#but i thought this might be important considering some of the characters i see written with these words are specifically mexican

[buttdumplin]

I only know Mexican Spanish, so I can only speak for myself and those I grew up with but "mami" and "papi" are not the equivalent of mommy/daddy as used in sexual or intimate relations.

We use mami and papi with our kids. It's what our tíos and tías call us that affectionately. It's what the lady from the corner store calls us when she's sweet on us and can't quite remember our names. It's what our grandparents call us as they fix up a scraped knee. And they bring out papito/mamita when we're either in deep shit, or in need of comfort that can only come from someone with more knowledge, power, or experience than us. It's a diminutive term of endearment.

I'm not saying it's never used as mommy/daddy, but it's hardly ever a title. The context of it is so wildly different, because it's usually what we call someone we're responsible for.

"Mamas" tho? Mamas can fuck.

[holy-amelie]

'You fell first but...' sfw (Sunday)

...he fell harder ˎˊ˗

·.༄࿔ characters: Sunday, you

·.༄࿔ pairing: Sunday x g/n!AE!reader

·.༄࿔ cw: no tw, fluff and hurt/comfort, non-native english author, written before 2.7, but contains spoilers/leaks, be careful! Can be ooc but this is how I see him at the moment. You are from the Astral Express here.

·.༄࿔ a/n: still need to remember how to write things properly qwq

You fell first, that's for sure.

It's even funny how quickly this young and charming Halovian found his way into your heart. It only took a polite smile at the first meeting to ignite this new, funny feeling deep inside your chest.

It seems there was a real reason people on Penacony spoke of him as the most eligible bachelor in this part of the universe.

Soft, calm, as if glowing from within. No wonder you were the one who got closest to him during the investigation. There was something special about Sunday that only attracted you more, beckoned you like a moth to a flame. Maybe it was the fact that you wanted to destroy his perfect shell, or the fact that you already saw through him.

All his little nervous habits, his quiet and a bit awkward chuckles, the way he pressed his lips together when he was unhappy with something, just to hide it all behind the facade of an all-forgiving and all-understanding host. And the way his eyes were sparkling when he was passionately talking about something important.

You saw glimpses of Sunday, not the head of the clan.

Of course, it's foolish to fall in love at first sight with someone you've just met and barely know. But you can't help your heart. Especially when his image doesn't leave your head for a minute and fills all your thoughts.

And, yes, it was even more foolish to expect him to suddenly fall in love with you in return. As the head of the clan, Sunday was always busy with more important things (even more important than it might seem at first glance). So all you had to do was quietly carry the burden of these irrational feelings inside you.

Did it get easier when Sunday revealed all his plans? No. Some things you did not agree with, some things you could understand yourself. Was it easier when he lost? Once again, no.

You seemed to be the only person from the Express willing to run after him no matter what. And you would have if Robin hadn't beaten you to it.

But... he fell harder.

For Sunday, life ended after he lost and lost everything: his position, his home, his sister.

Life is a rather ironic thing, so when he suddenly found himself on the Express, broken and lost, it felt like a cruel mockery. The people who were against him suddenly gave him a place he could consider his new home. Even if temporarily.

Among the entire crew, you remained the only person who didn't look at him with suspicion or even a kind of apprehension. Not at all. It was you and your unexpected concern for his well-being that helped him rise from the very bottom of existence.

Sunday was emotionally naked before you. He was choking back tears and begging for forgiveness, even though you had long since forgiven him. The once strong and reserved leader suddenly showed his true self - mentally tired, exhausted, so desperate for warmth.

That's when he finally realized that he craved your attention more and more. Sunday was willing to be alone with you for the rest of his life if it meant that all of his problems would finally fade into the background. He continued to live not only for the fulfillment of his and his sister's dreams, but also for you.

Aons, Sunday was willing to give up everything as long as your gentle presence continued to take away all his pain, to fill his hear with love and warmth, giving him new purpose.

No wonder your innocent and shy love finally started something new in the end.

Including his new life.

please, do not rewrite/copy/repost/translate my work without me knowing, you can always ask first, thanks

[astheworldgoesonitswickedway]

As the ASoUE fandom, we need to acknowledge the drastic differences between the books and show more often. I love them both though I do prefer book canon on this particular subject. The schism. The timeline can be confusing. And it's so important to recognize that while in the show, Beatrice accidentally killing Olaf's father incited the schism and Olaf's villainy, in the book, Kit tells us the schism happened when she was four. If we are assuming all our main generation of V.F.D. members are probably within a few years of each other in age, this happened when they were all young children. This changes a lot, but most importantly it means that the death of Olaf's parents and the great schism, were two different events. And also, this means they all grew up in schism V.F.D. essentially this environment of warring factions. They didn't get to experience a maybe healthier version of V.F.D. They grew up in an atmosphere where their lives would much more often have been at stake. Well I've been thinking about that night at the opera, since the schism had already happened, it could have played a part in the events. The show says it was an accident, but the books never clarify. To be honest, the books make things sound much more like an assassination...not saying it was but I won't say it wasn't. We see the Baudelaires themselves come to the conclusion their parents weren't who they thought they were. Why would they have poison darts if they didn't intend to use them? Kit says she snuck them past Esme to the Baudelaires. (Which is another thing. Seriously, if this was an assassination, Kit participated in the murder of her fiancée's parents...Olaf didn't seem to blame her like he did the others, did he not know, or did she not know what they would be used for so he didn't consider her complicit?) And for the record, the death of one person with a dart like in the show, could be an accident. Both of Olaf's parents died in the book and that's a lot harder to answer for. So why would the Baudelaire parents assassinate Olaf's parents? Would "noble" V.F.D. really condone something like that? I mean, I guess they were messing around with the medusoid mycellium...planning to use it against their enemies. Could the Baudelaires actions that night relate to their reluctance to tell the kids about their organization? As for why they would do that, is it possible Olaf's parents might have been villains on the other side of the schism? Were they planning something horrible? We are basically told that night is why Olaf switched sides, could he really have been on the noble side at a time when his parents weren't? What did Olaf see that night, how did he know who to blame? Did he watch his parents die? Could his parents have been planning to strike first? Could they have meant to kill his friends, an event which would also drive Olaf insane, just in the other direction, against his parents? Is there any way his parents could have been innocent? I have a really hard time believing that if the Baudelaires did what they did, though it was still not okay. This is all wild speculation I know, but the book canon just opens up worlds of theories, unlike the show which seems to sacrifice the plot a bit, in order to keep our important characters hands clean. But if Daniel Handler taught us anything, its that no one really keeps their hands clean, everyone participates in treachery at some point, and you never know how horrible someone's treachery was, you can't necessarily trust someone just because you care about them. Can I just say how absolutely gutsy it was for Daniel Handler to deliver a thirteen book series, the plot of which is driven by the great split of this secret organization, only for him to never tell us what happened? He never explains the schism? I know he loves to leave unanswered questions but. But this. Then again, it's written from the Baudleaires perspective and for many reasons, they don't get to know. It is fitting that neither do we.

[pumpkin-piiee]

I've seen people making up different story arcs on what will happen after the Noroshi War so here's mine.

*Manga spoilers ahead*

Maybe in the future, Nii Satoru-sensei might create a story arc about a sukeban*.

*A sukeban is a delinquent girl gang that emerged in Japan from the 1960s to 1970s.

History

Credits: yaz1ska on Instagram

Sukebans were formed due to bōsōzoku a.k.a. male biker gangs or the yakuza not accepting female members. The rise of sukebans has a huge impact on the feminist movement in Japan. Each gang has their own rules, hierarchy, and ways of punishment. E.g. Cigarette burns were considered a minor punishment if a gang member was disrespecting a senior member or stealing a boyfriend.

My thoughts if it were to come true

If the author included a story arc about a girl gang, I would have faith in him. I mean look at how well-written & well-designed the ladies in wind breaker are.

Credits: Pinterest

Credits: Mangapill

*I love how the author would draw sketches of Kotoha with major characters such as Tsubakino and Sakura. This means that Kotoha is more important than we have initially thought. Moreover, kudos to Nii Satoru-sensei for not sexualising Kotoha. I am sick and tired of mangakas sexualising female characters for no reason.*

Credits: Nii Satoru on X

Not to mention many of us know that Nii Satoru-sensei is good at writing complex characters such as Tsubakino.

Credits: MyFigureCollection

Story Arc, Characters & Operation

As for how this story arc will be executed, I believe it will cover topics such as feminism, struggles of womanhood and mistreatment of women.

Moving on to how this sukeban operates, here's my input. I believe everything they do is the complete opposite of Bofurin. E.g. instead of protecting their own town, they protect themselves. This is because the town they live in is also the complete opposite of Makochi, hostile and narrow-minded.

*I just thought of making this sukeban the complete opposite of Bofurin because I think it's interesting to see their reactions. It's also hilarious because the opposite of a boy gang is a girl gang. Get it? Okay, I'll stop.*

I also believe maybe this sukeban and its base can act as a sanctuary for women of its town who were mistreated by men such as giving them food, shelter etc.

I believe the overall vibe that they give is going to be like the military instead of high school.

As for their leader, maybe she'll be the opposite of Umemiya, stoic and serious. However, it is interesting if she was a good leader like Umemiya because so far we've only seen bad leaders in Wind Breaker.

As for their gang name, maybe it will be associated with elements such as water or space. This is because the other gangs e.g. Bofurin 防風鈴 is named after the wind element, Noroshi 狼煙 is named after the fire element, Gravel and Shishitoren 獅子頭連 are named after the earth element along with KEEL is named after or related to the metal element.

*I know that Shishitoren are named after animals but animals are also related to Earth sooo*

Final Thoughts

Overall, this is just a random thought of mine that I just want to share. If Nii Satoru-sensei doesn't include a story arc that talks about girl gangs, I won't be disappointed or upset as long as he writes a good story.

