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[peepoo79]

Bro is absolutely NOT getting IRB approval for his experiments, smh.

[noblecrumpet-dorkvision]

5e Homebrew: Guardian Spells

image by Matt Stewart

Here are a bunch of new 5e spells that summon temporary or permanent guardians! Inspired by one of our sessions where I jokingly cast “wall of bandits” on a player as a whole line of bandits advanced on them. Well, now you can actually cast it (and it can be any generic humanoid)! Some of these spells added ways to create guardians that are mentioned to be created by magic, but no spell existed for players to create them: flameskulls, scarecrows, spectators, and shield guardians.

If you want the PDF, you can find it over on my Patreon.

Create Flameskull

8th-level necromancy

Casting Time: 1 day

Range: 30 feet

Components: V, S, M (two rubies worth 1000 gp each, consumed by the spell)

Duration: Permanent

When you cast this spell, you target a humanoid skull of a creature that could cast spells of at least 3rd level. The corpse's skull animates and gains the statistics of a flameskull. As the spell is cast, you determine a set of instructions, which the creature carries out to the best of its ability. The instructions must be precise, as the flameskull takes its instructions literally. Once given its initial instructions, it cannot be given new commands nor can its instructions be amended, even if commanded to do so.

Create Shield Guardian

5th-level transmutation

Casting Time: 30 days

Range: Touch

Components: V, S, M (50,000 gp of arcane material, wood, and metal, consumed by the spell)

Duration: Permanent

You must spend 8 hours each day towards the casting of this spell, crafting a Large humanoid construct and preparing magical reagents. When the spell is complete, you animate the construct which gains the properties of a shield guardian with a 4th level spell stored within it which you must be able to cast each day during the spell's casting.

The material cost of the spell includes a control amulet with AC 10, 10 hit points, and immunity to poison and psychic damage. If the control amulet is destroyed, a new one can be created using 1,000 gp of resources and 1 week of work. Creating a new amulet while the previous one still exists has no effect.

The guardian acts on its own initiative. It defends any creature holding its control amulet, and follows that creature's orders to the best of its ability. It is friendly towards creatures designated by the amulet's wearer.

Conjure Guardians

3rd-level conjuration

Casting Time: 1 action

Range: 5 feet

Components: V, S, M (a pair of tiny steel shields)

Duration: Concentration, up to 1 minute

You conjure 2 humanoid guardians with the statistics of a phalanx guard (statistics below). The creatures appear occupying 5-foot square spaces on the ground that you designate within range. Their attacks are magical. The conjured creatures cannot use items or wield weapons other than the ones already on their person, as part of the magic of the spell.

During each of your turns, you can use a bonus action to command the creatures. The creatures act immediately after each of your turns. If given no commands, the creatures take the Dodge action.

Each creature disappears when reduced to 0 hit points or when the spell ends.

Conjure Phalanx

6th-level conjuration

Casting Time: 1 action

Range: 90 feet

Components: V, S, M (a handful of tiny steel shields)

Duration: Concentration, up to 1 minute

You conjure up to 8 magical humanoid guardians to protect you, each with the statistics and equipment of a phalanx guard (statistics below). Their movement speed is 0, they are immune to the charmed and frightened conditions, and their attacks are magical. The conjured creatures cannot use items or wield weapons other than the ones already on their person, as part of the magic of the spell.

Each creature appears on the ground, occupying a 5-foot square space either two rows of five, or one row of ten and all facing the direction of your choice.

During each of your turns, you can use a bonus action to move the creatures and also command them to attack.

You can move the creatures up to 30 feet in any direction along the ground or else you may rotate their formation 90 degrees to the left or right. If they hit an obstacle, the entire formation stops moving.

The creatures act simultaneously, immediately after each of your turns. The creatures attack any targets you commanded them to attack during your turn. If given no commands, the creatures take the Dodge action. The creatures cannot take actions other than those described.

At the start of each of your turns, any creatures forced out of formation are teleported back into their place in the formation, and then the creatures move inward to close any gaps. Each creature disappears when reduced to 0 hit points or when the spell ends.

