#but i do have my own stories i've woven

[gooeykit]

the only IPs i want to play with are ben 10, reboot and popeye BASED ON THE FUNDEMENTALS of them being disrespected by their own continuations and reboots....... TEEN ERA BEN 10 WAS NOTHING BUT DC/MARVEL RIPOFFS TO THE POINT OF CHANGING IDEAS THAT ROCKED INTO SHIT THAT SUCKED. SEASON 4 OF REBOOT SUCKED NGL AND WAS CANCELLED MIDWAY THRU. POPEYE DESERVES TO BE IN THE MODERN EYE AND IT NOT BE LIKE YOIUTUBE KIDS BS.

[thevulturesquadron]

I've seen a couple of takes on what Varric is in Veilguard, what Solas's role is in 'keeping Varric alive' and I love to read people's interpretation of it, so I thought I'd throw my own two cents on the table.

I never saw Varric as a spirit or something Solas created/ manipulated through the blood connection. Varric was something Rook constructed. The only thing Solas did was to make Rook completely forget he was dead. Turn their confusion into denial, both through the use of blood magic (literally reshape their memory) and through lies. The rest was Rook. This is very important to me because it's a key element of the story: a story about guilt, about the strength you need to overcome it lest it cripples you. Varric's presence for Rook is about traumatic events that you just push out of your conscious mind because guilt and grief, and emotions in general, can be strong enough to take you out of commission. It's a recurring theme in the game - as an example, Lucanis in his quest is literally paralyzed because he doesn't want to face the outcomes of the choices he needs to make. It feels well woven into the story how Varric's presence is something Rook made up.

He's the voice in their head that they talk to when they panic and don't know what to do. As an aside, the absolute contrast between the fact that the dialogue options when dealing with the companions' problems are always reassuring vs. the doubt and exhaustion in Rook's voice when they're talking to Varric is striking! Varric is the conviction that keeps them going. It's what Rook thinks Varric would have said. So in a way EVERYTHING that Varric says to Rook is what Rook says to themselves. It's why the last thing you tell Varric, at the end of the proper goodbye, is 'I know where to find you when I need you': because it shows acceptance, and it shows that Varric will always be the voice in Rook's head that will provide reassurance. It's what people go through: grief, doubt, and finding answers within themselves. It's not uncommon for throughs in your head (both negative and positive) to take on the voices of people in your life. For me, in this bittersweet instance, it's all Rook. Moving on to Solas and how he plays into all of this. I don't think there was any good intent behind Solas's manipulation. There was no benevolence, there was just selfishness, but in the most painful way. The only heartfelt thing Solas did was when he said to Rook 'Tell Varric I am sorry'. That line was so twisted and beautiful because it had two edges: on one side it was manipulative, to check that Rook still believed the lie and to continue building on it, and on the other, it was pity and selfishness. He didn't say that for Rook or Varric. Not really. He said it for himself. Because the only Varric that was still alive was in Rook's head. So if Rook's version of Varric accepts his apology, it gives him a bit of comfort, forgiveness, and absolves him of murdering his friend. That line is SO, SO selfish and intricate. It's beautiful! Such fantastic writing.

The only reason Solas played with Rook's mind in this manner is because he thought it could chain Rook to his prison through their own grief and guilt. That was his plan because his own shortcomings meant that he could only perceive Rook as a mirror of himself. Pridefully, he couldn't see Rook through any other lens. As a result, he is fully convinced that once Rook realizes Varric is dead, after so much time spent in denial, it will break them and keep them trapped in there forever. He allowed Rook to forget his death so he could drown them in so much guilt that his prison would mold itself to them. Solas thought Rook is just like him. That his pain, grief and loneliness are justified punishments, that they are absolutes. He was convinced there was no way of interacting with these emotions other than his. And Rook proved him wrong. I can go as far as saying it's the proof that Solas has been looking for for the past 10 years. That he is wrong and that there IS another way. Rook outgrowing their guilt and self-pity for the benefit of others: that is the first real crack in Solas's own prison.

I could talk endlessly about how the game deals so fantastically with the motifs of guilt, grief, and choice, with the ideas of using others as mirrors of ourselves, but I think this at least sums up how I feel about the whole Rook - Varric - Solas dynamic.

[ginnymoonbeam]

Ep 8 of The On1y One had so much, but now that I've cried over the word "home" I wanna go back to the scenes between the teachers, because it hit some queer realities we don't often get in BL.

First, Jenny Yang noticing Lin Bei Ting's rainbow mug and asking if he supports gay rights. That's not code for asking if he's gay - in plenty of places and times, just being an ally is controversial and something you might need to be careful about revealing in a conservative workplace. I take all of Jenny's comments and warnings at face value there: she's letting him know this is not a safe place to be public as an ally. Of course he is also actually gay, so the threat to him is much higher, which is why he immediately gives her the mug.

Then the later scene, getting more into a dynamic that we've already seen where Zhao Xi is friendly to the point of gentle flirtation with Jenny, and Lin Bei Ting is clearly unhappy. When we first saw this in ep 7, I wondered if I'd been wrong to read Zhao Xi and Lin Bei Ting as already a couple, but seeing it here and with the previous conversation in mind, I think they are. There's "we're not saying anything but people can draw their own conclusions" closeted and then there's seriously for-real closeted where you might opt to do things like casually flirt with a female coworker to keep up the appearance, and the latter is what I see happening in these scenes. They would absolutely lose their jobs at the school and probably would have their business targeted if people thought they were a couple. Lin Bei Ting understands what Zhao Xi is doing and why, but it sucks and feels bad. The little apologetic "here's your tea too" moment said so much, in how they both understand what's happening here and there's not much Zhao Xi can do in the moment, in public, to make it up to him.

All this happening in an episode where it seems like the whole world is gossiping about Jiang Tian and Sheng Wang moving into the dorms just makes my heart ache for the boys, and the threats they might face. I think the juxtaposition is deliberate and I think Zhao Xi is having some of the same thoughts as the teachers discuss the kids. My read is that he knows or guesses Jiang Tian is gay and has been shepherding him a little on that basis, standing by to give him guidance or just a gleam of hope, in the way that we elder queers do when we see young ones that don't have home and family support. We'll see where it all goes, but I really love the way the elders have been woven into the story so far.

[skyfallscotland]

The constant "maybe you should have re-read Fourth Wing and Iron Flame before jumping into Onyx Storm, don't blame the author for you being confused" posts are getting on my last nerve.

Stop being a pick me. Do you think we're all over here saying there were "so many people" because we're referring to Lynx & Baylor?

Sorry, I'm upsetti spaghetti. I was fighting for my life with my brain trying to remember all this in the first ten chapters, sorry I thought it was going to be important 🙃

Duke of Calldyr - short blond beard, four different consorts in four years

Duchess of Elsum - dark brows

Duchess of Morraine - high pitched voice, golden-brown skin, ruby earrings and necklace

Duke of Luceras

Queen Maraya - light brown skin, dark eyes, curly hair

Captain Anna Winshire - talkative, strawberry-blond, brown eyes

Captain Henson - female, tightly woven black braids, air wielder

Lieutenant Pugh - male, blue eyes, farsight

Lieutenant Foley - male, agrarian (plant-wielding)

General Tinery - in command of the Southern Wing

Ewan Faber - stocky, sour-faced, Navarrian Fourth Wing wingleader

Iris Drue - wingleader of Navarrian First Wing

Theophanie - long silver hair, high cheekbones and full mouth, pale skin, tattoo on forehead, beautiful, venin sage or maven

They were all introduced in the first ten chapters. Of a 60+ chapter book. This doesn't include description only characters, dragons, or places.

She did a really good job in the last book of introducing the Assembly as "silver beard" or "battle-axe", getting their descriptions stuck in our heads before we moved onto actual names and that, in my opinion, worked really well. That kind of technique can sometimes be greater than throwing a whole bunch of names in off the bat like she did with all these captains and lieutenants, especially if they're not going to be important.

Sometimes giving them a name is giving them significance—to me, it signifies to the reader hey, these people are going to be around a lot, you should know them!

I've also seen people saying "well there's a map and an index" ...these people aren't on there. The Isles aren't on the map. I have no visual for where we're going. If you're worried about spoilers, you can always put the "new" map at the end of the book for those who want to see.

I'm not 'blaming' Rebecca Yarros. She's allowed to make whatever choices she wants, it's her book, but these are choices she's made that she could have made differently, and I don't think it's kind to be calling other people idiots because you think we're all out here forgetting who Tecarus is because you only took in the surface level.

How are we supposed to know who is going to be important? We don't know where the story is going and all of this is getting shoved at us one by one in the opening chapters.

Also, as a generally nice human being, if I were on the other side of this discourse, I would have said "I'm not sure how people are so confused, what are you missing?" Not, "sorry you're too stupid to understand, maybe you should not be reading fantasy" 😃

The internet has made it far too acceptable for people to be rude to others. We're allowed to all have our own experiences and disagree. You can do that without denigrating other people's opinions and gatekeeping fantasy? Ew.

I don't dislike Rebecca or the series in general, I think she did a fantastic job with introductory world-building and introducing characters in the first two books, it's why I like it so much. The techniques she used worked. I just don't think she used them as effectively this time 🤷‍♀️

As I constantly say, if you only read it on surface level, if you're just here casually for the vibes, I love that for you! I wish I was you! But the toxic positivity can fucking go.

[utilitycaster]

You've mentioned a few times about Matt making this the Moon Plot Campaign and the cast not realizing it was the Moon Plot Campaign and how the characters aren't necessarily the best for a Moon Plot Campaign and I'm just curious: if you could pick what type of character build the cast played to best fit a Moon Plot how might that look?

Oh man I think I've answered this before but I will always answer it again because my answer is evolving.