*P.S.. this is my first time ranting about an anime so feel free to critique or educate me if I've made a mistake. Also, I still have some opinions regarding this sukeban idea so should I create a part 2?*

[commsroom]

this is a sensitive topic for me, so i really hate that i have to make this post, but unfortunately it keeps becoming relevant: stop infantilizing hera, and stop making excuses for it.

"well, she's literally four years old" she's been fully conscious with an adult mind for most of that, awake for most of that, and in multiple places at once for most of that. do you think that is comparable to a child's life experience, or is it maybe representative of something else?

i assume you understand why it would be wrong to call lovelace "literally two" because the fact that she is a clone is textually representative of the trauma she's been through. i also assume you understand why hera occasionally making flippant or frustrated comments about her own struggles living as an AI is different from the text telling you who she is or how you should regard her. it's science fiction, and it's a show that uses science fiction concepts in ways that resonate with real ones. the ultimate fact of the matter is that hera could've been in a lab for 30 years, or for 200 years, in a different setting, and be written the exact same way: as a sheltered, isolated adult woman without real life experiences.

hera is not a child or teenager in a natural stage of development. she is an adult who never went through the usual stages of development or life milestones, who has adult friendships and responsibilities, but who feels she is permanently ill-equipped to handle her life because no one ever taught her how, or gave her the space to make mistakes. if you don't understand why this distinction is important in discussing her trauma, that there are real, adult people who feel the same way, people who feel they've only been alive for four years, women who were never girls... then i really don't know what to say to you.

and i guess i have to say it: it's inherently infantilizing to say her peers see her the same way they see an actual child, or to say she needs them to be parental figures, especially eiffel of all people. "adult women have parents too" not ones that are 30 year old men! and parents have responsibilities to children, even adult children, that are different from the responsibilities two unrelated adults who care about each other have. it fundamentally reframes hera's most equal relationship in a way that diminishes her autonomy within it. (and if you're arguing it's all equal anyway, then what does it add? why don't you consider friendship as important?)

i know some people will dismiss that point because i view eiffel and hera romantically, but i've never argued you have to. if you want to go down that road, it says some pretty awful things about the couple of writers and actors who also view it romantically if you think she was meant to be viewed as a child, much less comparable to his child. you're inventing problems that don't canonically exist.

i just don't understand why you would make it about eiffel at all - and eiffel does not have the right to be a parent; the only thing that will heal his relationship with his real actual child is in relation to his real actual child - instead of discussing what a disabled, isolated, traumatized adult might be able to offer a disabled, traumatized kid. isn't the whole point of hera not being like pryce about breaking cycles? why make her a passive figure in her own story when her entire story arc is about taking control of her life?

there's no utility to this line of thought that doesn't further demean and alienate her, while implying she isn't ready to be a fully autonomous adult person. i don't think most people mean to be ableist, but hera is canonically a disabled woman, and i don't like where that line of thought leads. and yes, she's just a fictional character and can't be hurt by it, but everyone brings some real-world biases to how they engage with fiction. she's written as a marginalized adult person, and her womanhood is textually tied to defense of her personhood and autonomy (as well as a parallel to lovelace, also a marginalized woman.) to paraphrase minkowski - "you are going to show [that woman] some goddamned respect."

[bitethedevil]

Raphael the Cat (Character Analysis)

I’ve thought a lot about the whole cat and mouse metaphor from his Cormyrian rhyme, even when I first started playing the game and hadn’t developed my unhealthy obsession with Raphael. It is an odd thing isn’t it? Why a cat?

The mouse thing makes perfect sense for his character. He often refers to others as ‘little’ or something to that effect (such as ‘pipsqueak’). You are small and he is big. That’s always the gist of it. Of course, the ‘mouse and cat’-trope is pretty common, but why not identify with something bigger and scarier? He does it by calling himself a ‘devil’ instead of what he really is: a cambion.

We know that he doesn’t just do it with us. In the Devil’s Den at Sharess’ there is a book where someone had written about winning over a devil in a poetry contest and the devil is clearly Raphael. We know because he has circled it in red that his ‘down came the claw’ line is mentioned in it. Which means that this loser (affectionate) reuses the same old material for clients.

He’s not a lion, or a wolf, or whatever absolutely terrifying creature you can find in the D&D universe. He’s a cat. That’s what he’s chosen as his fursona, if you will. Why though? The more I think of it, it makes complete sense, and it is such an apt metaphor for his character.

“Is there anything duller than a loyal dog?”

Raphael says that line and then says ‘I much prefer a cat. Meow.’ Iconic, honestly. It also says a lot about his character. What is a dog’s role in a house? They protect their owners because of some sense of fondness or at least because they are trained to it. What does a cat do? It kills mice.

Not because of any sense of fondness or duty to its owners, but because it is nature for it to do so. It is specialized to kill mice and rats. A cat does what a cat wants, which is exactly what Raphael does.

It’s written somewhere in the Devil’s Den that he sometimes doesn’t even really need to claim someone’s soul or help them, but simply does it because he feels like it. Cats are notorious for killing even though they don’t even really need to.

Considering how ordered and hierarchical the Hells are, I really think that Raphael is a bit of a wildcard. It comes with his nature, I think. Most cambions are loners and solitary by nature. He does what he wants. It certainly takes some balls to directly hand over an opportunity to fuck over the literal Archdevil of Cania by telling us about Cazador’s ritual.

No matter how much he claims that he loves order, I think order is mostly what he personally deems as order. It’s whatever he feels like, which is the general theme with him.

Master of the House

A cambion isn’t seen as much in the Hells. Don’t get me wrong, he still seems really successful for a cambion, and he certainly is higher in the hierarchy than most of his heritage. In the Hells he really is a cat surrounded by lions and tigers. He might see himself as a lion, but which cat doesn’t? Though, he is still aware of his place in the Hells, or he would not have lived for so long.

A cat might not be the king of the jungle, but they certainly rule their tiny kingdom of the house they reside in (ask any cat owner). It’s the same with Raphael. The House of Hope is his little kingdom where he rules. It’s obvious from all the plaques you see around his house.

He has created his own little space where he is the most fierce and dangerous thing there is, and all the little mice who enter buy it. To a mouse, a cat might as well be a lion, which is why I think Raphael ‘dotes on mortals’. He likes feeling important, big, and scary, and mortals see that image of him.

The Cat

Though they are small, cats are apex predators. At the same time, they are irresistible to humans. We pet them, we take them into our homes, but compared to a dog, the attention you get from a cat is very much dependent on the cat and not the owner.

Raphael is the same. He comes and goes as he pleases. He appears and gives you attention, nuzzles up against your leg, making you feel special for even getting his attention. Remember what he said to Mol if you help her win?: ‘She won, you know. She’ll be the one who comes to me.’

He wants people to want his attention, so when he gives it to you it almost feels like a gift. He keeps talking about us knocking on his door as well. We know that he has most likely talked to Voss before we arrive to Sharess’ because Voss knows he has the hammer. Still, he seems very uninterested when Voss is actually there, practically on his knees begging for his help. Peak cat behavior.

However, we know what happens if one chooses to spite Raphael. It becomes very clear that he is not a cuddly and patient pet, and you suddenly realize that you were the mouse all along and that you never were in any control over the situation.  

He was that apex predator all along, you just never quite realized just how small you were. Again, a cat is a lion to a mouse. He actually even alludes to this idea himself if you have tried hurting him: ‘Like a mosquito nibbling at a dragon. Begone.’.

He’ll tell you that you can be friends with him, pretending that you are something that could resemble equals, but it is all smoke and mirrors. Everything he does is to pretend that he is less intimidating that he is, and he even refuses the notion that he is the cat in the lullaby in the beginning. But if you happen to get too comfortable or think you can best him, he reminds you just how small you are and that’s a theme throughout all his interactions.

[kewwie-pie]

Let's address the blue suited elephant in the room!

I want to preface this by saying, of course, what Prosciutto does to pesci isn't okay in the slightest. He's a grown man who should keep his hands to himself, but i do want to talk about the scene itself and how araki has addressed this in the new la squadra lore drop.

If you've ever read or watched part 5, you must be familiar with pesci and proscuitto. The dynamic these two shared was quite unique, considering that at the time Araki wrote these two, we didn't really see two minor antagonist banter and interact with each other in the same way they did.

People who like La squadra have especially taken a liking to the dynamic Pesci and Proscuitto share, but one thing that we don't really talk about or acknowledge is the fact that proscuitto hits / manhandles pesci. So let's talk about it!

When you think of Prosciutto, your first thought might not be kind and doting. However, Araki goes on to emphasize that prosciutto is too soft on Pesci and praises him too much.

"This makes it a total of FIVE TIMES he supported pesci in an hour."

"People might wonder if Prosciutto was being over protective"

This makes sense in the context of the episodes, and Araki also goes on to state Prosciutto cares very deeply about pesci, to the point his love is deeper than that of a mothers love.

Araki tells us readers that the only time prosciutto has used the "stick treatment" was when pesci got ambushed by Mista but he quickly brushes it aside by highlighting the fact prosciutto was brave and grabbed the gunslinger risking his own life to save that of pesci.

"My prized hook and line" written by yoshihita okita, does a reversal of what araki has shown us. Instead of pesci constantly being praised by proscuitto, pesci gets scolded multiple times throughout the short story, and it is only at the end that we see proscuitto praising pesci for doing the right thing. This signals a turn in how proscuitto views his subordinate.

--

Prosciutto's actions and Pesci’s Reactions

Now, this is where the novel differs from what we see in canon and where I start to project some of my own thoughts and feelings on these scenes. It's not exactly a one to one comparison, but it'll do.

Leading up to the impact in the anime, we see pesci praising prosciutto on how amazing he is for disguising himself as one of the passengers. Even though pesci nearly got himself killed, he still excitedly walks up to prosciutto. So when prosciutto hits him, he looks genuinely confused because he didn't expect that to happen. THIS makes sense in combination with what araki has told us.