Conjure Scarecrow

2nd-level conjuration

Casting Time: 1 minute

Range: 5 feet

Components: V, S, M (a doll of straw)

Duration: 8 hours

You summon a creature with the statistics of a scarecrow in an unoccupied space on the ground within range. The creature remains motionless until a creature comes within 30 feet of it, whereupon it attacks that creature. When there are no creatures within 30 feet of it, the scarecrow returns to its post and stops moving.

When you cast the spell, you can designate any number of creatures that the scarecrow will ignore and allow to pass through the area.

At Higher Levels. When you cast this spell using a spell slot of 6th level or higher and use 500 gp of rare magical components for the material components of the spell, the duration becomes permanent. Casting the spell in this way consumes the material components.

Summon Skeletal Archers

4th-level necromancy

Casting Time: 1 action

Range: 90 feet

Components: V, S, M (six tiny sharpened bones)

Duration: Concentration, up to 1 minute

Up to 6 undead rise from the earth to protect you, each with the statistics of a skeletal archer (statistics below). Their movement speed is 0 and their attacks are magical. The conjured creatures cannot use items or wield weapons other than the ones already on their person, as part of the magic of the spell.

Each creature appears along a 30-foot line you designate, 5 feet apart from one another. The creatures act simultaneously, immediately after each of your turns.

During each of your turns, you can use a bonus action to command the creatures to attack targets of your choice. If given no commands, the creatures take the Dodge action. The creatures cannot take actions other than those described.

At the start of each of your turns, any creatures forced out of formation are teleported back into their place in the line, and then the creatures move inward to close any gaps. Each creature crumbles to dust when reduced to 0 hit points or when the spell ends.

Summon Spectator

5th-level conjuration

Casting Time: 1 hour

Range: 30 feet

Components: V, S, M (four beholder eyestalks, usually worth 800 gp)

Duration: 24 hours

You summon a spectator from another dimension to guard a location or object you designate. It unrelentingly attacks any creatures that enter the location, or attempt to harm or steal the object. However, it will not attack you or any creatures you designate when you cast the spell.

The creature does not stray further than 60 feet from the object or place it is protecting. The spell ends early if the creature ends its turn more than 60 feet away from the location or object it is protecting.

When the spell ends, the creature disappears.

At Higher Levels. When you cast this spell using a spell slot of 8th level or higher, the duration becomes 101 years and the spell consumes its material components. The creature also remains in this dimension when the spell ends, but it is free to move about and act as it pleases. If an object the creature is protecting is destroyed or stolen, it disappears and the spell ends.

Summon Posse

2nd-level conjuration

Casting Time: 1 action

Range: 30 feet

Components: V, S, M (a money pouch)

Duration: Concentration, up to 1 minute

You summon 3 humanoids with statistics of bandits which appear in unoccupied spaces of your choice within range. Each bandit disappears when it drops to 0 hit points or the spell ends.

The summoned creatures are friendly to you and your companions. Roll initiative for the summoned creatures as a group, which has its own turns. They obey any verbal commands that you issue to them (no action required by you). If you don’t issue any commands to them, they defend themselves from hostile creatures, but otherwise take no actions.

At Higher Levels. When you cast this spell using a spell slot of 3rd level or higher, you summon additional creatures based on the table below.

2nd Level : 3 creatures

3rd Level : 4 creatures

4th Level : 5 creatures

5th Level : 6 creatures

6th Level : 8 creatures

7th Level : 10 creatures

8th Level : 13 creatures

9th Level : 16 creatures

Wall of Mercenaries

3rd-level conjuration

Casting Time: 1 action

Range: 90 feet

Components: V, S, M (a money pouch)

Duration: Concentration, up to 1 minute

You conjure up to 6 magical humanoid creatures to protect you, each with the statistics and equipment of a humanoid creature of CR 1/8 or less. Their movement speed is 0, they are immune to the charmed and frightened conditions, and their attacks are magical. The conjured creatures cannot cast spells or use poison, and cannot use items or wield weapons other than the ones already on their person, as part of the magic of the spell.

Each creature appears along a 30-foot line you designate, 5 feet apart from one another. The creatures act simultaneously, immediately after each of your turns.

During each of your turns, you can use a bonus action to command the creatures to attack targets of your choice. Each creature can be directed to make Shove or Grapple attempts in place of their normal attacks. If given no commands, the creatures take the Dodge action. The creatures cannot take actions other than attacks or the Dodge action.