The first two things are just general advice:

In retrospect I think Matt should have treated this campaign as sort of a semi-module format. If you will be playing a module (eg: Curse of Strahd, Call of the Netherdeep, etc), your DM should tell you this and essentially say "you can have your own character struggles - in fact you should - but they should be largely internal/things that can be addressed without you going on an extended quest." For example, you can (and should) play a character in Curse of Strahd who is struggling with self-esteem, or religious faith, or cowardice; but you can't have a character who, to address these things, must confront their father, because they're going to be in Barovia and he's not going to be there. I recommend checking out the rivals in Call of the Netherdeep, because their throughlines are great examples - they' develop and engage with the story, but it's very much driven by the plot of the story and not a delving into their backstory. So essentially, have simpler backstories or backstories that inherently tie into the quest, and let the players come up with that by giving them the most spoiler free outline. I think Matt tried to do all that tying up himself, and at times it made things a little too pat; or those characters who had elements that couldn't be woven in as gracefully (Chetney and the Gorgynei; Laudna with Delilah; some of Ashton's stuff) got very brief arcs so we could get back to the main moon plot.

Do not dump intelligence. DO NOT DUMP INTELLIGENCE. Have at least one PC in your party who is not just intelligent but like, educated. Percy, Beau, and Caleb all fit this. Chetney's pretty smart but not terribly educated so he's great at investigation but he's not going to do very well on religion checks. This party should have had a fucking wizard or artificer or cobalt soul monk or knowledge cleric, but also every party should unless you're going full murder hobo. I think it's valid to be into actual play (or d&d itself) for the character moments and the romance but you know what makes that possible? FIGURING OUT WHAT'S FUCKING HAPPENING INSTEAD OF DICKING AROUND CLUELESSLY. My one true house rule for myself as a DM is that one person in the party has to have high intelligence (or like, be a bard or rogue with decent intelligence but expertise/jack of all trades in everything). Play a high int character for the sake of your DM, PLEASE.

On a more specific note:

would have been good to have more Marquesian characters, but also someone from the Empire would have added a significant dimension. I do love Chetney, and I think Travis is the player who pivoted fastest to fit better within this campaign and has a good understanding of what it could have been with a bit more commitment, but yeah I think if Matt had told them a bit more of what was going on he'd have made like, a more serious werewolf member of the Gorgynei who had noticed lycanthropes becoming susceptible to Ruidus and decided to investigate, for example.

I think having more divinely aligned characters would have just made for much more fun interactions. The issue with the god debates wasn't that they were having them, for all I think that anyone who wants to kill the gods is a fucking idiot. It was that none of them knew jack shit about what they were talking about so it turned into an unending Emperor's Nose discussion. Having either someone who was actually trained (a la Braius, who is a welcome addition for this reason, among others) or again just. a person with religion proficiency and a decent INT score would have made it an actual compelling argument of different perspectives, and not a bunch of idiots yelling out nonsense.

It honestly wouldn't have looked much different. In fact, I think you could have kept the bottom table mostly as is with just tiny alterations, and done the following:

Make Chetney a Marquesian member of the Gorgynei with a mission tied to investigating what's going on with Ruidus. He could still be a weird woodworker.

Entirely rework Laudna's premise. You could have kept her creepy and undead, even, but get rid of Delilah and make her a wizard instead. Make her tied to the Grim Verity or an archaeologist who got kicked off the Tishtan site. You could even keep her aligned with Imogen although I'd have made it a more recent meet up of her being on the run and having gone through Gelvaan in trying to avoid the Grey Assassins

I like what happened with FCG ultimately but I think a different subclass would have still helped; make them a knowledge cleric and more intelligent.

Make Imogen and Ashton much more aware of the Apex War and Otohan's history from the get go. Also give Laura a heads up that her character's going to be super central and she will be in the hot seat for much of the campaign.

[luimagines]

Congarts on the two year old blog!

If it's fine, can I request a FD sky in the royal au; just getting to know reader, flustering them at every turn and being a genuine menace to them

-🍄

YEEEEEEEEEESSSSS!!!!!!!!!!!

Masterlist

Content under the cut!

You didn't know what to do with the man that sat across from you.

If you could even call him a man.

His hair was stark white, perfectly accented by the bright red feathers in his hair as it draped over his shoulders. He had a pearlescent cape with a design of the country's emblem on the back. His clothes were about as casual as you could get when speaking to the King.

He's wearing black pants at least but his shirt holds the regality of the royal family. It's also white with stars and moons embroidered in golds around the edges with swirls that connect from one side of the tapestry to the next. It looks almost like a story was woven directly into the fabric. You're tempted to read it, but you don't want to be seen openly ogling the King in his own house.

His eyes were just as white as his hair with no sign of which direction he would be looking in, but it was clear to every hair that stood up at the back of your neck that he was very much watching you. More so than you were watching him.

A shaky hand reaches for the tea cup he's order to be served to you. You're not sure why you're here or what he wants with you, but he seems relaxed at least.

But you don't know what that means for you, so you're still a nervous wreck.

"I hear that your bakery is the best in my kingdom." He says after a beat once you set your tea cup back on the little saucer. You try to focus on that instead of the booming voice that threatened to pour into your very veins.

The cup has a beautiful floral pattern. It looks like porcelain but you could be wrong. The beautiful forget-me-not pattern echoes on the saucer below. the swirling flowers are beautifully painted.

But you feel dizzy and nauseous in an instant.

You put the cup away.

"Thank you... Your Majesty." You finally answer him. "I wouldn't personally say it's the best. but business has been good and your people have treated me nicely."

"My people?" There's an up tilt to his words and you have the slightest suspicion that there's humor in his words, but you struggle to read him.

"Yes." You answer calmly. "Your people."

"Are you not one of my people?" He picks up his own tea cup and takes a sip. You feel like running away.

"I'm not originally from here." You bite your lip and grip the seat beneath you. Every fiber in your being is telling you to run for it. But you're rooted to the spot.

The king nods and tilts his head as if in thought. "I suppose your accent would check out in that regard."

He says nothing as he takes another sip of his tea. Can't you just go home already?

"I'm having a party." He says at last. "I was hoping you'd be willing to cater it."

You feel your heart stop as relief threatens to melt you into a puddle. It's just business. You can do business. "O-oh... is that all?"

He nods once more. "I'd like a list of your menu and potential skills outside of your typical armory. I'm sure it goes without saying that you should bring the best of your accomplishments."

You can feel your nerves stealing in you as he speaks. You'll show him. These will be the best of the best. "Of course. I've never disappointed a costumer. I don't plan on starting now."

This time he actually smiles. "Perfect. May I ask for the estimate? I plan on giving a hefty down payment first-"

"No. For free." You cross your arms, ignoring the tea.

He stills, clearly not expecting that. His eyes don't obviously dart to you but the energy changes. The hair on the back of your neck stand up once more but you're not willing to budge on this.

"...I don't think so." He says calmly. "I pay for the full deal. I don't accept handouts."

"It's not handouts." You try to not glare at him. "It's exposure. The business that would result from this would payback tenfold the amount it would take to cater your party."

He frowns and stares at you as if you've said something dumb. "...I'm paying."

"No, you're not." You cross a leg to emphasize the point.

The King tilts his head. "Yes. I am. End of discussion."

"No you're not." You feel it in yourself to be indignant.

"Yes." He's smiling but you're not sure what to think about it. "I will pay the full price one way or another. I've enjoyed our chat but I'm afraid I've got other matters to attend to."

"That's a shame." You shrug. "Because this conversation isn't over until you let me do this for free."

The King of the land stops as he gets to his feet and kisses your cheek. "Then I suppose I'll simply have to invite you again, my dear. I'll see you soon."

You freeze and stay rooted to the spot once more as he leaves the room.

Your tea has gone cold by the time you're escorted out of the castle. This wasn't exactly what you had in mind- nor are you confident in yourself to keep surviving interactions with this powerful man.

Why couldn't he just have dropped it?

[aalinaaaaaa]

2024 In a Gift Box

Hey, everyone, greetings after another year that has flown by all too quickly! Featuring new friends, a few awards and 400% more holidays (rip my wallet lol), this has been a wild year for me. And that's only half of it.

For some strange reason, my desire to write increases with the hecticness of my life. Much of Obsidian Sapphires' revival/troubleshooting phase occured during the latter part of the year, from October onwards (though I had been tinkering with its plot for some time now). All because I woke up one morning with the solution to a plot hole appearing in my head.

Anyway, preambles aside, here's a few major highlights from my year (in writing terms):

First up, thanks to @druidx for the Year in Review Tag! The premise of the tag is to post one's favourite five or so pieces that they've written throughout the year.

To be truthful, some of Obsidian Sapphires' scenes would make this list only the respective chapters for them aren't completed yet 😅

A Pawn for a Greater Cause — I had a ball writing the starting dialogue, and the prompt gave me a few revelations regarding Petrius' character.

Regrets — This made me cry at 1am, the catharsis was unreal.

To Perpetuate Life — Amazing how almost falling asleep gives me ideas. This piece helped me answer a few questions about Orlaith's backstory, and also gave me extra questions surrounding the lore.

Blue Moon — This feels like a nice deviation from my usual style, it's more dreamy and whimsical. Also, this reminds me to go and work on its second part, lol (because the scope was too big for one piece)

That angsty pining scene — This is not posted as one scene, but rather in splinters because parts of it are dripping in spoilers for Obsidian Sapphires. However, I enjoyed writing this scene too much not to post some snippets.

WIP Roundup

First things first, an ode to the WIPs that I've put on ice to focus on Obsidian Sapphires.

The Lady's Lament, a brief idea born out of a plot bunny inspired by a plot on Wattpad. The idea sprouted in April 2023, but it lives on in the form of worldbuilding ideas for South Arobyre.

And then also, Flamebearer, one of my oldest wips but also arguably my most complex one. It's a story of grief, religious dilemmas and romantic/familial drama, all under the backdrop of sociopolitical turmoil. It's going to take a lot of research and planning, that much I know. Hence why I want it to be as perfect as I can make it, when I have the knowledge and writing practice to do it justice.

In April this year, one of my Flash Friday pieces (Duel to the Debt) sowed the seeds for another piece (An Endless Round) in May, and later on Soulswapped derived from it. I intended it to be a short enough story, a novella of sorts that would be woven into a larger compilation, but it's become its own thing. Already, I think it may get a sequel. But I'll cross that bridge when I get there.

