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recurring-polynya · 3 years ago

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Do I mind if I ask how you approach writing longer fic? I've always struggled to write anything more than maybe two chapters long and I'm curious if you have a particular method to how you approach such stories.

Thank you so much for this ask! I absolutely love it when people ask me for writing advice because it makes me feel like a Smart Person Who Knows Things.

Before we start, here is one grain of salt to take all of this with: I have a naturally long-form brain. It is very hard for me to write something less than 1k. Short fiction is great, and there is nothing wrong with sticking to short things if that's what your brain likes to do.

So. You have decided to write a story. This is going to focus on "stories". Some people write fic that's more freeform or whatever, I am not going to cover that. What I mean by a story is this:

It starts

Some stuff happens

It ends

It is highly probable that your story contains a change of state, which could be that a villain is defeated, or a goal is reached, but it could also be that character falls in love with another, or someone learns to like broccoli.

I like to start out by completing the sentence, "This is a story where _______". This is basically like coming up with a summary for an ao3 post, except that it doesn't need to be catchy. Lots of different kinds of things could go in that blank! It could literally be what happens: This is a story where Ichigo goes back in time and punches young Aizen in the nose. It could be about what you want to explore: This is a story where Hitsugaya gets a better understanding of his zanpakutou. It could be about the vibe you want to achieve: This is an AU where everyone is in a punk rock band and has cool hair and outfits. The idea of this is to clearly define what you, the author, is interested in writing. Make sure it feels right! Maybe you pick the first one, but when you say it out loud, you say, "You know, I really just want Ichigo to go back in time so he can horse around with young Renji and Rukia and punching Aizen in the nose is just an excuse for that." That may sound dumb, but it's fine, actually! Most people don't read stories strictly for the plot, they read stories for the implications of those plots! Will my favorite two characters kiss? Will there be funny interactions between these two groups of characters? Will there be sick fights? Stories are excuses to have scenes. Sometimes, you will have a story where the interesting sequence of events is the draw, but the point is to know what you're about.

Once you feel happy with your "mission statement", you need to decide the bounds of your story: where it starts and where it ends. It may be easier to start with the end. In some cases, it may be obvious from your mission statement: everyone gets home, a villain is defeated, Kenpachi realizes the meaning of friendship. On the other hand, let's look at that punk rock AU. You've picked a vibe, but you don't really have a natural story arc. It has to have a destination, though, otherwise, it's not really a story, it's a recipe for 3 chapters of an abandoned fanfic. So brainstorm a little: Maybe they get a record deal? Maybe they win a Battle of the Bands? Maybe Byakuya accepts that the band is actually good and tells Rukia he is proud of her. Do not settle for a plot just because it works. Pick something that makes you excited! You're the one who is gonna have to write it!

I said that we needed to pick a beginning point, too, but I'm actually going to skip that for now. The next thing I do is think of all the Big Scenes I want to write, the ones you are hype to write, the ones that pop in your head as you think about the premise. Make a bullet list. They don't need to be in order. The descriptions don't need to be super detailed, but write down anything about it that is important to you. If there's a mood or a snippet of dialogue or a joke you want to make, go ahead and jot that down so you don't forget it later. What you're doing now is putting broad blotches of color on a canvas, filling in space and leaving the detail for later.

Once you are pretty happy with what you have down, try to arrange it in chronological order. Put your end at the end (if it wasn't one of your big scenes, add it now). The next task is figuring out how to traverse your scenes. You've already picked out where you want to spend the majority of your energy. The rest, I regret to tell you, is your slog writing. Now, it often happens that you will find joy in some of these scenes and your best writing may occur there, but that's serendipity. These are the scenes that you are gonna have to make yourself sit down and write, so you honestly want to limit them to just the ones you need.

So how do we do this? Look at the first thing on the list. Can you start there? If so, congrats, that's your beginning. If you can't, what needs to happen to get to there? Where can you start so that you can get to your first fun scene as soon as possible? There. That’s it. You’ve picked your beginning, good job! Now, go through the rest of your list, and add in things that must happen, even if you don’t particularly look forward to writing them. The characters need to travel from geographic point A to point B. Shuuhei needs to say something that Izuru hears and misinterprets. The Central 46 makes a new law. If you have a good idea of how these things happen, go ahead and write them down, but it’s okay if you don’t know yet. Fill in all the blanks so that if you think of each bullet list as a scene, you could read it as a story, start to end. Once you get writing, you might add more scenes, or move things around or whatever, but you should have a thing that functions as a story.

If you struggle with this, an alternative is a story with a very strong structure that is going to guide you though what you have to write.Here are two examples from my own stories Hold On, Hold On (which is only one chapter, but the principle is the same) is structured around the 5 stages of grief. Not Broken, Just Bent takes place over roughly a week, and I just decided what happened every day of the week. See You on the Other Side takes place in the middle of a bunch of canon events, which worked at mile markers.

Congratulations. You’ve just made a rough outline!

Special note for avoiding burnout!: I am a slogger. I will drag myself through the broken glass of an interminable plot to get to a single thirsty scene. That's why, at this stage, I try to look at the ratio of what I want to write to what I must write. It's gonna vary for everyone, but this is a hobby, and if looking at this proto-outline makes you feel deeply tired, maybe this isn't a good story to be devoting your time to! Can you carve it down? Can you chuck two scenes you really want to write and get rid of 80% of the slog? Or maybe you can't! In that case, just write that thirsty scene as a standalone drabble! Or just go work on something else! Maybe in the future, this one will come back to you and you’ll have a fresh idea or a renewed enthusiasm for it.

Another thing I sometimes like to do at this point is to write out some notes about my characters and their motivations and moods. Character A is homesick. Character B is so determined to defeat the enemy that they are having a hard time being sympathetic to Character A. Character C cares for both A and B and is trying to support them both. This is sort of background info that you want to keep in your head as you are writing. Depending on the type of story you are writing, this might actually be the main plot, or it might be happening subtly, but adding to the emotional impact of the story. It’s very easy for me to write these sorts of emotional arcs, but if you struggle with that, you may wish to go ahead and made a more detailed outline for that, too.

Now, it’s time to start writing! I am great at beginnings-- it is very often the case for me that the opening scene was one of my Big Tentpole Scenes. (Before you hate me too much, I make up for this by being double horrible at endings; just let me have this) Usually, I will start at the beginning and write linearly for as long as I can until I get stuck. Then, I will look forward on my outline and do the next chronological scene that I feel like writing. In general, if I sit down to write and there is something I have an urge to write, that trumps everything else. Inspiration is a precious commodity, and you should embrace it when it hits! You can slog any day. I will occasionally hold off writing a scene that I really want to, because I am saving it, like a prize for myself for getting that far. This is a very personal process of figuring out what motivates your brain and then giving your brain what it needs to be its most productive.

Eventually, you will run out of things you are excited to write, but the good news is, you’ve got a bunch of story now! Odds are that what’s left is going to be a lot of those connective tissue scenes, and you’re just going to have to do them, except that now, because you’re connecting two concrete points instead of two abstract points, it will be a lot easier. You can continue running jokes you’ve started. Maybe you invented a cafe in an earlier scene where your characters hang out and you can have them return there. Try to think of ways to make these scenes more fun, both for yourself to write and for your reader to read.

Around this time, I like to start refining that rough strokes outline into what I will call an “as-built” outline. (This is an engineering term where you update your plans or models for something to reflect any changes that had to be made along the way). This is a great activity to do at times when you feel like you have writers block. I write down every scene I have written as a 2-3 word blurb, in order. I break the scenes into what I think makes logical chapters, and I will do a word count on those prospective chapters and write it down. As you do this, you will realize that maybe you can move a scene from here to there, which will make it 1000% easier to write. Things may be happening too much, or you’ve got the characters eating three times in the same chapter. If you have subplots and dangling threads, this is where you make sure they get closure. I know this sounds very headache-y, but you are so far along in the story at this point that it’s really not-- it’s a way to look at the problems you have left. Use some sort of formatting (I like to bold things I haven’t done and sometimes I put them in red) and it gives you a very visual to-do list.

You specifically mentioned multi-chapter fanfics and I admit that I don’t tend to think in chapters, I tend to think of the story as a whole and just break it up where it feels natural. The as-built outlining I described is very helpful in making sure that my chapters feel balanced. They don’t necessarily need to be the same length, but I like them to have the same amount of stuff in them. One chapter may basically contain one long scene, and other may contain many short ones. I don’t tend to, but you can certainly have a fanfic that varies between short and long chapters, that can actually be an interesting effect. But like I said, I always like to know what I am doing, and so having it mapped out, you can say “welp, this is what I’ve done, how do I feel about that?”

Polynya, you may be saying at this point, do you write the whole fanfic before you post any of it? and I regret to inform you, the answer is yes. A lot of people write as they go, and I have made one attempt at this and I didn’t like it. I don’t like locking myself in, I just need to be able write out of order and go back and change things. Here is the story of a little in love: someone gave me an AU prompt and I got mildly obsessed with it, and wrote 5 snapshots drabbles in that universe, ending with a slight cliffhanger ending. I probably should have stopped there, but I decided to keep going. I wrote out an outline of 5 acts where the first act was detailed to the degree of each chapter being specified. The chapters here were much smaller than I usually make chapters: 1-2k. I wrote act i and ii and it was actually great, and then I hit act iii which required a lot of set up for misunderstandings and a mini romance arc. I couldn’t wing it, but nor could I figure it all out with outlining. I write dialogue in almost sort of an improv “Yes, and...?” style, so until I do it, I don’t know what’s going to happen. So, what I did was treat the second half of act iii as a complete story in the process I describe above, wrote the entire rest of it, and then posted it. One might notice that the chapter lengths grew to 3-5k each. I have two more acts to go, and I haven’t decided how I am going to do them yet, but I suspect I will treat each of them as their own mini-stories.

(I will admit that in Heart is a Muscle, I tend toward chapters that are about 10k long, and this is honestly too long, someone should smack me. If you like punchy chapters, 1-2k is good. I think 3-6k is probably an ideal chapter length. Is this how long the chapters are in my latest fanfic? Absolutely not.)

Okay, so there’s one more step, which is quality control. I am habitual re-reader-- I read my fanfics-in-progress over and over and over while I am working on them. I understand that not everyone does this, but I am usually the primary audience for my own writing, and this is the actual fun part for me. Nevertheless, you should re-read your work at least once, to make sure it hangs together.

This is purely optional, but I recommend it: get a writing friend (if you don’t like re-reading your work, I recommend this even more strongly). If you can get a full-service beta reader, that’s great, but if you can’t find someone, or if receiving that level of critique stresses you out, it’s perfectly valid to just find a friend who will read your stuff and a) shower you with compliments, b) reassure you about parts you aren’t sure about (or suggest ways to help) and c) point out any huge problems you missed. When I am writing a long fanfic, it is a huge motivational factor for me to be able to send my beta chapters as I finish them. If you are already an established writer, and you have people who consistently comment on your fic, they might be overjoyed to get a sneak peak at your work.

And that’s it! That’s the way I do it, anyway! Some people are able to sit down and write a very detailed outline and the write it start-to-finish. Good for them, I say! I have tried this and it doesn’t work great for me. I will admit that some of my fics (especially my early ones) I just sat down and banged out whole-cloth like an insane person and they are generally better than the ones I actually plan out, but that’s not a reproducible process.

As one final mechanical note, I usually write in Google Docs, which I can access on multiple devices (I used to write a lot on my phone), has convenient sharing functionality, and I use the ao3 html formatting script add-in. I generally have two documents for a single story-- one is the outline, and any other notes I want to have handy. I’ll usually put a trashcan space at the bottom for scenes that got cut but I don’t want to lose. The other is the fanfic itself.

I hope this is helpful! Please feel free to follow up with other questions and good luck with your writing!

#writing advice #longform writing

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jrow · 2 years ago

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Fic year in review

@calaisreno and @raina-at both tagged me (and Raina said some really nice stuff!) so I figure, why not do this? For the record, I’ve stolen Raina’s format ;):

I am pretty happy with my fic output this year. It’s been a busy, stressful one in the non-digital world, and I was very glad to have fandom to unwind in. Things are getting busier and far more stressful in my offline life (work, volunteering I’ve started, young kids, stuff) but keeping some time aside to write/edit is pretty important for my mental health. Sometimes it’s just a couple hundred words a week (with millions of imagined words in my mind) or betaing a few pages, but it’s still very needed.

Total number of completed stories: 5

Total word count: about 110k published, but I know I wrote about 20k of that in 2021. Plus there is probably 10k or so words in WIPs (that may or may not see the light of day)

Fandoms written in: BBC Sherlock

Looking back, did you write more fic than you thought you would this year, less, or about what you’d expected?: Probably about what I expected. If I had put money on it, I would have said 100k. I’d make the same guess for 2023...

What’s your own favorite story of the year? Depends on the day....potentially Jam, because I’m pretty proud of the epilogue. But I suspect that The Man in the Cartier Frames is the one I’ll reread the most.

Did you take any writing risks this year?: I participated in FTH which was a little nerve-wracking, but it turned out really! I am not sure I would have overcome writer’s block if I didn’t have those pieces to work on. I like a bit of pressure sometimes. In terms of writing, I took fewer risks than I would have liked, but the alternating perspective in Jam certainly felt like a risk.