At the start of each of your turns, any creatures forced out of formation are teleported back into their place in the line, and then the creatures move inward to close any gaps. Each creature disappears when reduced to 0 hit points or when the spell ends.

At Higher Levels. When you cast this spell using a spell slot of 4th level or higher, the creatures you summon can be of a higher maximum challenge rating, as shown in the table below (with examples in parentheses)

3rd Level : Max CR 1/8 (Bandit, Guard, Kobold, Tribal Warrior)

4th Level : Max CR 1/4 (Bullywug, Drow, Goblin, Troglodyte)

5th Level : Max CR 1/2 (Hobgoblin, Orc, Scout, Thug)

6th Level : Max CR 1 (Bugbear, Duergar, Spy)

7th Level : Max CR 2 (Berserker, Orog)

8th-9th Level : Max CR 3 (Archer, Knight, Veteran)

---

New Creatures

Some of these spells summon new creatures. Their statistics are below.

Skeletal Archer

Medium undead, lawful evil

Armor Class 16 (breastplate) Hit Points 26 (4d8 + 8) Speed 30 ft.

STR 10 (+0) || DEX 14 (+2) || CON 15 (+2) INT 6 (-2) || WIS 8 (-1) || CHA 5 (-3)

Damage Vulnerabilities bludgeoning Damage Immunities poison Condition Immunities exhaustion, poisoned Senses darkvision 60 ft., passive Perception 9 Languages understands any one language (usually Common), but cannot speak Challenge 1 (200 XP)

Actions

Longbow. Ranged Weapon Attack: +6 to hit, range 150/600 ft., one target. Hit: 6 (1d8 + 2) piercing damage.

Claws. Melee Weapon Attack: +4 to hit, reach 5 ft., one target. Hit: 7 (2d4+2) slashing damage.

Phalanx Guard

Medium humanoid (any), lawful neutral

Armor Class 18 (chain mail, shield)

Hit Points 32 (5d8 + 10)

Speed 30 ft.

STR 16 (+3) || DEX 14 (+2) || CON 14 (+2) INT 10 (+0) || WIS 12 (+1) || CHA 10 (+0)

Skills Athletics +5, Perception +3

Senses passive Perception 13

Languages any one language (usually Common)

Challenge 1 (200 XP)

Shield Tower. While wearing a shield, the guard grants half cover (+5 AC) to creatures behind them. Line effects originating from in front of the guard are halted by the guard's shield and end in their space.

Actions

Multiattack. The guard makes one spear and one shield bash attack.

Spear. Melee or Ranged Weapon Attack: +6 to hit, reach 5 ft. or range 20/60 ft., one target. Hit: 6 (1d6 + 3) piercing damage, or 7 (1d8 + 3) piercing damage if used with two hands to make a melee attack.

Shield Bash. Melee Weapon Attack: +6 to hit, reach 5 ft., one target. Hit: 5 (1d4 + 3) bludgeoning damage and the target is knocked prone or pushed 5 feet away from the guard (guard's choice) if the target is Medium or smaller.

[animebw]

Binge-Watching: Kino’s Journey, Episodes 1-3

And so we begin! And holy shit, this show is already fantastic in too many ways to count.

Lonely Country

Spice and Wolf was one of the earliest shows I watched for this blog. You can read my thoughts on it here, but to give you the short version, I absolutely loved it for one major reason: atmosphere. I’ve discovered that I have a soft spot for slow, meditative mood pieces steeped in Medieval, agrarian aesthetics. Moldy castles, ruddy brown fields, rustic pastoral countrysides, bundles of grain, muted natural colors, all of these things evoke a very primal kind of intrigue in me stemming back to my days of exploring my backyard and pretending I was a valiant knight striding across the landscape to slay any monsters in my path. There’s something so comforting about the aesthetics of an ancient backwoods kingdom slowly being overcome with moss, like you’re wandering around the ruins of a once great civilization now being reclaimed by the Earth’s wardens. It makes you feel very small in the presence of something very large, very ancient, and very powerful, but it also makes you feel comfortable among dirty, rugged slopes and great expanses of tactile foliage. For all my trumpeting of the importance of the goofy and ridiculous in narrative, this kind of soothing chivalry still has its place in the canon. And lo and behold, only three episodes in and Kino’s Journey has already proven itself a worthy addition to this pantheon. But its triumph is of a very different sort than Spice and Wolf, a show that soared on comfort and intimacy.