Obsidian Sapphires

So its progress this year has been skewed. Like, 'a lot of its progress spawned in October or thereafter' sort of skewed. I woke up one morning and the cogs for the rigmarole surrounding what is currently Chapter 2 all clicked, to the point I yanked out my laptop and starting writing notes until I had to run for class.

Since then, I've had a bunch of ideas, but currently I'm deliberating on the story I wish to tell. It seems more cohesive and easier to plan for when I cut Eshani's perspective out, but at the same time, cutting her perspective would cut or at least hide much of her character development. That and I love her to bits, and she may/may not be a readers' favourite also.

In terms of actual tangible content, bits of the angsty pining scene got posted, as did sections of the first and second chapters. It even came with a few memes, lolololol. (And there's more memes sitting in my gallery/Scrivener notes, this story's quite memeable honestly).

The antagonists got their time of day, however brief so far. And not just the lead meshai, but also the septet of folks angry at the meshai and his fellows.

And this gets onto something that has existed as tags and headings and brief little mentions. A collection of pieces, leading up to answers surrounding some major events in the history of the country Obsidian Sapphires is set in.

That would be This Blood-Stained Charcuterie. It is going to be the anthology of short stories and one-off pieces surrounding Morilast's High Councillors (and indeed, the Court's other denizens and its namesake himself!). A lot of juicy details surrounding certain characters' backstories are going to feature here, I can't wait to get into it. (It's also my excuse to figure out all the bits of lore and convoluted ancestries [who murdered who], lol).

When I finish with Obsidian Sapphires, that is about when I'll start releasing this one. The title could change upon me getting to the end, but we'll see.

Flash Fiction Friday

I started doing these pieces in late 2023, so it's been about a year since my first one (Contemplations). In all, I've completed a total of 28 pieces so far :D

The masterlist came about in early January, because I was inspired by other people who had masterlists for their pieces. It's very satisfying to see it develop from a few pieces to what it is today, a decent few pieces.

Whatsmore, it reflects the trends in my writing, such as the wips that the prompts inspired me for, and what periods I was consistently doing it week-by-week and when the major gaps were.

For whatever reason, I have a tendency of getting inspiration for these at about midnight or so. Even if I get a handful of basic notes written down, it may not still be until late in the night that I can get a piece together, lol.

To commemorate the end of the year, I've started a series known as Flash Friday Flashbacks to celebrate what I've made and show off behind-the-scenes when it comes to notes, context, deleted scenes, etc.

There are a few pieces left in this year's version, which will be reblogged close to the end of the month (to celebrate the New Year).

Next year's edition is going to feature the December 2024 pieces in addition to all the 2025 stuff (which hopefully is a lot). There will also be a 2025-specific masterlist too.

Writeblr Community Events

What is writeblr without its community? It's beyond a pleasure to be part of a group so lovely and talented, everyone has something amazing going for them.

As part of this, there are some people here who create events, discords and/or other initiatives that bring people together. Shoutout to everyone who has done/is doing something along these lines ❤️

Special mentions in my case go to:

@flashfictionfridayofficial for taking the prompt submissions, making the posts, and reblogging everyone's stories (with fantastic comments) every week

@writeblrsummerfest for making a lovely event spanning the entirety of August, encompassed by a well-organised theme and all

@bardic-tales for establishing the @creators-club and doing all the various types of ask/tag games to foster interaction and support

@agirlandherquill for her first ever Writemas! These prompts are impeccable and it was really fun looking forward to the next day's prompts! I wish I could've participated more, but alas, that's how the cookie crumbles. (Also, high five, we're in the same timezone, woo!)

Plans for 2025

Continue with Obsidian Sapphires — I'd love to get the draft finished

Doing as many of the Flash Friday prompts as well

Reblogging people's posts more and hopefully improving at reaching out to people

Learning to draw is something that I've always wanted to do, but I want to get focused with it this year. It would be cool to put my characters in visual form

Getting a handle on the lore and background information needed to compile This Blood-Stained Charcuterie

The Tags

That brings this post to its natural course, the end. Merry Christmas everyone ❤️🎄

Giving a Year in Review Tag to everyone who is on at least one of my taglists (ask, comment, etc to be added/subtracted): @mr-orion @the-ellia-west @guessillcallitart @thereadingfoz @glassstardust22124 @original-writing @honeybewrites @ashirisu @drowsy-quill @oliolioxenfreewrites @theglitchywriterboi @seastarblue @gioiaalbanoart @rae-butter @corinneglass @midnight-and-his-melodiverse @outpost51 @mundanemoongirl @scarletteflamerald @ceph-the-ghost-writer @flock-from-the-void @mattresses-and-macaroni @limitlesswritingvoid

...As well as all these people I'm tagging here: @winterandwords @finickyfelix @wintherlywords @anyablackwood @cherrybombfangirlwrites @kaylinalexanderbooks @angelfevr @thatndginger @thepeculiarbird @ominous-feychild @oh-no-another-idea @space-writes @veneritia @the-golden-comet @jev-urisk @cljordan-imperium @an-indecisive-nerd @mauannacreates @laureleavess @theeccentricraven @paintedbutton (@/bardic-tales, @/agirlandherquill, both of you are tagged for this too)

...And most importantly, here's a tag for everyone in the audience!

Here's to a hopeful 2025! 🎉

[deception-united]

First, I love your blog!

Second, How do you go about writing about characters' sexualities and gender orientations without making it their defining and only characteristic?

Thank you!

Hi, and thank you so much! ❤

When writing about characters’ sexualities and gender orientations, the main thing to keep in mind is to make their character just as complex and well-rounded as any other. Here's how I'd approach it:

1. Start with an overall profile.

One method that could work for you is to flesh out things like personality, motivations, backstory, hobbies, goals, fears, weaknesses, flaws, strengths, and their role in the story before deciding on this element of your character. Create a well-rounded profile before deciding on sexuality or gender orientation—and this is not to say that these traits are not just as important to a character's identity, but this approach could help avoid stereotyping or making their entire character built around that.

I've found this works well in other cases, as well; for instance, a comment on a previous post explained how they decided to make their character POC after they had finished developing their personality and backstory in order to avoid stereotyping. If you fully develop who they are as a person, their identity will naturally fit into their story rather than overshadow it. (See my post on character profiles for more tips and elements to include!)

2. Reveal it naturally.

Instead of flatly stating a character’s identity, try revealing it naturally through dialogue, behavior, or relationships. For instance, a character casually referencing a past girlfriend or sharing their pronouns during introductions feels more organic than an expository declaration.

3. Make it part of their experience.

While a character’s sexuality or gender may influence how they navigate the world, it doesn’t need to drive the entire plot unless the story is explicitly about those themes. The character might face societal or internal struggles, but they could also just be solving a mystery, pursuing a dream, going on a quest—give them a good, solid arc, like you would for any other character.

It's important to focus on relationships, too. Show how their orientation or gender plays into their relationships, whether romantic, platonic, or familial. Do they have a supportive best friend? A strained relationship with a family member? A mentor who’s helped them with self-acceptance? These sorts of dynamics will help add depth and make their identity feel woven into the overall fabric of their life.

4. Avoid the "token" trap.

If a character is the only one in the story with a specific identity, their representation can feel forced or spotlighted. Building a diverse cast with layered characters is important so you don't have a single character who's carrying the weight of representation on their shoulders.

5. Do your research.

If you’re writing about an identity outside your own experience, make sure you understand it deeply. Research lived experiences, read books or watch media by creators with that identity, and consult sensitivity readers to ensure your portrayal is respectful and accurate.

Overall, it's about portraying characters as whole, multifaceted people—to make their identities a significant part of them without being everything. Hope this helped!

Previous

[pseudowho]

hey haitch, you're one of my favourite fanfic authors right now, so i'd like to get your opinion on something

i recently saw a post here on tumblr talking about how "x reader" fics aren't proper "x reader" fics if they add descriptions of the supposed reader's physical appearance (think, the whole, 'soft blue orbs, long blonde hair, really short' that type of thing), and i was like, yeah that makes sense. but then, the poster went into talking about how this also applies to tags like, "black!reader" or "chubby!reader" or "white!reader" (all of these are examples used in that post), essentially stating that any indication of physical appearance regarding the reader - even if it's supposed to target a specific demographic - nullifies the point of it being "x reader", because it is not universal to all readers. i was a little on the fence about this until I read the comments under it, they were overall in agreement. some said that those works should be tagged as "x oc" instead. to that, i was just like, uhhh i can't really say that i can agree, especially if the single establishing descriptor is that the reader is a specific race or plus-sized. perhaps it's because that i'm black myself, and have seen an uptick in "black!reader" works that this stuck with me, but i just felt off.

and on top of that, one commenter addressed how a work prescribing family members to you that you don't have irl (eg. "your aunt laura") is similarly inaccurate and breaks immersion. and to that, i was just like, so what character details can be made about the reader by the author without venturing into "oc" territory? at that point, if a reader doesn't speak the precise way you do, are they now an oc? is that breaking immersion? is it not universal enough?

i've said a lot here, so I'll get to my actual question - what are your thoughts? how much background detail can you give about a reader before it lacks suppose relatability and that universal factor that means the actual reader can project onto them? does making a reader of a certain demographic (black, plus-sized, etc) break that universality, and therefore cannot be considered a proper "reader" character?

So I think that your lengthiness here shows the truth of the situation, in a society where we're increasingly pushed to choose between two extremes, black and white, yes and no, etc: this is a grey area.

Ultimately, any individual reader's ability to relate to a Reader character relies on one core trait: empathy. Contrary to popular belief, empathy is not 'putting oneself in another's shoes'. It's a much more nuanced trait which is determined by one's emotional intelligence, ability to see context and intent behind a situation or actions, and willingness to put one's own heart and soul out to tender for the benefit and advocacy of another.

Empathy is being able to say 'no, I don't have personal lived experience of this; but if I did, here is how I would want to be treated'. Without pretence. Without a mask. With utter honesty.