I also started beta’ing this year, which was a bit of a risk, I suppose. It also worked out really well though. It’s something I think I’m good at. It’s also easy when you are beta’ing for people whose stories you really, really like! And for the record, a co-worker of mine suggested earlier this year that I make an easy shortcut for em-dashes (I use them a lot in my work) and it’s honestly changed my life. It’s why I’m so quick to insert/correct them when beta’ing now! I do love an em-dash.

Do you have any fanfic or profic goals for the new year?: Post at least a part of an AU. So far, all of my posted works have been basically in canon. I have a handful of AUs sketched out or, in two cases, partly written. But, I have a lot more trouble sticking with them. I think it’s the world-building aspect (something both @calaisreno and @raina-at are amazing at!) and fear that what I develop won’t read true. I do a ton of research for all my fics, regardless of when/where they take place (I like to be accurate when I can), but world building is a step beyond researching. The reality is, that (at least some) of the AUs I want to write won’t be as popular as my regular stuff...I am fine with that most of the time, but sometimes there’s a worry you will be writing for no one but yourself (which shouldn’t matter, but some days does ;) )

Most popular story of the year?“ Hmmm...in terms of kudos and general love, it’s definitely The Man with the Cartier Frames. People love parentlock and I do think I write it well (it helps that my kids are good ages to model Rosie). But I got a lot of love and really amazing comments on Blue Plaques too.

Story of mine most under-appreciated by the universe, in my opinion: I’m not sure anything this year was under-appreciated. Possibly 5mm (a very short (and fluffy established relationship fic), but it’s the third in my That Time of Year series, so I expected small numbers.

Most fun story to write: Blue Plaques. Figuring out a ridiculous mystery that would give the ending I wanted (I knew the solution before I knew anything else), and researching about blue plaques and random spots in London was a ton of fun.

Most unintentionally telling story: Oooohhh. That’d probably be The Man With the Cartier Frames. There is lots of my daughter (M) in Rosie in this story. This includes a freak accident that made my partner (M’s father) an absolute mess at the hospital (that Sherlock sobbing scene was inspired by real life). M was totally fine (I still don’t know how but am so thankful) but that moment was the seed that led to this fic.

Biggest disappointment: Probably that I didn’t post an AU? But honestly, I am not really disappointed with this year’s writing or reception.

Biggest surprise: The engagement I got from some of my favourite authors (including art!!) this year. It’s a real honour when people whose writing you admire start commenting on your stuff. It’s worked the other way too, I have started reading people’s because they comment on my stuff and it ends up being amazing! I was going to tag people here, but I’m afraid of forgetting someone...if you’ve commented on my stuff and you write, I’m probably talking about you!

I’ll nominate anyone who wants to reflect on the past year :).

#writing year in review #2022 year in review #my writing

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jkrobertson · 3 years ago

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as both a ulquihime and ichihime shipper, what do you like about both ships?

This is probably way more than you asked for, but here you go: As a preface: I watched the anime for the first time in the early 2010s, binging it until it ended in 2012, then set the series down until I picked up the manga around the beginning of 2016. During that time, I was not involved in the fandom AT ALL. When episode 3 came out and Orihime and Ichigo saved Sora’s soul, I decided I wanted them to be together. Then things changed. Ulquiorra captured my attention, and the Orihime was spending all her time with him, and I could see it. I could see it and I didn’t hate it. Ulquiorra was terrifying and seemingly unstoppable, but he was hot. I couldn’t hate the idea of him and Orihime together. But then, the protagonist came back and somehow asspulled himself back to life and Ulquiorra died, and with him, any idea of Orihime and him becoming more. So I regrouped and cheered for Ichihime and was elated when the epilogue came out.

But I never, ever, forgot about Ulquiorra.

When the final arc was starting to wind down, I decided that where canon ended was never going to be enough of the Bleach universe for me, so I started dipping my toes into the fandom. In the beginning, I alternated between which of these ships was my OTP. There was a time when I liked both ships equally. There was a long time after chapter 686 came out when I was still all about getting more Ichihime.

But I still couldn’t forget Ulquiorra.

These days, I like Ulquihime more, largely in part because it was never and will never be resolved. That open end is fuel for my imagination, whereas Ichihime has their happy ending. I can be satisfied with that, even though I never got a comprehensive story.

Now, to FINALLY get to your ask, what do I like about both ships:

Ichihime

General:

The canon OTP

The looks. The softness in their gazes when they look at each other. The fire in his eyes when he resolves to protect her. The adoration in her eyes when he makes a good decision.

The way they worry about each other.

The way Ichigo can relax and be the sweet, loving boy around her that he was with Masaki before her death stole his innocence. The way that Orihime is inspired to invest in herself and learn how to be strong enough to be an asset to him instead of a liability; to meet him at his level, instead of bringing him down to hers. Their bond is not performative. It is quiet, slow building, and strong. It feels healthy and organic and it makes me comfortable.

They are also physically and aesthetically compatible. To put it in animal husbandry terms, they make a good breeding pair. To put it in more pleasant terms, they are a good-looking couple. I want them to make the sweet, sweet love, and it doesn’t take a lot of imagination to consider the possibilities.

Although they are not as dynamic as other ships, I don’t find them dull. I think they are the opposite of dull, really. He thinks she is wonderful and mysterious and a good confidant and source of moral support, but he also thinks she is funny and they share taste in manga. She thinks he is cool and hilarious and worthy of admiration. They stick up for each other and gently tease each other. I prefer this kind of dynamic to a confrontational, bickering, competitive one between lovers. I have had both kinds of relationships IRL, and I would not wish the bantering one upmanship type on my worst enemy. I find it exhausting, demoralizing, and abusive. Give me a more soft spoken kind of love any day of the week.

The fandom:

The passion in the pre-canon days that went into analyzing the interactions between the characters - there were a lot of excellent arguments presented that helped me feel validated in shipping them before Kubo gave the ultimate validation.

There are a lot of really good ichihime fics (been a long time since I read one - now that ichihime is canon I don’t have to wonder about what could have been and just be satisfied by what is) and a fair amount of super cute artwork.

Ulquihime

General:

The other canon OTP/my favorite OTP

IT IS TABOO, NEED WE SAY MORE? Lol jk

THE AESTHETIC - monster/cinnamon roll; black/auburn; pure princess/devil; maiden/mercenary - all high drama/high beauty archetypes

THE CHEMISTRY IS FIRE - while it never even comes close to anything as obvious as flirtation, the body language between them - the proximity, the posturing, the way he stands between her and any rival for her attention, the way she drops her guard and makes her body vulnerable to his despite being aware of the danger… It’s like watching a tango. The tension between them is always strung tight and delicious. Also, it is projection on my part here, but Ulquiorra isn’t interested in anything, ever, EXCEPT ORIHIME. Who wouldn’t want hot goth daddy’s full attention? Especially a fair maiden who has, for all intents and purposes, thrown away her old life in a noble sacrifice and has made peace with that, who finds herself in a strange, hostile new world with only said hot goth daddy (HGD) to talk to and tend to her needs. If she were to stay in that situation, I can only imagine the ways she might adapt to make her life more tolerable, including, but not limited to, experimenting with HGD and fantasizing about him.

THE LITERARY TROPES - I really don’t need to say more here, do I?

The huge effect they had on each other - people often take lifetimes to learn the deep lessons they taught each other in a short time.

THE WHAT MIGHT HAVE BEENS - The tragedy of Ulquiorra’s potential redemption and Orihime’s potential alternative destiny being lost to the sands of Hueco Mundo is both sorrowful and poetic as hell.

The unending What ifs that can be explored with these two is inspiring, which leads me to...

The fandom:

THE ART!!!!!!!!!!!!!! OMG THE ART!!! THE FICSSSSSSSSSSSSSSSS!!! Overall it’s sexier in this ship in regards to art and fics.

The community is small but just happy to still be alive, and is overall really lovely.

To sum up, there is a lot to love about both ships. Ichihime is a lovely, hopeful ship that has fulfilled its destiny. Ulquihime is a darker, enthralling ship that is ripe for the fandom to rekindle and ignite. Ichihime is Dvorak’s New World Symphony: Largo, and Ulquihime is Vivaldi’s Four Seasons: Winter. Both are good. Both have substance. They are different flavors, different timbres, different themes, and I love them both (but obviously one a little more than the other).

#asks #jkrobertson school of thought #ulquihime #ichihime

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cyndavilachase · 5 years ago

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I’m Looking Forward Now 💖Thank you and good bye

So, it’s been a little over a week since Steven Universe Future ended…

I’ve been hesitant to write this, honestly, but I’m tired of holding myself back from properly expressing myself in fear of appearing overly invested in the media I consume, even in private. Writing helps me organize my thoughts and feelings, and I feel like these thoughts in particular may resonate with many, so I want to share them. I want to talk about what Steven Universe has done for me personally, both as an artist, and as a person.

I’ve been around since the day the first episode of the original series aired. I actually remember when Steven Universe was just a logo on Wikipedia’s “List of Upcoming Cartoon Network Shows” list, back when I was a freshman in high school. It piqued my interest, but when commercials finally dropped for it, I thought it was going to be bad because of the way marketing handled introducing Steven as a likeable character. There was still something about it that made me want to give it a chance though, so I went online and watched the pilot before the first episode's release. I was hooked immediately. I knew I was going to love it, and I did. I fell so absolutely in love with Steven as a character, and the world that he and the gems lived in. I became obsessed. I was always so excited for new episodes to come out. Little did I know what else it would do for me as I went through my adolescence alongside it.

As the show progressed, it was evident that what I wanted out of a western animated childrens’ cartoon was finally coming into fruition: this show was becoming serialized. There was continuity, there was plot, there was character development-- it was getting deep. It was pushing the groundwork that Adventure Time laid out even further (thank you, Adventure Time).

I will give credit where credit is due: earlier western childrens’ cartoons I grew up with like Hey Arnold, and Rugrats, among others, also touched on heavy topics, but Steven Universe was able to take similar ideas (and even more complex ones, concerning mental health and relationships) and expand on them outside of contained episodes and/or short arcs. These themes, which were a part of the show’s overarching story, spanned across its entirety. Continuity was rampant.

What did this mean? It meant kids cartoons didn’t have to be silly and fun all the time and characters weren’t just actors playing a part in 11-minute skits. Steven and the gems would remember things that happened to them, and it affected them and how they would function and play a part in their story. This was a huge deal to me as a teenager. I always wanted the cartoons I grew up with featuring kid characters to feel more. In my own work, I often felt discouraged when combining a fun, cutesy western art style with themes as dark or layered as anime would cover. I always thought it had to be one or the other because an audience wouldn’t take a combination of the two seriously enough, based on discussions I had with classmates, friends, and online analysis I read at the time. Steven Universe proved to me otherwise. This show was opening the door for future cartoons exploring in-depth, adult concepts. I felt so seen as a kid, and was inspired to stick with what I love doing.

I was actually very worried about the show’s survival. It was in fact immensely underrated and the fandom was miniscule. Then in 2014, JailBreak dropped, and it’s popularity exploded. Part of it was because of the complex plot and the themes it was covering like I mentioned, but also because of its representation.

I remember when fandom theorized that Garnet was a fusion due to grand, tragic reasons. Turns out, she’s simply a metaphor for a very loving w|w relationship. This was huge. I cannot stress how important it is that we continue to normalize healthy canon queer relationships in childens’ media, and Steven Universe finally was the first to do that proper. Introducing these themes offers the chance for a kid to sit there and ask themselves, “Why is this demonized by so many people?” I asked myself exactly that. Ruby and Sapphire were my cartoon LGBT rep. They were the first LGBT couple I ever ecstatically drew fanart of. I was dealing with a lot of internalized homophobia at the time, and they showed me that I was allowed to love women and feel normal about it. The process of overcoming this was a long one, but they played a part in my very first steps into becoming comfortable with my sexuality. I could go on and on about it’s representation in general-- how it breaks the mold when it comes to showcasing a diverse set of characters in design, in casting, and in breaking gender roles. It’s focus on love and empathy. Steven himself is a big boy, but he's the protagonist, and the show never once makes fun of his weight, or any other bigger characters for that matter. It wasn’t hard to see why the fandom had grown so large.

Fandom was always a joy for me. It was a hobby I picked up when I was in middle school, like many of us here did. I would always cater my experience to fun, and fun only. I only started getting more deeply involved in SU’s fandom when I had just turned into an adult. During the summer of 2016, between my first and second year of college, I drew for the show almost every day non-stop when the Summer of Steven event was going on and posted them online. This was a form of practice for me in order to become not just more comfortable with experimenting with my art, but also to meet new artists, make new friends, and learn to interact with strangers without fear. I dealt with a ton of anxiety when I was in high school. When I was a senior applying to art school for animation, I decided I was going to overcome that anxiety. I made plans to take baby steps to improve myself over the course of my 4 years of college. Joining the fandom, while unforeseen, was definitely a part of that process. I started feeling more confident in sharing my ideas, even if they were fan-made. I fell in love with storyboarding after that summer, when I took my first storyboarding class, and genuinely felt like I was actually getting somewhere with all of this. I remember finally coming to a point in my classes where I could pitch and not feel hopelessly insecure about it. I was opening up more to my friends and peers.

