#but like. objectively yes it is going to impact your experience engaging with the story and the information in it

[pricechecktranslations]

God, I'm sorry to be crabby about this all the time but huge story twists and character reveals are a vital part of the Evillious experience and it frustrates me how many new fans have had these things so thoroughly ruined for them that they will then proceed to explain the series to even newer fans by just blurting out all of the spoilers immediately as though it's the first thing you should know before reading anything else.

You want to know why all the identity stuff is confusing? Because you're not supposed to learn each identity at the same time! You're not supposed to know going in that Elluka is actually [redacted], or the real name of the demon of Sloth, or the true nature of the Evillious world beyond it being a fantasy setting! You're not even supposed to start out knowing why Abyss IR always has a red cat on her shoulder, and you're definitely not supposed to know that characters like Gumillia and Michaela had surnames.

Evillious outside of the songs is not just a collection of lore to be memorized it is a narrative with emotional beats and pacing and character development. It's confusing because instead of going through it as written you are instead trying to inhale it like a bag of popcorn.

I know the cat's out of the bag, even without the wiki shoving all of that information front and center it's just what happens when a series has been going on for over 15 years, but like. With all the Prosekai crossovers attracting new people, if you guys see someone asking "how do I get started in this story", maybe don't tell them to start with OSS?

[kathleenkatmary]

It's always funny when I see a post or review of a show that insists the writing is bad as an objective assessment because they find a character hard to root for, and then everything they go on to say to try to support that is not actually an objective assessment and so clearly just them having some deep personal issues that they're projecting onto that character. Especially when it's combined with that things that's becoming more and more common lately where people just like, think that a character is badly written from the get go because they haven't already completed their character development by the end of the first episode.

[imonthemoonitsmadeofcheese]

43 for the fanfic asks, is there a trope or idea that you’d really like to write but haven’t yet? 💙

In the interests of narrowing down the answer to this one, I'm going to answer it as though "haven't yet" means "haven't even made any notes on or started to write at all" because there's many I've got snippets, or starts, or notes, or partial drafts of, and to detail them all would be more than one post anyway. But yes, the answer to your question is yes. And the reason it doesn't have anything concrete started yet is that it's a very nebulous idea and requires a bit of a mindset shift and I am wanting to complete other things first.

Beyond Light happened during the pandemic, and I've been told by people who claim to know people at Bungie that there was supposed to be more Drifter & Eris content in it but that this was impacted by the lockdowns. I was told this when I was engaging in my frequent whining about how at one point in the questline you go to the camp and both Eris and the Drifter are just gone and no longer snarking back and forth over the fire. And we never find out what happens to them. And we never find out where they went or why.

External to the narrative, I now know why, but of course the whole thing with the Dark Vanguard was built up deliciously, and the interactions between them were clearly going somewhere and it just… never happened in-game for out-of-game reasons. Which feels so unfair. I love the shit out of Beyond Light and Europa, but I do mourn the Beyond Light that could have been.

So I do want to write oodles of "Eris & the Drifter have adventures on Europa" but that requires me getting into a mindset of them not-yet-together (which is not clearly stated in canon but in my head they weren't as close, emotionally, when they were on Europa as they are now) and my brain is still overflowing with all the other ideas and stories so I just haven't gotten around to that yet.

There's a couple of ways I might do it (or all of them - writing says I am god when I write and I can rewrite plot points I've already taken one way and send them in another and there's nothing anyone can do to stop me). One is to have the writing set in Beyond Light and do that "straight" (as if anything about those two is "straight" - heh). Another is to have them go there in a more current context and either experience memories or talk about what each one of them was thinking at different spots on Europa (this one is especially appealing to me since then they're the ones telling their own stories to each other, and I love having narratives come from their mouths and perspectives). It's also possible to have more found-object style delivery (recordings from Aunor, letters, log notes, voicemails, etc.) which is something else I really like to do.

Yet another thing I would really like to write and haven't yet, which could be combined with the Beyond Light bits or be its own thing is that in all the Moonrat Radio tagged stories I've written, they're largely recorded by Aunor who, if I start including Ikora in my Drifteris (another one I haven't gotten to yet - I want her to fight along side them and go on adventures with them - I think that'd be great - she's the Skinner to their Mulder & Scully and I want them to go be heroes together) will definitely no longer be wanting Aunor to be recording them on behalf of the Hidden. But Aunor is still likely doing so in spite of being told not to because she has some issues with obsession.

I imagine Aunor as driven, angry, upset, and unable to stop stalking them (and playing recordings of them over and over for 'reasearch' reasons), hating them for using Darkness and for getting to be so damn in love with each other because how it is fair that Darkness wielders should find love, never mind genuinely healthy and healing love? There's a scene in my mind that's only partially formed where both Eris and the Drifter are about to die quite permanently and Aunor shows up and saves them, screams at them how much she hates them, and then leaves sobbing. In my mind, Aunor, despite her extreme obession, is still a good person, just super bigoted and filled with cognitive dissonance as she tries to justify the existence of their love (something she is experiencing vicariously due to spying on them all the time) with her Praxic zealotry that condems anyone for using the Darkness. Something's gotta give and I think, when it comes down to it, Aunor will make the right choice, but it'll be super painful for her.

Ok I'm going to stop now. I could, of course, keep going but I should just write that and post it on Ao3 instead. :)

[filmprojectcasper]

Film Project Essay - Casper Galbraith

Sound Designer:

The Blade and The Butterfly - Graded project

Rubbed The Wrong Way - 2nd Project

40529141 LMD09126 1st May 2024

The Blade and The Butterfly

Crew:

Director - Kushal Dhingra Producer/Writer - Joesph Olanlokun Director of Photography - Davide Alonge Editor - Ethan Lennon Sound Design - Casper Galbraith Production Design - Catherine Paterson

Intentions and Desires:

From the outset, I was intrigued by this project as a sound designer. A chance to do an action film at the student level is always exciting but also very risky. It is very easy to fall into the trap of making a very amateur film where the somewhat mediocre fighting and action can overshadow or take away from any real message and meaning behind the film. That’s why it was paramount to nail down a story and arc before we even discussed the action sequences we had in mind. I believe that Joseph is an excellent ideas man and he showed lots of passion during the writing stage of this production, so it was a very easy yes to join the crew. References for the film were suggested by Kushal the director. We spoke about the tone of the film and how the sound design needed to play a huge part in making the action scenes feel real. Because the stage combat was relatively low level since none of us as filmmakers had any experience, we would do lots of rehearsals and research to make it as safe as possible. With that lack of experience does come a slightly lower level of output and consistency through the fight sequences. Some punches look believable and others... not so much. That’s where it became imperative that I engage in research into how sound designers tackle fight scenes to make them as believable as possible.

Sound Design Workflow:

To start the research process as a sound designer I went about watching clips and scenes from all types of action films, to get a sense of tone and balance within the mix of a scene. Some films allow their diegetic sounds to sit empty in the space to give it a rawer feel, and others prefer the use of a score to add emotion to the action. Films like Fight Club and John Wick were a few of the references I referred to when researching fight scenes. I also watched videos on YouTube of low-budget filmmakers and how they go about recording and designing fight scenes. Foley is a big part of this process as your on-set sound obviously won’t be picking up any real punches. This led me to multiple videos and articles on how to get the best foley for fight scenes and what objects and techniques foley artists use to get those sounds. We did two Foley sessions for this project. The first one was mainly focused on making the layers for the various punches, knees, and kicks we had planned to include in our choreography. I had been to the shop in the morning to pick up some food items that could be used for the sounds. Bacon was used to create a fleshier high-end sound, as well as using celery for the more bone-breaking crunch dynamic. We also rolled up some leather jackets and punched them in front of the microphone to create a deeper impacting sound. All of these sounds recorded were then taken into ProTools where I went about layering them to make weightful punch sounds. The second Foley session we did was after the shoot. Here we focused on more of the foely for other items within the film such as the axe and the swinging arms of the characters when they were going for a punch. For the axe, we dragged a trowel across a stone slab to give it that grinding edge sound when Sonia picks up the axe in the finale. As for the swinging, we took a plastic tube/pipe and swung it next to the microphone, creating a whooshing effect. When I took all these sounds back into ProTools it was about layering and making sure the sound of the impacts was in line with the picture to make it as believable as possible.

Final Product:

This film was always going to be a challenge, and one that we as young filmmakers were excited for, so either way we are very proud of the work we have done on this module. It’s not often that students tend to make such ambitious projects as this so for that we can hold our heads high. I believe this film falls in the story. I think we tried to do a little too much with the aspects of fighting and dance that we ended up being so lost in the style of the film that we allowed the substance to fall behind. Too much context and characters made it difficult for us to show a clear story arc and left too many questions unanswered throughout the film. However, with that being said I do believe we have fallen on the right side of the mark for a low budget action film. I do feel that we have made a film that is edgy, raw, slightly gritty, and most importantly believable. A huge effort from all the cast and crew, especially Kushal who spent hours in rehearsals and researching the combat. I think it’s come off well. As for my contribution to the sound design, I do believe that for the most part, I have done a very solid job. Having never tackled such a foley-heavy film, I was very proud of the outcome of the punches. They don’t sound too goofy or cartoon-like and much more like real punches. I also think that the world-building within this film is for the most part, pretty good. I tried to create as much tension within the confrontational scene using diegetic audio as possible. This was a challenge I set myself as I felt it would have been too cliche to always refer back to the score. The most disappointing part of my contribution would be the mix. It is an area I am least knowledgeable in and it shows. At the critique session with the class, the main sound feedback was that it felt thin and weak in some areas. Before I attempted to mix the film, it was feeling much fuller and if anything possibly too busy in places. However as we started to mix, I became so fixated on the score at the end and the dialogue that it’s possible that the action sounds and ambience got lost and pushed too farback in the mix. On headphones, it’s not too much of an issue, but when played out of the big speakers you can hear an audible difference. Mixing is a skill that I feel can only be taught through experience, it’s about how the design feels rather than any given specific levels certain elements of the design should be hitting. Overall I think the sound design breathes life into the film and it enhances the viewers’ experience, however, there are multiple aspects of the mix that I will return to and fine-tune to make the whole film more consistent, especially since we have aspirations for possible festival runs.