In this sense, should a reader not be able to relate to a Reader who is black? White? Blond? Overweight? Suffering from mental health conditions? In possession of an aunt called Laura?

Tumblr is all about the fanservice. And reading literacy is gradually reducing, on average. While representation is truly important, many readers fall down the rabbit hole that only representations of people exactly like them matter. As such, a white reader will see 'Black!Reader' as a tag and scroll past.

Incredible, really; there's a pervasive, selfish tainting of the 'representation' element slipping in, where people are feeling deliberately excluded if they can't see past surface level physical descriptors, to be able to empathise with the character themselves, and the story that the writer has woven, beneath it.

It also suggests to me that many of those who read on Tumblr, don't actually read novels. There aren't typically 'x Reader' novels; they tend to have a main character. Do these readers then pout and say they cannot relate, to the frightened little Hobbit running off on a great adventure? Or to the young boy from a war-torn land who is fighting for a safe life? Or to the nobody, from nothing, who seeks to change the world?

My main point: while representation matters, why should a physical description of an 'x Reader' character be all that matters? Surely, it should be a side note at best. Instead, because Tumblr and writing on Tumblr is very much a fanservice site, readers are bypassing empathy, reading literacy and the beauty of storytelling for something altogether more surface-level.

I'm personally happy to see more representation of disenfranchised individuals (any person of colour in this white-dominated world, a change to the cis-gender rhetoric, etc), because while it doesn't matter to me, and I'll still devour a good story and class writing anyway, there are those out there to whom that representation really, really, really fucking matters. We can both read the story, and love it; they can read the story, and love it, and feel seen, beautiful, loveable, powerful, validated, etc.

I understand disenfranchised individuals' frustration more than perhaps, white-centric, cis-centric frustration; what could I possibly have to whine about 'not feeling represented' when I have been born into a world geared towards my benefit? I take a back seat on such matters. A black girl is angry about an 'x Reader' character with long blond hair, and big blue eyes? While, yes, as I said, we should be able to see ourselves as any Reader, it's fucking frustrating to be left out by society, and then be left out by fandom as well.

Representation should be equitable, remember; not equal.

While I have thinly-veiled dislike for someone clearly self-inserting themselves/their OCs and labelling them as 'x Reader' in a cynical attempt to get more readers, it is also in many ways not their fault; they should be able to happily, openly say 'this story is with my OC!' and be welcomed by an audience with enough empathy to be able to relate to a character who isn't cherry-picked for them. You tend to find that disingenuity and selfishness, breed disingenuity and selfishness.

In short: this is why, aside from my one Breeders' Hips fic, my Reader characters are exceptionally blank, physically. I have taken time to read disenfranchised individuals' gripes about ways they're left out; it's been very enlightening. I keep it in mind when I write an 'x Reader' character, so I never leave someone feeling sad because they're not my Reader.

And all of this aside, when all is said and done: I also do not deign to tell someone what they should do in their spare time. If they only want to read or write a Reader who is just like them, then that's utterly fine. I'm not their supervisor.

We're in this online community that encourages self-indulgence, then get angry when someone is self-indulgent? Give me strength. The writers are, for the most part, writing for them, not for you.

So, in short, as I said; very grey, very multifaceted, and I'm able to appreciate both sides of the argument.

It breaks down to making greater attempts to put our own selfish desires aside, to truly incorporate the emotions and lived experiences of others, really, doesn't it?

Another thing empathy is, is understanding that one person's negative or positive emotions aren't typically an attack on ourselves. A real 'it's not all about you' realisation, and incorporating that into one's treatment of others.

Those are my thoughts. Lots of variables to consider, hmm?

Love,

-- Haitch xxx

[serpentarii]

M O R D L U S T ; september 22nd, 2024

finally getting around to doing these more often now that i'm making money moves in the draft (this is a lie, i am making moves into my friends' dms to scream) so that means i have an excuse to make self-indulgent WIP edits.

my primary protagonist vératre, formerly known as voir, has been made sufficiently weird, and i think i've found a way to smoothly integrate all of the new scenes i added when i reformatted her half of the plot.

i've also been in my overthinking era to make sure that everything from color symbolism, animal motifs, to the specific variations of words characters use has a purpose. 90% of it will not be apparent in the actual draft so, to paraphrase myself, i'm like gay sisyphus opening and closing notion.

but, i do plan on making some character aesthetic intros, tv show edits, and finally getting around to that animal symbolism post 🐯

transcript below the cut:

Pale blue light flooded into the crate as the lid was pried off, then abruptly overturned, sending Aleksander tumbling out between a set of familiar armchairs. His attention traveled up the front of a familiar desk and landed at an unsmiling familiar face.  Sitting quietly on the other side of the desk was Lady Kos, regal as a queen and ten times wealthier, with pearl droplets woven into her dark braids, dressed in chiffon and lace from trailing hem to high, starched collar.  She was melting wax, her movements swift and assured as she poured a small pool onto the folds of an envelope and stamped it with a sigil Aleksander knew to dread. She took a sip of riesling, soundlessly replacing her glass onto the wood, before setting her sights on him.  “Herr Aleksander Fox,” she said at last. 

and since i haven't done this in like 4 years, surprise bitch. i'm doing a novel prep tag in here now.

first look ;

describe your novel in 1-2 sentences (elevator pitch) ;

a businessman-turned-thief finds himself entangled with a pair of opposing assassins and the roles they unknowingly play in a much grander conspiracy.

how long do you plan for your novel to be (novella, standalone, series, etc.)? ;

a standalone, thank god. the technical term would be roman fleuve, since i am planning future standalone works that take place within the same universe.

what is your novel’s aesthetic? ;

ancient buildings overtaken by nature, cemeteries at midnight, poisonous flowers, venomous snakes, whispering in shadowy alcoves, masquerade balls, bloodstained feathers, veiled truths

what other stories inspire your novel? ;

the his dark materials series by philip pullman, uprooted by naomi novik, classic gothic lit, fairy tales in general, and uh,,,,,,,exodus.

share 3+ images that give a feel for your novel ;

main character ;

who is your protagonist? ;

my two main protagonists/POVs are liferuiner and wannabe businessman aleksander fox, and vératre, a notorious poisoner struggling her way through a quarter-life crisis.

who is their closest ally? ;

aleksander's closest ally, at least in the beginning, is his friend heidi, an information broker with a secret :) and vératre begrudgingly accepts the help of salicaire, another assassin, since they are both nosy and want answers.

who is their enemy? ;

aleksander vs. the ospirin family (a fight he is nawt winning) and the church

what do they want more than anything? ;

so, to be cryptic, 3/4 of the leads in mordlust are all reflections of each other, what they could have been and what they want to be. the last of them is the mirror. they see in him what they want to see. and what they want, shockingly, is prestige, power, belonging, etc. they've always felt like strangers in their own skin and will go to terrible lengths to fit themselves into a society that was not made for them.

why can’t they have it? ;

dirty dirty politics for which they are mere pawns ¯\_(ツ)_/¯

what do they wrongly believe about themselves? ;

that because they've been hurt, they are justified in hurting others in pursuit of their goals.

draw your protagonist! (or share a description) ;

aleksander is a classic dandy with a hyperfixation on his vintage fox fur coat, which he wears even when it's wildly out of season and out of fashion because it's the nicest thing he owns. he's also usually seen wearing kid leather gloves and a golden cravat pin he received from his patroness. he's got green eyes, short auburn hair, lots of freckles, and more people would find him handsome if he didn't smile like he knew your fly was down and was refusing to tell you.

vératre's lips are stained purple due to. reasons. and so she wears a veil, which is not uncommon for particularly devout women. she has medium length brown hair she keeps pinned up into tight plaits and a notably long neck. also, she has pretty privilege because shits fucked and having attractive lay servants representing the house/church is common practice. since she works as a kitchen maid most of the week, she's often wearing her uniform w/ an apron. and sometimes she wears isme's black feathered cloak.

drawing wise, i do have this chart, courtesy of alex @bitethebard:

plot points ;

what is the internal conflict? ;

aleksander and vératre, being parallels of each other, have somewhat similar internal conflicts. they both came from nameless villages out in the countryside and share a burning desire to be more. in vératre's case it's v much a "be careful what you wish for" situation, because in receiving everything she thought she wanted she's no longer herself and unhappier than ever. aleksander is younger and earlier along in his journey, but barreling down the same path. except the choices he makes fucks shit up for the people around him more than they effect himself.

what is the external conflict? ;

again, cutthroat politics (literally). everyone has something they'd kill for.

what is the worst thing that could happen to your protagonist? ;

other than dying horribly, probably being tethered to an uncaring master, praying to uncaring gods, and trying to find comfort in an uncaring church for the rest of their miserable lives.

what secret will be revealed that changes the course of the story? ;

aleksander is entangled in a pseudo-liar revealed plot, which i kinda hate, but as an extremely unreliable narrator his priorities are not in proper order... vératre is witnessing the horrors.

do you know how it ends? ;

yeah

bits & bobs ;

what is the theme? ;

blind faith is dangerous. you must learn to take responsibility for both the good and the bad actions you take, and attaching yourself to someone or something at random to validate your own existence isn't healthy. holiness exists not only in gods but in small moments of happiness and in the people we love. and lastly don't fucking steal someone's skin and sell it on the black market.

what is a recurring symbol? ;

thorns.

where is the story set? (share a description!) ;

niederbrinn, the capital city of falkenreik, which is loosely inspired by pre-german empire prussia. it's filled with tons of gothic™ architecture and fun locations like cathedrals, catacombs, and creature shops. it's situated closer to the malevolent eldritch forest than most would like.

do you have any images or scenes in your mind already? ;

hell yeah

what excited you about this story? ;

mostly isme. and then the other 3 protags ig 🙄

tell us about your usual writing method! ;

these days, i usually write a rough outline and expand it using the snowflake method, incorporating ideas, themes, and worldbuilding along the way. then i make a proper outline where i figure out chapters, acts, the dreaded midpoint, etc. i don't write in chronological order so this helps a ton with out-of-context lines since i have a reference for where i want them based on the location/emotional state of the characters. getting myself to actually sit down and WRITE the damn thing is the problem, shout out to my fellow procrastinating perfectionists <33

if you made it to this point you are sexy and i love you, byeeee !!