But this process, unfortunately, came to a screeching halt.

My life completely, utterly crumbled under me in the Fall of 2017 due to a series of blows in my personal life that happened in the span of just a couple weeks. My mental health and sense of identity were completely destroyed. All of that confidence I had worked for-- completely ruined. I was alone. I nearly died. My stay at college was extended to 4 and half years, instead of the 4 I had intended. I lost my love for animation-- making it, and watching it. I could no longer watch Steven Universe with the same love I had for it beforehand. It’s a terrible thing, trying to give your attention to something you don’t love anymore, and wanting so desperately to love again. I dropped so many things I loved in my life, including the fandom.

Healing was a long and complicated road. I continued to watch the show all the way up until Change Your Mind aired in the beginning of 2019, and while I still felt empty, that was definitely a turning point for me with it’s encapsulation of self-love. I was hoping James Baxter would get to work on Steven Universe since he guest-animated on Adventure Time, and it was incredible seeing that wish actually come true. The movie came out and while I enjoyed it and thought highly of it, I was still having issues letting myself genuinely love things again, old and new. It was especially difficult because cartoons were my solace as a kid, when things got rough at home. I remember feeling sad because the show ended, and not getting the chance to love it again like I used to while it was still going.

By the time Steven Universe Future was announced, I was finally coming around. I was genuinely starting to feel excitement for art and animation again. I wasn’t expecting there to be a whole new epilogue series, but happily ever after, there we were! Prickly Pear aired, and the implications it left in terms of where the story was going did it. I was finally ready to let myself take the dive back into fandom in January of this year. My art blew up, something I wasn’t expecting considering my 2-year hiatus. Following this, I was invited into a discord server containing some of the biggest writers, artists, editors, and analysts in the fandom. I had no idea there were so many talented people in the fandom, some already with degrees, some getting their degrees-- creating stuff for it on the side just for fun. The amount of passion and productivity level here is insane, and so is the amount of discussion that has come out of it.

I didn’t realize it at first, but it was actually helping me gain back the courage to share ideas. I lost my confidence in pitching while I was taking the time to heal, and graduating meant there would no longer be a classroom setting I could practice in. This group helped immensely.

I have made so many friends through this wonderful series, and I have so many fond memories talking to like-minded creatives, getting feedback and a myriad of sources for inspiration, as well as all of the memes and jokes and weekly theorizations that came about as we all waited on the edges of our seats for episodes to air. I needed this so badly, I needed to get back in touch with my roots, when I would go absolutely hog-wild over a cartoon I loved with people who loved it as much I did. Future has been a blessing for me in this way. I graduated feeling like I was back at square-one, but now I feel like I’m on my way again.

It’s 2020 and while I’m doing great right now, I am honestly still recovering from the total exhaustion that followed after graduating a few months ago, and finally leaving the campus where my life fell apart behind. Needless to say, watching Future was like looking into a mirror. Watching one of my favorite characters of all time-- one that grew up with me-- go through so many of the same things I went through not too long ago was absolutely insane to watch unfold. It’s such an important thing too, to show a character go through the process of breaking down over trauma and all the nasty things that come with it, and to have them go on the road to healing. Steven got that therapy. He wasn’t blamed. The gems were called out. The finale was everything I could have ever hoped for. The catharsis I experienced watching it was out of this world.

As I continue my own healing journey, I will always look up to the storyboard artists, revisionists, and designers that I have been following over these past 7 years, as well as the new ones introduced in Future. It's been such a joy watching these artists release their promo art for episodes, talk about their experiences working on the show, and post the work they've done for it alongside episodes airing.

Thank you Rebecca Sugar, the Crewniverse, and the fans, for making this such a truly wonderful and unique experience. Thank you for reminding me that I am, and always will be, an artist, a cartoonist, and a fan. Thank you, my followers, for the overwhelmingly positive response to my artwork. I have had so much fun interacting and discussing the show with you all again over these past few months. Steven Universe and it’s fandom will always have a special place in my heart, and it will always be a classic that I will return to for comfort and inspiration for decades to come. I am sad that the cartoon renaissance is over, but so many doors have been opened thanks to this show. I am so, so excited to see what this show will inspire in the future, and I hope one day I get the opportunity to be a part of that.

Goodbye Steven, thank you for everything. I wish you healing, and I wish Rebecca and the team a well-deserved rest. ♥️

-Cynthia D.

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zosonils-art · 4 years ago

Link

Rating: General Audiences

Archive Warning: No Archive Warnings Apply

Category: Gen

Relationship: Ferb Fletcher & Phineas Flynn

Characters: Ferb Fletcher, Phineas Flynn, Perry the Platypus (Phineas and Ferb), Linda Flynn-Fletcher

Additional Tags: Autistic Ferb, Autistic Phineas, autistic phineas is more implied and could also be taken as adhd but he has both anyway so, Autistic Meltdown, Autism, Sensory Overload, Hurt/Comfort, Angst with a Happy Ending, Illustrations, Canon Continuation, Fix-It of Sorts, i think????? i don't frequent this goddamn website i don't know, Brotherly Love, Crying, some of the crying is me

Summary: A stressful day pushes Ferb past his breaking point, and Phineas feels that he has a responsibility to set things right. Takes place immediately after Ready For The Bettys. Was supposed to be a simple continuation fic but got wildly out of hand. Ph*n*rb shippers fuck off this isn't for you.

---

as you’ve probably figured out if you’re following my main, i recently wrote my first fic since i was about 13! it’s available on ao3 at the link above, but you can also read it on tumblr by clicking the readmore on this post! i put a lot of effort into this and it took a lot of courage to post, so feedback is greatly appreciated!

"Mom! Guess what Ferb did!"

Phineas bursts into the kitchen energetically, still buzzing with adrenaline from the day's adventure. Ferb follows a step or two behind. Linda turns her attention from the freshly baked pie in her hands to her sons, although Phineas is too beside himself with excitement to consider whether or not she's paying attention. "He made a secret tunnel, and a spy headquarters, and a villain's lair, and a hover jet shaped like Perry- tell her, Ferb!"

Ferb doesn't match Phineas' enthusiasm. In fact, at the moment, he's sick to death of it. He prepares to launch into the explanation he's been trying all day to give. "Actually, I-"

"Wait a second," Linda interrupts, eyeing the boys with suspicion. "Why are you two soaking wet?"

The interruption is just too much for Ferb. He doesn't even process the question, just lets out a harsh shout of frustration. Phineas recoils - Ferb almost never shouts. "I give UP!" Ferb yells, his voice shaking on the last syllable, and before either of his surprised family members can respond, he turns around and storms off, his destination betrayed by the distinct clunking rhythm of stairs being stomped on too hard and the sound of a door slamming upstairs.

For a moment, the kitchen is silent. Linda recovers before Phineas does, her eyes narrowing in disapproval. "Young man, that is not how we talk to each other in this house!" she calls, setting the pie tin and her oven mitts down on the kitchen counter and following Ferb's path to his room. Before she can make it to the doorway, though, her progress is halted.

"Mom, wait!" Phineas pleads. He's finally caught onto what's been going on all day, and although he's still only half processed it, he knows he doesn't want Ferb to be in trouble for it. He frantically tugs on Linda's arm to draw her attention. Once he's sure that she's stopped, he withdraws his hand (he's still wet, after all, he doesn't want to make her uncomfortable), but sidesteps around her to put his tiny body firmly between her and the doorway to the living room. "Mom, please don't be mad at Ferb, it- it's not his fault! I'm sure he didn't mean anything by it, he's just..." Phineas' voice trails off briefly, but he forces it back into action, complete with the most serious expression he can manage. "If you're gonna be mad at either of us, it should be me, okay?"

At first, Linda returns Phineas' gaze with suspicion, then her face softens with realisation. She crouches down to her son's eye level, placing a hand on his shoulder. "Phineas, did something else happen today?" she asks, the anger gone from her voice.

Phineas hesitates, dropping eye contact again. He's almost certain about the cause of Ferb's outburst, and he can't help but mentally beat himself up for it to a degree. "Well, Ferb's been trying to tell me something all day, but he kept getting interrupted by our spy mission, and I guess it must have been really frustrating because he hates being interrupted but I didn't realise and-" he pauses to breathe, and shudders as he inhales as if on the verge of tears - "and I should have asked at some point but I just kept getting distracted and I didn't even realise how upset it was making him but-"

"Phineas," Linda says gently, and he gladly accepts the invitation to cut his rambling short. His breathing is shaky, but he doesn't cry just yet, even though his emotional state has nosedived in barely a minute. After giving him a moment to snap back into focus, Linda continues. "Phineas, honey, it sounds like this has just been a misunderstanding. On my end, too," she adds, regretting having snapped at Ferb earlier. Phineas nods with a nondescript mumble of agreement. Although he still obviously isn't looking, Linda gives him a reassuring smile anyway, accompanied by a gentle squeeze of his shoulder. "Thank you for telling the truth, sweetheart," she praises him.

"Mmh," Phineas mumbles, tugging at his shirt collar. He tends to fiddle with his shirt when he's nervous or overexcited. It doesn't hold a candle to bouncing his leg or flapping his hands, as far as stimming goes, but it's a lot easier to do while someone is touching you. "I just should've realised what was up earlier, then he probably wouldn't have freaked out..."

He finally glances up again, and the look his mom is giving him tells him that he should drop the argument, so he stops. Linda ruffles his hair affectionately, leaning forward to reach all the way behind Phineas' oddly-shaped head, and flinches at the unpleasant reminder of how waterlogged he still is. She stands up, flicking her hand dry. "I'm sure he knows you didn't mean to hurt his feelings," she reassures Phineas. "Why don't you dry yourself off and then go talk to him? Which reminds me," Linda motions towards the puddles tracked all over the kitchen floor, "why are you two so wet?"

"Oh, we fell in Isabella's pool," Phineas answers matter-of-factly. He isn't quite back to his usual blindingly sunny disposition, but the panicky tremble in his voice has at least disappeared.

Linda smiles, resisting the urge to roll her eyes. "Well, that I believe," she says. She'd tactfully decided not to comment on whatever that secret spy headquarters spiel was that Phineas had been getting worked up over, but she suspects his latest imaginary game took the boys to Isabella's backyard and ended up having some real-life consequences. "Oh, hi, Perry," she adds, as the platypus in question waddles into the kitchen.

Perry responds with his familiar chatter. Phineas leans down to pet Perry on the head. "At least you've had a stress-free day, huh," he says, then leaves for the bathroom. Perry stares at him blankly.

---

Ferb is having a meltdown.

He knows what this is, of course. He reads every textbook and blog post on the subject he can find, just in case it helps him make some more sense of himself. If he misses one, Phineas will no doubt have found and memorised it himself for the same reason, and will gladly rattle off anything new. Knowing why there's a raging storm beating at the inside of his head, however, is entirely different from quelling it. By the time he reaches his bedroom, he's trembling so violently that he can barely stand. He stumbles to his bed, pushing his hands down into the mattress to keep himself on his feet.

It's like feeling every feeling from every second of the day all in the same moment, and it hurts. So much is happening in his head that he can't even isolate a single thought, let alone process what it means. Is he angry? That'd make sense, sure, but his mental state isn't exactly conducive to deductive reasoning at the moment. Is he sad? Scared? Something else entirely?? He can't tell what emotion or mixture thereof it is, only that it's hurting his head, and he wants to get it out but he doesn't know how. He's struggling to breathe now, his arms shaking with the effort of keeping his body supported, and as he draws in a desperate shuddering breath Ferb feels something wet in his eye and then on his face, and he remembers that his entire body is wet and he hates it. It's cold, and his hair is sticking to his face and uncomfortably close to his eyes, and his clothes cling to his body oppressively and he wants to tear them off and stop feeling everything. Instead of doing that, he forces himself to breathe in again and looks around the room frantically, hoping to find something other than absolutely everything to concentrate on.

His eyes land on Phineas' bed, and although his vision is blurring as the panicky tears pour down his face, he recognises the shape instantly. Is he mad at Phineas? Should he be? He should be, right? If Phineas had just stopped to listen to him for once, he wouldn't be here with the world ending inside his brain. Another violent wave of emotion sends a shock through his whole body, and Ferb is still in no state to identify it, but he gets the message. He doesn't want to be angry. Not at Phineas. In fact, he doesn't want to feel anything he's feeling at the moment. Not the turbulent assault of everything inside his head, not the hammering rhythm of his heart trying to beat its way out of his chest, not every tiny thing that touches his skin or the light from outside that still feels blinding through the curtains or the muffled sounds of conversation downstairs that he doesn't have room in his brain to translate into anything but more noise.

Sensory overload is another term Ferb knows, and it's another one that doesn't really help to know in the moment. The feeling of anxiety that's been growing in his chest since that morning finally becomes too much for his body to handle, and he collapses on his bed, weakly gripping the blanket for support. Burying his face in his covers blocks out most of the sunlight, at least, but it doesn't significantly improve his mood. He shivers, partly from cold thanks to still being uncomfortably wet, partly from the sobs making his whole body convulse. (When did those start? He doesn't remember.) He uses the last of his physical strength to pull himself fully onto his bed and curl into himself, trying desperately to calm himself down.

...