Prosciutto is overprotective and praises pesci too much because he deeply cares for him and his safety. Of course, pesci would feel comfortable walking up to prosciutto. He hasn't given pesci a reason to make him feel otherwise. However, the stakes are much higher than normal they went on this train knowing they'd either come out victorious or die trying to obtain their goal. But pesci still doesn't act like it, and so in the heat of the moment, prosciutto hits him, which gets followed by the 5 times of praise Araki loves to mention.

In the novel, Prosciutto doesn't actually hit Pesci, but he does instinctively cover his face out of fear of being hit. This doesn't exactly contradict what Araki has told us, but this pesci is much more fearful of Prosciutto, which would make sense because this takes place when pesci has freshly joined the team and hasn't really realized which buttons he can and cannot push.

(I think it's also important to keep in mind this wonderful short story wasn't written by Araki himself, so obviously, the way the characters interact and behave aren't going to be 100% accurate. However, it did get approved, so it's up to you to decide whether or not you want to accept this as canon or not)

--

What happens after?

In the novel, there's not really anything that happens after because nobody's getting hit, so we're going to be focusing on the anime.

If you've seen the episode, we all know what happens after. Prosciutto starts giving pesci pep talks and praising him and touching foreheads invading pesci's space. This exclusively happens after Prosciutto hits him. Why is that? Why do that after decking pesci in the face?

Well, it's because pesci lost the confidence he had after being scolded so harshly by his mentor. In the anime, the difference between before and after isn't very noticeable because pesci has been changed to come across as more meak and shy. But in the manga, pesci goes from a playful and cocky newbie to a meak and anxiety filled mammone in almost an instant. THAT is why prosciutto goes overboard with the praise and PDA. He's aware of what type of impact it has on pesci and tries his best to steer pesci back in the right direction with kind words.

--

(I'd place some examples here but I've reached my limit unfortunately)

Conclusion

I'm not really sure how I want to end this, but regardless of how you see pesci and proscuitto's relationship, I think it's very important that we continue to have fun and mess around with their dynamic as two characters in our favorite show. You can choose to ignore that prosciutto has done this, or you can choose to come up with your own explanation for his behavior, but at the end of the day, we're all here to have a good time.

Thank you so much for taking the time of your day to read this <3

[wisteria-lodge]

What do you think a wizarding wedding would look like, and what do you think Lucius' and Narcissa's specifically looked like?

The book does show us Fleur and Bill's wedding, but that was a wartime shotgun-ish wedding in the peripherals of the story's focus. I'm also not ever sure how much of the details there are things joanne really thought about and decided to include in her representation of a Magical wedding, and how much of it are just modern social customs she might have considered the forever universal default and put in the book.

Narcissa and Lucius also seem to be the rare fictional couple who'd actually enjoy all the pedantry and tradition and specificities in a wedding to me. Seeing as you're writing a fic with them in it, I thought you'd probably already thought about this aspect of worldbuilding/character writing, so I hope you don't mind me asking abt it. Thanks and have a great day!!

Okay, I love this ask, and I'm going to lay it all out, but first I want to lay out my Reasoning.

Here are my rules, when it comes to expanding on/filling in the Harry Potter world building:

ONE: If we’re dealing with any sort of political or social structure, my reference is England, year 1700. 

This does make sense with the backstory we get: the Wizarding World split away from the Muggle world in the late 1600s, wizards live a really long time, and wizards also didn’t need an industrial revolution (because magic filled the place of tech) so they wouldn’t have gotten any of the social changes that happened because of the industrial revolution. 

Also, this particular time period generally fits with what we see on the page. Education, politics, the police force, mental health care - it all seems to work in a very 1700s way. We don’t have any electricity, there’s no industrialization. (Like, Umbridge’s pamphlets are made by hand. I mean obviously they’re made by magic, but an individual’s magic, they’re not assembled in a magical factory.) So when Draco brings up a “museum”...  it makes sense to me that he’s not not thinking of a modern museum with a ticketing department running off grants and public funding, full of typed-out little plaques written by scientists and historians, telling you the provenance of whatever you’re looking at. If we went to a museum in Wizarding World, I would expect the type of museum you saw in 1700: a cabinet of curiosities assembled by one single wealthy collector, arranged in some eccentric way, handwritten labels or no labels at all, very probably in a wing of a private house. That feels correct and in-universe to me. So… whenever someone asks me something like ‘how do taxes work in the Harry Potter universe,’ I take 1700 England as a starting place, and go from there. 

TWO: If we’re dealing with aesthetic details or inventions, I draw from England 1700 - 1880

There isn’t much that’s Victorian in the world building��� but there’s plenty in the set dressing. We see lots of 1800s fashion: women wearing hats with birds and flowers on them, men wearing bowler hats and top hats. There are 1800s hedge mazes, most of the holiday decorations are from the late 1800s, we’ve got radios and trains… and I’m completely fine with all that. It seems to me that if you’re a wizard walking through the Muggle world, it’s a lot easier to see someone wearing a cool hat, and say ‘I would like a hat like that’  - versus walking around and picking up the concept of, idk unions. So cameras are okay: they’re 1800s. Note that Rita Skeeter’s photographer Bozo has a magical version of a 1850s camera

while Muggle born Colin Creevey has… a modded 1930s camera? To communicate that he’s got a foot in both worlds. 

My point is, if you saw someone riding a bicycle in Harry Potter, you would assume they brought it in from the Muggle world. Bicycles showed up in England in the 1880s, so that’s slightly too late. It’s important to the feel of the world to keep up a good chunk of separation between the aesthetics of the Wizarding World, and the aesthetics of the muggle world.

THREE: Gender politics/gendered customs basically don’t exist

This is one of the things that makes Harry Potter a J. K. Rowling fantasy world. Obviously, JKR the person has a lot to unpack about gender politics, and there are all kinds of Doylist differences between the way male and female characters are treated in the Harry Potter books. But in universe, there is no Watsonian benefit to being a guy or being a girl in any particular situation. We get gendered bathrooms (although the prefects’ bathroom and the locker rooms seem co-ed), gendered fashions, gendered dorms… and that’s basically it.  

Of course there are some very old and baked in gendered things I doubt JKR even thought about… a woman taking her husband’s last name for instance. (Honestly - I would have loved a posh doubled-barreled name for Draco. Draco Malfoy-Black sounds quite sharp and public schooly.) There’s a thing where Dumbledore mentions that the Blacks prefer it when a guy inherits… but in the same breath, he’s completely convinced Bellatrix is about to inherit, so clearly that isn’t that important.

The only other example I can think of is the way we’re told the unicorns prefer the female students. But, the boys in Professor Grubbly-Plank’s class unanimously think this is bullshit, and I would argue that the framing of the book supports this read. We haven’t seen magic work like this before, so did Professor G-P get it wrong? And/or just doesn’t want to deal with the boys? Presumably this is why we are happy Hagrid is coming back

FOUR: There is basically no organized religion/spirituality in the Wizarding World. 

The narrative does a lot of work to not tell us who the random officiant at Dumbledore's funeral and Bill and Fleur‘s wedding is. Who is he? Who does he represent? How do you find him? How does he have authority to do this? Not important, doesn’t matter, keep moving along. We are definitely in a world where there is a holiday named Christmas… but it’s like the women taking their husband's name thing, that seems too baked into JKR’s worldview to question. But there is no mention of any religious dimension, it’s just presents and feasts and balls. 

If I’m writing something that’s interested in what these guys consider to be the sacred underpinnings of their world (like something focusing on a wedding, for instance…) then I think I would end up expanding on important magical rituals. I’m thinking Fidelius, Unbreakable Vow, sacrificial magic. Not for nothing, but considering how much importance the moment where Severus and Narcissa make an Unbreakable Vow is given by both the narrative and the characters… it feels more like a wedding than the wedding does, and I’m not even a Severus/Narcissa shipper. 

*

So when it comes to weddings… I’ve honestly found it uniquely difficult to research the history there, because a lot of people are very motivated to suggest that every wedding tradition has some deep, meaningful ancient origin - or that it was just kind of always that way. Take the concept of a “best man” and the term “best man" for instance. That starts showing up in the 1780s (so it’s a social custom that doesn’t make my 1700 deadline.) Harry is of course filtering everything through his POV, but if I were writing a wedding thing, I’d want to say that Sirius is filling a different position. Like “godfather” seems a very legally important role in the wizarding society, so lean into that.  Maybe the “best man” equivalent at a wizard wedding is the person who you’ve picked to get custody of your kids if you die. 

We also see things like white wedding dresses and matching bridesmaid dresses being treated as an absolute given at Fleur’s wedding, when both of those things pretty much only exist because Queen Victoria did them in 1840. One interesting thing is that JKR doesn’t seem to do an exchange of rings, and she’s changed up that moment to make it more reminiscent of (I think) a handfasting ceremony? Which is fine, I can work with that. (Also rings are just treated very negatively across the board in the Harry Potter books. No idea why.)

But, in-universe, the Bill/Fleur wedding is really hard to use as a model for what a typical pureblood Wizarding wedding looks like. For all the reasons Anon mentions: It’s war time, it was put together very quickly, Harry is not paying the most attention, we don’t get to see the whole thing. I would also add in the fact that the Weasleys are political radicals, and at that point especially would be very politically motivated to have a wedding that looks more Muggle. 

Okay.  If I were writing a pureblood wedding… like Lucius and Narcissa’s wedding… what would I do.

First, I don’t think I want a typical wedding from the year 1700. I want 1700 does renaissance/medieval. (Kind of Sir Walter Scott.) I like this because it brings in/explains the Merlin thing - the purebloods all use ‘Merlin’ as an oath, so I guess Merlin (and Arthur, and that kind of romanticized middle ages) is important to them culturally. Also, medieval influences are going to make your wedding feel impressive and established… which is exactly what the Malfoys are after. Make sure everyone knows what an old family they are. All these pureblood families have crests, so put them everywhere, front and center. The decorations should be banners and flags with the crests of everyone attending, no florals.