[badninken]

Hi bad ninken!

I know you've speed ran the episodes, but what's your thoughts on One Piece overall, from the perspective of a Naruto fan?

(Hope our questions aren't bothering you)

Hi!

Not bothered at all! I don't always answer but I'm always happy to receive them <3 This question is a BIG one. I'll write so much.

So, I didn't know exactly what to expect from One Piece when I started watching. It always looked like a goofy and childish pirate show to me. I'm very picky and I knew it was insanely long so just casually giving it a try never occurred to me, until Law.

Now, Naruto could be said to be a goofy and childish ninja show so it's not like I was up on some high horse, thinking One Piece was lesser than. Nothing is that popular for no reason. I could at least give the first episode a go. It would feel like cheating if I didn't even try to watch it from the start and get to know the main character before rushing to find my character.

The lead characters:

So I watched the first episode and I liked it! Or, I liked Luffy. I liked him a lot. Instantly captivated by his crazy eyes, crazier smile, unique voice and his message of "do whatever makes you happy and screw the people who try to stop you"

Now, I like Naruto (the boy) too. He's incredibly cute and charming, he also has a voice I love and he brings lots of fun, motivational energy that can be really inspiring. I've never been interested in seeing him fulfil his dream though, because I genuinely think it's a bad one.

Their goals:

The lead characters are the foundations of these two stories. I expected Luffy to be very similar Naruto. There are a lot of parallels. Like the adhd, eating habits, huge potential, but most importantly in their dreams/goals. They both want to be the king/hokage and gather + protect friends on the way. They both have their goals clearly spelled out and repeated often.

Luffy's "I am me. I'm going to get crewmates, find the treasure and become king of the pirates."

and Naruto's "I'm going to become the strongest ninja and become Hokage so people will acknowledge me."

Naruto wants strength and power to be seen, loved and to make positive changes in the shinobi system, and to protect everyone. Luffy wants to liberate everyone so they can be happy and free and eat lots of food. "I just want to be king of the pirates, not anyone important"

These goals set the premise for their respective stories and I can say, without a doubt, that I think One Piece is the better story outline. It's honestly been so refreshing to not have the plot dominated by the main character's personal quest for physical and political power, because that aspect of Naruto (the show and the boy) has always weirded me out.

Overall experience:

With that said, I found Naruto (the story) to be a tighter, much more focused experience than One Piece, and it's not just the number of episodes. The cast of characters in Naruto grows at a pace that's easy to follow and while they don't all get the time or space they deserve, they all serve a purpose. The scope of the plot starts out small and grows steadily. There are a few plot threads running parallell to each other until they get woven together into one huge event at the end. It's big but it's contained.

One Piece, on the other hand, is a fucking hydra of a story.

One thing leads to another which leads to two others which leads to four and you get the picture. Eventually you reach a point where ten, twenty, thirty separate narratives, each with their own sprawling cast of characters, compete for attention at the same time. It's exhausting. It's confusing and often, in my tunnelvision case, infuriating.

I can not care about that many things at once and characters that I probably would have liked end up annoying me because they steal time away from the parts of the story I'm interested in. I was extra impatient since I was speedrunning it all, fueled mostly by hyperfixation on one guy. Even if my attention was more evenly divided across more characters it's still way too much. I totally respect the artist's right to invent new characters to make work more fun after working on a series for that long, but, man... I can't take a new kingdom with a squeaky-voiced boob princess and 60 new named bad guys who take forever to beat while flashbacks have more flashbacks within them to explain lore I don't give a fuck about.

Ok I might still be a bit agitated.

About the boobs:

So, I haven't talked very much about the sexism while doing this speedrun. The cishet male centered fan service and the blatant misogyny in general, and I don't even want to touch the Sanji part of the timeskip period. I have thought about it though, because it is impossible to miss. It's everywhere and it's in your face and it will not miss a single opportunity to disrupt a scene. It's baked into everything. One Piece is at times fucking disgusting to watch. It was only made worse by reading some of the Q&A pages of the manga, because some of that bullshit got etched into my brain and tainted the viewing experience. The thing is that shonen manga/anime to me feels like having my favorite food while trying to ignore that half the plate is rotten. I do my best to ignore that part, because I can't get this dish anywhere else and I'm fucking hungry.

I am sick and tired and pissed off about it, and I can't pretend it's not there but I refuse to let it poison the entire experience for me. I will separate the good parts from the rotten ones, that's just how this goes, for One Piece and Naruto both.

The sexism in One Piece is extremely blatant and obvious. It's visual in a way that it just isn't in Naruto. The female characters in Naruto aren't framed boobs-first or put in lewd outfits and positions every time they're featured. The female characters in Naruto don't get half the character development or narrative importance though, and that is worse, in my opinion, than a tiny metal bikini. Only marginally, but still.

I'm going to be a bit brutal here, but there are so many insignificant female side characters in One Piece that get twice as much background story as Sakura, one of the lead characters of Naruto. That is insane. Real stories too, and real motivations that don't have anything to do with them being women or in love. They're fighting for their villages and countries and themselves, not because they need male validation. My behated Rebecca, tiny-metal-bikini squeaky pink haired princess at least had a goal in life that mattered on a big scale. Sure her boobs jiggled ridiculously in the wind and she started crying annoyingly every time that counted (don't volunteer to deliver a dude's handcuff keys if you're gonna stand in a field and weep while he has to be carried to you) and I hated every moment I had to watch her story BUT SHE HAD A STORY.

Fuck. I'm angry. Sorry I've had this pent up for a while.

The conclusion to this is that Kishimoto's complete lack of interest in his own female characters pisses me off worse than Oda's way of being a loudly outspoken perv but it's pretty much a tie here. Both of their works are half rotten and no series like this will get my full respect until they dare have a woman beat a man in a fight with the same power that is afforded the men. WITHOUT making a big deal out of her being a woman in the process. Will never happen but one can wish.

Fight satisfaction:

I put up with all that stuff because few things hype up my brain with dopamine and endorphins the way a cathartic shonen fight moment does. I mean the cycles of building power, struggling to reach full potential and the inevitable defeat against the big bad before the emotional and desperate moment where it all turns and then BAM! New power unlocked. Victory. Release. It's like sex. It's much better than sex. I'm ace so most things are, but the formula is the same.

It's been so long since I watched original Naruto, but I remember the impact those moments had on me then. Rock Lee's weights and Naruto vs. Sasuke that moment Naruto goes crazy fox mode and just RAWGRH, you know the one. Kakashi vs Hidan and Kakazu gave me some of that. Kakashi vs Obito doesn't follow that exact formula but the emotions and animation and THEM all makes it the best fight experience everrr. Kid Kakashi's first short sharingan fight belongs in there too. The fight satisfaction of Naruto is very, very high.

It's really high in One piece too, and because of how long it is, there are more moments. Luffy, Zoro, Law and Kid all had several moments that made me stand up and roar like a football fan or flail around while silently screaming at the screen. I get charged with power when my favorite characters do really cool shit and I've been super charged for weeks.

One Piece wins in power but Naruto wins in emotion, so it's a tie. It's hard to compare because of how fresh the One Piece experience is. Also because Kakashi's emotional fight moments are so, so emotional and Law's power moments are so HOLY FUCK HE CAN DO THAT?

Conclusion:

I need to go make dinner now, wow.

[mechazushi]

Calm Before The Storm {A Kn8 short story} [Directly inspired by Ch. 117] soooooo...spoilers

Kneeling on a pillow before a low peach wood desk, settled a man. A powerful man with a powerful presence, having long hair and dressed in dark purple robes with woven black silk and kaiju armor, fitting for a high ranking kaiju killer. He continued to write, unbothered by the audience before him. Standing at attention beside the official was a soldier in full regalia, his face obscured into anonymity.

"If that is everything, then everyone is dismised." Soshiro Hoshina, leader of the Hoshina clan, commanded to the squad leaders he had summoned to his personal office.

While the rest had bowed graciously and filed out in-sync, one had decidedly stayed behind against orders. Konomi Okonogi, an lower ranked advisor to the clan had stood unshaken before the forth son of the Hoshinas. She was waiting quietly for him to acknowledge her on his own. A small moment passed, filled with the quiet swishing and slicing of a stiff brush gliding over paper. The soldier, noticing that the advisor hadn't left had also noticed his commander refusing to acknowledge the wayward interloper. The soldier let out a muffled cough as a cover for him to disguise a nudge to his higher officer with his foot. Being jarred from his concentration on official paperwork, Soshiro finally decided to address the nosy advisor in the room.

"Is there something to be left said, Miss Okonogi? As you can see, everyone else had left."

"Yes, there is." The locally stationed advisor stated, "It's about your continued decision to employ someone with... lackluster talents as your personal guard. Your family remains ever concern about such choices."

"And they will continue to worry as they are prone to do so as blood relatives." Hoshina finally looked up from his work and looked at the advisor fully, "They may question it all they like, but it will not change the fact that I have made it." He looked back down dismissively to begin again on his paperwork.

"Since the fourth son of a somewhat prominent family is not in that high of demand, my guard's skills are sufficient enough for his task which, need I remind you, is escorting me across town to my family's manor and back. Nothing more." He resumed the meditative writing as a way of making his point clear and matter resolved.

Okonogi sniffed stiffly as she took the transgression silently. She bowed nonetheless and shuffled herself out the office door. After closing it behind her, the soldier let out a low sigh of relief. Hoshina chuckled to himself, somehow finding all of it funny.

"Ya know, for a group of people ya hardly see, they sure like to press on personal matters." The soldier finally spoke when he felt the sudden tension leave his shoulders.

"They're not pressing the matter, she is." Soshiro sighed as he started the process of cleaning up his brush, "She's being paid to question any decision I make that doesn't sound like any my family would make themselves." Hanging the brush on a rack and shuffling some items on his desk around for cleanliness sake, the commander eventually lifted himself from his kneeling position and let out a long and low groan as he stretched, satisfied.