It's not working. Why isn't it working?? It's as if every effort to steady his breathing just makes him cry harder, every attempt at a calming thought being shattered into a thousand anxious ones by the merciless torrent of everything whirling around in his mind. Ferb is suddenly hyper-aware of how empty the room around him is, and it makes him feel helpless. It's the first feeling he's managed to connect a name to with absolute certainty this whole time, and it's terrifying.

If he was making any noise before in his attempts to control his breathing, he's stopped now. No sound escapes him as he lies in place, too preoccupied with the overwhelming barrage of thoughts in his brain to move. More than anything, Ferb wants his brain to just shut off. Everything in his mind blends into a horrible white noise that won't stop, threatening to drown him in static.

Through the raging mental cyclone, he just barely hears the knock at the door.

Phineas waits a moment before entering his room. He wants to make sure Ferb has time to process that he's here. A few seconds pass, then he opens the door slowly so that it doesn't make any sound. A stab of guilt hits him when he sees Ferb curled up on his bed, visibly distressed. He's facing the opposite wall, but the way he shudders as he breathes makes it obvious that he's crying. Phineas feels his heart sink. He'd really hoped it wouldn't be this bad.

"Hey," he says softly. Ferb grips himself tighter. Just a minute ago, Phineas would have been the last person he wanted to see, but now his desperation for comfort outweighs any lingering hints of animosity. He doesn't object to his brother's presence, so Phineas gently closes the door and walks over to his side of the room. He sits on the bed, watching Ferb to see if he reacts negatively to the shift in weight distribution, and tenses up slightly at how damp the blanket is. Of course, Ferb wouldn't have stopped to dry off on his way up here. A closer look confirms that while a lot of the water on his body has run off and soaked into his bed, Ferb is still almost as wet as he was when he arrived home. Phineas frowns - that can't be comfortable, and it's probably making him feel even worse. "Are you okay?" he asks.

Ferb curls into himself even more instead of asking. The question is so frustratingly rhetorical that he almost reconsiders the possibility of being angry, but the idea still scares him, so the feeling passes. Fortunately, Phineas understands the unspoken 'obviously not' with no further input, and continues to talk. "I'm really sorry about today," he begins. "I know you don't like being interrupted, and I should've realised that it was making you feel bad but I just wasn't paying enough attention and- and I'm sorry, because it's kinda my fault you got so upset," he apologises, not realising that he's holding back tears until he stops to breathe. He wills himself not to cry. He's here to try and make Ferb feel better, not guilt him into forgiveness.

It takes a second or two for Ferb to process what Phineas is saying. It's a struggle to drag the words through the confusing whirlwind of everything still rampaging through his head. Eventually, after a great deal of mental effort, he shakes his head in response. Perhaps he was angry before, he still can't tell, but he definitely isn't now. He can't manage anything beyond the simple gesture, but it's not the first time he's been utterly uncommunicative, so Phineas understands the meaning as well as he needs to: it's not your fault.

"Th-thanks," he stutters, although Ferb's acceptance does little to settle the crushing feeling of responsibility. "Next time you can speak I'll let you tell me whatever it is you needed to, okay? I promise." He smiles a little. "No more secret agent business to interrupt you."

The last sentence sure prompts a reaction from Ferb - he rolls over so that his face is entirely buried in the blanket and makes a frustrated noise without opening his mouth, his body shaking with some mixture of anger and physical strain. Phineas inhales sharply and recoils, no more prepared for an audible outburst from Ferb than the first time. "Hey, what's wrong?" he asks, already speed-testing possible answers in his head. "Did you not have fun today? Of- of course you didn't, that's why you're upset, but I thought you did a great job on the spy mission! It was really cool." He's trying to be reassuring, but Ferb just shakes harder, seemingly becoming more aggravated rather than less.

Phineas tilts his head in confusion. "Ferb? Ferb, it's okay, I-I'm sorry. Did... did it not go the way you planned?" he guesses, searching increasingly frantically for any change in Ferb's body language. "Hmm... oh, were you not finished building it yet?" He thinks back to Ferb's numerous attempts at speaking to him throughout the day, hoping that he'll find some clue that makes everything fall into place - and something clicks in his brain. He deflates a little at how painfully obvious the realisation seems in retrospect, with a soft "Oh." Sighing at his own ignorance, he directs his voice to Ferb again as he says, "You didn't actually build all that, did you?"

Ferb sits up slowly and turns to Phineas with his signature deadpan glare, the silent, biting sarcasm undermined significantly by the tears still falling from his eyes. Phineas hums concernedly. "Is that what you were trying to tell me?" he asks. Ferb gets partway through rolling his eyes before giving up and returning to the fetal position.

Phineas sighs sadly. He hates seeing his brother cry. There's nothing he wants to do more than pull him into the tightest hug he can manage, but he knows Ferb won't appreciate being touched in this state, so he opts to fiddle with his shirt again to keep his hands busy. "Who do you think did build that stuff?" he asks. Ferb doesn't care. On any other day, a secret spy lair being hidden under his house would be cause for immeasurable excitement, but after the day's events he's thoroughly sick of thinking about the subject. Phineas picks up on Ferb's antipathy towards the question and, sensing that it might be a sore topic for some time, decides not to bring it up again for a while. He'll satisfy his curiosity sometime when it doesn't come at the expense of Ferb's comfort.

An uncomfortable silence falls over the boys. It's broken when Ferb suddenly sniffles loud enough to make Phineas jump, sits up again, and halfheartedly tries to wipe the tears from his face. "Oh geez, hold on," Phineas says, leaning over to rummage through his short pockets. He eventually pulls out a wad of tissues, somehow unaffected by the earlier impromptu dive into Isabella's pool. He offers them with a gentle "here you go" to Ferb, who takes a few silently and scrubs at his eyes.

While he still doesn't feel good by any stretch of the definition, Ferb at least doesn't feel completely awful anymore. What was once a violent hurricane in his mind has receded enough that he can focus on the world around him without breaking down, at least for the time being, and he's left feeling just drained. He balls up his handful of tissues and tosses them at the bin under his desk. The ball makes it to Phineas' leg before unceremoniously bouncing to a stop. Phineas picks it up and throws it the rest of the way to the trash, standing up to do so.

Rather than sit down again, he kneels down and pulls out one of the drawers conveniently built into the bed. Ferb watches inquisitively, still too out of it to immediately catch onto what's happening. Phineas rummages a little before finally pulling out a pair of pyjamas, suggesting, "You should dry off and change your clothes." He pauses to think. "Can you make it downstairs to the bathroom by yourself?" he asks. At any other time, it would be a silly question, but Ferb is always exhausted after a meltdown. The visible effort it's taking him just to stay upright isn't lost on Phineas. Ferb ponders the question, then gives a tentative nod. He's definitely shaky, but he really wants to change into something dry.

"Great!" Phineas smiles encouragingly. "Should I bring the usual stuff to the living room? Your bed's probably not gonna feel comfortable until it dries out." Ferb glances down at the unmistakable damp silhouette of where he had been lying earlier and nods again, more confidently. He slowly gets to his feet, first pushing against his bed for support, then grasping the hand Phineas offers him. He lets go once he's certain he's regained his balance, and only then does Phineas hand him his pyjamas. "I'll come meet you downstairs, okay?" Phineas says. Then, pulling at the bottom of his shirt, which is still a bit soggy despite his best efforts to towel it off, he adds, "I should probably change into something dry as well."

---

Ferb rubs his eyes as he comes out of the bathroom, his drenched clothes swapped out for his much more comfortable pyjamas. He's stopped crying, it seems, but he's still feeling sensitive enough that the light from outside bothers him. He's relieved to discover that it's much darker in the living room - Phineas must have been here already. The curtains are drawn so that the lamp on the end table is the only light source in the room, softly illuminating its surroundings with a pleasant warm glow. He doesn't have the energy to analyse the entire room, even in these far more bearable conditions, but his attention is drawn to his favourite weighted blanket folded neatly on the couch. He sits down and drags the blanket over him, struggling a bit with the weight, but relaxing once he feels its reassuring pressure on his legs.

It's as he's settling into his position on the couch that Phineas enters with an "Oh, there you are, Ferb!". Perry is firmly but comfortably wedged under one of his arms, like a fuzzy teal football or loaf of bread, and seems altogether unbothered by his position. Ferb gasps quietly at the sight of Perry, his eyes brightening momentarily, and reaches out for him with various soft noises of urgency. Phineas wastes no time in setting Perry down next to Ferb, and the platypus reacts with a gentle, almost soothing chatter. Ferb instinctively mimicks the sound under his breath, and Perry responds with a nearly identical noise. Ferb echoes it again, slightly louder this time, and his face lights up with a weak smile, the first one he's managed all day.

Taking this as a sign of progress, Phineas sighs with relief as he sits on the sofa. He makes sure to maintain a respectful distance from Ferb, who's running a hand through Perry's fur as they echo the same low growling noise back at each other. (It pains Phineas not to join in, but he senses the two have gotten themselves into a groove that would be rude to interrupt.) Ferb's smile fades almost as soon as it appears, but he seems much more relaxed after the change in clothes and scenery. His hair is sticking up in every direction from being towelled dry, and Phineas stifles a laugh at how silly it looks. The back-and-forth chattering eventually dies down, and it's only then that Phineas continues. "Mom's gonna make you some tea, and she says if you aren't feeling better by dinner you can eat in here if you want," he says. Ferb turns to him and raises a thumbs-up briefly before returning his hand and focus to Perry.

Phineas quietly watches his brother for a moment before speaking again. "Do you want me to stay?" he asks. Exactly how sociable Ferb is while he's coming out of a meltdown varies. He almost invariably needs some time on his own to mentally reset, but sometimes it helps if someone he trusts is there to reassure him for a while first. In Phineas' experience, asking is always the best way to tell.

Ferb hesitates for a second, then surprises both of them with his answer, which is to turn and collapse into Phineas' lap with one arm hooked over his legs in a sort of pseudo-hug. Phineas tenses up, not sure how to react. He cautiously puts an arm around Ferb, in a comforting gesture that doesn't fully subject him to the overwhelming sensory experience of a true hug. Ferb doesn't fight it, just repositions himself so that he's lying down with Phineas as a makeshift pillow and sinks further into the gentle embrace. Phineas laughs softly. "Okay, I guess you do."

This is nice, Ferb thinks. Definitely an improvement over violently sobbing alone in his room. Perry must be feeling relaxed too, because he climbs onto Ferb's stomach, circles a few times, lets out one more chatter, then flops down and goes to sleep, purring gently. Phineas giggles at the platypus' behaviour, and Ferb's shoulders shake in silent laughter - his blanket absorbs enough of the sensation that it just tickles. Watching Perry doze off reminds him that he's still exhausted, despite the positive change in environment, and his attempt to stifle a yawn fails. He's still on high alert, and he knows he won't be sleeping for longer than a few minutes until the emotional clutter completely drains from his mind. With that said, both the blanket and Perry weighing down on him make for a pretty cosy combination, and he finds himself fighting to keep his eyes open. Maybe just a moment of rest will be good for him.

Before he knows it, his eyes are closed, and he's powerless to prevent himself from drifting off. Phineas accepts his new career as a pillow without comment, simply adjusting his right hand so that both his arms are positioned protectively around his brother. Being trapped in place for the time being doesn't worry him. Ferb won't mind being stirred awake when their mom arrives with his tea, and until then Phineas can easily occupy himself with thoughts of what to do tomorrow. Besides, he can subject himself to a few minutes of quiet if that's what Ferb needs. What kind of a brother would he be if he couldn't, right?

Ferb half-consciously brings a hand to Phineas' wrist, as if it'll float off if he isn't holding on. He can feel his brain shutting down, and he welcomes the change. The last thing he's aware of before his consciousness finally leaves him in peace for a moment is the sound of Phineas' voice, promising him, "You're gonna be okay."

#zos writes #phineas and ferb #ferb fletcher #phineas flynn #won't tag perry or linda since they're side characters basically #anyway please for the love of god reblog this. links don't show up in tags so literally the only way people will see this is reblogs #i'm serious about the fuck off too if ph*n*rbs even LOOK at this post i will stomp you to death with my hooves

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sourwormsaresour · 4 years ago

Note

what are your thoughts on La Squadra's sexualities?

First off, Happy Pride Month! Please have a safe one. Before I start, I just want to let you guys know that I’m a straight cisgender woman so I’m not 100% knowledgeable on sexualities so these are based on my current knowledge of the community. I’m open to all head-canons about La Squadra’s sexualities besides my own :)

Sorbet and Gelato are gay, both using he/him pronouns, and are the most out compared to everyone in the team. Even though La Squadra knew about their relationships, the two themselves aren’t open about it outside of the team and their families. This is especially because relationships can be used against you in the crime world but also because their families rely on them to have a “good reputation” to live comfortably. I head-canon that they are both breadwinners of their families: Gelato has siblings that go to very conservative, academic institutions and rely on scholarships that look into family history for recommendations, and Sorbet’s mother requires medical attention from reputable doctors that also have homophobic biases that can be used against her. They’ve secretly used some of their money to help a street kid or two that they learned was disowned after being outed or assassinated a few people for hurting kids for being part of the LGBTQ+ community or even preying on them. The two men probably both went through phases where they thought they only liked women, tried to be in heterosexual relationships, and their enemies-to-lovers type of relationship had probably stemmed from their inability to properly process their attraction to each other at the time.