Word Count - 1160

Rubbed The Wrong Way

Crew:

Director/DoP - Luca Walter Producers - Lili Van Niekerk & Joseph Olanlokun Writer - Jack Maclean Editor - Molly McLachlan Sound designer - Casper Galbraith Production Designer - Catherine Paterson

Intensions and Desires:

I was intrigued by the outline Jack Maclean presented to the class in one of the early film project classes. I felt this film had real potential to be a really funny, absurdist, and surreal film. I was approached by Luca the director do sound for the film and after some deliberation, I said yes. I worried that I was putting too much on my plate as a sound designer with both The Blade and The Butterfly and now Rubbed The Wrong Way, but the only way I could see myself getting better as a designer was by challenging myself and gaining as much experience in different genres as possible. We spoke about different approaches within sound design and how important it would be to find a good composer to breathe life into the comedic elements of the film. I also wanted to try some different audio plug-ins to bring the rather absurd side to the characters within the film, whether this be through specific sounds for different characters, or maybe using the score as a theme for the villains of the film, the massuses.

Sound Design Workflow:

An ADR session was the first part of the sound design to take the course. I spoke to Luca about getting Gaby Hafner in before the shoot to record her lines as the Police/Receptionist in the films to save time in the design. Being as efficient as possible was the only way I was going to be able to get both films done before the crit. I was lucky to split the work up between myself and Joseph, who had expressed his interest in dialogue editing. Having never done dialogue editing before, I sat down with him and showed him the basic theory and workflow behind dialogue editing. Not only do I think it was beneficial for him to learn but also for me, as it ‘teaching’ the process cemented my own workflow. Frequent meetings with director Luca made it easy to lock parts of the film down quicker, again being this efficient, gave me more time to try different effects, such as the demonic voice at the end of the receptionist lines. After doubling the line and using a couple of distortion and saturation tricks, with a slight pitch shift, we had a nice sounding piece of sound design that almost sounded like two voices talking at the same time. After a couple of good calls with the composer and a feedback session, we then had all the components of the design.

Final Product:

I am pretty happy with the final film. I think the sound design helps bring out the comedy elements within the film, where before it might have been falling a little flat. I do think there could be some changes to the edit which would have enhanced some of the sound design elements just that little bit more, but that is something we are going to look into. I really enjoyed mixing the little subtle parts within the film, such as the neck crack and the gulp from Buster in the first flat scene. A blink, you’ll miss it type of design, but they do give the film a natural fuller feel, which I think is crucial when it its easy to just allow the dialogue to dominate a comedy. If I had to change anything about the design, I would go back to look back at the consistency of the mix. A little more time would allow me to make sure the levels are as consistent as they can be throughout the film. This just stops any lines of dialogue from getting lost and also enhances the comedic sound elements. This film relies on its impactful sounds to make the jokes work so that’s why the mix is so important.

Word Count - 638

Final Thoughts:

Overall, I am really happy with my output this semester, I have had some invaluable feedback from both my lecturers and my peers and I can’t wait to jump back on the horse and implement the changes to make the films, the best they can be. Every semester is a learning experience and one I don’t take for granted. I look forward to 4th year and grad films, where we will do it all over again.

[adrianmaynopas]

PORTFOLIO ENTRY #2. Journal 2. My Philosophy in LifeEngage in a thoughtful exploration of self-awareness by addressing the following questions in your journal entry 2.

Where do you think people came from?

Humans originated through a process of evolution, according to the scientific understanding. Over millions of years, species gradually changed, leading to the development of Homo sapiens. This explanation is based on the evidence of fossil records, genetics, and comparative anatomy. Different cultures and religions, however, may have their own beliefs and creation stories about the origin of humans.

Why do you think we are here on Earth?

In my opinion, everyone has something to accomplish with their life, which is why I believe there are many theories on why we are here on Earth and why we must live as humans. because all of our evolutionary ancestors' ideal circumstances were there for them to emerge, flourish, and coexist with humans, and because these conditions are favorable for us humans.

What do you think we are supposed to do? What is your idea of right or wrong?

To me, happiness is about living life to the fullest, doing what brings you joy, and being authentic. And according to Aristotle, happiness is about attaining all the things, health, wealth, knowledge, friends, etc. that contribute to the enrichment of human life and the perfection of human nature over the course of a lifetime.Human actions impact others, and reflecting on what’s right or wrong is crucial for building a trustworthy society. Individual well-being relies on family and society, with trust as the foundation. A sense of morality is essential, influencing how we judge actions. Social norms often shape our understanding of right and wrong, leading to cultural variations in concepts like courtesy, equality, and freedom. According to Aristotle, it is part of being human to wonder about ourselves and our world. In other words, it is human nature to be that way.

What should we try to achieve? (Value)

As a human being, I believe that the main goals we should strive for are personal fulfillment, positive contributions to society, and ethical behavior. That being said, I also want to experience peace through the challenges we face and the positive and negative experiences we have in life. Seeking information, developing deep connections, and improving oneself and others are frequently regarded as good goals. Although individual objectives may differ, the overarching objective is frequently to live a meaningful and purposeful life while making a good impact on the community's and beyond's well-being.

What should we stay away from? (Value)

For me, individuals should generally avoid harmful behaviors such as dishonesty, cruelty, and harmful actions towards others. Yes, and I know everyone has different personalities and experiences in life because it's normal in our human nature that we do things that we don't want to do. Engaging in activities that negatively impact oneself or society, like violence or exploitation, is typically discouraged. Respect for others, empathy, and a commitment to ethical principles often guide individuals away from behaviors that can harm well-being, relationships, and the overall harmony of society.

Where do we go after our bodies die?

In my opinion, it's really hard to explain this question. Because when we die, our spirit and body separate. Even though our body dies, our spirit, which is the essence of who we are, lives on. Our spirit goes to the spirit world. The spirit world is a waiting period until we receive the gift of resurrection, when our spirits will reunite with our bodies. Our future resurrected body cannot die and will be perfect, free from pain, sickness, and imperfections. It is because of the infinite love of Jesus Christ that everyone will be resurrected. And After burial, the body undergoes decomposition, gradually returning to the earth as it breaks down over time.

Who has influenced your ideas about life?

I got my perspective on life from my mother.Throughout my life, my mother has had a greater influence than anyone else I know. She has been a teacher, coach, and parent. In the face of dread and sorrow, she has taught by example. She's taught us the value of constantly getting back up after falling and has given us love and respect. My eternal hero is a survivor. Financial difficulty has been a challenging situation that my mom, an OFW parent, has seen us through. I am incredibly proud of my mother for teaching her son the lesson she instilled in us, and she goes above and beyond to ensure that we don't go hungry. Having parents is the most priceless thing in life because they guide us through the challenges that we go through in our lives

[kazdhd]

Passion

My thoughts on "Passion" - A writing prompt

Passion is powerful — it can be categorised as a strong or compelling emotion, feeling or desire — such as love, hate, affection, lust. It’s also categorised as an experience of love, a strong sexual desire or an over-the-top fondness, enthusiasm or desire for anything (e.g. a passion for writing!)

It’s so powerful that it can ignite both a creative flame and a destructive fire. Passion can push you to your limits in both good and bad ways and I believe it’s down to the individual, and the circumstances surrounding them at any given moment, as to which way it will end up going.

Our passions fuel a fire in us all. Some are long-lasting, lifetime passions that people use to their advantage on a daily basis. Passions for hobbies like writing, singing, art and such like. It drives a person to want to create, share, interact, engage, be part of something bigger. Passions like this are positive — they help you, and others around you, grow. Explore. Experience. Live!

However, I feel like passion can also cause you to lose sight of the bigger picture, if the feeling is too strong, it ends up overshadowing everything else.

For example; a passion to help people can often become so intense that it can lead to being walked all over and not having the confidence to stand up for yourself when you’ve been taken advantage of. It can make you feel like you have to ‘do the thing’ for someone regardless of its impact on your own physical and mental health. It can consume you if you don’t take the time to (or struggle to) look at things objectively along the way.

Another example; a passion to make money — this can be both good AND bad. To make more money is, on the surface, a very good thing (especially with the cost of living crisis and everything else we normal folk have to deal with every day) — who wouldn’t want to do it? To have a passion for it means you’ll do anything for it and that can, unfortunately, lead to poor (no pun intended) decisions unless you’re aware of where to draw the line. Make more money — yes, but to compromise your own integrity or moral standings in order to do so? No. Not a good result in the end.

The same applies to any and all passions, now that I’ve thought about it a little more. A passion for hobbies, such as those mentioned above, is all well and good until you stop sleeping, eating, looking after yourself just to make sure your art/song/poem/story is completed. That’s when it becomes a problem. I realise that’s a drastic, worst-case-scenario take on things, but it’s true all the same.

I feel like it should come with a warning sign — experience with caution, or something along those lines — but that’s not really how it works, is it. Emotions are a very strong force to be reckoned with and you have to be able to manage these well in order to truly understand and utilise said passions to a healthy advantage.

Me? I simply cannot regulate said emotions which is where passions start to become a problem for me. A passion to eat more healthily can quickly become something that consumes my every thought and ends up making me doubt every decision I make in the supermarket — leaving me frustrated, tired and unable to continue with it. Now that could be the undiagnosed ADHD, the depression or the anxiety that I experience every day clouding my judgement. It could also be my low self-esteem simply telling me “hah, you can’t be passionate about this. You don’t know what you’re doing!” — who knows, I could be getting this completely wrong. But it’s what came to mind as I pondered this topic.

I can, however, regulate my passion for writing, for the most part. Don’t get me wrong, sometimes I’ll find myself sitting up until 3am, having already been at the PC for 4 hours researching things to include in my blogs about my wonderfully complicated little life, thinking ‘hey, I might as well stay up ’til morning!’ That thought in itself is a little bit dangerous if I were to do it all the time. I’d end up with little to no sleep, compromising my already strained ability to function like a normal human being, and would be of no use to myself, or anyone else until I’d had a chance to recharge.

I feel like I’ve gone on a bit of a tangent here (don’t I always, haha!) so I’ll end with this thought, and my actual answer to the original question:

Passion is a creative flame capable of turning in to a destructive fire if not managed appropriately.

[jaedreaminn]

Cupcakes

Summary

You were just on your way to deliver cupcakes to the Royal Family, you didn't plan on getting engaged to their youngest son.

Not like you were complaining though.

Parings: Jaemin x fem!reader

Theme: Royalty Au, fluff, humour, angst (but if you blink you miss it)

Characters: Jaemin, Jeno, Mark, Chenle, Jisung, Haechan, Yuta, Taeyong, OC «mentioned» Hendery.