"Come along, darling. After leading training and all of that paperwork, I feel a deep need for a cleansing." Soshiro said as he slid his hands into his oversized sleeves.

"I've told you not to call me that." The soldier's warning was muffled through the clay face mask he wore.

"Oh please, we're the only people on his side of the manor now. And in a few minutes, I get to call you whatever I want." Hoshina retaliated with a hint of joy undercutting the mocking statement.

The two of them filed out of the small office, the commander in front and his loyal body guard never far behind. It was well past sunset and the sky made it clear it was reaching late dusk. The last rays of sunlight filtered through the paper doors that lined the long hallway to the natural hot spring located on premises. Once they entered the outdoor bath and had closed the door, making sure it couldn't be opened easily, only then did the energy in the air begin to waver. It changed from official and stale, to feeling charged, almost teetering on playful or mischievous.

Soshiro found a lit candle on a nearby stool and followed his guard as they walked the stone path that lined the edge of the spring. Kafka did his part of unhooking metal lanterns that hung from tall wooden post high in the air and brought them down to chest level for Soshiro to light them. After making certain that any night breeze wouldn't extinguish the little flame easily, did Kafka hang the lantern back up and move on. They made a full lap around the spring and walked back to the front of the bath. Soshiro tugged on one end of a strip of leather that held back most of the glossy locks that draped from his regal head and sighed as its weight shifted.

"Well, are you going to help me or not?" The commander tittered playfully as he stoked his hair over his shoulder. He watched his soldier tug at the strings holding his face mask in place. A hand came up to rub away the thin sheen of sweat that had built up under it as the other placed the mask on a table.

"One of these days' we're gonna get caught because of your impatience" The soldier said as he made himself see clearly again.

Dropping the mask revealed the man underneath to be Kafka Hibino, once a lowly foot soldier in the Monkey squad, now currently having the coveted position of being Soshiro Hoshina's personal escort and body guard. A position he wasn't aiming for, but with how his relationship with the fourth son of the Hoshina's was going, it wasn't one he minded terribly. While it was blatant favoritism that earned him the position, it was clear to the both of them that it could never be trusted to anyone else. He began to walk over to where Soshiro was waiting patiently to have help removing the heavy Kaiju-leather plates that make up a hunter's armor.

"If you keep talking about it, eventually you'll make it so. I almost wonder if you want it to happen." Soshiro sang with a honeyed tone.

"It will happen if you don't fix the problem of not being able to keep your hands to yourself." Kafka stated as he began to mess with the ties holding the pauldrons to his shoulders. He smirked as he chuckled in his mind, thinking about all the times he had to stop his commander from launching himself across tables at people, from starting duels in the street, or making sure he didn't get caught with his hand snaking their way onto his body guard's... person.

"I haven't ever heard you complain about it before." His commander said with mock admonishment. He held onto the discarded pauldrons as Kafka began to work on the belts holding the chest piece in place. "Maybe it just means we're both rotten to the core." Hoshina continued to tease as he leaned back closer to Kafka's chest.

"It's not hard to be influenced by you when you make yourself so inviting." Kafka hummed as he leaned in closer to Soshiro's ear, "I just consider myself lucky that I'm the only one my commander had decided to make himself a completely vulnerable fool in front of." He whispered as his hands traveled southward, past the belt that held up the lower portion of armor and unexpectedly squeezed his partner's upper thigh.

Soshiro jabbed him with his elbow in retaliation, causing the two of them to giggle and make Kafka lose his grip on the belt. He finished with his task and helped remove the chest plate afterward. Once he gathered all the removed armor and set them on the table, did he offer himself up to his commander for the same courtesy. Kafka let him pull at the strings holding his helmet in place, the both of them knowing full well that he could do it himself. They knew as well that Soshiro liked the opportunity to hold his lover's face in his hands.

After taking off the helmet, Kafka took it out of Soshiro's hands so his could be free to caress his. A face marked with long healed scars and patchy scruff, it was a face he found only his commander seemed to truly love. Fingertips traced the edges of its rough details while eyes drank in its softer ones. The small maze of wrinkles that lined his lips and brow, those gem-like blue-green eyes that could melt snow capped mountains or freeze them solid, and that warmth of a good soul that seemed to seep from every piece of contact his lover's hands could make on his face. These details were expressed to him, time and time again, but he never believed them until he heard it straight from his commander's honest lips.

One hand removed itself from the helmet it was holding so it could trap Hoshina's and bring it closer to his lips, allowing a moment where Kafka could drink in the other's essence as well. Savoring the cool skin on his and smelling the ink and leather oil sunk deep into Soshiro's natural perfume, permanently etching his presence onto the ridges of Kafka's mind. He sniffed and sighed and kissed it lightly before he let it go. Kafka liked to watch intently as those same hands roamed his body, giving him the same care and attention to his armor that he gave to his commander. It wasn't long before he was stripped of his armor as well. He took it from Soshiro as laid it to rest next to the other pile on the table.

Hoshina began to busy himself with removing the cloth robes that remained, not giving them any loving courtesy like the armor was given. They were quickly shed onto the stones before Soshiro stepped foot into the searing warmth of the spring water. Dunking his head in, he resurfaced swiftly and smoothed away some errant strands of hair from his vision. He began to tug on the last of the leather strip that held the rest of his hair back as he watched Kafka from the borders of the spring. As it all fell down heavily, Soshiro busied his hands with sweeping it behind his shoulders while he continued to rudely gawk at his partner undressing.

He had seen that man naked more times than he had seen himself, and he never tired from the view. Strong muscle wrapped and coiled around the soldier's arms while his torso held a softer image. Hoshina knew better than to doubt that rounded appearance, having seen and certainly felt what that upper body was capable of. His tongue darted out and swiped across his lips in reaction to seeing the top shirt being removed fully and folded onto the table. He moved closer to the rounded stone skirting of the small pool and saddled up to the edge in quiet anticipation. As Kafka's hands reached to waist of his pants, they stilled as he developed the familiar sensation of being watched.

"Do you really have to stare at me every time I undress?" Kafka called back, not bothering to turn around to confirm his suspicions.

"Do you have to act like a bashful maiden every time I do?" Soshiro teased as he stayed rooted to his spot.

Hoshina found himself biting his lip as Kafka just sighed and removed the rest of his clothing. He moved out of the way as Kafka strode over and began to act as if he was about to enter the pool, only to sweep the discarded robes off the floor and smirked coyly at Soshiro as he walked away with them

"I don't know why it bothers you so much. It's not like I haven't had you under me or anything." Soshiro teased back as he watched Kafka continue to put away the discarded attire.

"You start up that kind of attitude this early and I'm leaving." Kafka grumbled as his cheeks flushed bright red.

"If you're not in the mood, just say so." His commander pouted as he turned away from him in slacking scorn.

"Only because I'd like a chance to actually relax first." Kafka said with easy-going indignance. He returned to the pool holding the jade comb they used whenever they came to the spring together. Soshiro scoffed, but shifted himself into position anyway as his partner carefully splashed his way in.

"It would work that way as well. Hell's, I'd like to think that you would end up more relaxed by the time I was done." he joked as he leaned back into Kafka's awaiting lap, propping himself up between his knees.

"You're incorrigible." Kafka sighed as he shook his head.

He spent the passing time slowly raking the comb through the long silken strands of Soshiro's hair, taking care to brush slowly and chip away at any knots going from bottom to top. After making sure it was free of tangles, did he take more of their time combing through it all in long passes, just to savor the feeling. Soshiro reveled in the attention, never not once hating the feeling of being attended to like this. Sure, he had servants help him dress in the morning and even do his hair, but none of it felt the same as when it was done by someone he loved. Every few passes of the comb, he would feel short nails caress and scritch as his scalp, removing an itch that he didn't realize was even there. On windless nights, Soshiro could hear a deep, reverberating hum from the depths of Kafka's chest, usually a marching chant or a drinking hymn. The repeated, loving motions, the all-encompassing blanket of warmth, paired with the harmony of the wind and leaves matching the water and waves lapping at the stone beat for beat. Hoshina would willingly go penny-less and destitute, sick and infirm, if it meant he got to keep these moments forever.

Deep in the cavern of his blissfully silent mind, it took a while for Soshiro to notice that Kafka had stopped brushing and took up plaiting the infinite length. To be honest, he wasn't a fan of it. Leaving in the braid too long usually bent it into weak crimps and he could already hear the judging murmurs of his servants who had to deal with it in the morning. He was aware that Kafka was just the type of person who always felt the need to keep his hands busy. A trait that benefited him when it came to squad relations. Rarely was there ever an idle task when Kafka was released from his body guard duties. It was just how he spent his time relaxing, but did Kafka really have to take it out on his hair?

"You're doing it again." Soshiro muttered lazily, not bothering to stop his lover.

"I know." Kafka responded simply, the smile unmistakable in his soft voice.

"You know everyone hates it when you do that." The commander sighed. He heard a puffy chuckle before Kafka responded.

"Do you know why I do it anyway?" he said as he held his hand out for the leather hair tie.

"Mmm... Humor me." Soshiro softly moaned and he began to feel those gentle hands move again.

"Because no one knows it's me." He whispered, "Because it makes your hair do a fun little dance for me as I follow you around. It's something I do to you that lets me remember that I'm yours." He finished curling the long braid around itself into a snug bun and cinched it up with the leather cord

"And you're mine." Kafka tacked on tenderly, along with a quick peck to an unsuspecting commander's forehead.

"Well then... I guess I can't bring myself to hate it as well." Soshiro declared as he lifted himself to a higher sitting position.

"Especially after hearing something so sweet." He scooted himself more fully into Kafka's lap and wrapped his arm around his shoulder.

Their lips touched and moved languidly against each other. No need to rush or to stop was felt when they started, and there wouldn't be for the rest of all their night together. Such was the case when two lovers fell into a wanting dance. Kafka softly sighed as his partner's hand tugged at the hairs of his nape and soothingly massaged the back of his neck. Soshiro beamed as he felt his soldier's sharp teeth and pointed canines pull teasingly at his lower lip, causing a breathy giggle. Hibino broke away from the dance first, deciding to slowly lavish a trail of wet kissed down the taut plains of Hoshina's neck. He tasted the sulfur of the water and the salt of the sweat as he savored the journey to the hard edges of his bath-mate's bare shoulder.