Formaggio is bisexual and prefers using he/him pronouns; he has a stronger attraction to women but is unaware that he’s attracted to men as well. A big part of why he’s so unaware or in denial of it came from his conservative upbringing in a working-class family and lack of representation growing up. Formaggio knew that men can be attracted to other men, but other aspects of the LGBTQ+ community is either unknown to him or seen in a negative perception; he’s learning more about the community and how to be a better ally, especially after meeting Sorbet and Gelato, but he’s still struggling to reverse the anti-LGBTQ+ sentiments he grew up believing. As a result of his past, Formaggio assumed that one can only be attracted to one gender and never crossed his mind that people can be attracted to more than one. He often tries to hide his attraction to men via “straight guy who’s unaware he’s gay occasionally spits homophobic jokes and says ‘no homo’ every time he says "I love you" to his friends but he means full homo” approach.

Illuso is pansexual and gender fluid, preferring he/him/they/them pronouns most of the time but also likes using neo-pronouns and occasionally prefers to use she/her pronouns. As a former intern for a fashion designer before he joined La Squadra, he’s relatively more exposed to meeting different people in the LGBTQ+ community through fashion; those who were higher in status and power would be more out about it than those in lower ranking and the community was a huge source for avant-garde, counter-culture influences. Despite getting more inspiration for his designs from his interactions and developing his identity in the LGBTQ+ space, that also led to him witnessing discrimination, abuse, and powerplay caused by the higher-ups; some became victims simply because of rumors that they may be part of the LGBTQ+ community or being forcibly outed, some are forced into relationships in exchange for opportunities and privileges, etc. He remains closeted and part of his arrogance stems from him hiding his sexuality due to the trauma of enduring the abuse and witnessing it as well. La Squadra doesn’t know his sexuality or know that he’s genderfluid, but they’re fine with adapting to his pronouns whenever they change.

Pesci is unaware that they’re gay and are non-binary that prefers they/them pronouns. Although they try to stick to he/him pronouns to avoid being out, they like using they/them more and get secretly happy when someone refers to them as such. I head-canon that they’re actually younger than Giorno when they encountered Team Bucciarati, which would explain why he never killed anyone up until this point (they’re a literal kid that’s slowly getting involved in the team when Sorbet and Gelato were killed, albeit they’re on the buffer side despite their age), and with their sheltered childhood and Prosciutto’s strict mentorship, they never got to sit down and think about their sexual and gender identity. They often try to pretend they’re a macho straight man alongside Formaggio but they end up feeling bad about it after trying to say a bad comment or joke to fit in. Pesci themselves feel like they’re alone in terms of the emotions of not being able to put your sexuality into words. It doesn’t help that they’re rather isolated compared to everyone except Risotto; they only knew La Squadra as their family ever since they joined the team and they never talk to anyone outside of the group.

Prosciutto is bisexual and genderfluid, preferring to identify with he/him pronouns, but he’s also the most closeted and probably has the most internalized homophobia as well. Growing up in the entertainment industry, especially in acting, means adhering to heteronormative standards; controversies of any kind would make or break a career and he constantly heard homophobic statements “disguised” as critiques around him from all levels of the entertainment industry. The fact that he was overworked up until his “career retirement” also didn’t give him the time to sit down and realize both his sexuality and how fucked up the film industry is in terms of its treatment towards the LGBTQ+ community. With his upbringing of being presentable and hiding his sexuality, he tries to present himself in the most Italian metrosexual straight machismo man he could and uses his “gentleman charms” towards women to avoid people from questioning further about his sexuality. But at the end of the day, he knows he’s lying to himself about his sexuality. And unfortunately, his anger at being unable to express that is often misdirected.

Melone is demi-sexual, though he presents himself as asexual and panromantic, and prefers using any pronouns. Like his teammates, he prefers using he/him for his safety. As a former scientist, he learned and got to know about the LGBTQ+ community through a more scientific perspective, but also knew there are hidden homophobic biases in the science community as well. Still, he does his best to be an ally for his peers before realizing he is demisexual and panromantic. His sexuality allows him to view the incubation and child-rearing aspect of his Stand without emotions or feelings involved and further explains how he views fornication and training his Juniors in a very scientific and analytical way without guilt taking over. Despite presenting himself as ace/straight (mostly for safety and because it’s easier to explain that he has no attraction to people than being a demisexual), I also see someone who yearns to have a strong emotional connection to someone and would give his all to the person he loves most. His overtly sexual nature is more of an act (I've heard that some aces tend to act overtly sexual, either to avoid being outed or as a result of growing up thinking that need to feel an attraction is necessary) and Melone secretly desires being attracted to someone he learns to trust, admire, and love over time. I have a backstory that plays into that but I might disclose it another time. ;)

Ghiaccio is on the same boat with Prosciutto in terms of having internalized homophobia due to his childhood career as a child athlete. At the time he was training to be an Olympic hopeful as a solo figure skater, Ghiaccio was born female and had to remain in the closet due to the conservative nature of the ice skating world and his step-father being notorious for his opinions favoring homophobia and sexism. Once he joined La Squadra, Ghiaccio began experimenting with himself and ultimately came out as transgender, presenting himself with he/him pronouns, and had been using testosterone ever since. Most members that joined after him only knew Ghiaccio as male while the other members are either indifferent about his gender or are involved in helping Ghiaccio transition to be male. Transitioning also helped him realized he was aromantic and gay, which provided him closure from the years of struggle he had trying to fit into the heteronormative expectations he thought he had to conform to when he was female. The effect of testosterone also explains his brash and short-tempered nature, although that stems more from him finally being able to express himself after years of repressing his emotions as a child.

Risotto is also aromantic and asexual, preferring he/him/they/them pronouns, although he doesn’t know that he is aro/ace, to begin with. Growing up, he never really cared when he heard his older relatives or adults making comments about how “he’d make a good husband” or “have the girls chase him”, because all he cared about was his family and friends. He just assumes that once he becomes a “big boy”, then he’ll have thoughts of wanting to get married like the fairytales say. Just let his future spouse have children with him in any way and he'll play the role of husband regardless. Since his cousin’s death, he gave up the idea of having any sexual or romantic interest in anyone. Why to go out of your way to find any relationship when they’ll be dead soon enough- that was Risotto’s logic. He’s not aware that he can define himself as aro/ace, he just assumes that the trauma he went through with his cousin’s death stops him from feeling any attraction and doesn’t make an effort to figure out why.

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rpbetter · 4 years ago

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Sorry if this isn't the place to ask but I'm in need of advice. I have a canon character I truly adore, but I haven't gotten muse or any opportunity to write them at all. My blog is collecting dust and the fandom is kinda dead at this point. Not to mention, it's hard to find compatible writing partners, especially with how picky I can be. I'm honestly considering deactivating the blog (for the nth time), but I don't want to lose the writing I have. I know I could archive, but I hate having blogs just sitting around.

In short, I really want to write the muse/keep the blog but I'm not getting any incentive to do that.

Hello, Anon, it’s totally the place to ask!

I will say, though, that since finding and keeping muse can be flavored rather personally, I can’t promise that what works for me is going to work for you. I’ll even confess that in over two decades, I’ve never personally lost muse. I don’t know if it is due to underlying, neurodiverse style, fixating, or if it is due to keeping myself continually invested in both my muse and writing regardless of what else is going on. (Probably a combination of both, though, and the things I do to keep myself highly in touch with my muse I’ll be recommending.) I’m definitely happy to try to help, however.

That really is a very frustrating spot to be in, wanting to write the muse and keep your blog active, but logging in every day to be reminded of what little reason you have to do so. Since we’re drawn to the characters we are for reasons of personal appeal and writing in itself is a pretty personal form of art, it can also feel depressing on top of the frustration.

However, that’s also the good news, in my opinion, because your incentive here is, or can be, yourself.

You were drawn to this character because you connected with them. They mean something to you, you can relate to them, maybe they have qualities (good or bad) that you wish you could experience. Whatever it is, there’s a reason why you had this draw. Writing is like that as well, there’s a reason why this is a hobby that drew you, that you get enjoyment out of. Again, though all art (it doesn’t matter if it is a hobby) has personal bits of the artist in it, writing is uniquely personal. When you write, you’re exploring thoughts and feelings, giving them life in a character that matters to you. I know, all of that sounds really convoluted and hokey, but it’s true.

And it’s good! That means you always have a reason to write and that you have the tools necessary to find and keep muse without any outside push necessary.

I’d say, firstly, work on getting muse back.

Get back in touch with your muse the next time you feel a particularly strong urge to write. Instead of spending time trying to find people in a silent fandom or forcing yourself to write something you don’t want to, just do some exercises that will help you get back into your muse.

I don’t know what media type your character comes from, but especially if it is something like movie or show that you can have on in the background of what you’re doing, do that. If it’s a comic or a book, think about your favorite scene and read it over first. If you’ve ever made some playlists for writing/your muse, you can always do that instead or as well. The point is to do something passively inspiring while you actively create. Now, that creating...

You want to do something that requires you to think about your muse so you can get in touch with them, not something that is going to make you feel overwhelmed and shut down. So, maybe don’t pick writing prompts for this - you can work up to that. Try out headcanon and character development memes and other question lists instead for right now. Things you can scroll down a list of, find questions that jump out as interesting (or even simply answerable to you at this point, you’re jump-starting a dead battery, it’s alright) and answer them. You can also do something as simple as write down what you like best about the character or their story, or put down the basics of filling in missing information that has always bugged you.

The beauty of this is that it is all on your own terms, your only objective here is to answer what you want, as much as you want. You can stop any time, but you can also answer a single question for three hours, making it eight pages long if the inspiration strikes you. It’s only about recharging your inspiration and establishing a connection with your character again. (This is also going to help you with getting back into writing, or approaching it for the first time, with a more internalized focus of interest.)

When you feel like you’ve done that, you can branch out on these exercises more. Answer the memes more in-depth, answer more of them/the ones you don’t have immediate answers for. You can also try writing out scenes from the character’s canon from their perspective, if it wasn’t already so, adding in their thoughts and feelings, or changing the scene in some ways that would be interesting to write out. This is the point where it’s a good idea to try a writing prompt or two, as well! Take the prompt as a sort of starter sentence from a mutual, you’ve got the situation, fill in with your muse.

Write when you feel like writing. The RPC is great at saying this when it comes to muns not wanting to write, but kind of ignores the other side of the equation. The side where you want to write, have the inspiration and muse to do so, but it might not be the best time. As in, you’re not home/wherever you usually write, with whatever device you tend to write on accessible. No, you’re not going to be able to get as much done, but you can write without the usual situation and device regardless. You can write a scene or ideas down using your phone or tablet, or go old school and use a notebook. If you’re at work and your job isn’t applicable to being able to get down a single sentence, that still doesn’t mean you have to wait 8+ hours to get home; while you’re taking your break, write a little bit. It is a break, and writing is your hobby, it isn’t work. It’s good to do things you enjoy on breaks, and far more fulfilling to have also accomplished something you happen to enjoy.

Not writing when you have the drive to do, putting it off and holding it in until “the perfect moment,” is a great way to lose your inspiration and never actually have that moment. If you feel like doing it, that means it is the perfect moment. Life is restricting, don’t impose even more restrictions on yourself by having to be at home, in a specific spot, with a specific device, at a specific time, on a specific day. Was that annoying repetition? You’re right, it was. And that’s how your creative mind processes all the crap piled onto it that doesn’t allow for creativity.

Now, the other problem, the fandom situation.

There isn’t anything you can do about that, to be absolutely honest. I’m not going to blow smoke and tell you to be positive, wait it out, maybe the fandom will spring to life again. You know, maybe it will...but you could be waiting literal decades for that to happen. Not cool. Please, take my word for that, it’s personal experience that it blows even more than you imagine it will.

What you can do is take the matter into your own hands in other ways; putting yourself out there with more availability in multiple ways.

Are you a single-fandom blog, or are you crossover friendly? If you’re not crossover friendly, try to think of a single, relatively popular fandom that you enjoy. Don’t look at it like a hassle, but rather, just another creative exercise. A serious pitfall of creating alternate universe versions of muses is to take the simplest route, merely picking something you want from that other universe and applying it to your muse with no relevant changes that would naturally occur from it. It isn’t just reductive as hell, it’s not remotely creative, it’s like sticking a sticker on your muse’s forehead and saying that’s a whole different muse. It’s neither attractive to potential partners nor going to sustain your own interest for long. You want this to be a passionate investment on your own end, for yourself.

What not to do:

Let’s say the fandom you picked to do crossovers with is based around magic, the main characters are witches, and they are divided into factions based on how their magical talents display and develop. Not only do you decide to make your muse a witch, you pick the most badass faction. It’s the one full of assassins and action and (metaphorically or literally) sex appeal. Well, that’s also going to be the most popular faction in the fandom. That means there will not only be plenty of big name canons there but also that there’s going to be a plethora of OCs designed just for this universe...and other crossovers from other currently active fandoms.