Word Count: 4.5k

You happily skipped down the muddy road as you made your way to the palace.

It’s been a while since you’ve gone to there, considering how you frequented there as a child.

Now however, you were on your way to deliver a last minute batch of cupcakes the palace had ordered for- well some event that was none of your business.

Normally, palaces had their own chefs who were very skilled so it wasn’t a common occurrence that the small bakery in the lower part of town got a palace order. But the Royal Family had come to love the cupcakes your brother made after trying it once and well the rest was history.

“I’m here to deliver 50 cupcakes for the Royal Family” You grinned and the guard eyed your worn out frock and scuffled sandals with a frown.

“The Royal Highnesses have their own pastry chef” He sneered and you frowned, hand reaching to your satchel to pull out the scroll with the Royal seal on it.

“Look, I’m not lying” you said showing the guard the scroll with the order but instead of apologising and letting you in he snatched the scroll and growled at you, “It’s illegal to impersonate the Royal Seal you know”

“But I-“

“Move along little girl I don’t have time for your foolishness” he said shoving the scroll back into your arms and shoving you away. Tears threatened to prickle the sides of your eyes but you didn’t let them fall but instead held your head up high like your brother had taught you too and stepped forward.

“I do not want to fail this simple task the Royal family gave me because of some imbecile guard, you either let me in or find someone who will” you said, trying your best to glare at the man in front of you.

“How dare you” he said grabbing hold of your arm as he raised his other hand, ready to hit you. You shut your eyes bracing yourself for the impact but a voice stopped the guard.

“What is the meaning of this?” A voice that you recognised all too well said venomously. You opened your eyes, eyes darting to where the sound came from only to be met with stern cold eyes.

“Y-your Highnesses” The guard immediately let go you your arm and bowed. You frowned rubbing your arm as you glared at the guard.

“This peasant was trying to impersonate the Royal Seal” he spoke and you scoffed.

“That couldn’t have been true, I remember personally writing and sending that scroll” The raven head spoke with narrowed eyes as you smirked.

“I-I I didn’t, I didn’t know your Highness” The guard stuttered and you had to try your best not to snicker.

“You are relieved from you duty..” the boy spoke eyeing the tall guard, “For good” he then added ignoring the pleading man who was being dragged away and making his way towards you.

“Princess” He bowed and you smiled bowing back.

“Hello Nana” you grinned at the boy who gave you a small smile back.

“I still don’t understand why you insist on living as a baker girl, you’re worth more than cheap frocks and scuffed up boots” Jaemin said with a frown.

“I tell you this every time you ask me Jaemin, after my parents died I had to freedom to do whatever I wanted but I’d still remain royalty. I thought I might as well live like a commoner until it lasts and I get married off” you said with a small humourless laugh.

Jaemins eyes softened, as he took hold of your cart and started to walk past the gates into the palace.

“You know my parents would never just marry you off” he said and you smiled knowingly. You knew his parents wouldn’t but the council men didn’t seem to be fond of the idea.

“I know” you said in a whisper, smiling reassuringly at the boy.

“Especially to someone you don’t want to be with” he added and you smiled, a sad smile.

“I want to be with you but that’s never going to happen” you said bitterly remembering how badly the court took the news of a blossoming romance between you and Jaemin.

Jaemins family ruled the neighbouring kingdom that had captured your country but still let your family and parents rule it, but when they died so suddenly when you were just a little girl it was but obvious that the Na’s were taking charge of your nation.

The Na’s were very sweet and very nurturing and caring of you. You were still treated like Royalty but alas you weren’t their child and some people in the high court made an issue out if it.

And so when you asked them if you could go live with your first cousin the baker (whom you considered your brother because before he left the palace the two of you basically grew up together) they didn’t object but they weren’t thrilled.

That however didn’t stop the romance blossoming between you and the Na’s youngest son. And his parents couldn’t have been more supportive but there was this stinky old man in the high court that always caused trouble and it was because of his convincingly evil words that you two couldn’t be together.

Well you couldn’t get married without it sparking trouble in the high court, that didn’t mean you two couldn’t be together while it lasted.

“Yes it’s going to happen! We’re going to be together” Jaemin said stopping abruptly and you frowned. You really didn’t like fake hope.

“Jaem..”

“Princess!” You heard a voice exclaim and both of you turned your heads in the direction of the voice. You smiled upon seeing who it was.

“Lord Lee” you smiled, a teasing glint in your eye and Jeno groaned.

“It’s annoying every time” he complained about the title, coming to stand next to you. He eyes travelled towards the carriage and immediately lit up.

“Are those..?” Jeno asked and you nodded with a smile, “Help yourself” you said and Jeno immediately darted towards the carriage ready to grab a cupcake when Jaemin swatted his hand with a pout.

“Get your own”

“It was you who said what’s mine is yours so now move” Jeno said shoving Jaemin aside and you chuckled.

“I knew I smelt cupcakes!” You heard another voice and grinned when you saw who it was.

“Sir Mark” you said with a grin and Mark blushed. “Not you too, it still sounds so foreign”

“How did this blushing mess of a boy even become a knight” Chenle said popping up from no where and you smiled at the boy, pointing at the cart. His eyes immediately lit up as he went to help himself to a cupcake.

“Taeyong hyung really out does himself” Jeno said moaning as he took a bite of the sweet treat.

“Yes and you boys forcing me to increase his already heavy workload does nothing to help him” Jaemin said glaring at the others while munching on a cupcake himself.

“Ahh Taeyong has a lot of help” you smiled and Chenle looks at you pointedly.

“Not me silly our neighbours” you say and you hear Jaemin huff.

“Jisung is an absolute darling but Donghyuck gosh I really don’t like him! Why couldn’t I have been your neighbour rather than that baboonic imbecile.” Jaemin complained and you chuckled.

“Oh c’mon he didn’t know you were Royalty!” You exclaimed, defending your favourite neighbour, who could agreeably be quite boisterous.

“He still shouldn’t treat someone the way he did me” Jaemin said with a petulant pout.

“Well you were dressed in commoners clothes, glaring at him for no reason while using such big words” you said, glaring at the boy in return.

“The young Prince’s jealousy knows no bounds” Chenle snickered, covering his mouth with his hand in a sorry attempt to hide it.

“You people just aren’t used to small town life” you argued and Mark nodded.

“It surely was an experience… Small town life and Lee Donghyuck” Mark said dreadfully and everyone laughed remembering the story Mark had told all of you about how Donghyuck had dragged him around town when Jaemin brought Mark along to distract the boy.

“But his brother is an absolute saint!” Jaemin exclaimed and you smiled, in those short, rare visits Jaemin made to town in disguise, he had come to grow very fond of Jisung and you couldn’t even blame him, the kid was very lovable.

“I don’t know from what you people tell me he sounds like he has poop hands” Chenle said with a shrug and you smiled, the young Lord wasn’t all that off.

“He does! That’s why Taeyong doesn’t let him anywhere near his kitchen, just send him to run some errands here and there” you say and Chenle smiles.

“Jeno that’s your fifth cupcake you’re going to get a bellyache” Mark says glaring at the boy who was quietly munching on cupcakes this whole time.

“Jeno hyung” Chenle said rolling his eyes, helping Mark drag Jeno away from the cupcake cart as they waved goodbye to you.

“These are the moments I live for” you said to Jaemin, as you smiled and waved goodbye. Jaemin stood there looking at you wave, smiling because you were.

“I know you like to live in the moment and not think about the future. But I promise you, you are in my future” Jaemin says, eyes shining with determination as he holds onto your hand giving it a squeeze. And for just this moment you let yourself harbour unrealistic hope.

But Na Jaemin has always proven to be a man of his word. “Where’s mother and Father?” He asks his brother Yuta once he steps inside the throne room.

“If I’d known I wouldn’t be sitting around waiting for them would I?” His older brother, the next King, chuckled.

Jaemin sighed with a nod, missing the way Yuta was grinning at him.

“I’m taking you met y/n again?” Yuta asked with a raised eyebrow and Jaemin solemnly nodded walking towards his brother.

“I want to be with her, but everyone seems to be against that idea” Jaemin sighed and Yuta smiled patting his brothers head.

“Old man Kim has always been a pain in our parents ass and he’s soon going to be a pain in mine. Be he can’t pass snide remarks and rile up to court if he is wrong.” Yuta said with a , hinting at something and Jaemin looked at him confused.

“I’m saying as a prince, and as the Royal Family’s second born you are made to memorize the most basic rules that glare at you in the face in that book but there are always more rules and… exceptions” Yuta said with a playful smirk and Jaemins eyes widened, smiling with mischief.

Of course! The Archives have all the rule and exceptions to the rules!

Jaemin bolted out of the room and rushed to the parlour. “Jeno! Jeno where are you? Jeno!” He yelled in search of his friend and partner in crime.

“He’s not hear young prince” Chenle said shutting his book and glaring at the noise maker. “He’s training”

“Whyyy” Jaemin whined dramatically falling onto the soft sofa and Chenle cocked a brow. “To protect you in the future?”

“Chenle! “Jaemin then sprang up clapping his hands and smiling at the boy with a very plotting grin. Hesitantly Chenle said “..Yes?”

“Come help me!” Jaemin pleaded and Chenle was about to refuse but found himself just letting Jaemin drag him to the archives, not having the heart to deny the Prince who requested his assistance with such bright and hopeful eyes, a contrast to his normal demeanour.

And that’s how both the boys found themselves in the Royal archives, sitting on one circular messy table with books and scrolls stacked or left open scattered around the table, reading through all the lesser known rules and exceptions.

“We’re never going to find anything” Jaemin groaned throwing his head back in frustration, flipping through his eight book.

“I wouldn’t be so sure of that” Chenle said smiling, and handing the book he was reading to Jaemin. As Jaemins eyes darted over the page that was open an evil smirk started taking over his features.

“Will this work?” Chenle asked with hopeful eyes and Jaemin nodded and then started looking around the table for something.

“What are you looking for?” Chenle asked, eyeing the boy curiously.

“A scroll that I read earlier, about a study” Jaemin said making the messy table messier in his search for the scroll.

Chenle rolled his eyes, resting back onto the chair, drained from all the non-fantasy reading he had to do today. As he slumped back onto his chair, something on the floor caught his eyes.

“Jaemin” he said catching the older boys attention and pointing at the piece of paper on the floor.

