; she walks among them, not in front. in a story told with such robust symbolic language, that kind of storytelling choice matters.

she may have started the rebellion, but it became bigger than her; i don’t think salem even saw herself as their leader, necessarily. otherwise why not lead the way?

jinn’s narration—ozpin’s side of the story—devotes so much effort toward creating the impression that salem is a duplicitous, manipulative liar (like ozma), and then… salem hates being lied to. salem yells and throws tables when people lie to her. the cruelest thing salem can think of to say to oscar when she decides to hurt him is “the lies come out of you so easily; likeminded souls, indeed.” the opening lines of the show amount to salem saying that ozpin’s legends and fairytales aren’t true, that he’s obscured the “forgotten past.” both of her songs rage against ozma’s deceit—maidens and kingdoms wrapped up in a lie, and these children you mislead, and the more you try the more you’ll just breed hate and lies/truth will rise revealed by mirrored eyes. salem as a character is consistently associated with the truth and her hatred of deception is one of her most pronounced traits.

the lost fable is unreliably narrated—we now know this for a fact, because jinn describes the god of light as the elder brother and that is not true. there are many noticeable discrepancies between the narration and what’s actually shown. “stories aren’t reality” and “truth is hard to come by” are overtly-stated themes. and the lost fable answers the question “what is ozpin hiding from us?” and is thus presented strictly through his eyes.

in the fairytale anthology, ozpin helpfully informs the reader that stories like ‘the girl in the tower’ and ‘the infinite man’ are propaganda, not the truth.

so…

do we really believe this repeated claim that every word out of salem’s mouth is a manipulative lie? words we’re not even allowed to hear for ourselves? when the characters telling us that salem lied are ozpin and a bound spirit recounting ozpin’s side of the story? in the unreliable narrators show?

is the word gullible written on the ceiling?

[dingodad]

really really enjoyed your analysis of the update, can you expand on what you mean by the epilogues seeming un queer and un liberating?

the whole thing seems so deeply concerned with gender and identity as they relate to our biology rather than something that can be totally independent of what is dictated by our physical bodies. calliope's realisation that cherubs don't really "have genders", that everything she knew about femininity she learned from her female friends, doesn't inspire her to explore her gender as a choice on her own terms: rather she seemingly decides that because she isn't "really" a human woman with a human vagina, that means she must be nonbinary, and she casts off the dispersion of choosing her own identity altogether.

you could more charitably interpret calliope's choice not to align herself in any way to a totally arbitrary gender binary as a gender abolitionist position, which i don't think is necessarily a wrong position for the reader or the text to take. but it leaves such a bad taste in the mouth when lined up side by side with the rest of the similar decisions made in the Epilogues. Roxy's detransition arc is basically the exact same thing again; she decides that the material reality of her biology, that she has all the organs necessary to create a child, is ultimately more important to her identity than the concept of gender as an imaginary construct she has full control over. again, not necessarily the "wrong" story to tell, but it establishes a pattern that paints the Epilogues as having a very particular ideology. and then they round it all out by giving Jade a dick because the idea of a woman with a dick is funny

[die-lian-hua]

This is a tale about a boastful and higher-than-life Oni King. One day he decided to fish the old-fashioned way and was ecstatic when he saw the size and thickness of his catch, only to realize he had caught no giant carp but a kingyo mermaid, who was very much not amused at his attempts to eat her.

The Oni King, proud and arrogant as he was, refused to apologize, instead saying that he would only do so (and on his knees) if she managed to beat him in a sumo wrestling match in a shallow pond. To him, this was going to be a joke. The odds were stacked against the mermaid but the plucky little thing would never back down from a challenge, especially when the one proposing the match was so rude and tried to her!

This little match between them was a short lived one, however, because the mermaid managed to beat him not once—but twice! While the Oni King felt great shame he also earned great respect for the little mermaid and her tenacity… as long as she kept this little match of theirs a secret (he had a reputation to keep and all that!)

They formed a bond afterwards. A very unique friendship between two different Yōkai. They’d often challenge each other for competitions that more often than not were beyond silly: such as who can drink sake the most, or eat a bowl of ramen the fastest, or swim a lap around an island the best. Theirs is a very silly, but very loving rapport, and when not locked into some inane arbitrary competition they love to geek out about giant beetles and creating explosions—pissing off every local authority in the land.