I also love the idea of fossilized fashions, old-fashioned clothes that don’t come out except during a very ceremonial, traditional occasion. (Think of the ways that veils used to be a pretty normal part of a lady's wardrobe, but now you only see them during weddings.) I’d have it so that during a wizard wedding… all the ladies bring out their long, draping, evil enchantress sleeves and the guys are supposed to wear half-capes and swords. It’s also a good excuse to bring out all the really old family jewelry, of which I am sure the Malfoys have buckets.

I also want this to be a very magical wedding. Like, there are parts of it you straight-up could not participate in as muggle, because I think (sadly) that would be the vibe during the timeline of the main books. Weddings are for showing off, and part of that would be showing off your magical prowess. I’m thinking - light the dance floor on fire before the first dance, and then the couple has to perform a Flame Freezing charm. This tradition started as a screw-you to the Muggles after the witch trials… but now everybody just kinda does it because it looks really cool when the newlyweds dance on a bed of flame. Oh, and we’re definitely doing medieval-style palm-touching dances. No waltzing for the first dance at a traditional Malfoy wedding.

And they’ll go all out for the wedding feast, which will be long. The 1700s and middle ages were both really into food that did stuff - food that transformed, or food that looked like other food, or food that had birds flying out of it. So  just lean into that times a million with magic.

I am also such a sucker for slightly sentient magical houses, and Harry Potter absolutely has some of that, with the way Hogwarts (the building) has various ways to fight back against enemies and infiltrators. So I think a Malfoy wedding would definitely be taking place at Malfoy Manor, and that the house itself would be a part of the proceedings in some way. Like it’s got to accept the new family member (we know, from little moments like Umbridge being barred from Dumbledore‘s office… that sometimes magical buildings just reject you.) Integrating a new person into the new space would be a multi-step process. Maybe there’s a ceremony where they present the new person with the family spell books, and another one where they present them with keys to various parts of the house, etc.

You could tie this in with the idea of a bedding ceremony (which also hits my medieval + 1700s markers.) Maybe the house changes in some way when the couple first sleeps together, like it redecorates with the belongings of the person moving in, or grows them a rose garden or observatory so they feel more at home. I bet it’s fun for the guests to stick around and watch this change happen. (A trope like this might be especially fun in an arranged marriage or marriage-law type story.)

I’m thinking this would also be a very long wedding, and the wedding party is probably staying at the house for a week or so beforehand. That’s part of the flex, the family’s ability to adequately pay host to so many people for such a long period of time. Like that’s what a house like Malfoy Manor is for, there’s a reason those places were functionally small hotels. If at the end my old-school pureblood wedding feels like a modern muggle wedding... I don’t think I’ve done my job. A Muggleborn who’s been invited ought to have culture shock.

And yes. It goes without saying that Lucius and Narcissa would have eaten up all this pomp and circumstance, with a spoon.

[nevermeyers]

Yeah, I know I said I'd keep quiet about it because I plan on ignoring the ending. I've done it plenty of times, even with books I consider my favorites. "Oh this book is so good, it's one of my faves... How does it end? I don't remember." I'm going to do that with jjk because I've done it more times. Anyways.

Seriously, where's the character development? Why dedicate an entire chapter to showing how much criticism affects you and making excuses for your narrative instead of fixing it? Gege could have written about the characters and their problems, their worries, their evolution even while talking about how the politics of jujutsu world are changing rn.

What are Nobara's thoughts right now? There could have been an entire chapter dedicated to her character to fill in the gaps and finish defining her, what about her mother? How does she feel about her childhood friends? What are her plans now?

What about Megumi? Yeah, seeing him laugh was therapeutic, but honestly his character hasn't had the development/ending I expected. The timeskip was weird, his acting is literally the same as the beginning of the manga. It feels like I'm reading the same person who appeared in chapter one and not a traumatized boy who is learning to live. Where is Itadori teaching him that it's actually worth moving on? Where's the whole PTSD thing I'm sure he has? (fuck megumi haters btw fuck them, and fuck the way they victim blamed a kid). What are his thoughts about Gojo? About Sukuna?

Yuuji... Our mc. I was expecting to see him mourning Choso, mourning Gojo. But no, apparently it's more important to explain that there was a secret society (lmao) than to have him show respect and tears for those people he loved. His family, who he never got to spend time with, and his sensei, who decided not to execute him and who taught him almost everything he knows. I wanted to see him taking his friends to the movies to see some B-movie horror instead of going through the horror of watching characters insult him and tell him that it's better if he were dead.

And yes, I know there are two chapters left and some of the things I mention here might appear, but we've already wasted our time with one chapter, that's many pages. There won't be time to fix whatever is this. I feel bad :/

Now, one of the things that bothers me the most is that there are characters that were implied to be dead and now suddenly appear alive. I thought this was about letting the new generations create a fair world, but no. Do you know which character bothers me the most? Mei Mei. No, I'm not against someone writing sa/csa in fiction as long as it's not romanticized (I accept the unreliable narrator because that happens a lot irl and it's sad). The thing is that Mei Mei literally embodies the values ​​of the jujutsu world. In the jujutsu clans there was everything, sexism, abuse, neglect and most likely incest since (at least that's how I see it) they are like the monarchies of the Middle Ages. Mei Mei is the embodiment of all those rotten values ​​that Gojo hated, that the new generations are destined to eradicate. Seriously. What is she doing alive? Take her out rn. Gojo didn't die for this.

I read someone saying that maybe the point of this chapter isn't to break the cycle, but to repeat it. I have to say that I'm a big fan of that trope! It reminds me that humans repeat the same mistakes, but even if that were the point I think it wouldn't be well written.

There came a point in the story where both options: love is worthless and love is worth it were acceptable by the end of the manga. This is the ending where love is worth it, but why hasn't anything changed? The characters we saw in 269 are almost exactly the same we saw in chapter number one.

If this is a story about how love is worth it, accept the consequences and write characters who, thanks to love, move forward and build a new world instead of neutralizing any kind of development

[livelaughlovesubs]

what do you think bsd men would be with a girl who is really hyperfeminine (ex loves sanrio, short skits and stuff) but still loves topping?

It literally does not matter what you like and how you look as long as you click. (Also tell me if you want any specific characters I didn’t mention)

I imagine them not minding it neither way, because you can wear a skirt or pants and still fuck them into oblivion. Though there are some that might get fooled by your appearance. It’s the first impression after all.

Dazai would probably tease you about it from time to time, “when I first saw you, I thought you were such a nice and innocent girl! Who knew you were into such freaky stuff?” He’d joke about it all the time, just to provoke you. Then he’d add, “but I love all woman, even if you are a beast in bed.” And wink at you. Now it’s your choice what you will do to him later, maybe you should punish that cheeky tongue of his.

Atsushi would probably be a bit embarrassed, that he needs a girl to take care of him, especially if you are shorter or look younger than him. You just have to assure him it’s alright to feel this way, and it’s alright to show emotions, cry, whatever. He gets embarrassed easily, or flustered, so it’s almost the same no matter what body Typ. You could be taller than him and hug him from behind, he’d blush already. Or as mentioned be shorter and nuzzle into his chest, and he’ll turn red. Also if you flirt with him, and he does catch on, then it really doesn’t matter if you look very feminine or not, he’d be nervous and fumbling with his thumbs the entire time.

Kunikida, I gotta say, he feels like the traditional reserved type of person, though secretly (unbeknownst to him) also a freak. Probably wrote in his book something about a nice and healthy relationship, a girly girl who is mature and gentle, and vanilla. Maybe someone who works part time so that they could take care of the household? He works full time after all. So consider him surprised when he found out about you, cuz your appearance made him believe you were very.. well, basic. (There is nothing wrong with basic) though to think you’d make him so such humiliating stuff.. you better not leave him now, not after seeing all those sides of him.

Sigma likes people who knows what they want and want to be, who can decide. Because he has a few problems with his identity. That’s why he really admires how you carry yourself, and know what you like. Fashion wise or others. You know what you like and you stand behind it, go for it girl. Also, I think sigma likes the high fashion, like a small hobby he has, so he’d love to go shopping with you and discuss outfit ideas. He probably enjoys a wide range of styles.

Fyodor also thought you would be a total sub, he just guessed. Turns out he guessed completely wrong, his mistake, can he make up by drinking a shot? Anyway, as long as you are useful, he doesn’t really care how you present yourself. The skills are what’s important. But to be honest, at first, he was trying to find a very traditional partner. It’s what he believes in. A good wife who cooks and takes care of the house, and obeys. That’s what he was looking for, if he wanted a relationship in the first place. It’s what’s written in the bible, he wanted to follow it. After spending a night with you, he had to think about it again. It felt too good to give up, and honestly, just because you top or dom doesn’t mean you won’t fulfil the requirements, no? Even if you didn’t, well, he was god’s chosen one he can make a special case just for you.

Nikolai would ask you to dress up as a clown with him. If you refuse, he’ll keep asking. So yea, he doesn’t really care what you like or look, he will make you into clowns and magic shows. It’s a part of getting closer to him, there is no roundabout. (Rip those who have a phobia against clowns, but if you do why would you like Nikolai in the first place) jokes aside, I’m sure he won’t really force you into liking all that. Probably…

Chuuya would find it pretty practical, cuz similar to sigma, you know what you like or who you are so you are easy to read. He doesn’t need to think that long to guess what kind of stuff you’d like, it’s practical. But he’ll still take ages to find the *perfect* present for you. Most of the time he’ll buy more than one, if you don’t like it throw it away. If you are even shorter than him, it’d boost his ego, cuz, yea, short people struggles. Though that ego would be gone after you show him who’s top, and he’d be pouting for a while. He thought he could finally stand over someone! He was taller but somehow he didn’t feel like he actually was! It’s not a negative feeling though, not at all. And you being girly didn’t matter, you look gorgeous anyway. Just say the word and he will silence anyone who thinks otherwise.

[thefirstknife]

I wasn't aware of the discussions around Eramis being that rancid, personally (although I tend not to look at online discussion around media in general, thanks to how skin-deep at best much of it tends to be).