Upon picking up the paper the young Prince’s eyes lit up, “You’ve been my saviour twice today!” Jaemin exclaimed happily with a low laugh as he glanced at the contents of the scroll.

“Anything that makes you happy” The younger boy whispered to himself as he watched the prince make notes.

On Monday morning Jaemin walked into the council meeting with a pride, head held up high.

“Council” He said bowing to everyone in the room as everyone bowed back.

“I wish to marry princess Y/n” Jaemin spoke confidentially.

“Young lad we have already told you this kingdom does not benefit from a union between you and the princess at all! In fact it will look bad marrying a prisoner” old man Kim said glaring at Jaemin who glared back.

“It’s your Highness to you council man Kim” Jaemin glared at the man who sat on his seat looking taken back while his parents and brother tried hard not to snicker. “And how dare you call the princess who is protected and cared for by the Royal Family a prisoner?” Jaemin said still glaring at the man who immediately looked frightened and only got more scared once he saw the glaring faces of the King and Queen.

“B-but she still isn’t beneficial to the kingdom your highness” Old man Kim stuttered.

“The law says the King is expected to marry someone of high status and power, who’s company brings the kingdom peace and good relationships.” Jaemin says reciting what he was taught and old man Kim seems to straighten up proud that he was right.

“However the law says expected, not obliged. If the King isn’t obliged nor am I. In fact ages ago King Cheoljong had and experiment conducted where he gave two commoners jobs in the high court to look after a small portion of land. One was allowed to do what he wanted to and marry whomever he wished to while the other was restricted by unreasonable laws and had to marry whoever the King thought was good for that small piece of land, a wealthy women if I must. The happier man with the happy stable marriage showed better fruits and the other man simply disappointed the King” Jaemin finished his little story with a smile sent to the council who was listening intently.

“Ever since then it was encouraged that the Royal Family’s happiness came before any bonds and treaties. But Council man Kim seems to be completely against my happiness for his own gain” Jaemin said glaring at the man and a few gasps were heard throughout the court.

“On what basis are you making such an accusation your highness? I only look out for you and the kingdom”

“Or is that what you want us to think? I hired private investigator Huang Guanheng and he seems to think differently” Jaemin smirks and Council man Kim straightens his posture, trying his best to look cool and composed.

“Is it or is it not true that you have a niece, Lady Jo Hwajin, daughter of Duke and Duchess Jo, whom you have promised a spot in this country among the Royals?” Jaemin asked and council man Kim was about to answer when he cut him off, “Remember lying to any member of the Royal Family is treason”,

Old man Kim seems to contemplate his answer before bowing his head in shame, “Yes your highness”

“And is it or is it not true that you were planning on forcing me to marry her” Jaemin asked with a raised eyebrow and council man Kim’s eyes widened.

“I-I would-“

“Be careful of what you say council man Kim” Jaemin said pulling out an envelope from his coat, holding it between his middle and pointer finger, “I haven’t come here making accusations unprepared”

“Yes your highness” old man Kim says bowing his head, avoiding eye contact. Jaemin smirked at that, he didn’t need to know the envelop was empty.

“Now a marriage like that doesn’t ensure peace or good relationship, but marrying y/n will just give our already trusting people more reason to trust and support our rule, she after all was their beloved King and Queens first born.” Jaemin said and his parents smiled at him.

“But your highness, my niece will ensure good relations with the Kingdom and Princess y/n hasn’t been talked about in ages. People might not even remember her” Old man Kim interrupted and Jaemin glared at him.

“You live comfortably in the high court Council Man Kim, I on the other hand have spent numerous days disguised as a commoner getting to know our people, are you suggesting you know more about them than I do?”

Old man Kim’s eyes widened comically as he stuttered out a response, “N-no you’re H-highness”

“Good” Jaemin said still glaring at the man and then turned to his parents.

“Since that matter is settled, Mother, Father and all council members, I wish to marry princess y/n” Jaemin says, eyes shinning with victory when his parents give him an approving nod when no one in the council objected.

“This order is ridiculously large” You grunt pushing the cart from behind.

“You can just sit this one out y/n” Taeyong says smiling at you with worry as you struggled with the cart. You nodded you head, grabbing onto the cart, eyes shining with determination as you were ready to march to the palace.

“Need help?” Haechan asked, with a smiling Jisung by his side.

“No it’s okay” you said and Taeyong frowned. “Yes we’d love the extra hands”

“Yay road trip!” Jisung exclaimed happily before you could protest.

“Yes!’ Haechan exclaimed, excitedly jumping towards you taking the cart from you hands as he started moving ahead before Taeyong could even tell him where you were going.

“Should we just let him realise he’s alone or should we stop and follow him?” Jisung asked in a whisper, leaning towards you and Taeyong and you chuckled while Taeyong glared at the youngest, chasing after and call Haechan.

“Huh I guess not” Jisung shrugged as the two of you followed the two men with the carts.

“Oh yes! I was told to expect you..just not so many of you” The guard at the door said, questioningly eyeing Jisung and Haechan when you reached the palace gates.

“About time!” Mark who was dressed casually said running towards you as you glared at the boy.

“Is he mad? I know for a fact that there isn’t any occasion in the palace why would he order so many cupcakes” you complained and Jisung and Haechan looked at you with wide eyes.

“Y/n we really love you and don’t want to see you beheaded so please don’t talk smack about the crown” Jisung whisper yelled and you and Mark chuckled.

“It’s her birth right to talk smack about the prince because if not y/n then who else” Jeno approached you, his eye smile on full display. And a quite Chenle followed him. It wasn’t like Chenle to be quite but you knew he was just eyeing the two new faces.

“Oh well y/n it was nice knowing you” Haechan said wiping a fake tear and Chenle smiled. You had a feeling they would get along just fine

“But there is a very special occasion” Chenle said with a sly smirk and you frowned. But before you could ask any questions the group had already started moving into the palace.

“Taeyong!” Yuta yelled approaching your small crowd after you made your way into the castle and Haechan and Jisung immediately bowed.

“Yuta it’s been forever” Taeyong said going to hug the other male.

“It really has” Yuta said smiling and then looked at Haechan and Jisung, “You may rise” he said with a chuckle as the two hesitantly rose.

“Any friend of y/n and Taeyong is a friend of mine so you can drop the formalities when we’re in private.” Yuta said and you cringed looking at the wide eyed confused boys, what if they caught onto who you were.

“Y/n! Love of my life! Princess!” You heard another voice yell and you sighed when you caught a glimpse of Haechans and Jisungs face, yeah they’re definitely cathcing on and you definitely had a lot of explaining to do.

“Jaemin?” Haechan yelled shocked and you honestly expected the prince to glare at the boy but he simply smiled back.

“How did you leave out the fact that Jaemin’s Royalty!” Jisung whisper yelled immediately bowing and dragging Haechan down with him. You sighed.

“Oh please you didn’t bow down to me back then when you jumped on my back and it’s definitely not needed now” Jaemin said rolling his eyes as he made his way to you pulling you into a hug.

“Y/n! How could you let me jump on Jae- The crowned princes back” Jisung yelled at you absolutely mortified.

“You yell at Y/n just fine without crying and worrying about how she’s a princess” Chenle adds in just to boggle up the younger more and it seems to work as Jisung pales.

“She’s a what!” Haechan exclaims as you glare at Chenle who laughed.

“Honestly Haechan your volume hasn’t changed a bit” Mark says rubbing his ears.

“Why don’t you tell the princess why we’re celebrating” Jeno said nudging Jaemin shoulder.

“Well I’m getting engaged!” Jaemin starts excitedly holding onto your hands and you feel you heart break, forcing on a smile. At least he seems to be happy about it so the person he’s getting engaged to must be really lovely.

“Well it isn’t confirmed because she’s yet to say yes to me” Jaemin said scratching his head and the action would honestly seem comical to you if not for the fact that you could hear your heart shatter.

“Actually I haven’t even asked her” He says and you put on a very forced smile. You were sure you looked constipated.

“I hope she says yes then” you said giving his hands a soft squeeze. “You think she will?” He askes and you nod slowly. Why would she say no to such an amazing, talented and beautiful young man.

“Oh I’ve got one more question for you” Jaemin said and you raised your eyebrows, smile almost turning into a cringe. Why was he doing this to you.

You were expecting him to ask you things like how to propose, or where to propose or maybe what type of ring should he buy.

You weren’t expecting him to get down on one knee, smiling at you, “Marry me y/n” he says holding a ring in his hands, you didn’t see him pull it out from his pocket or see anyone pass the ring to him. You didn’t even see the box anywhere.

You stood there shocked for a few seconds not answering him and his grin faltered ever so slightly.

“Y/n this is the part where you answer him” Taeyong said snapping you of your state of shock as you nodded and broke into a smile as Jaemin slid the ring onto your finger, laughing away the happy tears that made its way to his eyes.

“What- but how? The council? And you parents?” You struggled with words as Jaemin pulled you against his chest and laughed a hearty laugh.

“All taken care of he whispered as you wrapped your arms around his neck, burying your head in his shoulder squeezing him in your arms.

“Ohhh I’m going to miss you” Taeyong said watching the two of you with a small smile.

“You’re telling me, our former crowned princess has been living next door this entire while and her peculiar friend that we bullied was the current crowned prince, and that now the prince and princess are going to get married and I just witnessed their engagement” Jisung said as he continued to freak out.

“Don’t forget the part where you completely forget to greet two of the most important Lords in the Kingdom and a very prestigious knight” Chenle adds and you were afraid Jisung might combust on the spot.

“Eh y/n loves us so we’ll live don’t listen to the rude boy with power” Haechan said patting Jisungs back in hopes of comfort the younger but ends up hitting the boy just a little too hard.

“Chenle’s going to have one heck of a time with Jisung around.” Jeno chuckled and Mark nodded.

“That means peace for me” Mark says but pales when Donghyuck chimes in, “I wouldn’t be to sure about that”

“Wait if Mark is a knight, Jaemin a prince and Y/n a princess what does that make you hyung?” Jisung, who had calmed down asked Taeyong.

“A baker” Taeyong replied grinning and Yuta scoffed.

“He’s Duke Lee, last heir of the Royal Lee’s of the north” Yuta said and Donghyucks jaw dropped open.

“Who?” Jisung asked and Mark chuckled.

“He’s Y/n first cousin and the only child of Princess Lee, our former kings second born.” Haechan said, still in awe.

“How have we not yet been beheaded” Jisung says palling for the nth time that day, how the boy was still conscious was a mystery.