Kino’s Journey doesn’t take place in a world of comfort at all. It takes place in a world of unease, of uncertainty, of holding your breath around every corner and solid ground shifting beneath your feet (literally, in the case of the first episode). The story of androgynous kid Kino travelling across the land on a talking motorcycle (boy, what a weird concept) uses the pastoral, muted hedge aesthetic not to suck you into the warmth of sunlight dancing on the reeds, but to chill you with the cool wind racing through a drying cornfield in the dead of fall, a scarecrow looming over you ominously. I almost compare it to Dark Souls in that regard; it’s a story of solitude, following a lonely journey through a lonely world that feels on the brink of fading from existence. Kino and Hermes are the only living things we see until over halfway through the first episode, and even then the people of the country are so isolated that they might as well be living all by themselves, spread apart across an endless expanse of grassy ocean with nothing on the horizon. And even beyond then, it’s so rare for Kino to encounter any group of people larger than a close-knit band of brothers in arms. Them and Hermes don’t talk much either, letting massive thoughts remain unsaid, hanging heavily in the empty air. It’s just them and the world, the rolling hills and endless horizon highlighting just how small and insignificant this kid is against the backdrop of trees and mist. And the soundtrack emphasizes that feeling of isolation with deep, sparse electronica and stark bell chimes that ring through the hollow atmosphere like whispers from inside the earth itself. Weirdly enough, I feel like it captures the same auditory experience as Minecraft; you know, of feeling isolated and melancholy in a grand world entirely your own? They come from surprisingly similar places, when you stop and think about it.

Blinding Light

Of course, Minecraft at its score was still an experience designed for comfort and playing pleasure, and that could not be farther from the case here. Kino’s Journey isn’t out to entrance you with places unknown you wish you could visit. It wants you to shrink down into yourself and clutch yourself tight in discomfort, to feel your breath passing through you like the last gasps of a dying world. Its universe is not one of stability; it’s a place that’s regularly unnerving and sinister, where the seemingly quiet and muted aesthetics of its being can suddenly flare up like a silent scream of color and light to assault your senses. Interestingly, I’m not the biggest fan of the show’s overall art- I feel like it’s fairly blocky and lacking in detail- but it more than makes up for that deficiency with some truly electrifying art direction. The way this show uses color and hue and texture is enough to leave me shivering in my seat at times. Consider the way it uses light, for the biggest example of that fact. Like I said above, its world is usually muted and paired down, with dull browns and greens making up its solid earth textures. But then. every once in a while, the light will flare up like the sun’s become a floodlight, filling the screen with searing, sharp radiance that cuts through the muddy tone like wildfire. Whether out in the desert or in the white of snow, it gives off the impression that the pain of the universe and Kino’s place in it is becoming so intense that it’s literally scalding the face of the earth from existence. In a show that already excels at making you feel small and scared, there’s nothing like this blinding light to make you outright terrified, even if all that’s really happening is someone’s turning the contrast way up. Compared to the usual still emptiness, this kind of visual anger is on a level of quiet panic that can be seriously hard to deal with at times.

And the show is jam-packed with details like that, details that make its empty world feel eerily dangerous and unstable. Episode 1 tells the backstory of the country they visit through the scratching of a phonograph record, disjointed and subtly jarring as the country’s actual history was. It’s stifling in its decrepitude, saddening in its brokenness. Episode 2 keeps cutting back to the campfire raging with quiet passion, putting you in a constant state of unease as you wait for the blaze to grow out of control and envelop the world in its wake, just as the episode’s peaceful situation eventually devolves into bloodshed and fury. The tale of the sad poet in episode 3 uses an even less-detailed, blocker aesthetic that feels pulled straight from ancient Greek pottery, befitting its mythic presentation. But the single most chilling aspect of the entire show is the repeated motif of Kino drawing their gun in practice, over and over again. It always comes right when you least expect it, when you can feel the tension building to something important, and then- BOOM! The gun’s right there in your face with a sinister woosh on the soundtrack, and it takes you a good second to realize that you’re not about to be shot through the forehead. Something about the swift confidence with which Kino carries this act out really sells how much tension lies coiled within this kid’s diminutive frame. It’s startling and sharp and never fails to make me suck my breath in involuntarily. For a show set in such an understated world, Kino’s Journey is never fully relaxing. It always keeps you on your toes, like a deer ready to bolt at a moment’s notice should a lion come roaring through the woods.