But the way you've talked about it makes me wonder how much of the people complaining about Eramis's character development are coming at it from a dislike of the idea of that redemption being a thing at all- the perspective that Doing Bad Things makes someone A Bad Person who can no longer be A Good Person, essentially. Seems like that mentality has grown... if not more common, at least louder, over time.

(Although your comment about not seeing why they'd 'pull a shocking twist for the sake of pulling a shocking twist to spite the audience' is a little funny in a sad way, considering how many people seem to think "outwit the audience and surprise them" is more important than "tell a coherent story as well as possible", even changing things if a twist is leaked, even if whatever they change it to makes no damn sense.)

It's really bad out there and it's strange for the exact reason you listed, because the same communities have previously entertained redemption ideas about characters like Calus and even Clovis; characters who have never expressed any wish to change or any beliefs that they may be in the wrong, no regrets and no remorse for what they've done.

So I can't even figure out if this with Eramis is about not wanting redemption stories. I think it's more about Eramis herself; not only is she a female character, but she's very largely and easily misunderstood. A lot of people's interaction with Beyond Light was... not entirely invested (a lot of the community was at the time mad about vaulting and hated everything new on principle), and her other storylines are in seasonal content that's gone now and that was almost universally hated; she was brought back in Plunder and then reappeared briefly in Defiance. A lot of people approached her from the get-go as "just some villain we will kill in the campaign" and then that didn't happen and these people were confused because they never paid any attention to her story. And then by the end of it, it just kinda slipped them by.

I don't know honestly. I may be overthinking it, but I definitely think that a lack of understanding of her story plays a huge role. Whether that's because they missed her story or just didn't pay attention to it or just had no interest in it - and nobody online they interact with offered any insight into her character (lore youtube) - they just don't get what's the fuss and they don't care about her. Some might say this is because the game didn't make people want to care, but I simply disagree. While I enjoy Eliksni stories, they're by far not at the top of my list of favourite things in Destiny so I don't have any special attachment to Eliksni characters, I didn't know Eramis before BL and I was never a diehard fan of her, but I understood her story and what they wanted to do with her for the past 4 years.

And I was happy that she got her character arc completed as was intended. I saw where it was going and this solution is the only one that made sense to me. So I don't think the whole "the game didn't make me care enough because it was badly set up" really holds water. The game can't put thoughts into your brain, sometimes you have to actually think about characters for yourself. Like, we shouldn't have to be spoon-fed that hard. Her arc and the setup was clear and it was written into the game's story, a lot of it even outside of lore books ("It was just in the lore books!" is a major complaint a lot of the time, and one I personally find baffling. You're in the Lore Books The Game. If you don't like lore being in lore books, you're in the wrong place).

We could honestly discuss this to no end, and everyone who dislikes Eramis or the conclusion to her story would probably have a different reason for it, or there would at least be a couple of them, not wanting redemption included. Could also be a combination - not understanding her story will lead a lot of people to think that her being redeemed makes no sense and that it wasn't supposed to happen.

I think it's also a case of people having a really hard time understanding that a character can be our ally while still hating our guts. I've seen plenty of comments from people saying they're annoyed about Eramis constantly being antagonistic towards us. This is baffling to me, because again, it makes sense that she doesn't like us. And it would be bizarre if all Eliksni were now suddenly fans of humanity like a hivemind. Some will never like us. This is good. They will still help us because there's bigger fish to fry, but they don't have to like us.

Eramis was a delight this episode to me and she was a really interesting character. She wasn't a huge deal overall and some of her story was fairly on the sidelines, but she was a very unique "villain" and antagonist to us since she was introduced and I think that her character arc was very well done all things considered. This amount of resistance and dislike for her from the wider community is something I simply can't see as anything other than a lack of understanding of the story (personal reasons and stuff like "I get it, I just don't really care that much" not included).

[xortstories]

Contrary Writing Advice: Tell, Don't Show

Wherein I give advice that runs contrary to commonly shared writing tips, because some short bits of advice get repeated without context until they become actively detrimental to the process.

Today, we're looking at a common adage: "Show, don't tell."

On the surface, this seems to be (and often can be) good advice. "Showing," in the context of writing, is all about description. Don't say "He was sad because he had to go to work", say "His shoulders were slumped and he walked with slow, trudging steps to his cubicle."

It paints a picture with words. It implies the sadness, allowing the reader to interpret it by picking up on the cues in the writing, thus increasing engagement in the story.

It's not always that simple, though. For the most basic problem, let's compare word counts. In the example given it's not that egregious—10 words for "telling" vs 14 words for "showing," but that's still a 1.4x increase to the word count of your book, and it could get much more than that. There is value in shorter, telling sentences. For starters, they break things up and can be used to punctuate the end of a sequence. Let's have an example paragraph, which we'll then try two final sentences for.

He desperately raised his shield as his foe rained down a series of heavy blows on him. Once, twice, three times the knight's mace collided with the shield, splintering the wood and driving him to his knees. His shoulder ached, and the shield began to fall low enough that his head would soon be exposed. Then, out of nowhere, another soldier—one of the many allies whose names and faces now bled from his mind as adrenaline washed away all conscious thought—appeared as if from nowhere, colliding with the knight and thrusting his dagger frantically at the weaker parts of his foe's otherwise impenetrable armor.

Probably not the best fight scene I've ever written, but it does the job of being a very strong example of "showing." Now let's look at two ways to follow up this paragraph.

#1: Showing

He turned, heedless of his ally's struggle, and dashed away. His heart pounded in his chest and he struggled to keep his shaking limbs steady, stumbling and faltering every few steps. The sounds of battle surrounded him, overloading his senses, and he narrowly avoided several errant strikes from others embroiled in conflict as he raced through the battlefield.

Again, not the best, but a pretty good paragraph. We'll talk more about it in a moment though, as now we're gonna look at a second followup:

#2: Telling

He ran for it, leaving the battlefield far behind him.

So, let's examine what each of these followups actually does for the story.

For starters, we need to consider what we want this scene to accomplish and how important it is. If this is meant to be a defining moment for the character, the culmination of several chapters of buildup where he trained for the upcoming battle, grew close to his allies, struggled with his fears and insecurities, and now in the heat of the moment loses his nerve?

Yeah, it might be worth it to drag things out and continue "showing" what he does.

But let's say instead that this, instead, is meant to be an establishing moment for an already-true fact about the character. Let's imagine that this is from the opening scene in a story that, we will soon learn, is about a cowardly soldier. The buildup of the main paragraph above sets up a suitably intense, epic fight scene. It paints the main character ambiguously, as someone who is fighting but unable to hold his own, but it leaves open the possibility that he'll join his ally and finish off the knight that was hammering him down.

And then comes the rug pull. Just when the reader expects the intense fight scene to continue, nope! He's running away. The short and to-the-point nature of "telling" what the character does there leaves things unambiguous and drives the idea home immediately. We see that the character is a coward, and that sudden rug-pull creates a great moment where the reader goes "Oh, I see. He's a coward."

Basically, it's a punchline. And a punchline has to be... punchy. You can't draw it out with sentences and sentences of "showing." You just "tell."

Let's also consider the fact that ending a long series of "showing" paragraphs with a short, simple "tell" can be a great way to transition out of a scene. It signals that that sensory feast is over, wraps it up and puts a bow on it, and lets the author move into another discrete chunk of writing.

"Telling" is also great to summarize boring, inconsequential parts of the story. If your book is about political machinations, where the draw is the characters going toe-to-toe with clever enemies in social scenarios, then it's totally fine—sometimes imperative, even—to just say "After three weeks of travel, where x, y, and z, happened, Bobson finally reached his destination."

I could go on, but this post is long enough already. Remember, the point isn't that "showing" is always bad, just that you need to understand the benefits of telling and know when it's best to do one or the other, because 100% of either does not make for a very good story.

Also I'll probably write more of these in the future. I've got plenty of beef with common writing tips.

If you like my posts, feel free to buy me a coffee!

And if you're interested in seeing what I'm working on, check out my Blood of Dragons master post!

[somethingclevermahogony]

Updated: Kishite-Shabalic Script and a bit of the Kishic Language: Basics including an expanded list of nouns and verbs

I made this before but looking through it again I missed some things and made some mistakes, and so here is an updated version of this for y'all! As with the Kishite spoken language, the Kishic script descends from and is largely identical to the Shabalic script, thus the term Kishite-Shabalic. Kishite-Syllabic is one of three scripts used in Kishetal along with Kishic hieroglyphs (reserved for religious/cultic purposes) and the logographic Shetalic script, which has fallen almost entirely out of favour.

The Kishite-Shabalic script is syllabic, thus each symbol is representative of one syllable composed of a consonant and a vowel. In addition there are characters which serve as punctuation used to symbolize the conclusion of a thought, in similar fashion to the Latin "." and "?", and the presence of a proper noun or divine status. Though it should be noted that these are not always actually used.

Unlike the Shetalic script which is traditional formed using styluses pressed into clay, Kishite-Shabalic is typical written either through carving or the use of charcoal/ink.

Shetalic is shown below on the left with Kishite-Shabalic on the right, both say the same thing.

Keep reading for more linguistic babbling!

Vowels

As a general rule when transcribing the Kishite script, when two of the same vowel are put next to one another, they are treated as a single vowel, rather than elongated as we might see in English with words like book or meet or feat. Two different vowels, such as O and E, E and A, and so on, are almost never put directly beside each other. In the rare instances when this does occur the "stronger" of the two vowels will cover the other. The order of strength from least to greatest is as follows:

i-e-a-o-u

The vowels of the Kishite language are pronounced phonetically

Thus:

I as in sweet or pin

E as in egg

A as in palm

O as in coat

U as in tool

e.g. the substantive adjective "the Mighty" Urjali- + -ul (substantive ending) Urjaliul Urjaliul Urjalul (OOr-Jahl-OOl)

Special Note: One important differentiation between the Shabalic language and the Kishite language is that the Kishite language allows for the placing of multiple consonants in sequence. Take for example the Kishic name Ninma, in its original Shabalic form it would be Ninama (NI-NA-MA). Because of the fact that Kishite does have this trait, it has developed its own unique form of punctuation, the vowel drop. When placed below one of the syllabograms shown above, it cancels out the vowel, in essence rendering it mute. Ninma could alternatively be spelled using the formulation NI-IN-MA, similar to how Narul was spelled above, this is largely a matter of personal preference. The more traditional (Shabalic) form is often times considered more in keeping with nobility.