“Give him some time to adjust and he’ll be just as bratty as before” Donghyuck chuckled, patting the boys back.

“Let him spend the day with Chenle and he’ll be fine” you said with a smile, arms still wrapped around Jaemins waist, head against his chest.

You could feel the low rumble in his chest as he chuckled when Chenle smiled his infamous spawn of Satan smile and when Jisung looked even more terrified, forgetting that he has a brother that could rival that smile.

Mark on the other hand seemed to pale at the view of said smile by said brother and Jeno laughed, ready to encourage whatever Donghyuck was plotting.

Yuta was celebrating with Taeyong at the side after the older had secretly agreed to coming back to the palace, on the condition that he has full control over the kitchen.

And you smiled, in your princes, well fiancé’s warm arms, knowing that everything was right with the world.

Happy Jaemin Day💖

Hope you enjoyed reading this~

Now I don't know if I got the labels or hierarchy correct with all the Royal labeling but hopefully I've come close?

But it doesn't matter cus this is in an alternative universe where whatever the author says happens and where the author is never wrong :D

I didn't want to include some big ass speech for the proposal because clearly they've talked about wanting to get married before and it would just be meaningless to have an entire speech.

Idk why I didn't include Renjun considering the rest of dream is there, I just didn't know how to write him in ¯\_(ツ)_/¯

Anyway it would be greatly appreciated if you told me what you think of this fic

Jae out✌️

[enhousestudios]

What is GLITCHED?

When a glitch appears in the video game world of Soren, an NPC named Gus becomes aware of you- the player. Travel together to solve the mystery of the glitch and save Gus's friends, hometown, and digital world. As the story unfolds, Gus might start to question what role you play in his world.

Making choices will change Gus's essence. His essence determines his personality, grants him new powers, and causes characters to react differently to him. There are six different essences and playing as each will provide a unique experience.

Not only will your choices affect Gus's essence, but they will have a real impact on the world and characters. Make each choice carefully. What content you can experience will depend on your choices. Sometimes your choices will open up tons of new events, and other times you'll stop quests before they can even begin. Consequences can be both good and bad.

Experience can be used to patch glitches, allowing you to access new areas and progress the story. Every activity in the game gives experience. Players are free to take on the content they want. Join the Hero Academy, raise bebos, go exploring, or kick back with your party members. No matter what you decide to do, you'll be gaining experience and furthering your story progression.

There are no random encounters or grinding in GLITCHED. Fights only happen when characters in the world want to make a situation go their way. The story will change based on if you win or lose, so you'll almost never see a game over screen. The turn-based combat uses a unique system with skills, energy, and quirks to keep every fight engaging. Collect different skills for your many allies and build a team to your liking.

Any time during your adventure, you can talk to Gus. You will learn about each other as you talk about his life, his surroundings, the world of Soren, existence, or whatever random thought pops into his head. As the game progresses, Gus will slowly become aware that you aren't just a visitor in his world... but something else entirely.

Some other features:

20+ potential party members

Raise bebos and enjoy that sweet monster-raising RPG content

A friendship & romance system for party members

Tons of achievements

Every object has unique flavor text (yes, every object. thousands of objects)

Tons of outfits that change up all party members

Cool and weird equipment

Multiple endings

Frogs

A large and varied soundtrack with 100+ songs

Tons of magic spells that have different effects on things while exploring

A day & night system

Looming existential dread as Gus slowly realizes he lives inside a video game

Cool and wacky characters

An arcade mode to take on unique and challenging battles

And that is GLITCHED! Want to play it real bad?

You can play a demo of GLITCHED now over on Steam!

The demo includes the first few hours of GLITCHED and your save files will carry over to the full release coming later this year. You can also follow En House Studios on other social media sites to keep up with current news about release. We are going to be posting a bit more often here on our gone-but-not-forgotten Tumblr. You all were the first to help promote GLITCHED, and I was always super thankful we got our first fans from here.

Discord | Twitter | Steam | Kickstarter

That’s all for now. Maybe just one more thing... a trailer!

[nopefun]

Interview #494: Ryan Frigillana

Ryan Frigillana is a Philippine-born lens-based artist living and working in New York. His work focuses on the fluidity of memory, intimacy, family identity, and visual culture, largely filtered through the lens of race and immigration. Embracing its plasticity, Frigillana explores photography’s relationship to context as a catalyst for thematic dialogue.

His first monograph, Visions of Eden, was published as two editions in 2020, and is held in the library collections of the MoMA, Getty Research Institute, and Smithsonian among others.

We spoke to find out more about Visions of Eden, his love for photobooks, and photography as a medium for introspection.

Lee Chang Ming Ryan Frigillana

Thanks for agreeing to do this! As we’ve just arrived into the new year, I want to start by asking: how did you arrive at photography and how has your practice evolved so far? Your earlier work was anything from still life to street photography, but your recent work seems to deal with more personal themes.

It’s my pleasure; thank you for having this conversation with me! Wow, looking back at how I’ve arrived at this point makes me feel so grateful for this medium, and excited to think of where it will lead me from here. I came to photography somewhat late. I was initially studying to become a nurse and was set to start a career in that field, but I found myself unhappy with where I was going. My mother was a nurse and I know what goes into being one; it’s not an easy job, and I respect those who do it, but my heart wasn’t in it. I found photography as a creative outlet during that stage of my life, and I’ve clung onto it ever since.

My first exposure to photography (no pun intended) came in the form of street and photojournalism. I would borrow books from the library a lot, consuming works by Magnum and other photographers working in that tradition. At the time, it was all I knew so that’s what I tried to emulate. Even early on in my undergrad career, these modes of creation were reinforced by curriculum and by what I saw from my own peers. My still-life work branches off of that same sentiment: the only names that were ever thrown around by professors were Penn and Mapplethorpe, so that’s who I studied. Thankfully over the years, I’ve been able to broaden that perspective through my own research. Though I don’t necessarily pursue street or constructed still-lifes anymore for my personal work, I’d like to think my technical skills (in regard to timing, composition, light) owe a debt to those past experiences.

I suppose now I’m starting to explore how photography can be used as language, to communicate ideas and internal conflicts. I’m thinking more about the power of imagery, its authorship, its implications, and how photographs have shaped, and continue to shape, our reality. That’s where my work is headed at the moment.

I liked how you mentioned photography as a language, which calls into question who we are speaking to when we make images and what kind of narrative we construct by putting photographs together.

In your work “Visions of Eden”, you trace your family’s journey as first-generation Filipino immigrants in America. I was quite struck by how you managed to link together original photography, archived materials and video stills. To me, with the original photography there was a sense of calm and clarity, perhaps in the composition. But with the archived material it was like peering through tinted glass, and the video stills felt like an unsteady memory. What was the editing process like for you and how did you decide what to include or exclude?

For me, editing is the hardest part about photography. Shooting is the enjoyable part of course because it can feel so cathartic. Sometimes when I shoot it feels almost like muscle memory in the sense that you see the world and you just react to it in a trained way. But with editing, it’s more of a cerebral exercise. More thought is involved when you have to deal with visual relationships, sequence, rhythm, and spacing, etc. The real creation of my work takes place in the editing process. That’s where the ingredients come together to form an identity.

When creating this identity, I not only have to think about what I want to say, but also how I want to say it. It’s like speaking; there are numerous ways you can communicate a single sentence. How are images placed in relation to one another? How large are they printed, or how much white space surrounds it? Are the images repeated? What’s on the following page? The preceding page? Is there text? How are they positioned on the spread? All of these little choices impact the tone of your work. And that’s not even mentioning tactile factors like paper stock or cover material. I think that’s why I have such a deep love for photobooks because 1) they’re physical objects and 2) someone has obsessed over every aspect of that object.

I’m aware that my photographs lately have a quiet, detached, somewhat stripped-down quality to them. I think that’s just a subconscious rejection of my earlier days shooting a lot of street where I was constantly seeking crowded frames and complexity in my compositions. As I’ve grown older, I realize less is more and if I can do more by saying less, that’s even better. Now, the complexity I seek lies in the work as a whole and how all these little parts can form something fluid and layered, and not easily definable.

For Visions of Eden, I wanted the work to feel somewhat syncopated and wandering in thought. That meant finding a balance between my quiet static photographs and the movement and energy of the video stills, or balancing the coldness of the illustrations with the warmth of the family snapshots. The work needed to be cohesive but have enough ambiguity for it to take life in someone else’s imagination. Peoples’ lived experiences in regard to immigration and religion are so complex that they can’t be narrated in any one definitive way. Visions of Eden, hopefully, is a rejection of that singularity.

Yes, there’s definitely something special and intimate about flipping through a photobook! For your monograph, you recently released a second edition which is different from your first (redesigned, added images, etc.). Why did you decide to make it different? Was the editing mainly a solitary process?

The first edition was a partially hand-made object. Illustrations were printed on translucent vellum paper and then tipped into the gutter of the book. When you flip through the pages, those vellum sheets would overlap over certain images, creating a collage-like effect. That was my original concept for this book. Doing this, however, was so laborious and time consuming, and not to mention expensive! Regretfully, I wound up making only twenty copies of that first edition. I wanted the work shared with a wider audience so that’s why I decided to publish a second run.

The latest edition is more of a straight-forward production without the vellum paper. With this change in design, I had to reconfigure the layout. I took liberties in swapping out some images or adding new ones altogether. Also, a beautiful afterword was contributed by my friend, artist, writer, and curator Efrem Zelony-Mindell. I still feel so fortunate and grateful to have had my work seen and elevated by their words in my book.

For the most part, yes editing is quite a solitary process for me. But there does come a point when I feel it’s ready, where I share the work with a few trusted people. It’s always nice to have that outer support system. Much of Visions of Eden was created during my time in undergrad school so I had all sorts of feedback from peers and professors which I’m grateful for. But in the end, as the author, you ultimately have the final say in your work.

Given that Eden is a starting point and metaphor in the work, I was thinking about ideas of gardens, (forbidden) fruit, and movement of people.

How do you view yourself in relation to your place of birth? In your series, I see the most direct links in the letters, old photos where tropical foliage is present in the background, and the photo of the jackfruit (perhaps the only tropical fruit in this series).

I came to America when I was very young, about five years old. For my family and for many other families still living in the Philippines, America is seen as a sort of ideological Eden: a land of milk and honey, of wealth and excess. We all know that’s far from the truth. Every Eden has a caveat, a forbidden tree. Which leads me to ask: as an immigrant living in this country, what fruits were never intended for me?