While that might sound like it’s great for maximizing interaction chances, it’s really not when you’re just starting somewhere new with a character from another fandom that might not be known or liked. It can also take a minute in another fandom’s RPC to identify where the good partners are. Every now and then, it is the most popular and over-populous era/faction/etc., but most of the time, it isn’t. People who write with considerable dedication and talent fairly rarely are in the popular kids club even in their fandom choices. By inserting yourself into that area, you might be bypassing (and being bypassed) by better partners on the assumption that their characters are simply going to bore you to death since they’re not within the scope of your focal point.

It’s not a situation of not being allowed to be picky, you not only have that right regardless of your situation, you also should be. This is not a “beggars can’t be choosers” situation, you’re not beholden to anyone on the basis of being new and bored. However, some of my best, and longest lasting, writing partners over all 23 years I’ve been RPing didn’t/don’t fit with all the exact surface details that automatically draw my interest. It is as true within my own fandom as it is in dealing with crossovers. Opposites (with enough similarities) really do attract and work out well together!

Don’t judge and write people off for anything that isn’t an issue of compatibility with your muse, your writing, or yourself. Decline someone because they do one line only and you are novella, they write topics that are upsetting to you, you can see no way your muse and theirs can interact without instant murder, or because you cannot stand writing with someone who is pulling 90% aesthetics and purple prose. Not because their muse is a witch who uses life-based magic, loves nature, is a healer, and into their health...while your muse in this AU is all about the death, only appreciates an urban environment and is grossed out by animals, kills as an occupation, lives on cheeseburgers and caffeine. You see what I’m saying? Don’t limit yourself unnecessarily!

What to do:

Did you consider if, in that hypothetical idea of a fandom, your muse based on their purely canon self would even fit into that faction? Or is it just something you wanted to see? If you didn’t consider this, or it was the latter, fix that. That’s bad.

If you’re not absolutely dead set on that and only that, think about what really does fit the muse better. Maybe, they would be better as a healer, someone who messes with the very fabric of reality, or someone who manipulates natural elements at will. Then again, they might not even be a witch. They could be more mundane in terms of power, but more accurate and interesting as a normal, human (or whatever). They could even be greatly opposed to the use of magic and witches. Use your muse’s original canon as a base to decide these things.

If you are absolutely dead set on it, though, you have a lot of work to do making the character into what amounts to a markedly different one while still retaining some recognizable aspects of themselves. Consider what events, in this new universe of fandom, might have happened to alter the character thus. Keep in mind that even small changes can have great consequences in a character’s development, and you might need to think about the myriad ways in which that can display, how it changes still more things for this character.

While that job becomes so much more intense when you haven’t planned out a path that matches your muse’s canon characterization at all, it is still an important part of constructing an AU, of any kind, in general. Ask yourself what experiences led to the character you know as you already know them (including your own headcanons, yes). Then, find similar possible experiences within your new fandom verse that can have the same effect. Again, though, it’s important to understand that you are never going to have an identical set of experiences, so you need to explore relevant changes still.

When you do this, you’re allowing your muse to more seamlessly fit into this other universe in a fleshed out, interesting way. Interesting both new partners and yourself.

Okay, next obnoxious question from me! Do you have multiple verses, or are you single-verse?

Whether you are already exploring new fandoms or not, by creating a variety of verses for others to interact with, you’re increasing your chances for interest and activity. When you have a verse from a different fandom you can then, additionally, advertise your presence in both that fandom’s tags when you do a promo or applicable open starter and on active RPer lists for that fandom.

Every popular fandom has such lists. You can get on them by messaging/sending an ask to the blog or by reblogging their post to be added, following the directions. I haven’t seen one yet that doesn’t allow for crossovers. You simply have to tag it as stated in the post, such as “your canon’s name here - original fandom name - crossover.” By tagging your open starter or promo as “-insert fandom here- rp” and “-fandom here- open starter” you allow people in that fandom to find you to interact. Either way is excellent for getting started in totally new places with a character others might be unfamiliar with.

Please remember that if you tag a promo as “promo,” it’ll not show up in searches off of your blog. You know, where it actually needs to be searched. Thanks, tumblr, for being janky! Being more specific as to the fandom and character will help others actually find you. Don’t shoot yourself in the foot by tagging it as “promo.”

Make your verses accessible on your blog itself, in the nature of those verses, and how you set up your page or post that lists them.

Don’t put any page behind an impossible or complicated aesthetic. You really shouldn’t anyway, but when you’re needing interactions, it’s actively hurting your chances. Many people don’t want to have to play a game with your theme, it’s a turn off. Try a pinned post that lists all of your links to important pages like rules, verses, and bio instead. It means that, even from the dash, that information can quickly be found while other muns are first interested, and also that anyone who might be using the app can access it more expediently. (I’m genuinely not a fan or big supporter of doing google docs for rules, verses, bios, etc., as it forces people off site, so I can’t personally say, in good conscious and honesty, that I’d recommend it, but you do you!) You want to keep things quickly accessible is the idea here; when people are interested, you want to catch them right then and there before they have a chance to forget and lose your blog.

As to the nature of the verses themselves, give people real options. Don’t have 20 verses that all read same way. Same themes, plot possibilities, and backstories, or incredibly similar names. Have a diverse list of verses that can act as foundations for a variety of different muns. As many fandoms as you can reasonably have a good portrayal of, and different types of fandoms; not all the same genre (all fantasy, all horror, all scifi). Verses where your muse has substantially different goals, occupations, and other life situations that will involve another muse; don’t make your muse A Warrior™ in every verse, you can keep plenty of those aspects without being that literal. People love “modern” verses set in our own universe and, usually, in our own era. That doesn’t mean you have to go stereotypical or otherwise bore yourself by doing the standard “high school/college verse,” for instance. You don’t even have to designate that sort of thing, let alone make it the focus; simply create the verse by considering what your character really would be like if they existed within your reality.

As a final note on verses as pertains to this point, when you’re doing crossover verses, it’s alright to do some verses where your muse from their own canon existence somehow ends up teleported or whatever to another fandom’s reality, or even our own. Just don’t make every verse like this, it puts the onus of a great deal of creativity and effort onto the other mun by default; your muse has cluelessly dropped into the universe, and while it is high drama time for you, the other mun has to babysit, educate, deal with fallout, etc.

On making the list of your verses accessible, you want to focus on ease of browsing and not being overwhelming. People tend to look through a verse page and not read every verse listed, rather, they look at the titles and breakdowns to see if it is of interest, then read it. Don’t try to make everyone read them all, it isn’t going to happen, and shouldn’t change your effort any as the right people are going to find the verses that interest them...if you make it clear and easy enough.

Have a basic format you stick to, firstly. I do it this way: small verse banner, title of verse (linked to its overall tag so that muns can look through the tag at headcanons, aesthetics, pictures of the FC, and threads), muse age/age range, small blurb, possible triggers found uniquely or just heavily within this verse. In that order, one following the other in a simple, but pleasing way. Below that, is a more in depth breakdown of the “verse canon.” Sometimes, that is giving a brief rehashing of canon itself and anywhere my muse differs, be it in this verse only or overall, ending with where my muse is in this verse. Not literally where. I mean their present occupation, emotional and general state in life. At the very end, I provide any other relevant links and/or an expansion on the triggers mentioned at the top of the verse description if they’re that serious/recurrent so that muns can decide this isn’t the verse for them. I happen to have a potentially triggering muse, triggering verses, and writing triggering topics, though. That’s not something everyone needs to do.

Secondly, group your verses in a sensible way. I do my short list of default verses first. (And, I do mean short, you don’t want this be any more than four or five, it is overwhelming right out of the gate.) For me, that is two default verses of canon at different points on the timeline, one default AU that is a bit of a reversal of canon, and one default “modern” verse. Then, I list the verses that are in line with the altered canon one, just different possibilities, changes, points in history. After that, the different “modern” verse options. Then, verses for other fandoms, the crossover verses. And so on. This way, a potential partner can find the type of verse that might appeal to them and have an easier time picking from those possibilities and getting ideas.

Lastly, don’t be so succinct that you give too little information and underwhelm, but also don’t be so excessive that it takes all of the mystery of interaction away and overwhelms someone. It can be a difficult balance to strike, and some verses require more information than others, just experiment a bit. Additionally, it’s fine to link to pertinent information for the other mun to view aside from this, but don’t just link people to a fandom wiki as your “description/bio.” That isn’t giving information on how you write this muse, approach this fandom, or what another mun can otherwise expect. Keeping your descriptions interesting is important, you’re not giving a boring lecture, you’re trying to inform someone while making them hyped for their choices. It’s more interesting, and informative, to read if you do them with an ear to the “tone” of your muse in that verse. Is it a sad one? Sound that way. These can, indeed, function as snippets of your writing, so be sure you are writing them with the same care you should be giving your replies; spellcheck, good word flow and use, mind the grammar, and read over what you’ve written for common, easy mistakes.

Again, by giving a genuine variety of verses to choose from, you’re allowing for a greater reach in potential partners. Everyone from those still in your original fandom to those in new ones, all the way to fandomless muses will be able to interact with you this way.

Finally, in regards to what you can change or do when you’re in a dead fandom and seeking interactions; make sure you are increasing your reach by using proper tags, being honest about what and how you write, and don’t wait for others to stumble across you.

When you use tags properly, you’re increasing your chances of being seen at all. Every time you post something at all applicable on your blog, tag it with relevant things. Tag as described above with whatever fandom it is and “RP,” your character’s name, “open RP,” character name and RP, indie RP, open starter, and so on. Be sure you are optimizing your tags by placing the most relevant to finding you in the first four, those are what show up in site-wide searches only. Anything after that isn’t going to appear in a search across all tumblr.

By tagging your character’s name, as a canon, you should know that you are likely to get personal blog interaction. I’m pretty against being nasty to personal blogs for no reason, as I don’t appreciate personal and fandom blogs being shitty to me for the sole reason that I am an RPer. Please, use clear, short, attention getting directions for them. If you want no interactions with them, put right in the description of your blog “RP blog, does not interact with personal blogs.” When you say things like, “personals dni,” or “personals blocked,” you’re not doing anyone any favors. Personal blogs often don’t even know what the hell a personal blog even is! They do not denote themselves this way, to a personal blog, they’re just a blog. By designating first that you are an RP blog, you’re making it clearer that they’re the personal; they’re obviously not an RP blog, so that must make them a personal. Follow this up in a pinned post, right on top. Give a note to personal blogs that describes them as “any blog that isn’t an RP blog” first, then either tell them in brief what they can and can’t do or that you don’t interact and will block.

I don’t recommend taking your blog off of being findable, however. That’s alright once you have the RP activity you are looking for, but until then, it’s working against you. Other RP blogs cannot easily find you either, they will only find you if you’re on a list or appear in their recommended blogs, if you interact with a mutual, or are recommended by a mutual. You’re not just lessening your chances of personal blogs finding you, so if you have that turned off, turn it back on.

Don’t entirely rely on others finding you regardless, though. You can’t be 100% passive when you have no interactions, and by relying solely on serendipity you’re far less likely to get them. I know that everyone here is terminally shy, but seriously, you have to do more than put your silent will into the universe that someone perfect find you. You have to make this happen. Once you get a few people, you can afford to be more passive. Not only do you have some people to write with, you will be more visible to their mutuals, and more established as a presence. I’m not saying this is easy, or that it will become easy, not awkward or stressful, if you have a legitimate issue behind the shyness. Just that it is the only way to really proceed, and I believe you can do it!

So, go looking for interesting blogs. Be crossover and OC friendly (again, this doesn’t mean “accept everyone,” there are valid reasons for not accepting people you won’t work out with that have nothing to do with their fandom or being an OC), and search those fandom’s RPCs, following any blogs you think you might work out with upon reading their rules and other pages. Search for fandomless OCs and do the same thing. Fandomless OCs aren’t just floating around in the ether, they just weren’t created expressly for a particular fandom and within its confines. What is excellent about that is their ability to have a wide variety of verses and many possibilities to fit into any fandom or verse. So, don’t count them out solely on the basis of being an OC and fandomless. It doesn’t mean what people seem to think it does!

Do not stop at having followed 50 blogs. I mean, other than that you probably should stop following people for a bit. That you should do, as you need to be building writing relationships here, not following so many people that you cannot get to them. Don’t just stop at the follow, though. Since you’ve read their rules and information like a good RP partner, you should have some idea of what their interests are and where they align with yours, as well as how they prefer to be approached, if they accept memes right away to start, need plotting, have a rules password. When they’ve followed you back, proceed with interaction!

Ask if they’d like to plot when they have time, you’re really looking forward to writing with them. But...have some idea of a plot, please. It is a serious turn off to have someone message you wanting to plot, only to reply and get “lol I don’t have any ideas, anything works for me/whatever you want to do.” That isn’t plotting, it’s one party coming up with ideas and constructing a plot while they’re being told “I’m fine with anything.” That may be true, but it’s disheartening and a red flag for many people. If you genuinely can’t come up with anything, pick verses that match up well and suggest doing something within them.

“When you have the time, would you be interested in discussing writing? I was looking at your verses, and I think your verse -name- and mine, -verse name-, would mesh well.” Is a good way to start. Once you have a discussion flowing about the verses meshing and the muses, it’s typically easy to organically develop some plot ideas to go off of.

If both you and the other mun are alright with plot-free interaction and memes, you can send a meme any time. If you can’t find any memes on their blog, look for a wishlist or navigation page that shows you the tags for memes/wishlist. Still can’t find it? Ask them if they’ve got a wishlist or meme tag you can look through.