Sentence Structure

The Kishic language primarily follows a subject-object-verb structure.

Naru(u)l Nina(a)ma kimagiga(a)s Narul Ninma kimagigas. Narul Ninma carried. Narul carried Ninma.

Tamel kim(u)unur fabiguta(a)s Tamel kimunur fabigutas Tamel gates broke. Tamel broke gates.

Otilya (there is no -ia symbol in Kishite) Korithub luku ga. Otilya Korithub luku ga Otilia Korithia from is. Otilia is from Korithia

Enni Wi tuba chi Jahubur horu jawishaga The wind down the Mountain hard blows. The wind blows hard down the mountain.

Noun and Adjective Declensions

The Kishic language system consists of the following cases: nominative, genitive, dative, accusative, and possessive (the Shabalic language includes an instrumental case), and distinguishes between two numbers (singular and plural) and four genders, Masc/Neutral (undefined groups or individuals), Feminine, Inanimate, and Divine.

Divine beings such as gods and certain spirits as well as the Sun, Mountains, Rivers, and the Sea are always referred to in the Divine gender. Some monsters also fall under this category. (Water Bi (Inanimate), Lake Bi (Divine))

Objects which are not and have never been alive are rendered in the Inanimate gender. This can get confusing in some instances, for example while the word corpse Nahoku would utilize the masc/neutral form, the word bone, hashudi, would utilize the inanimate. Another example of this is the word Oli which can mean either blood or wine based on whether it utilizes masc/neut or inanimate declensions.

Not all inanimate objects are rendered into the inanimate. Words like spear shukala use the masc/neutral. This group typically consists of weapons and tools. The stem used will depend on the root word.

Plants as a rule are always rendered into the feminine.

Cities and countries are neutral.

Royal Titles have a specific declension.

A few examples of declension are given in the tables below.

Sample Verbs

Verb stems always end with -i. The exception to this is the verb to be, which rather takes the form of the conjugation, thus the first person singular indicative present sample or "am" would be wa.

Talk: Akki

Breathe: Ki

Eat: Ushki

Struggle: Nari

Sleep: Eshsi

Fight: Orishri

Hunt: Pabakazi (Literally Bow art(ing))

Dance: Irteti

Kiss: Mishuzi

Copulate (and the more vulgar equivalent): Seshiti/Tu(u)ki

More verbs will be provided below.

Verbal Conjugation

There are two conjugation groups within Kishite verbs, the ha/za/hi-conjugation and the wa/ya/wi-conjugation. Which conjugation is used is dependent on the verb in question, typically words with a Shabalic root use the wa -conjugation while words derived from native languages more often use the ha -conjugation.

Within the Kishite language there are two voices (active and medio-passive), three moods (indicative, subjunctive, and imperative), three aspects (perfective, imperfective/continuous, and simple), and three tenses (Past, Present, and Future)

The present tense can be identified by -i/-a/-u/-o, past by -as/-os/-us, and future by -ad/-id.

Indicative: Used for Stating facts and thus the mood of reality.

Active: The Subject is the agent of the verb.

Mediopassive: The agent acts as a reflexive agent of the verb (acting upon itself) OR the subject is the target of the verb.

Present Simple Active: Narul is hungry Past Simple Active: Narul was hungry Future Simple Active: Ninma will not be hungry Present Simple Mediopassive: Narul is accompanied by Ninma/ Narul cleans (himself). Past Simple Mediopassive: Narul was accompanied by Suru Future Simple Mediopassive: Narul will be accompanied by Mikrab Present Perfect Active: Narul has slept Past Perfect Active: Narul had slept Future Perfect Active: Narul will have slept. Present Perfect Mediopassive: Bop has been carried Past Perfect Mediopassive: Bop had been carried Future Perfect Mediopassive: Bop will have been carried Present Imperfective/Continuous Active: Narul is walking Past Continuous Active: The Deep Sun used to speak Future Continuous Active: Zatar will be fighting Present Continuous Mediopassive: Bop is being carried Past Continuous Mediopassive: Bop was being carried Future Continuous Mediopassive: Bop will be being carried

Subjunctive: Used for stating "unfacts", wishes and prayers, possibilities (may or might), hypotheticals, and opinions/judgements.

There is no Future conjugation for the Subjunctive, rather future events are expressed in the present through the use of may or might.

Additionally the Subjunctive is used for the following:

Jussive: used for suggestions and negative commands: What "should" or "should not" happen used only in the first person," we should leave/we should not leave" esh = should, na(e)sh = should not

Indefinite clauses: (if/until/whenever/whoever/however) ek = if, ekib = until, kowa(a)b =whoever, bowa(a)b = whenever, lowa(a)b = wherever, mowa(a)b = however

Purpose Clauses: "So that/ in order that" am = so that/in order that

Doubtful Assertions: "May not/Might not" er = may/maybe, na(e)r = may not, eb = might, nab = might not

Certain Future Assertions: "There certainly will..." erna = certainly (literally without maybe), na(e)rna = certainly not

Present Simple Active: We should run/ Narul wishes for rain Past Simple Active: Narul wished for rain Present Simple Mediopassive: If Ninma is stopped Past Simple Mediopassive: If Ninma was stopped Present Perfect Active: Narul has wished for rain Past Perfect Active: Narul had wished for rain Present Perfect Mediopassive: If Bop has been carried Past Perfect Mediopassive: If Bop had been carried Present Imperfective/Continuous Active: Narul is wishing for rain Past Continuous Active: Narul used to wish for rain Present Continuous Mediopassive: If Bop is being carried Past Continuous Mediopassive: If Bop was being carried

Imperative: Used for orders or commands/strong requests

Imperative is only conjugated in the second and third person singular or plural. Imperative is only used in the present and future, not for the past. Orders in the past are expressed as indicative. There are only Perfect and Imperfect Imperatives.

In the mediopassive form the imperative is translated as "Let them/you" for the first person of this the subjunctive is used "I/We should"

Present Perfect Active: Stop Future Perfect Active: You will stop Present Perfect Mediopassive: Let it stop Future Perfect Mediopassive: Let it be stopped. Present Imperfective/Continuous Active: Always stop Future Continuous Active: You will always stop Present Continuous Mediopassive: Let it be stopped (continuously) Future Continuous Mediopassive: Let it be stopped (continuously)

Additionally, the verbal system displays infinitives and participles in the present and past tenses.

Prounouns

There are four genders of pronouns; Masculine, Feminine, Neutral, and Divine. Objects with the Inanimate designation are given neutral pronouns. Only deities receive divine pronouns, other entities and places in the divine categorization will typically receive feminine pronouns, with the exception of celestial bodies which always receive masculine pronouns.

It is considered improper to address both royalty and deities with pronouns, as such there are no specific first or second person pronouns for the Divine category.

Articles

As with pronouns there is no "inanimate" article group, rather inanimate subjects are given masc/neut articles.

Stay Tuned for the ridiculously long Dictionary post that will be coming soon(ish)!

This post and the dictionary post are why, despite being back, I still haven't been all that active. I'll respond to a couple tag games tonight and I'll try to do more tomorrow. I'm still planning on doing the Korithian Recipes! Money is just tight at the moment so I'm waiting for paychecks!

If y'all notice any mistakes or typos in this, send me a message so I can fix them! Same goes for if you have questions!

@illarian-rambling, @mk-writes-stuff, @kaylinalexanderbooks, @willtheweaver, @patternwelded-quill

@elsie-writes, @elizaellwrites, @the-ellia-west, @the-octic-scribe, @the-golden-comet

@finickyfelix, @theprissythumbelina, @autism-purgatory, @diabolical-blue , @tildeathiwillwrite

@katenewmanwrites, @leahnardo-da-veggie, @paeliae-occasionally, @melpomene-grey

@drchenquill, @marlowethelibrarian, @winterandwords, @phoenixradiant, @pluttskutt

@dyrewrites, @unrepentantcheeseaddict, @roach-pizza, @rivenantiqnerd, @pluppsauthor

@flaneurarbiter, @dezerex, @axl-ul, @surroundedbypearls

@treesandwords, @the-golden-comet

[mrsportgas]

Ghost Ridders Cap.1

#Special Note: Not my pics, all them will be tag to its actual owner. Also not my characters. Please be patient, it´s my first time writing and englihs it´s not my first language. Feel free to interact!!!!

#Summary: Eight years ago, you were taken against your Will to Mary Goise to become the new slave of Saint Roswald, or rather, to living a hell on earth. One day, while you go with  him on a visit to a New World´s  island in the New World, but a familiar face appears. This creates the perfect opportunity for you to escape, join the Whitebeard Pirates, and discover more about your past, your abilities, and who you really are. All  while you try to endure your new crewmate, Portgas D. Ace, who is incredibly annoying... or perhaps incredibly irresistible? You haven't decided yet.

This story is based in the world of One Piece, with the same characters and timeline. Of course, this story is fiction created by me. Some of the timelines, names, and characters might be the same, also some names, characters, stories, or even personalities may be altered. The story is happening pre-time skip, while strawhats are in sabondy for the first time.

The first chapter is an introduction to the current story, which begins with Ace as your central romance. (This romance may shift to other characters as the story progresses, but don't worry, there's still plenty of Ace to come.) The story is written in first person. Female gender, Y/N, but feel free to change the gender, name, or anything else that makes you more comfortable.♡

YOUR POV:

You are walking. Or at least you think so. You don’t remember exactly how long it’s been, but it’s been long time since you’ve been practically going on autopilot. Walking, eating, and just going through the motions.