I honestly don’t remember much about my childhood in the Philippines aside from fleeting memories of my relatives, the sounds of animals, the smell of rain and earth, the taste of my grandmother’s cooking. The identity that I carry with me now as a Filipino is not so much tied to the physical geography of a place but rather it is derived from a way of life, from shared stories, in the values we hold dear, passed on from generation to generation. This is a warm flame that lives on in me to this day as I write these words thousands of miles away from where I came.

Photographs have a way of shaping our memory and our relationship to the past, which in turn affects how we engage with the present. The family photographs and letters used in my book act as anchors in a meandering journey. They serve as landmarks that I can return to whenever I feel lost or need assurance so far away from “home”. They give me the comfort and affirmation that I need to navigate a space where I never really felt I belonged. The spread in my book­­ that you mentioned—the jackfruit on one side, and the Saran-wrapped apple on the preceding page—was a reference to my duality as both Filipino and American. It’s a reminder and an acknowledgment that I am a sum of many things, of many people who have shaped me. If I flourish in life, it’s because my roots were nourished by love.

I like how you mentioned photos as anchors or landmarks. Isn’t that why we create and photograph? To mark certain points in our lives and to envision possible futures, like a cartographer mapping an inner journey. Do you feel like you and your relationships with those you photographed changed through the process of making your works?

When my parents took pictures of our family, it wasn’t done solely in the name of remembrance; it also served as an affirmation of ourselves and our journey—a celebration. Every birthday, vacation, school ceremony, or even the seemingly insignificant events of daily life were all photographed or video-taped as a way of saying to ourselves, “Here we are. Look how far we’ve come. Look at the life we’ve made. And here’s the proof”.

Now, holding a camera and photographing my family through my own lens still carries all of that celebratory joy, but with so much more possibility. Before I really took photography seriously, I never realized its potential as a medium for introspection, but that’s ultimately what it has become for me. In taking pictures of my family, I not only clarify my own feelings about them, but the act of photography itself informs and builds on my relationship with each person. The camera is not a mere recording device, but a tool for understanding, processing, and even expressing love...or resentment. Though I may not be visible in my pictures, my presence is there: in my proximity, my gaze, my focus.

Does all of this impact my relationships? Absolutely. Photographing another person willingly always demands some degree of trust and vulnerability from both sides. There’s a silent dialogue that occurs which feels like an exchange of secrets. I think that’s why I often don’t feel comfortable photographing other people unless we’re very close. Usually my family is open enough to reveal themselves to me, other times what they give can feel quite guarded. That’s a constant negotiation. After the photograph is made though, nobody ever emerges the same person because each of us has relinquished something, no matter how small.

Being self-reflexive in photography is so important. I agree it should be a constant negotiation, but it’s something that bothers me these days – the power dynamic between the photographer and photograph, particularly for personal and documentary projects. More significantly, after the photograph has been made, who is really benefiting. But I guess if we are sensitive to that then perhaps we can navigate that tricky path and find a balance. 

Right, finding that balance is key and sometimes there are no clear-cut answers. That power dynamic is something I always have to be mindful of. As the photographer, you are exercising a certain role and position. At the end of the day, you’re the one essentially “taking” what you need and walking away. There’s an inherent violence or aggression in the act of taking someone’s picture, no matter how well-intended it may be. This aggression carries even greater weight when working, as you say, in a genre like documentary where representation is everything.

I remember an undergrad professor of mine, Nadia Sablin, introducing me to the work of Shelby Lee Adams—particularly his Appalachian Legacy series. Adams spent twenty-five years documenting the disadvantaged Appalachian communities in his home state of Kentucky, visiting the same families over a long period of time. Though the photographs are beautifully crafted, they pose many questions in regard to exploitation, representation, and the aestheticization of suffering. He is or was, after all, an artist thriving and profiting off of these photographs. Salgado is another that comes to mind. This was the first time I really stopped to think about the ethics of image-making. Who is benefitting from it all?

I think the search for this balance is something each photographer has to reckon with personally. Though each situation may vary with different factors that have to be weighed, and context that must be applied, you can always ask yourself these same ever-pertinent questions: am I representing people in a dignified way, and what are my intentions with these images? Communication (listening), building relationships, acknowledging your power, and respecting the people you photograph are all foundational things to consider when exercising your privilege with the camera.

Well said! The process of making photographs can be tricky to navigate yet rewarding. Any upcoming projects or ideas? What’s keeping you busy these days?

Oh, let’s just say I’m constantly juggling 3-4 ideas in my head at any given time, but ninety percent of the time they don’t ever lead to anything finished haha. This past year has been tough on everyone I’m sure. I’ve been dealing a lot with personal loss and grief and the compounded isolation brought on by the pandemic, so for months I’ve been making photographs organically as a subconscious response to these internal struggles. It’s more of an exploration of grief itself as a natural phenomenon and force—like time or gravity. Grief is something everyone will experience in life and each of us deals with it differently, but in the end we have to let it run its course. I see these photographs as a potential body of work that could materialize as a zine or book one day, so we’ll see where that goes.

Other than that, I’ve been working on an upcoming collaboration project with Cumulus Photo. Speaking of which, I saw your photograph featured in their latest zine, running to the edge of the world. Congrats on that! It’s beautiful. But yeah, just trying my best to keep busy and sane, and improving myself any way I can.

Thanks! Looking forward to your upcoming projects! Last question: any music to recommend?

I feel like my answer to this question can vary by the week. I go through phases where I exhaust whole albums on repeat until I get tired of them. So I’ll leave you with the two currently on my rotation: Angles by The Strokes, and Screamadelica by Primal Scream.

Thank you for your time!

Thank you for a lovely discourse. I had a lot of fun!

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[the-desolated-quill]

WandaVision: ‘Subverting’ Good Television - Quill’s Scribbles

(Spoilers for the first five episodes)

Hey everyone! Well... it’s been a while, hasn’t it? The last time I wrote a proper review or Scribble, people still thought the COVID crisis would be over within a month. The poor saps. But I thought that as a special way to mark this year’s Valentines Day, we could take a closer look at the Marvel Cinematic Universe’s shittiest power couple in their new Disney+ show WandaVision.

The first of many MCU spin-off shows that nobody asked for, broadcast exclusively on Disney’s totally unnecessary streaming platform, WandaVision is about everybody’s favourite whitewashed Nazi experiment and her red sexbot boyfriend as they try to fit into a suburban sitcom neighbourhood without arousing suspicion.

Yes, you read that correctly. The MCU has a sitcom now. My life is now complete.

Sarcasm aside, I was legitimately curious about WandaVision because of its unusual setting. And considering one of my most common criticisms of the MCU is its total lack of creativity, anything that’s even a little bit subversive is bound to attract my attention. Of course ‘subversive’ doesn’t necessarily mean ‘good.’ I could hand you a canvas smeared with my own shit and call it subversive. That doesn’t necessarily make it good art. And that’s exactly what WandaVision is. A canvas smeared with shit.

So lets split this critical analysis/review/angry bitter rant into two distinct chapters. The first focusing on the plot and setting, and the second focusing on the characters. Okay? Okay.

Chapter 1: Bewitched

Critics seem to be utterly enamoured with the whole sitcom gimmick, and it is a gimmick. As far as I can tell from the episodes I’ve seen, the sitcom setting serves no real purpose whatsoever other than to make the show ‘quirky.’ Which I wouldn’t mind, believe it or not, if the show was actually funny. There’s just one problem. It’s not.

Now in some ways describing why a sitcom doesn’t work is often futile because comedy is largely subjective. What I find funny, you won’t necessarily find funny and vice versa. With WandaVision, however, I won’t have that problem. I can demonstrate to you precisely why WandaVision, objectively, isn’t funny. And it all comes down to one simple thing. The stakes. Or rather the complete and total absence of stakes.

The show makes it very clear from the beginning that none of what we’re seeing is real. The cheesy theme song, the era appropriate special effects (mostly. It’s actually very inconsistent), the joke commercials, and, in the case of the first two episodes, which are in black and white, the appearance of red lights and objects in Scarlet Witch’s general vicinity. (Gee, what a mystery this is).

Basically Wanda has brought Vision back from the dead and created this sitcom world for them to inhabit. I’ll explain the stupidity of this in Chapter 2. The point is none of this is real, and that has a negative effect on the comedy because the very nature of comedy is suffering. Take the plot of the first episode. Wanda and Vision have to prepare a dinner to impress Vision’s boss. If they fail, Vision could lose his job and the couple could be exposed as superheroes. If this were a normal sitcom, it would work. The stakes are clear and it would be satisfying to see the two struggle and overcome the odds. But here, we know it’s not real. If it’s not real, it means there’s no stakes. If there’s no stakes, it means there’s no suffering. If there’s no suffering, there’s no comedy.

It would be one thing if the unfunny sitcom stuff lasted for like the first ten minutes or so before making way for the actual plot, but it doesn’t. Oh no. It doesn’t even last for the first episode. Out of the five episodes I’ve watched, four of them are almost entirely about these unfunny, objectively flawed sitcom homages, each set in a different time period. The fifties, the sixties, and so on. And what’s worse is that nothing that happens in them is plot-relevant. That gets relegated to the last five minutes of an episode. So you’re forced to sit through twenty five minutes of boring slapstick and puns in order to catch even a whiff of actual story. Which begs the question... who is this for exactly? It can’t be entertaining to Marvel fans, who have to slog through all this pointless shit so they can figure out what the fuck is going on. Comedy fans may get a kick out of the sitcom pastiche at first, but after four episodes, surely the joke would wear thin. So why is it in here? Clearly someone in the writer’s room absolutely fell in love with the idea of doing a Marvel sitcom, but nobody put in any time or effort to figure out how it would work in context.

I cannot stress enough how bad the plotting of this series is. As I said, the vast majority of a thirty minute episode is about shitty sitcom plots that aren’t funny and don’t have any impact on the story, only to then tease you with a crumb of actual plot in order to keep you coming back for the next instalment. Admittedly it’s an effective strategy. I was more than ready to quit after Episode 2 until that beekeeper showed up out of the sewer (don’t ask. It’s not important). WandaVision essentially follows the Steven Moffat school of bad writing. String your audience along with the promise that things might get more interesting later on and that all the bullshit that came before will retroactively make sense by the end. Except, as demonstrated with BBC’s Sherlock, that doesn’t work. And even if it did, it wouldn’t justify wasting the audience’s fucking time. And that’s what the majority of WandaVision is. A waste of time.