It was there that Kafka decided to stop his conquest and inhale his lover's scent once again. Breathing deep and slow, he made his mind expand and bask in all that he could feel, all he could sense. His arms unconsciously tightened around Soshiro's waist as a wisp of melancholy seeped into his heart. His nose nuzzling its way back up the path he made on the neck felt very much different from the moments they were making before. Hoshina dug deep into his will to separate their chests from each other so he could look his love in the eyes. He felt his smile carry a hint of the melancholy that had seemed to enter Kafka's heart as well as invaded the sanctity of his expressive face. A hand traveled from Kafka's broad chest to tease the corner of his lips into a happier expression.

"Your mind is very loud again. It's practically coming out of your eyes." Soshiro huffed quietly as he continued to watch the other's face shift through different shades of the same emotion.

"It's just... this... the world... something's been feeling off lately. Like this isn't going to last forever." Kafka's voice rumbled with the weight that he had been feeling on his shoulders.

"You're manifesting again." Soshiro called back, thinking a joke would help lighten the mood.

"It doesn't feel like that. More so like a... premonition. A gut feeling that's arrived and hasn't left." Kafka brought his face closer, rubbing his nose against Soshiro's and sought comfort and warmth in their closeness, "I keep waking up in the morning, thinking that it's going to be the last time I get to see you. It scares me."

"I would rather be stabbed through the heart before I let things stay that way between us." His lover affirmed solidly as he brought both of his hands to cage Kafka's face, "This isn't coming from what Miss Okonogi said earlier about my family, is it?"

"I wish its origins were that simple. I've had this feeling for a while now." Kafka's gaze softened even more as he basked in their continued embrace.

"If that feeling gets worse, I want you to remind yourself of one thing." Soshiro spoke softly, treating each word like a fragile feather.

"And what's that?" Kafka whispered back, a flicker of hope sparkling in the shape of his lips twitching into a smile.

"No matter what comes, no matter what happens, may it be something trivial, or the ending of the world, I will be yours." Soshiro placed a gentle kiss on the bridge of Kafka's nose as he continued to promise, "And I will find you no matter where, no matter when, and tell you that, over and over again. In as many different ways as needed until you never feel like this again."

They continued to indulge in each other's comforting presence until their tired minds couldn't take being awake anymore. Even as Kafka felt his mind be overtaken with the inescapable need for sleep, his mind echoed his partner's sentiment over and over again. He knew those words were true, and knew better than to doubt a promise from his commander and lover, but it affected little to the growing fear that leeched onto the fibers of his emotions. One thing he said did seep in however. He knew, really and truly knew, that they would find each other. Again and again.

No matter what.

[outofangband]

two posts about Himring related folklore for @nelyoslegalteam

I’m making a post about folklore in Angband soon too!

my tag for posts related to the position of ex thralls in Beleriand is 'but ever the noldor feared' and post angband! there are more related posts there!

The folklore of Himring is complex and the line between rumor, truth, and campfire tale is blurred.

The people of Himring are a diverse population, mostly Noldor of Fëanor’s host but some of Nolofinwë’s too, who wanted to be closer to the front lines or who were actually stationed there, a small population of Northern Sindar, and of course a small population of Angband survivors making up mostly Sindar and Avarin elves who were captured before the Noldor returned to Beleriand (I’ve talked about this on many posts but I’m always glad to say more! It’s one of my favorite subjects!)

The stories come from within the March and throughout the rest of Beleriand.

Tales of the desolate landscape itself were sparse before Maedhros built his fortress though people had been known to disappear around those hill near the river wells but whether they were taken by the cold or elements or the enemy was unknown.

The residents of Himring have a wealth of stories.

There are those that are woven simply for amusement, or to pass the time or sharpen the mind on long nights of watch where all you see is an endless expanse of winter. It’s easy to become confused then.

They tell of strange lights in the snow, of fires that appear to burn through the storms but vanish when travelers veer too close, of monstrous shadows that only their frightened horses can see.

There are the inevitable tales and rumors of Angband and those who have seen it. Some are shared among survivors, to comfort, confirm and console. Stories and tales from the fortress inevitably make their way into communities with any survivors, then spread by those on the outside.

Some fall into the timeless game of comparing wounds, out of anger or a bitter sport. The nastier tales that win these little games sometimes leave their private circles.

Many are spread by others with varying intentions. Of course there is simple curiosity and misinformation but there are those who repeat the vicious accusations often leveled at escaped thralls and often, towards Maedhros himself. I went into that in the last ask you sent I think.

And then of course there is Tol Himling, the remnants of the fortress of Himring on a tiny island. Few visit it unless by great need in stormy seas. It does not appear on all maps of the ocean. It is said to be haunted for those who seek shelter in its ruins rarely find peace. They dream of a hell of iron far below the waves and of blinding lights and stark cliffs they have never seen.

Second, an idea I've mentioned here but have wanted to make a longer post about it too

Inspired by @welcomingdisaster ‘s fantastic world building prompt list here! Prompt: native bird

One of my favorite topics to write about is the societal place of ex thralls in Beleriand and the culture of belief around Angband.

Among some in Beleriand and later, throughout Middle Earth, barn owls are believed to be the spirits of other predatory animals. This is because they are pale, fallow colors and because, unlike other owls, they do not hoot. The sound of the barn owl is a breathy shrieking sound that has often been described as something unearthly. The most common name for barn owl in Sindarin roughly translates to ghost hunter. 

Although these birds are not believed to be ill omens nor pose any danger to elvenkind by most, they have developed an association with other beings who exist in the margins between life and death, who flee or were driven from their homes, and who have returned to a state of hunter or hunted. In First Age Beleriand, they were sometimes associated with former thralls of Angband, usually those nameless ones who never came home or who were exiled by their own kin and who survive as wild beasts. 

These elves, though not all believed them to be such anymore, existed somewhere between reality and legend in Beleriand and beyond. 

Nonetheless, stories of pale wraith like figures who stole from, attacked or even ate their own kind, who moved with an uncanny silence even beyond the ability of the Eldar…these stories melded perfectly with the vision of barn owls and their eerie calls.

These perhaps later morphed with the stories told by the men who followed Morgoth about the Eldar as a whole. (Obligatory Morwen mention here too).

In the frozen abodes of Himring, watchers on the ramparts pause as the shadow of a ghost hunter passes silently by the winter moon. Some turn away or mutter a prayer. Some watch still closer.

[up-to-some-good]

Jily lives prompt:

“may I ask you, fair lady, for a dance with me?”

“Hehehe.. of course, my fair sir”

Sorry this took so long to get to! Thank you for your patience. I hope you like what I've done.

2 years

24 November 1981

The living room was a mess. Sirius and Remus had been babysitting for the day, giving the Potters a day off for the first time since the end of the war. Harry was always excited to see his godfathers, and left a trail of toys he just had to show them in his wake.

Lily decided to clean it in the morning, or leave it for James to do before she woke up. For now, she was just enjoying sipping a glass of wine and listening to the distant rumble of James reading Harry to sleep.

Soon, she heard his voice stop and tracked his movements towards her by their sound: the creak of Harry's door, light steps down the stairs, a small clink as he got his own glass of wine. A record started with a wave of his wand as he sat down next to her.

"Harry asleep?" she asked.

"Barely made it through the story before he was snoring," James responded. "We should have the dogfathers over more often."

Lily laughed. "I'll cheers to that."

He bumped his glass against hers and settled further down, one arm around her shoulders.

The song changed and Lily closed her eyes, remembering their wedding reception. They'd stayed until everyone had left and James had put on this record so they could dance one last dance, even as the decorations were packed up around them.

Gently, James took her wine glass and placed it on the coffee table next to his before standing and offering her his hand.

"May I have this dance, my lady?" he said with a little bow.

She laughed, but took his hand and let him pull her up.

"Of course, my good sir."

They gently swayed around the living room, barefoot and in their pyjamas. The last time they'd done this, Lily had been in her wedding dress with flowers woven through her hair, but James didn't look at her any differently now.

As the song slowed to a stop, she reached up and cupped his face gently, pulling him in for a kiss.

"Happy Anniversary, my love," she whispered.

[spiders-hth-is-an-outlier]

Recently I've been going back and reading some of my old SGA fic (some of my best, most interesting writing is there, most of it deeply overlooked because it was about violence and grief, with tangential romantic content or none at all, and of course that's never really been Hot Ticket stuff in fandom; I get it), and after I ran out of that, I decided to reread Pretty Good Year.

And, you know, when you read something you've written years later, obviously there's always little stuff that bumps you – that seems overly repetitive or too wordy or whatever your personal sins are as a writer, and you wish you hadn't done this or done it that way or whatever. Mostly it really is just “whatever,” but there's one really spectacular fuck-up in that story that I knew was there, but it continues to bug me more and more over time. And it really is just an error, and not a sign of my growth or whatever, because I meant it to be there and I just. Forgot. I was in a hurry trying to get it done and I forgot to put it in there, but there was supposed to be a line somewhere in the final chapter about the tight scheduling around their East Coast trip because of having to work around Eliot's rehearsal schedule, and I hate that I didn't work it in, because without it there's actually no resolution to his final conversation with Idri. You might guess that after considering it Eliot agreed to take the role, but nothing in the story ever tells you that.