Additionally, if open starters are a thing you both do and are alright with, find some of theirs and respond. Post your own, tag it appropriately to be found in general and on your blog, and reblog it once or twice. Don’t excessively reblog it, and don’t get upset on the dash if no one interacts with it or any memes you reblog. Both are demanding to outright guilting, and not a good way to get partners. Just provide them with the ability to easily interact by making the posts available in the first place and by making them findable on your blog search and navigation.

Provide something for potential partners to see. Since you said you already do have writing, that’s great! That’s content on your blog that your partners can view. However, since you’re also having the issues you’ve stated, it’s likely that you haven’t many new posts. Show that you are active, interested in being here, and how you write your muse (and in general) by posting some newer content. For original content, do a headcanon or some meta, or post about new verses you are adding, the changes on your blog, a promo. For reblogs, things pertaining to your muse like canon imagery, fanart, quotes from canon or that generally express your muse, and aesthetics relevant to your muse are all excellent things to queue.

Use that queue. Not only do very few people appreciate having dash spam of similar content for the comparatively short time you might be around, but also, running these things on a queue means you spread that out for maximum view. While there are hours of heavier activity, you’ll have mutuals who are on at unusual hours due to their life and preferences or their timezone. This way, you’re not appearing inactive, if not outright invisible, to those mutuals. It’s not a bad idea to use a queue tag so that people know if they interact with a post that’s been queued, you might be here to quickly respond.

Ultimately, to fix your fandom and lacking partners problem, you just need to up your availability and reach beyond that fandom alone. Be proactive in following and approaching, decline blogs based on not working out only, utilize tags and fandom RPer lists, have everything on your blog easy to follow and not overwhelming, and have your verses meet as wide of a range of people as possible while also not being overwhelming.

Try updating your promo, as well, by the way. They’re not dead, they just really tanked when people kept making them based solely on aesthetic principle instead of being at all informative about the muse. They do seem to be coming back, so it’s a thing to consider.

Yes, make it visually appealing, it will draw people to reading it. No, do not just use a song lyric or quote with words highlighted linking your rules, verses, bio. Tell people basic info like the age of your muse and yourself, if you are multiverse and multiship, your muse’s canon verse and a couple of big interest verses of other major fandoms or themes that tend to be of interest to people, and what kind of RP you write - one line/para/multipara/novella. Absolutely give links to rules, verses, bio, and either memes, wishlist, or open starters, but give them just like that; make it very clear what this link is to. Put a very short statement of interest on there denoting that you’re expanding to new fandoms and looking for writing partners.

Do not sound desperate, demanding, or devaluing of yourself. Don’t say shit like “because my fandom is dead,” “trying this before I give up and delete my blog,” or “I suck at interaction/writing/ooc interaction/being a person but welp giving it a try, so follow and hit that heart.” (Conversely, calling yourself derogatory things and implying that your partners are too, such as the “we’re all just losers here” shit.) All of the above are not attractive, and they’re not even surprising enough to stand out anymore. It’s another reason to scroll right by that promo because nothing at all was different or of interest.

And as a wrap-up/rehash of the first topic, getting muse back: try starting over at the beginning by approaching the media involving your muse that has really stuck with you emotionally over the years, and exploring and developing your muse again.

Don’t tell yourself you can only write, for example, at home, on the laptop, after 7pm, and with a pop toy staring at you. The best thing about writing, as opposed to so many other hobbies, is that you can do it anywhere! So, do that. Do it any time you both feel the inspiration to do so and aren’t going to get fired or expelled for it. This isn’t work, it’s something enjoyable that does take effort (like literally all creative activities and skills do), but approaching it as though you need to follow novel writing advice from someone who has never published anything of note and isn’t you on the internet, with strict rules for success makes it feel that way. So does being frustrated with a dead fandom, no interaction. It’s disheartening, feels as annoying and fruitless as work often does. You probably need to break out of that mindset, and you can only do it by beginning to allow yourself to be creative on your own terms, entirely for yourself.

Do write simple things at first that you are inspired to do (you can’t get a scene out of your head, or a bit of dialogue), and/or headcanon/character development memes and question lists. Build from there as you get back in touch with your muse, writing things primarily or entirely for yourself still. Expanding on headcanons, doing some meta, or maybe writing out a missing piece of canon or what you’d be interested in seeing happen in canon if some event was altered.

Doing this sort of thing, you are getting in touch with your muse again and back into the real spirit of writing creatively, simultaneously.

Whatever you find most inspiring, do it. If it’s watching the movie or show again, do that, have it on while you write or simply think on the character’s actions, thoughts, and emotions during those scenes. If it’s reading the material again, do that, and read snippets of personal importance before you write. Maybe it’s some past playlists you can have on while writing, or even while you’re cleaning, walking the dog, driving or riding somewhere. It could even be your own previous writing! Go ahead and re-read that, it sounds like you still appreciate it, and that’s truly promising. If you find that you’re horrified by some of the things you’ve written in the more distant past, hey...that’s not just valid as hell, it’s natural. You know what else it is? An inspiration. You can clearly see that you could do better, that means you now know how to do better and are ready to do so. Validate yourself, prove it to yourself by rewriting or fixing something.

Don’t delete the blog or archive it. It is unpleasant to have a dead blog around, but don’t keep it dead. Use the same blog and simply transition it into wider things that will net you more partners and the interactions you deserve.

Look, even if you weren’t the most popular blog in your fandom before it went quiet, you really appreciated the blog, muse, and writing you were doing. You’ve defined that it wasn’t something you did to cause this situation, you just had the shit luck we all run into eventually of being in a fandom that ran out of material or interest. People are really fickle, so by taking a wider approach and fixing on the writing and muse instead of fandom now, you’re stopping this from repeating. Seriously, on a long enough timeline, every fandom dies or goes into hibernation. If you make a whole new blog with a different muse, it is going to happen again eventually.

So, don’t feel like you’re ridiculously clinging to the past and need to move on, you’re just sticking to something and can continue to stick to it through the next five fandom deaths. Just because it is the most popular thing to do to drop muses, constantly add new ones, and have this attitude that you can “blog refresh” your way out of recurrent, and inherent, problem doesn’t mean it is actually the right thing to do. It’s not even the most sensible, and certainly not the best thing to do with anything you’ve spent time and effort on.

That’s your incentive; yourself, the time and care you’ve put in, and your continued interest in writing and the muse. You’ll find good people, and bluntly, everyone else can fuck right off when you’re incentivized by yourself. It becomes a self-fulfilling activity at that point, I swear, and it feels really nice.

Just get back in touch with your muse and writing itself so that you can begin to expand and start interacting again!

#rp advice #rp problems #rp help #muse loss #dead fandoms #rp better #Anon E. Mous #answered

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greenteabtch · 4 years ago

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your characterizations of sebastian are so interesting and got me thinking! how does meeting helena impact seb? does he go through some kind of development in his relationship to the chantry over their years? what point in terms of self-image would you love for him to get to?

Hi Gabi!! Thank you for asking :) you’re about to enter the #Deep Sebastian Lore.

So before I begin to tackle this, I feel like it’s important to acknowledge that there are many different interpretations of Seb’s character. I consider him a lot more malleable in final interpretation than a lot of the da2 companions because his Rivalry and Friendship route actually results in two very different outcomes with regards to primary characterization. (Other characters like Merrill also have this, but I personally don’t consider a rivalry route with her or Isabela to be healthy or done well in any valid manner of speaking so I do not see it I am looking away.)

As a quick sum, Sebastian’s Friendship path commits him further to the chantry and quells his disagreement and conflict with his role as a brother, thus making him more complacent, while his Rivalry path spurs him to reclaim Starkhaven by encouraging him to give in to his dissent and impulses, eventually making him more headstrong.

Both of these are valid because each character trait that gets emphasized, depending on the path, all make up the whole of Sebastian as he is. He is compassionate, pious, and faithful, but also rash, stubborn, and witty.

This is all set up to say that in my personal canon, I follow the rivalry path because it aligns the best with my personal experiences and identity, as well as (in my opinion) encourages Sebastian to fulfill his wants best. Unlike other rivalry paths, it is able to encourage growth and development in a manner that isn’t harsh and abusive, as it targets his ideas and ideology taught to him rather than his personality or integral core as a person. I like that it inspires him to question the chantry as an institution while maintaining his faith in a personal way.

In addition to that, (cw for mentions of neglect and abuse) the rivalry path allows him to take his faith, and his expression of that, into his own hands. From a young age, The Vaels believed that their youngest son of three, Sebastian, was a disgrace to the family name, and would be a weight around his brothers' necks. According to the wiki, Sebastian had always had faith but it was not his will to enter the chantry. His short story implicates how drastic the situation was for him, as he describes the Chantry as a prison, his room as a cell, the guard as his jailor, and even more, but notes how he is still wont to pray to Andraste for his safe escape. Even so, when he is given the “opportunity” (It doesn’t feel like a true opportunity, as I read it, but I digress) to leave, he is trapped, stuck by his parents’ descriptions of himself and what he will be if he chooses to leave. “Words race through my head: useless, aimless, selfish, alone.”

Because of this, I don’t truly believe that it is necessary for him to recommit his vows of chastity, poverty, or any others as a brother in order to stay true to his faith or his character. Traumatized by his parent’s neglect for him as the son “left in the cold,” for they already had the “heir and the spare”, Sebastian was forced to accept his position as one that would never be of value to his parents, purely because of his order of birth. He was resigned to be worthless (which, I honestly think was the reason he acted out so heavily as a youth), till his parents gave him an out by committing himself to the Chantry. As a result, I connect the friendship path of staying as a brother as one that is not the kindest (as it may appear), but the one that is the most affirming of his worst fears for himself. That he, his desires, wants, dreams, and choices, are worth nothing unless he resigns himself to a life of piety and service. In sum, there are many ways to keep that faith the way he had always had it without giving up the excitement of life and love he clearly thrives in by recommitting him to the Chantry.

Personal Canon: I believe that Helena immediately presents herself as an aloof and standoffish force for Sebastian, though one that does not deter him, but challenges him. He certainly has no trouble befriending any companion (except for Varric, but that’s more about his insecurities than Sebastian’s lmao), and Helena is no different. More than just his general disposition to making friends, though, he has a curiosity about her. Because she works directly and has no qualms about violence as a tool to aid others, he sees an inkling of his desires or questions about himself in her and she encourages that further just by her actions. Other than the attraction things (they both like to cook, they both think the other is hot, they have similar family situations, they’re both secretly compe-- ok i’ll stop) he has a vested interest in listening to her disagree with him because she is a part of a new perspective that he has never considered, nor ever been given the option to.

For my custom rivalry path, Helena expresses consistent disagreement with how Seb has been treated, both by Elthina and by his parents, and encourages him to make the choice that he wants, not what the chantry wants or what his family wanted.

Throughout the acts, Helena allows him to vent his contentions with his role to her, usually over food as they watch the sunset outside the Chantry. For Helena, things run very simply, not exactly black and white, but in a manner where she knows exactly which group of grays each action lies in. I think this simplicity is helpful in getting Sebastian to confront his past. For example:

“My parents thought I was a disgrace to the family, so they forced me into the Chantry to make something of myself.”

Helena looks at him with wild and confused eyes. “They didn’t like how you acted so they imprisoned you? Didn’t they care for you?”

“Well… Yes, but it wasn’t as if I was a good son.”

“You were a son. That should have been enough for them.”

Additionally, her own complex relationship with Leandra allows her to identify the abusive behaviors of his parents and the manipulative actions of Elthina later. This pattern of confrontation and disagreement between them continues until Act 3, and along the while, Sebastian’s dissatisfaction with the role of the Chantry wedges him farther away from his possible recommitment. By the end, he is able to recognize that he has worth as a human being regardless of whatever choice he makes and that he doesn’t have to sacrifice his life as Andraste did in order to be considered deserving.

It’s at that point that he solidifies his choice to retake Starkhaven, with the hopes of bringing Helena along if she’ll have him, and sticks it to his past controllers and manipulators by doing what he knows he can do better than anyone.

In terms of his self-image, I think Sebastian simply deserves to know he has worth regardless of whether or not he is the epitome of good service and faith. I want him to be able to be “selfish” and acknowledge his wants as not things that are impure and lower his value, but a part of what makes him a human being, and one that makes him a good one too. Because of his wants and desires, he retakes Starkhaven, which is ultimately the best choice for the people there because his contender for the throne doesn’t know the first thing about ruling a city-state. Sebastian, at his best, will acknowledge his desires with temperance and balance, such that is accomplished by his faith. When all is said and done, Sebastian will only be complete when he can find faith and life through his embrace of self.

#wow im so sexy for this #thank you for askin gabi T_T ily #asks #gayvhenan #sebastian vael #my meta #neglect cw #abuse cw #da2 #dragon age 2 #ship: wings sprout from broken backs

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notallthosewho-wanderarelost · 4 years ago

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Since it’s Tuesday and we get Loki 1x05 tomorrow and then I’m seeing Black Widow the day after, and I guess I’m doing these now, some thoughts on Loki 1x04.

Hopefully this will be a shorter post due to me not knowing wtf is going on. This show is so chaotic and it’s perfect but that makes trying to predict it impossible. How VERY LOKI OF IT.