The only episode that doesn’t follow the sitcom format is the fourth episode. Instead it basically exists to explain all the shit that happened before. The shit that the audience, frankly, are smart enough to figure out for themselves. Wanda created the sitcom world as a way of coping with the loss of Vision, blah, blah, blah. Yeah, we got it. Thanks. It doesn’t advance the plot or anything. It’s just a massive info-dump. But by far the lowest point was when Darcy (by far the most annoying character in the first Thor film and is just as obnoxious here) was sat in front of the TV, watching the sitcom and asking the same questions we were. Not even attempting to look for answers. Just reiterating what the audience is thinking. Like this is an episode of fucking Gogglebox.

In the end it becomes apparent why the series is structured the way that it is. It’s to hoodwink people into subscribing to Disney’s stupid streaming service. If you think about it, there was no reason for WandaVision to be a TV series other than to lure gullible fans in with a piece-meal story buried in a mountain of crap. This isn’t a TV show. It’s what is cynically known in the world of big business executives as ‘content.’ They’re not interested in entertaining the audience. Instead they crave ‘engagement’, which isn’t the same thing. Watching WandaVision is like staring into the void, waiting for something to happen, while Disney charge you for the privilege.

Chapter 2: I Love Lucy

So the plot sucks balls. What about the characters? Surely if Wanda and Vision are likeable at least, it’ll give us something to cling onto.

Well as I was watching the first episode, it suddenly hit me that I couldn’t remember anything that happened to them in previous films. I knew Vision died, but other than that, I couldn’t tell you significant plot details or their personalities or anything. Not a great start.

See, up until now, Vision and Scarlet Witch have been little more than background characters. So already there’s an uphill struggle to get us invested in their relationship, especially considering we haven’t actually seen that relationship develop. In Avengers: Age Of Ultron, Scarlet Witch is killing people because she’s pissed off about Tony Stark killing people (you work that one out) until all of a sudden she stops and joins the good guys because the script said so. Vision meanwhile is introduced as a convenient deus ex machina to beat Ultron and gets no real personality other than he’s a robot. Captain America: Civil War comes the closest to giving Wanda a story and personality of her own as it’s her actions that cause the Sokovia Accords to come into effect, but she never gets any real growth or payoff as the film is heavily focused on Cap and Iron Man’s penis measuring contest. And as for Vision, all he does in the film is accidentally cripple War Machine. No real character or arc there as such. And then we have Avengers: Infinity War, where Wanda and Vision are now sporadically in love and on the run until that pesky Josh Brolin, looking like a CGI cross between Joss Whedon and a grumpy grape, comes along and rips out Vision’s Infinity Stone to power up his golden glove of doom, and the film treats this like a tragic moment, except... it isn’t. Because we haven’t really had the time to properly get to know these characters and see their romance blossom. So instead it just comes off as hollow and forced.

WandaVision has the exact same problem. Apparently Wanda was so distraught about Vision’s death that she broke into a SWORD base, stole his corpse, brought it back from the dead... somehow, and then enslaved an entire town of people to create an idyllic lifestyle for her and her hubby while broadcasting it as a sitcom to the outside world... for some reason. Putting aside the dubious morality of it all, it’s impossible to really sympathise with Wanda or her supposed grief because we’ve barely spent any time with her. Had the Marvel movies taken the time to properly explore the characters and show us their relationship grow and develop, this might have had more emotional resonance. But no, it just happens. In one film they barely speak to each other and in the next they’re a couple. No effort to explore how they feel about each other or any of the problems that may arise trying to date a robot. It just happens and we’re just supposed to care. Well I’m sorry, but I don’t care. You’re going to have to try a little bit harder than that I’m afraid. What’s worse is that, thanks to the whole fake sitcom thing, it’s impossible to really become invested in Wanda and her plight because the show has to constantly keep us at arms length at all times in order to keep up the pretence that this bullshit is somehow mysterious.

Looking through the WandaVision tag, it amuses me how many people say that she’s acting out of character. And yeah, her actions are a bit of a head scratcher. Why would an Eastern European’s ideal life be an American sitcom? Why a sitcom? Why kidnap an entire town? Why keep changing the decade? None of it makes sense, but you’re wrong for thinking that Wanda is behaving out of character for the simple reason that Wanda has never actually had a character. In fact, ironically, Wanda mind controlling an entire town and forcing them to do her bidding is probably the one consistent thing about her as she did this in Age Of Ultron. In interviews, Elizabeth Olsen and Paul Bettany described how they used actors like Elizabeth Montgomery and Dick Van Dyke as influences, which is really funny because they’re straight up admitting they don’t have characters and even now they’re still not playing the characters, instead emulating the work of far better actors.

As I was watching the show, it became abundantly clear that not only do Marvel not have the faintest idea what they wanted to do with these characters, but they also straight up don’t give a shit about these characters. Wanda in particular has had a rough time under the tyrannical regime of the House of Mouse. First they cast Elizabeth Olsen, a white woman, to play a Romani character, then systematically erasing her Jewish roots, even going so far as to put a cross in her bedroom in Civil War, and now the character is being butchered even more by forcing her into an American sitcom housewife role that she apparently willingly chose for herself, which is laughable. I mean say what you like about Magneto in the X-Men films, at least they actually depicted his Jewish culture. At least they recognised his Jewish background was important (though not important enough to cast a Jewish actor apparently). Wanda’s steady cultural erasure over the years is incredibly insidious and judging by Olsen’s comments in interviews, where she called Wanda’s comic book outfit a quote ‘gypsy thing’ unquote, it seems nobody has an ounce of fucking respect for the character or the culture she’s supposed to be representing. (and to all those kissing her arse saying it was a slip of the tongue, she has been repeatedly called out for using the slur in the past, so at this point I’d describe her behaviour as wilful ignorance)

If you want further proof of how much Marvel doesn’t seem to care about Wanda, look no further than her brother Pietro, aka Quicksilver. At the end of Episode 5, Wanda brings Pietro back from the dead, except it’s not Pietro. It’s Peter Maximoff, the Quicksilver from the X-Men films played by Peter Evans, who coincidentally is not Jewish or Romani either. So Quicksilver has the dubious honour of not only being whitewashed three times, but also twice within the same franchise. But should we really be surprised at this point? It’s Marvel after all. The same company that whitewashed the Ancient One in Doctor Yellowface and claimed it wasn’t racist because Tilda Swinton is ‘Celtic’. But now I’m going off topic. My point is that this isn’t a simple case of recasting an actor like Mark Ruffalo replacing Edward Norton as the Hulk. WandaVision actually acknowledges the recast in-universe, which makes no sense. Why would Wanda bring back her brother, only to make him look like a different person? We the audience may be familiar with this version of Quicksilver, but she isn’t. That would be like me bringing my Grandad back to life and making him look like Ian McKellen. He’d be perfectly charming, I’m sure, but he wouldn’t be my Grandad. 

If Marvel really cared about the characters or narrative consistency, they would have brought Aaron Taylor Johnson back. Instead, now they have absorbed 20th Century Fox into the hellish Disney abyss, they use X-Men’s Quicksilver as a means to keep viewers from switching off and so that people will write stupid articles and think pieces about whether the rest of the X-Men will show up in the MCU. It’s like dangling your keys in front of a toddler’s face to distract them from the rotting corpse of a raccoon lying face down in the corner of the room.

And it’s here where I decided to stop watching the show because fuck Disney.

Epilogue: One Foot In The Grave

You know, I am sick and tired of the so called ‘professional’ critics bending over backwards to praise these god awful films and shows when it’s so clear to anyone with a functioning brain cell how bad they truly are. WandaVision is without a doubt one of the most cynically produced and poorly structured TV shows I’ve ever seen. Its riffs on classic sitcoms are pointless and self-indulgent, the writing is terrible, the characters are unlikable and unsympathetic, and it’s entirely emblematic of what the entire MCU has become of late. And it’s only going to get worse as Disney drowns us with more ‘content’ to keep the plebs ‘engaged’. In short; pathetic.

[itsclydebitches]

Why do people criticize fanficiton for characters bang OOC? all fanficiton is inherently non canon and the characters are inherently OOC. That cute fic where Ruby and Weiss fall in love. OOC. That edgy fic where Jaune gives in to his revenge. OOC. Just a normal fic where team RWBY go out in the town. OOC. No one writes characters exactly as they are in the canon because everyone is projecting something they want to see the canon didn't deliver. That's why they wrote fanfiction.

OOC is a pretty broad term at this point but, from my experience, there are three primary uses: 

OOC meaning all of the above: the character is, by default, inherently different than their canonical counterpart because they are not written by the original author. Every fic character ever is OOC, making the term itself fundamentally useless. It’s like when we broaden AU too much. Yes, technically every fic ever is an AU, but that doesn’t help us distinguish between something like a minor plot divergence and turning the rom-com into a sci-fi adventure. 

OOC used as a catch-all insult for fans to sling at a fic they don’t like, usually for a reason other than the characters being OOC. They don’t like the ship, so this fic is OOC. They don’t like the tropes or themes in it, so it’s OOC. Here, OOC doesn’t actually say anything about whether the characters are IC or not. That’s not the point. The point is to use a negative fandom buzz word as a way to publicly dismiss the fic. 

OOC used to say that the characters are not recognizable and this is not an intentional choice on the author’s part. Both things at once. This third definition is the only one that’s a worthwhile criticism (in as much as a free hobby created out of love for a story can have “worthwhile” criticism. I by no means mean to say that there are rules for how you have to write fic, I’m only acknowledging what fans tend to look for). See, the thing about fanfiction is that it is, by definition, built off of a canon, which means that we have a set cast to work from with established personalities. We read fanfiction because we want more of those same characters. If we wanted different characters, we’d simply go consume/create a different story. Which means those characters have to be recognizable. That’s the requirement. You read fic for Character A, so if Character A doesn’t feel like Character A, the reader nopes out. 