The World is Not Beautiful

And yet, for all the implicit terror in the world of Kino’s journey, it’s also a world of unyielding intrigue. The first of many episode-ending subtitle cards detailing Kino’s thoughts says it best: The world is not beautiful. and therefore it is. It’s in this broken, unnerving presence that Kino’s travels gain their meaning, wandering through specters and snapshots of a world sinking into the dirt and piecing together the human story behind what once was. I wouldn’t call the show optimistic or pessimistic just yet, its driving motivation is, above all else, fascination. It’s fascinated by the scattered pockets of life and meaning Kino comes across on their endless journey, at how people come to the conclusions they come to and reach the ends they end up at. This fading world is a living, breathing document of humanity’s entire epic story, writ in countless individual tales of sorrow and joy and uncertainty that weave a picture that’s all but incomprehensible, but no less beautiful for it. In a way, it makes you wonder what you would be like if you were part of these pockets of existence. Would I accept the supposed end of the world with such grace, going so far as to offer all my services for free? What would it be like to live in a place so devoid of internal history that the search for a tradition becomes a tradition in and of itself? How would you live with your fellow man if you were forced to read each other’s thoughts, and all the ugliness underneath was no longer hidden? Even with the people you love, you couldn’t help but come to resent them for sharing so much of themselves with you against your desires.

And then there’s Kino, our point of view character through this sideshow of human poignancy. They take the form of an impartial observer, examining the way these societies work up close without often getting their hands directly involved. This kind of character could easily come off as boring for lack of development and focus, but that’s far from the case here; Kino’s screentime is packed with evocative character moments that allow us to sink into their melancholy headspace, becoming invested in the understated affection they hold towards their travels. It’s clear Kino’s been through a lot of darkness in their past and seen a lot of despair in their time; they’re prone to musing melancholy ruminations to Hermes (”Do you ever feel jealous of birds?”) and staring up at the endless sky above as if searching for their place in it. But they’re also capable of some genuine heart, sincerely reaching out to the people they meet and seeking to do right by them. That moment at the end of episode 1 where they share a silent exchange with the mind reader, allowing him a chance to connect non-verbally with another human being for the first time in years? You could feel the relief leeching through his veins like a reminder that he was still human in the end. Kino strikes me as someone who puts a lot of stock in humanity as a matter of course, seeing it as a given that they��re worthy of consideration and devoting their life to exploring that idea to its natural end result by seeing as much of humanity as they possibly can. They’ve seen some shit and know their way around a disaster, but they’re still struck by an incredible wanderlust and deep faith in the power of the experience they’re undergoing. Right from the beginning of episode 1, where Kino faces a bad situation by saying ”The most important thing for a traveler is what saves them after struggling through to the bitter end.”, it’s clear they’ve stared into the abyss too long to be petrified by it anymore. In a way, there’s a bizarre kind of hope to a character like Kino, someone so world-weary at such a young age yet still eager to round the next bend all over again.

Six Bodies

But having a good spirit about things doesn’t mean that Kino still hasn’t obviously gone through some trying times in their past, and try as they might to ignore it, that pain still very much exists. That aforementioned tick of brandishing their gun in startling fashion makes it abundantly clear how comfortable this kid’s become with facing down darkness head-on. And there’s a particular moment in episode 1 where they reject an invitation to stay in this country by saying, ”Because if I settled down, I wouldn’t be a traveler.” And the way that line’s delivered is full of so much unspoken sadness and pain that I just wanted to reach through the screen and hug the shit out of this kid until they finally started weeping in relief. There is too much tension wrapped around their shoulders, too much weight from unknown traumas that no one this young should be forced to endure. And nowhere is that captured better than the climax of episode 2, when the people Kino’s been helping survive the snow reveal themselves to be slavers who now want to take them hostage too. It’s lit by that aforementioned harsh, blooming radiance, like the sun itself is casting judgement down upon this dark hour. Kino slowly complies with their demands, casting off weapon after weapon in a way that could easily be funny in a “Ha ha, they’ve got weapons everywhere” sort of deal, but instead chills to the bone as you realize how much potential death they’re carrying on them. It keeps you holding your breath for minutes on end, waiting for the moment when something snaps and the eruption finally breaks forth.