And that honestly really bothers me, because it actually matters to the Themes and Motifs and shit of the story, which is a story that (sneakily) actually begins before chapter 1 – it begins in Los Angeles, even though you only get the Los Angeles story doled out in pieces throughout the text. It's important to the story that you know there was originally another version of Eliot, who is actually this universe's version of “Brakebills Eliot” – someone who was bolder and braver and more proactive, who struck out on his own at 18 to chase his dream and find his forever home and all that – Eliot the hustler, Eliot the actor, Eliot the Spectacular. And you learn, over the course of the fic, what happened to that Eliot: that he didn't have a Hollywood story, that his personal and professional lives in LA were both mostly too much effort for no real reward. That he burned out, and then he was betrayed, and that he never really recovered from that; on page 1 he's living this bleak, uninspiring life, paralyzed by ennui, with no idea where he's headed except to keep doing what he's doing forever. The version of Eliot that opens PGY is actually inspired specifically by the defeated, traumatized Eliot in the final few episodes of season 1 – the version that begins when he breaks down after killing Mike, and ends when Quentin crowns him High King. That's actually the whole story, right? It's a PTSD-ridden Eliot, afraid to get back out in the world, who's kind of plucked out of obscurity and chosen to be The One, and the story question is whether or not he can live up to this metaphorical coronation.

Fundamentally the answer is obviously that he can, because while it was impossible for him to get back on his feet after LA for his own sake, he's stronger when he does it all for this family who desperately needs him to be their linchpin if they're going to stay together. But I really didn't want the story to be entirely about the glories of Eliot discovering that he's an excellent tradwife – although it's not not about that, and he definitely is – because I don't honestly think Living For the Ones Who Need You is a great life plan, you know? I didn't want that to be the one and only key to Eliot's kingship/adulthood, so there was always this second story woven in about the other loss that Eliot suffered when Los Angeles collapsed in on him. The first real thing Quentin says to him, the thing that digs into Eliot enough to shift him from this sort of lazy, semi-interested seduction into genuine interest in Quentin, is that Quentin asks him what he does creatively. In whatever intuitive way, Quentin sees that Eliot is fundamentally A Creative, and connects to that and he values it, which starts to give Eliot permission to connect to it and value it again. These exchanges about Eliot the Artist are critical to the story all the way through: when he sings to Quentin, when Quentin gives him the piano and the theater tickets, when he gets the Wellspring job because of the costume he made, the gift of the sewing room, the conversation about The Greatest Showman. It's the B-story to the whole thing, that Eliot had written himself off as a failed actor, but is starting to wake up to the image of himself that he sees reflected back from Quentin, this talented, creative person who makes beautiful things and makes things beautiful. One of my favorite little punctuation marks in the story is when a drunk Quentin introduces Eliot to the wedding guests, and his go-to in vino veritas summary of who Eliot is is basically, “MY BOYFRIEND IS AN ARTIST.”

Chapter 13 is obviously the story's climax, and its job was to essentially Show Not Tell that Eliot has achieved the goals that I forced onto him, which had more or less four aspects: he had to be the one who saves Quentin from drowning, he had to be not just a generic Good Parent but a good father because of he himself authentically being one, he had to kind of put a final seal on the pact with Margo so that we know for sure his partnership with her is real and not going to be transcended or left behind so he can be Q's romantic hero, and he had to actually acknowledge that he is a Theater Kid forever, that he was wrong to leave behind a part of him that he loved and that sustained him internally just because it won't ever make him famous. I needed all those things to be in place for me to feel like Eliot was closing out the story successfully, and most of that happens in chapter 13: the Teddy story is punctuated in that conversation they have at the beginning of the chapter, the Quentin story is punctuated partially with the paired doctor and hospital trips, but emotionally I think is punctuated when they have the fight in between and Eliot manages to end with “I love you” anyway, the Margo story is punctuated by the intense privacy of their comfort sex and with Eliot being the one for the first time who holds the door open on them having kids – but that fourth storyline really doesn't come up in 13. It's punctuated by the conversation with Idri in chapter 12, when Idri sees right through Eliot's attempts to hide how exhausted he is by being so extensively, endlessly Needed, and says that when he was in the same position, he had theater as a lifeline. He pays it forward by passing that lifeline to Eliot, and even though I didn't think Eliot was ready in that exact moment to wrap his head around it, I always thought it was completely essential to the story for Eliot to say yes to that lifeline, just like he said yes to Ted and Quentin and Margo.

But he actually didn't say yes. And I meant to show that it had happened! I really, really intended to put something in chapter 14 that showed Eliot going back to acting in spite of the way it had let him down before, exactly in parallel to the way he went back to love and family in spite of the way he'd only ever been let down by those. It feels really essential that all those things end up closed up, rounded off, settled, and it drives me a little insane that one of them didn't. But now you know, I guess, that Eliot was in a community theater production of Fiddler on the Roof that summer, and also everyone thought he was terrific, and he loved every minute of it.

[emmabirb8]

I've been an Invader Zim fan since 2011.

I was 15-16 at that time, and though I did thoroughly enjoy the show, I was not mature enough to really get it. Sure, it was funny, but I didn't pick up on the subtleties and style of humor beyond the surface level. I liked the wackiness and the characters, but I SURELY wasn't at a point of being able to deconstruct themes or analyze character motivations and narratives (like I very much enjoy doing now). I remember discovering an artist on DeviantArt who drew cute ZaGr stuff, so that was the pairing I liked too. I didn't think too deeply about much, and honestly, I don't think the majority of fans (if they were my age or younger, that is) did either. Everything was taken as dumb and silly for the most part, and that IS truthfully a major component of the show itself.

Getting back into Invader Zim within this past year though, I'm looking at it through a WILDLY different lens. I like Invader Zim for what it is and how it's intended to be perceived. I like that the show is meant to be dark, satirical, and tragic at the same time that it's silly, chaotic, and nonsensical. Almost everything that happens onscreen is written in to be funny above all else. (I've mentioned before that I've been watching Jhonen's Twitch streams for a while now, and I have a MUCH better understanding of his sense of humor bc of that. IZ makes way more sense if you can sorta see things from JV's perspective, lol.)

But at the same time, I also like Invader Zim for what it offers in terms of interpretation and what it can imply (intentionally or not). There is genuinely SO MUCH DEPTH to this dorky lil cartoon that a casual viewer wouldn't immediately pick up on. And a lot of that depth, I think, was not woven in purposely. The show itself was never meant to be taken so seriously. Nevertheless, I'm constantly fascinated by what IZ implies about good and evil, the nature of general society, and especially how it goes about demonstrating the devastating effects of social isolation and bullying. Meta for this series is always pretty damn *chef's kiss.* And what's even more interesting is how viewers manipulate canon to expand upon this world and these characters.

Given that I've come to understand Invader Zim better, I've also grown very fond of ZaDr. Now, while I wouldn't want to see this pairing happen in canon material, I love the potential it possesses in transformative contexts.

In reality, I get that these characters were intended to have a deep hatred for one another and a never-ending rivalry for the sake of comedy and not much else. It's an extraterrestrial perpetually throwing hands with a 12 year old because he's incompetent and his plans often fail. And that's funny. That's the point. But beyond that, canonically, these are two characters who are mirrors of each other; they're both treated like garbage by their respective peers, and they both crave acknowledgment, validation, and a sense of purpose. Throughout their story, they find they're only able to obtain these things from each other, so as a consequence of their similar personalities, they become utterly, unhingedly obsessed with each other (to a sometimes unhealthy degree). They are undeniably forever intertwined by design of how the show is set up.

And because of that, shipping of these characters was, frankly, inevitable in fandom spaces. I myself fell victim to their appeal too. (Sorry, Jhonen. 😅)

I'm not gonna go into any discourse surrounding this pairing because there's already PLENTY of that to go around online. Everyone has their own opinion on the subject, and that's fine. I respect that. Point is, even though I understand and appreciate what Zim and Dib are supposed to be in the context of the show, I also enjoy the idea of them as friends and romantic partners outside of and beyond the confines of canon.

And that's something that I think many fans who are biased toward ZaDr would also agree with! Actually, I'd say the majority of people who ship characters in ANY media would concur. We like the idea of seeing how specific relationships could develop over time and/or within different settings and circumstances. It's NOT always about wanting to see a relationship unfold on screen or in fan works strictly adhering to canon. It's about stretching canon, or in some cases, scratching canon entirely however you see fit! Who cares! It's fiction!

For me personally, I enjoy ZaDr because its attributes fall into so many trope categories that I've come to adore over the years (ones that I either wasn't aware of when I was younger, or that I didn't enjoy in the same intensity as I do now). Zim and Dib are, or could be, depending on context:

Codependent toxic soulmates

Human x non-human

Shared history

Classic enemies to lovers (or, as I often prefer it, enemies to friends to lovers)

Bicker couple

Battle couple, when put in the right setting for it

Violence as a love language

Smol and tol

The wild card paired with the rational one, the best part about this being that sometimes the more rational one is Dib, and sometimes it's Zim bc they're both a special flavor of insane

Make each other worse/stupider when together, tho oddly, they also kinda bring out the best in each other too

And, my personal favorites, the potential for hurt/comfort and angst with a happy ending, with the comfort and happiness aspects ultimately coming from each other

I like what these characters could be, to and for each other, apart from their roles in the show.

I would never want to explore a dynamic between Zim and Dib that goes beyond "frenemies" territory in canon (because that doesn't fit what the show is, and I do appreciate the integrity of Jhonen's vision). The subtle foundation for them is there, it's just that it can't really work unless a few key details are changed or manipulated, and, well...

I sure as hell like exploring every bit of that expanded potential in fan works because it's fun to imagine the various directions things could go if they were different!

This isn't me, like... trying to defend my (or anyone else's) enjoyment of this particular ship or trying to convince people to like it. Or the show for that matter! To each their own, truly. And I'm obv aware of the controversy ZaDr often incites and why. Everyone has valid reasons for liking OR not liking it, and I accept differing viewpoints on it. It's a touchy, nuanced subject to be sure. But this isn't about that.

I don't really know what this is, actually, aside from a very long very weird essay, lol. I just wanted to process why and how all of this works for me with my changed perspective from when I was first introduced to Invader Zim in my teens up until now.

It's strange, looking back. I didn't get ZaDr years ago. But I do now, and so much of it, at least from my perspective, has to do with taking the crumbs present in canon (that are undeniably there, whether you choose to acknowledge them or not, and whether they're intentional or not) and absolutely running with them to the ends of your own wild imagination.

(ZaDr content is always tagged appropriately on my blog. Pls use tag blocking functions if needed.)