NOPE, NOPE THIS IS NOT A SHORTER POST, I have no idea what is going on plot wise but this episode gave me a lot of character stuff to talk about apparently.

Alright, let me get the big one out of the way. I’ve already said this in various places, mostly tags, but if I’m gonna make this post it’s gotta be here. I’m uncomfortable with Loki/Sylvie being romantic. Would prefer for Marvel to stay away from selfcest. PLEASE. I’m kind of hoping and wondering if it’s a fakeout for a reveal that Loki has finally learned to love or at least accept himself through his care of and admiration for Sylvie, which would be VERY Agent of Asgard-esque and I can see it being very probable.

I think giving Loki a love interest of any kind was always going to be difficult to pull off, but especially Loki as he is at the point in time when the show finds him- fresh off his attempted takeover of Earth and probably still deeply reeling from the revelation of his adoption and also likely mentally affected by any torture and/or mental manipulation Thanos might have done on him. Loki’s self-loathing is probably still close to an all-time high here and he’s questioning who he even is. I’m not saying that you have to love yourself before you can love someone else- I don’t think that at all; in fact I think loving someone else would probably encourage someone to value themselves more- but Loki as he is here I think would need to work through some of his own issues before he could get involved with anyone else. I think that Loki would need to learn to love himself first, to accept that he’s worthy of love, before he could genuinely fall in love with anyone else. (Remember this, I’ll come back to it.)

I got major sibling vibes from Loki and Sylvie on Lamentis. Like I said last post, they felt like alternate universe twins to me. They’re the same person from different universe, but also very much not the same- I feel like twins is the closest description? I can admittedly be pretty awful at picking up romantic vibes when I’m not expecting them, but I did not get romance vibes at all.

I also feel kind of annoyed that we would never be having this conversation or having this as a canonical ship option if Sylvie hadn’t been female. Loki is now officially canonically bi, (which means Sylvie is too btw) but in comics Loki is both bi and also genderfluid. Lady Loki is just Loki when Loki is identifying as female. So having Loki fall in love with a female version of himself feels both unnecessarily heteronormative and kind of...awkward in terms of 616!Loki’s genderfluidity, to put it lightly. (Note: I am not genderfluid, this is just my opinion, please prioritize actual genderfluid people’s opinions on the subject over mine.)

That said, after I finished the episode I was genuinely confused if they were actually going there and had to go look up interviews to see what the Loki team was saying about it. I found this interview with head writer Michael Waldron, also featuring quotes from director Kate Herron and from Tom Hiddleston. Relevant quotes below:

“That was one of the cruxes of my pitch [for the series], that there was going to be a love story,” head writer Michael Waldron explains to Marvel.com. “We went back and forth for a little bit about, like do we really want to have this guy fall in love with another version of himself? Is that too crazy? But in a series that, to me, is ultimately about self-love, self-reflection, and forgiving yourself, it just felt right that that would be Loki's first real love story.”

Loki reassures her that while they might lose, they don’t die — they survive. He goes on to call Sylvie “amazing” for how she almost took down the TVA on her own, and it’s clear from the look on his face that even though they’ve only been together a short while, Loki’s already come to admire and respect her. As the moon literally crumbles around them, Sylvie places a hand on Loki’s arm, and that’s when it happens: A branch on the Sacred Timeline. These two Lokis are having a moment they were never supposed to have, which as Mobius puts it, is “pure chaos.”

“The look that they share, that moment, [it started as] a blossoming friendship,” continues Waldron. “Then for the first time, they both feel that twinge of, ‘Oh, could this be something more? What is this I'm feeling?’ These are two beings of pure chaos that are the same person falling in love with one another. That's a straight-up and down branch, and exactly the sort of thing that would terrify the TVA.”

...

“Who’s a better match for Loki than himself?” director Kate Herron chimes in. “The whole show is about identity. It's about him, and he is on a very different path, and he is on a different journey. He sees things in Sylvie that he is like, ‘Oh, I've been there. I know what you feel.’ But she's like, ‘Well, I don't feel that way.’ And I think that was the kind of fun thing about it. She is him, but she's not him. They've had such different life experiences. So just from an identity perspective, it was interesting to dig into that.”

“When Loki meets Sylvie, he's inspired solely by curiosity,” reveals Hiddleston. “He wants to talk to her and understand her and try to discern what was similar about their experiences, and what was different. He keeps asking her questions because he wants to see if his experience was also her experience. I think he realizes, and she realizes, that while they're the same, they're not the same.”

Aside from the parts where Michael Waldron says “...have this guy fall in love with another version of himself...” and “the same person falling in with another version of one another,” everything they talk about in this article could be read as Loki and Sylvie caring for each other in a way that’s not necessarily romantic. Waldron even says that the series is specifically about self-love and forgiving yourself.

(Coming back to the thing from earlier about Loki needing to love himself now.) The way I’d read Loki and Sylvie’s relationship, especially from Loki’s side since we know more of his history, is that this is the first time that either of them actually cares about themselves. Because of their trust in and their love for each other, they’re each able to see themselves as a person worthy of love. I think that’s what the Nexus Event was. I think that’s why Loki and Sylvie’s moment of connection destabilized the timeline. Because Loki’s self-loathing is a deep root of his villainy, and the sacred timeline needs Loki to be a villain, two versions of Loki feeling self-worth, at the same time and place, created a HUGE nexus event. Loki even says it himself in the first episode: he doesn’t enjoy hurting people, he does it because (he feels) he has to, in a desperate play for control. He lashes out and hurts people because he thinks it’s the only way for him to have some control over things.

What Loki starts to speak to Sylvie at the end, he says, “This is new for me,” and references the nexus event on Lamentis. We never get to hear what it is that’s new for him. The episode sets it up to make us think that Loki’s about to tell Sylvie that he’s in love with her. But I think (or hope) that he was about to say something more along the lines of how the time he spent getting to know Sylvie on Lamentis helped him learn to care about himself and see his own self worth. That’s certainly a new feeling for him, since Loki seems to have always been an outsider and been looked down upon. And actually saying out loud that he’s starting to gain a sense of self worth would definitely be new for him. Loki knows that he and Sylvie will figure this out because he’s figured out the nexus event on Lamentis- that when they accept themselves and their own self worth, they can do pretty much anything.

I think it’s also worth mentioning that we never actually hear from Loki himself that he’s in love with Sylvie. We only hear it from Mobius, who’s feeling pretty betrayed by Loki and uses the entire concept to write Loki off as a huge narcissist. That way, he won’t feel as bad about Loki betraying him, or about sticking Loki in a time loop jail. Not that Loki would be the type to shout any romantic feelings to the world, especially in this situation, but the way he kept denying it didn’t seem like it was something he had to lie about.

This episode also called Loki a narcissist a lot; I assume to set up the “reveal” of his feelings for Sylvie and explain why he would fall in love with an alternate version of himself. But while Loki is many things and sure has a lot of issues, I do NOT think narcissism is one of them. When the time loops really start to get to him, he says to Sif: “I crave attention, because I’m a narcissist. And I suppose it’s because I’m scared of being alone.” But that second sentence completely contradicts the whole idea of narcissism! According to a quick google, the definition of “narcissist” is “a person who has an excessive interest in or admiration of themselves.” But Loki is the exact opposite. He has such a low opinion of himself that he acts out to get attention, because he’s so used to being overshadowed, overlooked and alone that he’s afraid that if he doesn’t do things for attention then nobody will give him any. He can be arrogant, yes, but even a lot of that stems from well-earned confidence. Loki is very talented magically and is used to being the smartest person in the room. He knows what he’s good at. But he sure isn’t attention-seeking just for its own sake. Any narcissism he’s displayed, he’s done since becoming a “villain” in Thor, and it’s actually been a mask to cover up his massive inferiority complex.

I also think it’s definitely worth mentioning that when Loki calls himself a narcissist, he’s repeating what Mobius said to him earlier. Loki clearly does care about Mobius and his opinion of him and feels bad about how things have fallen out with him. He’s also been through the time loop dozens of times now, and there’s a reason the TVA picked that memory. Because what Sif says to Loki really reflects his deepest fear. He doesn’t want to be alone, but he has such little love for himself that he might very well think he deserves to be. Loki’s emotionally exhausted at that point and just wants things to stop.

Okay. I think that covered most of my character analysis of the episode. I have some theories about Sylvie and the Time Keepers/TVA, etc, but they won’t be anywhere near as long as THAT^ was.

To start at the beginning of the episode: Sylvie’s backstory is SO SAD. I want to hug her. She spent almost her entire life on the run, growing up and living in apocalypses so the TVA wouldn’t catch her again. She didn’t deserve any of that and I’m so upset on her behalf.

Especially because as I said in another post, I think that the reason Sylvie got taken by the TVA was because she was never going to be a villain. Sylvie was kind and wanted to be heroic in the clip we see of her as a child, and she knew she was adopted. She was never going to be the Loki the TVA needed her to be for the Sacred Timeline because nothing would have ever pushed her to do what our Loki did.

The scene with Sylvie and B-15 was so good. Sylvie was kind to B-15, because her natural instinct is to be kind, and I have so many feelings about that. I love Sylvie. And then B-15 coming to the rescue to uncollar Sylvie and Loki and give Sylvie her sword was EPIC. She’s so cool.

Small aside, I got emotional seeing Asgard again in Sylvie’s flashback. I miss Asgard. :(

Also, if a kid can escape the TVA just by biting the agent holding her, the TVA have really got to step up their game. That’s kind of pathetic. Good for Sylvie though, that was very clever of her. The most juvenile yet effective tactic.

The Time Keepers being fake robots was an excellent twist, and one that I kind of saw coming as soon as they didn’t show Ravonna’s conversation with them earlier in the episode. It immediately made me feel like there were no Time Keepers at all. (And I was wondering if the no-robots rule from episode 1 would be plot relevant! I wonder if it has anything to do with the Time Keepers actually being robots?) It was also really clear that Ravonna was lying about what happened to C-20. As of now I think that Ravonna might actually be the real power behind the TVA. Or possibly a designated lieutenant to the real power behind the TVA:

When I was looking up interviews about Loki/Sylvie in this episode, I stumbled across an article about Ravonna’s comic counterpart and started kicking myself so hard for not recognizing her. In comics, Ravonna Renslayer is Kang the Conqueror’s wife. (Now, in my defense, my previous exposure to Ravonna was in Avengers: Earth’s Mightiest Heroes, in which she spends most of her screentime in a coma.) For anyone who doesn’t know, Kang the Conqueror is a time traveling classic Avengers villain. His whole thing is that he time travels, and wants to take over all of time. So it’s possible that Ravonna runs the TVA to benefit Kang somehow (maybe because Kang needs a certain sequence of events to assure a future victory over the Avengers?) or even does it on his orders. Kang the Conqueror is also set to be in Antman and the Wasp: Quantumania. (Aka Antman 3.)

(I don’t know if it’s relevant, but Kang the Conqueror also happens to be the reason the Young Avengers form. The very first member, Iron Lad aka Nate Richards, is a teenage Kang who meets his future self and decides he doesn’t want to be evil, so he travels back in time to get the help of Kang’s nemeses, the Avengers. However, he lands when the Avengers have disbanded and winds up putting together a team of Avengers-affiliated teenagers instead. The team gets bigger over time and a later version of it notably includes Kid Loki. I’m not going to go off on a Young Avengers tangent here but I LOVE the Young Avengers, please read Young Avengers volume 1 by Allan Heinberg and Jim Cheung and all of its associated tie-ins. It’s fantastic. Unfortunately Kid Loki is only in volume 2, which gets a very solid “no thank you” from me but ymmv. Imo if you want Loki, read Agent of Asgard instead; I keep bringing it up for a reason and that’s because it’s amazing. Kid Loki is also in Journey into Mystery prior to his appearance in Young Avengers, and I haven’t read that yet but it looks very good.)

I’m VERY curious as to what the deal is behind the TVA. This could go a lot of different ways but they all seem exciting.

This show is definitely gearing up for a finale in which the TVA no longer exists or at least no longer decides everyone’s fates, which is exactly what I predicted back in episode 1.

Final thoughts on the episode: I was just wondering after Mobius was pruned if maybe the pruning sticks are actually teleporters of some kind, instead of time tasers, and then we got THAT CREDITS SCENE. I am so confused but also VERY EXCITED. I almost screamed when I saw Kid Loki. MY CHILD. I just had this thought but oh, I would kill for a Thori reference. Best murder dog. Classic Loki’s costume looks so terrible, it’s absolutely on purpose, and I love it.

THIS SHOW HAD BETTER END WITH MOBIUS GETTING A JETSKI. AND BOTH SYLVIE AND LOKI HAPPY.

I’ve been wondering since the show was announced if this show would somehow end with a version of the comics Kid Loki + AoA Loki storyline, where this Loki gets reborn into the main MCU as Kid/Teen Loki so he can join the Young Avengers, and I still don’t know how I feel about that, but with how things are going I can still see it happening.

LET EVERYONE WE LOVE BE HAPPY AT THE END MARVEL.

#long post #loki spoilers #loki 1x04 #loki series #a rare text post appears #loki #sylvie #mobius #tva #ravonna renslayer #kang the conqueror #meta #my stuff

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