And then it does, in a gut-wrenching, horrifying flurry of blood and chaos, as Kino single-handedly slaughters the three grown men tormenting them. It’s over in a flash, an explosion of utter brutality that forces out your held breath with the impact of a punch to the gut. It’s punishing, devastating, terrifying, a traumatic close to a story that seemed to upbeat and positive at first. But it’s the moment directly afterwards that truly took my breath away. In the aftermath of the bloodshed, Kino’s knife stained red from the death it’s carved into the landscape, they close in on themself, hold themself tight and whisper in agony about the terror they were suffering. God. Just, god. All that tension spiraling out in a single, heart-wrenching admittance of just how difficult it was for this kid to breathe, thinking they might finally reach the end of the line this time. Even as it lets you breathe out, it’s not a relief to do so; it’s a pained, trembling breath, aching with sympathy for this poor kid who deserves so much better than this shit. And the final shot drives that agony home as Kino looks back at the skins of the three rabbits they killed in trying to help the men. Six lives taken, six bodies resplendent on the blinding snow, and nothing was accomplished in the end. And this won’t even be the last tragedy Kino will have to face. There will be more pain. More pain they’ve become far too used to learning how to process and leave aside.

Because that’s what it means to be only human.

I’m in awe, folks. I’m legitimately in awe. In just three episodes, Kino’s Journey has already established itself as a truly remarkable piece of fiction. It’s a mood piece of the highest caliber, speaking in hushed undertones that set your nerves alight with anxiety and clutching your heart tight in a hopeful, painful grasp. If the rest of the show is this good, then Kino’s Journey is going to stand very high among those anime I consider the absolute pinnacle of their craft. Bring it on, show. I’m ready for you to hurt me.

Odds and Ends

-Oh man, I love this OP so much already.

-”That guy up there is thinking of making you lunch.” “That reminds me, I’m hungry too.” askjdhas no chill in the face of danger

-A country of robots? I’m getting heavy Bioshock vibes from the empty atmosphere here.

-”You mean like topology?” “Telepathy.” pfft

-Oh my fucking god she’s playing that song IT MEANS SHE REALLY DID LOVE IT GOD I HATE THIS SHOW BUT I LOVE IT OW MY HEART

-”It snows... and it covers up and hides things.” I wonder if there’s a deeper meaning to these title cards spelling out Kino’s thoughts, or if it’s just a stylistic choice?

-So does Hermes always just mess up common phrases like that?

-”These sorts of things will happen. Because we’re only human.” OUCH.

-”Sometimes, travelers turn into poets, Hermes.” They’re not wrong.

-”If the world doesn’t end, how are we supposed to go on living?” bruh

-”When in Rome, do as the tigers do.” aksjdhasd and they don’t correct him

And with that, we are on our way. God, this is gonna be good. See you next time!

[margridarnauds]

thoughts on archiveofourown?

Honestly, probably the best fanfiction site we’ve got and a godsend to fandom. My first fandom experiences were on fanfiction.net, back around 2009-2010-ish; I remember the disclaimers and the fear around incurring the wrath of certain authors, and it honestly boggles my mind that that’s something that modern fandom really doesn’t have to worry about. Like, I can think “I want to look up Lestat/Louis fanfiction, despite never having consumed any content for Interview With a Vampire,” and I can find it, just as easily as typing their names into a search bar. Anne Rice can’t touch it, and that’s still something that tbh is bizarre to me. Like, a part of me STILL says that I should put disclaimers on everything. 