You just land in an island in the middle of the New World. All because Sand Roswald your lord and celestial dragon wanted to "buy" a jewel for his daughter that was now being sold in one of the best jewelry stores of the Red Line. I say "buy" because, of course, he would take whatever he wanted without caring what the store owner thought, and anyone who got in his way would be the one to lose. Just like what happened to me, but that’s another story.

All I could see were the yellow, worn cobblestones of the main street in the capital. I heard the screams and whimpers of people as they knelt, trying to avoid his gaze, and I could even hear footsteps as people ran, trying to hide somewhere else, trying to stay as far as possible. Mean while, in my head words repeated over and over: “Walk, look down, and everything will be fine.”

After so many years, the Sea Rock shackles hanging in my wrist where like part of my own body; I had learned to live with that weight. With that pain.

MARCO’S POV:

“All this will cost you 200 berris,” said the owner at the medicine shop.

“Alright, give me a second. Ace, hand me the bag.” The silence made me look back; Ace wasn’t there, and somehow I wasn’t surprised. The damn idiot had gotten lost again. I can’t take it anymore. Now I have to go look for him, and to top it all off he took all the money with him.”

The Whitebeard pirates had just landed that day, looking for supplies, and they had to set sail again quickly to complete an important mission. So they had just enough time to grab what they needed and leave.

“My friend has gone with the money; hold this for me, and I’ll be back for it.” Just as the owner was about to respond, a wave of people running and screaming in desperation rushed past the store. “What happened? What’s wrong with the people?”

“From what I understand, a celestial dragon is coming to the city today. If I were you, I’d stay inside until it’s gone. As far as I know, it’s Saint Rosward. They’re one of the cruelest families out there… if any of them could be considered merciful,” the man explained with kindess.

“I don’t have time for that. I need to find my berries and leave as soon as possible. Don’t worry, I’ll be back,” I replied with a friendly smile.

I stepped out into the deserted street. There was no one left; people were either already hiding or kneeling in the main street.

This could be dangerous. I need to be careful. I thought, and that’s when it hit me… If I were Ace, ¿Where would I have gone?… ¡THE MARKET! Which, of course, is on the main street…

Hidden under my cloak and trying not to draw too much attention, I made my way to the main street and knelt down with the rest of the citizens. Moving quickly, I tried to get to the front rows so I could take a better look at the market area. As I got closer, I saw three armed men and a girl in the middle, all at the entrance of a jewelry store. Through the window, Saint Rosward with a jewel on his hands. I looked around and suddenly, I SAW HIM. The idiot was on the roof of that same building, gesturing at me while laughing and eating an apple.

“What an idiot…” I thought as I signaled for him to come down. At that very moment, the atmosphere changed, and the entire scene around the street shifted. A single element was enough to send a chill down my spine. Something was about to happen, and that made me look towards the store’s door. The girl was looking up, at me to be more specific, straight into my eyes, and that’s when I realized.

I looked her up and down, inch by inch, for seconds that felt like hours. The girl was young, practically a child to me, though it was hard to tell since not a single inch of her body was visible. An old, tattered cloak, almost like a sack of potatoes, covered every part of her body, except her bare feet, covered in blood and mud, and her hands, which were bound by sea stone handcuffs. Her long, tangled brown hair and dark brown eyes were the only visible parts. I scanned her nose, cheekbones, mouth… eyes… those eyes.... so familiar, and then an image came to mind: my mother, and this girl was the spitting image of her.

“Y/N…” I sighed. But it was impossible; my sister was dead. Or so they told me, I think. I don’t know. It’s impossible, what are the odds anyway? Exactly… None.

The girl looked at me, freeze, staring deeply without breaking eye contact, and then her expression changed, as if she had seen a ghost. The truth is, my face must look similar right now.

Her facial expression changed yet again and her tear-filled eyes brought back memories, memories of my childhood, which I’d rather forget.

A blow. A weapon struck her head, and blood began to flow.

“What’s wrong with you? Stop crying. Shut up,” one of the guards shouted. “If Saint Rosward sees you… ¿You won’t want to spend another week in the box, eh, slut?”

She didn’t take her eyes off me, and then a voice echoed in my head, saying, “Now.” I don’t know where it came from, perhaps from within me, from the deepest part, but I listened to it because next thing i know is that I stood up and ran, ran as fast as I could towards one of the guards, ready to hit him and steal his weapon. At the same time, almost as if she knew what I was going to do, the girl stood up, dodging the guard’s blows with ease, kicking him several times, and stealing his weapon. Without using her hands.

“Right!” she shouted, and tossed the wepon to me. I turn right and the weapon falls into my hands. I manage to shoot the guard in front of me.

Another guard falls behind me from a bullet entering his forehead. As I turn around, I spot Izou looking at me with an alarmed expression, probably thinking that I’m crazy.

Meanwhile, Saint Rosward and the rest of his guards and slaves come out of the store due to the commotion at the entrance. They find three guards on the ground, and me standing right in front of him.

“Damn bitch, if I didn’t need you, I’d kill you right here. Come on, grab her and kill the others,” Saint Rosward shouted furiously. I swear, at that moment, it seemed like he could have erupted into flames all over his body; his expression was one of pure rage. In fact his clothes began to catch fire, flames rising from the bottom of his tunic. ¿Does he have that power?¿ Has he eaten a Devil Fruit?¿ Which one? But then it hits me: !!!ACE¡¡¡¡

Saint Rosward begins to scream and jump around like a madman while his guards try to put out the fire now spreading across his clothes.

“¡Run! I´ll see you guys on the ship,” Ace says as a grin formed his lips.

Without thinking it much, I look at Izou; we both nod. I quickly head towards the girl and take her hand. The three of us run towards the port amidst the commotion of the people; no one does a thing, no one moves except us.

Y/N POV:

I’m still on autopilot. ¿What just happened?

Run. It’s the only thing I can think of; my whole body is trembling, numb from so many years of being unable to move, and though my feet, my legs are doing their best, the sea stone cuffs are hard to ignore now. The broken and unstable cobblestone ground makes me trip, and fall to the ground, unable to catch myself as my hands are bound.

Everything around me is shaking; I was so close to escaping, a glimmer of hope in my heart, and now I’ve lost it so quickly.

“¡She’s my sister!” I hear footsteps ahead. Strong, big arms lift me up. A silouette in a pink and purple kimono lifts me onto one of its shoulders and starts running without saying a word.

I let myself be carried, and for the first time in eight years, I feel safe enough to close my eyes and let my body relax. So much that I even passed out.

-----------------------------------------------------------------------------

I open my eyes. My whole body hurts; my muscles and bones ache so much that I let out a small groan when I try to move. My eyes slowly adjust to the light. I’m in a room, an infirmary, and although the room is small, it has the basics: a bed, a sink, and cabinets with countless shelves and various potions. Next to me, a blond boy in a lilac shirt sleeps in a chair. He slowly begins to open his eyes.

“Y/N ¡You’re awake!” he shouts, not realizing the volume of his words. "I mean… well…¿ Are you Y/N? ¿Who are you?”

“Marco… I…”

A deathly silence filled the room. Just for a few seconds, before voices behind the door interrupted the conversation.

“Ace, stop it. You can’t go in there, get lost idiot.” An unfamiliar voice spoke behind the door.

“Come on, Thatch, I’ll give Marco the food, don’t worry. We’re a very close crew and need to help each other out, so let me help by delivering this food to Marco.” This time the voice was more familiar, though I didn’t know why it seemed so familiar…

“All you want is eat that food yourself. Give it back to me…”

Suddenly, the door bursts open with a loud bang, a reven hair boy with a very peculiar hat enters the room. Behind him, a man in a chef’s jacket follows and you could tell that he wants to kill the young man in front of him.

“¡MARCO’S SISTER IS AWAKE! ¿Are you hungry? Here. I brought you food,” he said with a cocky smile.

“Ace, get out of here, I need to talk to her,” Marco replied with a frown, pushing the boy out of the room and closing the door with a bang. “I’ll bring you some food later.¿ Are you hungry?”

“It’s okay, it doesn’t matter. I’m not hungry,” I replied, looking down. The truth is you were straving. But thats a feeling you long ago abandon.

“¿Are you really Y/N?”

“Yes,” I replied timidly.

“If you really are, prove it. Show me the mark.”

"Never say who you are, never show them…" those words came to mind forcefully, too forcefully. But it was Marco, I was sure. It had been 15 years since I’d seen him, and although we were children, I knew it was him, that face, that hair… unmistakable. Besides, it was my only chance to dont go back, to never go back.

I turned around, giving my back to Marco, who looked dubious at the girl in front of him. I lowered the cloak, letting him see my completely bare back. Marco let out a gasp. There it was. Right on the neck, that symbol, which identified me unmistakably. Below it, another mark: the mark of the celestial dragons slaves.

A shiver ran down Marco’s spine, and terror invaded his body. Immobilized, unable to make a sound. I turned around: “Now show me yours.”

Marco turned around quickly, lowering his shirt to show me his.

“Bathe and dress, in a few hours we’ll arrive at the Moby Dick,” he said, tossing a towel into my arms. And before I could utter another word, he opened the door and left.

The idea of a bath sounded good; I can’t even remember the last time I bathed… in a pleasant bath of cause, since the cold water hoses of Marie Geoise... I wouldn’t know if they could be considered a bath.

With some reluctance and embarrassment, I opened the door, ready to find the bathroom… ¿How could Marco leave me alone? ¿Couldn’t he have shown me where the bathroom was?. I walked down the hallway, looking for something indicating to be a bathroom, and suddenly, the sound of running water reached my ears. “There it is.” At the end of the hallway, a large open door led to long and large bathtubs, the air condensed with all the steam from the hot water. “¡Hot water, finally!” I couldn’t believe it, nor could I wait to immerse myself in it. I quickly entered, touching the water with my foot, and suddenly I felt my whole body tremble, all the energy, the little I had, vanished. The sea stone cuffs. I had completely forgotten about them, they had become part of me, so much that I didn’t notice them. “I should better wash at the sink.”

I headed to the sink, and at that moment, behind me, a lot of water started to flow upwards, and with a great crash of water against the walls, a tall, muscular figure emerged from the bathtub.