I remember “This fic is rated M for yaoi. THAT MEANS BOYS KISSING, DON’T LIKE DON’T READ.” And I do mean ���boys kissing” because it seems like (1) Most of the ships were conventionally attractive dudes [though…how much has changed? I’m not complaining as someone who WRITES slashfic for conventionally attractive dudes, but…] and (2) Just the simplest form of affection for same sex couples was treated on a much higher severity level. And how it was treated was so variable depending on which archive you went on. Whereas now, two people of the same sex exchanging pecks is just kind of taken for granted? Like, not to wave my figurative Old Lady Cane around, but the parts of fandom that weren’t around to see the pre-AO3 days really take their liberty for granted, imo. to write for even the most sacharinely perfectly pure ship to ever exist.

And, like, the centralization of it is ASTOUNDING to me? Like, come on, I can look up fic for just about everything, and there’s going to be SOMETHING there. Like, a few days ago, I decided to search for The Scarecrow of Romney Marsh to see if I was going to have to create the tag and, lo and behold, it was right there. A 1960s Disney adaptation of a Russell Thorndyke book series that has been only sporadically in circulation since it premiered on the freaking Wonderful World of Color has about 3 fics. I can only imagine how damnably hard it would be to find it if it was divided on different sites, or even if it was on ff.net, forced into one of the misc. categories and accessible only via search. In general, I think that when it comes to that sort of thing, as far as the ease of accessibility and the various exclude/include functions, you can really tell that it was made for ease of access by fans and for fans. 

I understand why some people feel deeply uncomfortable with the stance they take as far as what content is allowed, but I’m also firmly in the camp that it would be utterly impossible to censor based purely on tags or text alone. I think the present tagging system is honestly the best compromise we can get on that front, as far as putting the responsibility for the audience’s consumption on the audience themselves and letting them know what they’re in for. (I mean, come on, who among us wasn’t scarred by a T-Rated fic on FF.net that suddenly threw a wrench in for shock value? I know I was. Or, GOD forbid, how many of us were reading a perfectly normal appearing book from a library before a professional author decided to throw a wrench in for shock value? Three words: The Red Pony. My poor ten year old self was more scarred by that book than any fanfic I have ever read.) 

Sometimes, there are certain formatting issues with fics; I’ll submit something and then WHOOPS the paragraphs are unevenly spaced or something along those lines, but compared to this hellsite? It’s a blessing, and I honestly think that having a nice, centralized, easily searchable database for my fanfic is a solid 70-80% of why I continued on with it rather than giving up. (Also, shoutout to whoever designed the floaty review box tampermonkey…thing; it making reviewing so much easier!) There are times that I wish there was more of a social element involved besides reviews; seeing who follows you, being able to write pms, etc, but I’m also fully aware of why they HAVEN’T implemented those features and I’m grateful for it.  

[cossettgarcia]

sir, excuse you, this wicked plot you wove at the 3 am hour, the little switches here and there, you call a show of "power" is child's play, sire, don't you know? It was a good effort, though, for the ignoramus ghoul born on April Fool's I never signed on "the" dotted line, sir, you call yourself a mastermind? what's your back up plan? whispering sweet nothings to desperadoes harping on empty promises? make up your mind-yoyo, I call that "taking advantage", wait, let me scrape you "off me" Diablo, give you a "to-go-bandage" in case you hurt yourself across the bridge of my-nevermore-door, walk-in-bandit, have no doubt, HE who designed you, saw your every play, before you were conceived, they say, HE knew you by name, the cruel intentions of the demon you conjured, it's a real shame but who can we blame, "eyeing" your twisted halo on earth, "he" went on to curse, God, how I wish "he" were just a scarecrow so we can pull it off you like velcro, bro, but "hurt" turned you into a ghost, stone cold, self sufficient one, behold, refusing my angels help, the enemy did its usual, I was told, whispering, "FALL, fallen one, onto fools gold" and you always so bold, praying love would shift your sail far north, but that southern wind blew you into the coldest October blues, in short, did you hear the latest news? witch on a cross in heavens court CoSy 09.10.16 #CoSy #poetsofinstagram #poetrylove #poetrysociety #poetrylife #poets #poetryaddict #poetrysnotdead #poetry #poetslife #poetscorner #poetslife #twinflame #twinflames #soulmate #soulmerge #fightagoodfight #godsnotdead #iseeyou #alwayssawyourtruecolors #lovedyouanyway #yousowwhatyoureap #toolatewhenyoursoulisdead http://ift.tt/2wTXuBy