A stifled scream escaped my throat; I managed to stop it by covering my mouth with my hands and instinctively hid under one of the sinks. The figure slowly emerged from the water; it seemed to be difficult for him too… It was the boy who entered the infirmary with the food. I started to scan his muscular tan body, naked… :¿¿¡NAKED??!! At that very moment, I woke from my trance. I better get out of here immediately. Crawling, I managed to reach the door and leave the bathroom, running down the hallway back to the infirmary, locking the door and hiding there. SHIT.

NEXT CHAPTER

[alpaca-clouds]

High Fantasy Conundrums: The Diversity Paradox

I have some thoughts on High Fantasy and the way it currently is shifting in terms of the mainstream depictions. Meaning: No, this is not about books that much. It is more about the big franchises. The stuff with money behind it. Because those have stuff in common right now. I am talking about Dungeons & Dragons, The Witcher, Dragon Age, The Rings of Power and other more budget heavy fantasy.

Many words have been written, said, and screamed into the void of the internet about how these days you will usually see diversity in those. Most notably people that are not white.

And the self-proclaimed "conservatives" (who are actually white supremacists) will cry about how those are "medieval European worlds" and that hence there should not be Black or Asian people run around in them. Ignoring, of course, how there were Black and Asian people running around in medieval Europe.

And there will be leftists, that will defend any decision in this regard, on pure principle.

I will count myself among the second kind no doubt. I think it is good and important to see non-white characters in those big franchises. And frankly, I couldn't give less of a fuck whether or not whatever writer originally wrote a book that stuff was based on did imagine the world to be inhabited by people who did not have cheese-skin. I really don't.

Especially as the entire "realism" and "historically accurate" argument falls apart rather quickly if you consider one very important fact: There were no elves in medieval Europe. There were no dragons in medieval Europe. And there sure as hell was no actual magic in medieval Europe. So... Yeah, somehow I actually do think that Black and Asian characters inhabiting those fantasy worlds is less of an issue, when it comes to stuff being "historically accurate".

And yet...

There is something about this, that still very much irks me. Especially when it comes to some recent franchise stuff, like most of what Wizards of the Coasts did in regards of Dungeons & Dragons 5e in terms of lore - and something I am starting to expect from Dragon Age: The Veilguard.

And that is the lack of any actually non-white cultures within the world - and the lack of worldbuilding in this regard.

See... High Fantasy has generally speaking one big struggle in regards of the worldbuilding. A struggle that can be found in high fantasy world after high fantasy world: For the most part, the cultural worldbuilding is often lacking. While humans are often allowed to have a couple of different cultures, everyone else is usually treated like this: "This is dwarven culture", "this is elven culture", and "this is halfling culture". There is no variation in it. The dwarves in the high north have still the same culture, as the dwarves living in the south of the continent. And while humans do have a bit more in terms of different cultures, it usually also goes in broad strokes. Like: "This is the horse culture, this is the very noble culture, and this is the peasant culture". Am I saying I am blaming Tolkien? Yeah, maybe a bit.

This is one of the reasons I fell so in love with Dungeon Meshi. Because Dungeon Meshi literally is the first time I have seen that someone actually came up with differences between different elven and half-foot cultures and stuff. And I love it.

But Kui is the one writer I can think of, that really did that.

So... Let me talk about DnD, because I know my DnD Lore and I can tell you a bit of why this is bothering me here.

See: Dungeons & Dragons has this whole ass world in the Forgotten Realms as the main setting: Toril. Toril has a variety of continents. Just as you can see:

Now, originally half of those continents did not exist, I might add. Most of them were added during 2e and 3e. Especailly 3e and 3.5e did some worldbuilding in regards of those other continents. Even though, yes, if we are honest those continents are very much: Fantasy Asia, Fantasy North America, Fantasy Middle America, Fantasy Africa, Fantasy Arabia, and Fantasy Australia (about which, I might note, we know next to nothing).

But while 3e and 4e did make some use of those other settings, 5e did something else. 5e very much reverted back to focusing on Faerûn and the Sword Coast once more. But because by the time 5e released it was 2014 in the real world, they knew they could not make Faerûn this super white world. So Faerûn became diverse. There are Black and Asian and Brown people living there now. But... culturally it stay in the "generic fantasy Europe" sphere.

And that is my issue: The lack of different cultures.

I will talk a bit more about the issues with the High Fantasy "Medieval Europe" culture tomorrow, but today let me say this: Even these days, when non-white characters will be included into those fantasy worlds, they still will only be allowed to exist within a supposedly white cultural context. They are not allowed to have a non-white culture.

While this makes some sense in prescribed worlds - so worlds based on books that never had any intent on depicting anything but their "white" pseudo-European culture (like Lord of the Rings and The Wheel of Time with their respective Amazon Prime adaptions), this is less the truth for worlds that are designed around whatever they represent today.

Wizards of the Coast absolutely could put some effort into creating those other continents as good, lived in settings - and allow folks from those other continents who live in Faerûn to bring parts of their own culture with them. They could pay some PoC to actually do that worldbuilding Own Voice style. You know?

And the same is true with Bioware and Dragon Age. While I am by far not as familiar with the worldbuilding of DA, as I am with the worldbuilding of DnD, I am under the impression that there is not a lot going on in terms of non-white cultures from other continents. There are non-white people hanging around in the main plot and what not, but it does not seem as if there is a lot going on in terms of them having cultures of origin. Correct me if I am wrong. Some of those cultures seem to have names, but that is where the worldbuilding ends.

And that... You know, that is an issue. Because diversity, especially ethical diversity, is not just about the skin color. It is about culture. And somehow the culture aspect of it gets ignored a lot. Doesn't it?

[trainsinanime]

I'm still considering whether I'll do any non-vague posting about this, but let me just say: Writing long and erudite posts about what you think is wrong with a French children's TV show does not absolve you from the accusation that you're doing… let's call it entry-level analysis. A post can be long and well-written and still just regurgitate the most basic, boring points, and some of them plainly wrong.

Actually maybe don't read this, it may be too salty itself.

"Adrien is sometimes too pushy", "Marinette is sometimes a stalker", "Alya is a bad friend because she's unwilling to bully a random new girl just because Marinette said so", yeah, yeah, we've heard it. More than once. Way more than once. Yes, even with receipts and quotes. Trust me, it's been discussed. These are the kind of standard hot takes of someone who is doing their first attempt at critical analysis, and I actually think on some level we should encourage that. I do believe fandom should be beginner-friendly in all regards.

But man, it can be annoying to read sometimes. Especially when someone uses these hot takes to justify the existence of salt fics. Let me be 100% clear here: Salt fics are not a reaction to flaws in the source material. Salt fics are materially different from fix-it fics. This becomes more clear when you track these patterns over fandoms, and in particular look at my favourite example over in Fairy Tail (sic).

That fandom has a number of fandom-specific plots, like some "angel of death sends main character back to relive the origins with the knowledge they had later" (also very popular in Harry Potter back in the day), but also one that is just 100% salt specific: It's about Lisanna, a childhood friend of the male lead Natsu, coming back from the alternate universe she was trapped in, and displacing Lucy, the female lead, who eventually leaves, sad and depressed, while nobody cares about her. The sentiments are all the same: Feeling depressed, feeling annoyed that your friends are suddenly interested in the new girl, feeling like you don't belong anymore, leaving your friend group to punish them and so on.

There are some differences as well. This whole thing was back in the days of Fanfiction.net, when crossovers were in a whole other section of the site and thus not easily findable, so the whole "…I'm going to run away to somewhere where people want me" never had the frankly hilarious addition of "…and when I'm there I'm going to marry Batman!", which spawned a whole sub-fandom in ML (its fans tell me that it's not all salt; I haven't bothered to check).

But the most important difference: The inciting incident never happened in canon. People just thought it might. In canon, Lisanna did return from her alternate dimension… and then immediately became a forgotten background character. Lucy and Natsu remained just as in love as they always had been, which is to say, very much except they don't seem to notice it. Their relationship was never strained even for a moment.

And still people wrote these stories that are functionally salt fics, with the same storylines, same emotions, same beats. Because salt fics are not about fixing what is wrong with the show. If they were, they'd spend all their time discussing the terribly fucked-up metro map. Salt fics are about exploring feelings of loneliness, isolation, "why are you hanging out with here when I told you she sucks" and just pure spite, in a way that you don't really see outside of pop songs. That is the end goal. The characters and plots are just a way to get there, and they will get twisted as necessary.

This is critical for understanding and discussing the phenomenon of salt fics. Alya is not actually getting demonised because she acted a bit stupid in one episode where everybody but Marinette acted a bit stupid. It's incredibly weird to hear this argument, and then all the supporting quotes for it, in the same post, right underneath, are all:

Alya: Okay, but do you have any proof? Marinette (angrily): Arrghlwargl! No!

Like, come on. Alya is getting demonised because people really want to. Because it works for the kind of story. These stories assume that it's Alya's job to always support Marinette unconditionally, and that any deviation from that, no matter how minor, is a highest order betrayal. And then they go full Count of Monte Cristo on her.

(Well, not really, that could almost be fun. Nobody ever has Marinette imprisoned for fourteen years, get out with the help of a hypnotist monk, use a buried pirate treasure to buy an island, then manipulate a telegraph line to… It's all just torn notebooks and such. Boring.)

The idea that people hate Alya for mostly valid reasons is just plain wrong and shows that you've missed a huge part of what's happening in the fandom. You could use all the Alya hate as an entry point into analysing what her role is in the show, how people in the fandom perceive her role, how people in the salt dom perceive her role, how her role and her personality shift depending on the needs of an episode at the expense of a consistent character and so on. There is some great analysis in that direction out there already, but more wouldn't hurt. "Alya is a bad friend sometimes because of Chameleon" remains an uninteresting take no matter how well you word it, though.

And that's just Alya. Adrien hate, for example, is its entirely own field. In short: Yes, some characters in this fandom are over-hated. Try digging deeper next time.