However, in practice this is obviously pretty complicated to achieve. Fanfiction is also about change, which means that writers are continually balancing that recognition with the inevitable impact that changing the world around the character has. A sort of nature vs. nurture issue. Who is Jaune if Pyrrha never died? Who is Yang if she grew up with Raven? Who is Weiss if she never went to Beacon? Who are any of these characters  — characters we already know       — if we change the events and relationships that crafted their personalities in the first place? Which is why I have that second “not an intentional choice on the author’s part” requirement for fan displeasure. If it’s clear that a significant change in personality is the entire point of the fic, then readers are on board. They just need a reason for this change. A justification. An explanation. It’s the difference between writing a “Ruby is raised by Salem and thus it 100% makes sense that she’d be a horrible person now” story and writing a “Ruby acts like a horrible person for no established reason, despite that going against her sweet, kindly characterization in canon.” That’s OOC, the combination of a character being unrecognizable and a lack of explanation for that change. 

In an ideal world, if/when fans come across OOC writing they would simply exit the fic and that would be that. Not their cup of tea. The problem is that the concept of being “in character” is directly parallel to character interpretation... and as we know from this blog, that can get very heated. Someone might, for example, write a supposedly canon compliant fic where Ozpin is depicted as a callous, manipulative headmaster hell-bent on using his students as disposable tools, to which I would go, “That’s OOC.” The problem then becomes that there’s a major disconnect between how the author has interpreted Ozpin and how I have interpreted him  — what the very concept of “OOC” means here                — and it is, at the end of the day, a basically unsolvable problem because there is no objective interpretation to dredge up and say, “See, I was right!” Fiction is subjective, with at times not even the Word of God able to penetrate a fan’s interpretation of a text. 

Fiction is more than just fiction. We get very emotionally involved in our stories, which means that we  — for better or worse  — get emotionally involved in telling those stories “correctly.” When it comes to fanfiction’s designed intention to (to a degree) accurately represent canon characters, fans are not going into that fic with the disinterred, disengaged perspective of someone who doesn’t care about the series. Caring is the point. Thus, people get upset. Maybe someone calls the Ruby/Weiss fic OOC because they can’t imagine anything other than a Ruby/Blake relationship. Maybe it feels like the edgy Jaune fic didn’t persuasively take him from soft, awkward friend to revenge obsessed fighter and dammit, Jaune is their favorite. You’ve done him a disservice. Maybe the out of town fic is filled with dialogue that makes you go, “Would Yang ever actually say that?” and it’s so jarring you just don’t see her as Yang anymore. Something isn’t working here and it’s interrupting the reader’s ability to fall into the fic. It’s lacking a core characteristic of fanfiction that most fans come for: telling stories using these characters. Not a “wrong” version of them. 

As said, there isn’t actually a wrong way to write fic, but there are absolutely pervasive interpretations of canon that will impact whether people see your writing as IC or not. I can absolutely write a Volume 1 fic where Ruby is crying the whole time, running away from her friends, and curling up in corners rather than engaging with anyone. But if I fail to provide an in-text reason for that change in her personality, my readers are likely to go, “But that’s not... Ruby? Ruby is cheerful, loves spending time with her sister, and bugged Weiss until she became her friend. She’s sad at times, sure, but we can point to numerous places in the canon that contradict this sort of characterization. I’m not reading about Ruby Rose  —  something I very explicitly came to do — I’m reading about a totally different character with her name. And since you didn’t establish/warn me that her characterization was going to be entirely re-worked, I’m upset about that.” 

So at best the fan just shrugs and exits the fic. At worst they take the author to task for “incorrectly” interpreting these characters. Fanfiction is absolutely about projection, wish fulfillment, and change... but it’s also about consistency, at least at a certain base level. Creating something you wanted to see that the canon didn’t deliver on is just writing a new, original story. Doing that and keeping the story recognizable in particular, appealing ways? That’s fic.  

[microsuedemouse]

last night I had an Absolute Stranger pop up in my notes to be totally hostile out of nowhere about my interpretations of some fictional characters. I took the initiative to block them because they were engaging in bad faith and clearly had no interest in discussing the subject. now they don't have to see my content anymore and everyone wins! but I've been thinking about it ever since, and I wanted to share some thoughts here, with those of you who are reasonable and not just trying to start arguments with people you've never interacted with before. I know that at times I've collected large numbers of young, passionate followers, so I think this is a discussion worth having with anyone who's willing to converse in good faith!

one of the most fundamental truths of how human beings interact with fiction is that every single member of the audience is going to have a different take on the story. if you ask me, this is also one of the most beautiful and interesting things about engaging with other fans of something. everyone is bringing something different to the table when they sit down to read, watch, listen, play, or otherwise take in the tale. everyone is going to have their own context through which to understand the characters and events in the story. when you're dealing with literally anything that isn't expressly stated by the storytelling, you're dealing with interpretation, and there is never only one correct way to interpret a story or character. this just isn't how fiction works.

let me give you a good, clear example of what I mean. several years ago, in one of my university classes, I read Karen Russell's short story St. Lucy's Home for Girls Raised by Wolves. the story is about a group of girls - maybe werewolves, maybe only feral children; it's left somewhat ambiguous - who are taken from their wolf families and re-educated by nuns to be proper young ladies. they're made to sit up straight and cut their wild hair and speak only in human languages, giving up the howling and growling they've used all their lives. it's difficult and unnatural for them. when my prof asked us what the story reminded us of, I was the one who brought up residential schools, and it seemed that a lot of my classmates agreed with me: the similarities were striking, even if Russell hadn't had that in mind. but an autistic classmate of mine had a different comparison to make - to her, the story was uncomfortably reminiscent of the treatment received by many autistic children, being forced to give up everything that comes naturally to them and conform to other people's expectations of their behaviour. both of these reads were completely legitimate.

you don't have to have an english or literature degree to understand this concept. think back to your early experiences writing essays in school, based on a book you'd been assigned to read. think about your teachers telling you: make a point, and then use evidence to convince me. this is one of the most basic ways that we engage with fiction on an academic level. and when it comes to fandom, we don't even have to go that far! while many fans love to put a lot of thought into their interpretations, headcanons, fanfics, meta, and other fanworks, many don't. there are a lot of reasons for this, from wanting to see yourself reflected in the characters you love to simply having fun shaking things up. you don't have to justify your interpretations (or your reinterpretations). you're allowed to play in the sandbox just because it's a good time.

a lot of us, when we really love a story or character, get incredibly passionate about our interpretations. that's normal and understandable. and so, naturally, we're also going to find people whose interpretations fly in the face of our own. but people who disagree with you are not inherently wrong. people are incredibly complex, which means two things: one, real people are going to have all kinds of complex factors affecting how they read a story, and two, there are virtually infinite ways to interpret fictional people when the information you're working with is necessarily limited. when they're working from the same baseline information, two people can have two wildly different understandings of a character and neither of them is objectively more correct than the other.

(this intersects a lot with conversations about coding and authorial intent. both of these are their own huge discussions that I'm not going to get into in detail here. both are important in their own ways, but when you cut down to the bone, the basic truth remains that audience interpretations are still going to go in all directions and that's still allowed. even when you're working exclusively with interpretations that aim to be entirely canon-compliant, neither coding nor authorial intent is the same thing as explicit canon. yes, it's still crappy to erase heavy queer-coding [for example] in media where that's the best representation that creators can offer us; that's a matter of social issues intersecting with fiction, which is another huge discussion of its own. but even what qualifies as 'heavy' coding is going to vary from one audience member to the next.)

for me, this incredible variety of interpretation is one of fandom's greatest strengths! I have made friends with people whose character interpretations are incredibly different from mine, or whose favourite ships are the ones I can't stand, or who hated stories I loved. I think trading these ideas, discussing the differences in our readings of the same subject matter, is so interesting. learning how someone reads a character or storyline, and why they read it that way, is always really illuminating for me! discussing our differing interpretations can be such an interesting way to learn about other people's points of view and broaden your own perspective. I so strongly encourage it. embrace the passion you share, rather than starting arguments about things that ultimately don't have much in the way of impact on your real-world existence. for sure, yeah, block the weirdo who romanticises an abusive ship that gives you the creeps. but when you meet someone who headcanons your favourite character to be a completely different sexuality than you do, or who ships your brotp romantically... there's huge potential there for some really engaging conversations.

this isn't a manifesto. the topic of fan interpretation is enormous, and includes so many smaller discussions, and intersects with so many other issues. I'm not claiming to have covered all the bases here. I just really encourage you all to accept that there are no Objectively Correct Opinions - that's not how opinions work! you know that, I know you do! and when you do come across work that's just so far from your interpretation that you can't stand it... just don't engage. scroll on past. block the poster if you want. no one is making you look at fanwork that you don't like. you are not obligated to interact with the people creating that work in any way. please, for the love of god, curate your own fandom experience. someone doodling fanart for a ship that doesn't jibe with you isn't hurting you. you have the power to remove it from in front of your eyes and go find something else you like better. go engage with things that do interest you!! you will be happier for it!!!

[rpbetter]

I often see multis post that they want to make a new muse, at the same time as they're backed up on threads and asks, and they get their followers to "enable" them to make that muse in the post replies. What is your take on this? Is it a they-can-do-what-they-want situation, or is it reasonable to be annoyed when I see this? Or both?

Hey, Anon!

Both.

I mean, as usual, this is my opinion of an opinion-based matter. This isn't an equation that has an objectively right to wrong scale, it isn't actually hurting any living person or thing. But...it is incredibly annoying and can be hurtful.

They can totally do what they want, and much of the nature of genuine creativity is exactly that - the allowance of doing whatever you so desire. It's something I support rather adamantly, but it's also something I support trying our best to do responsibly and without being hurtful to anyone in a hobby that involves more than ourselves.

This isn't deciding to write another fic when you've not finished the previous four or five that others were interested in, or never finishing any of your original fiction, but continually starting new projects. While others might be enjoying those things as well, you didn't agree to interact with them. They're audience members, not participants.

When others are participants in a hobby that has to work both ways, it's different. Your actions do affect other, real human beings.

So, I totally feel like you've a right to be annoyed every time you see that happening. I do. I tend to unfollow people who do that repeatedly, as we're not pursuing the hobby in the same way. I'll argue all day that someone has a right to their, sometimes literally, eighty-plus muses they never develop or stick to, but that doesn't mean I want to engage with them as a writing partner.

For those of us who want long-term writing partners with the same, well-developed muses, this kind of thing just is annoying. As is everything else that comes with it.

As in...

They're constantly posting "talk me out of adding x" as code for "talk me into writing x."

No one actually wants to be talked out of it, which was probably more obvious to everyone else here than it was me for a little while lmao I tend to take things rather literally. This was, as one can imagine, not appreciated! Telling someone in total earnestness, "I really don't think that's a good choice. You're always saying how overwhelmed you are and just dropped multiple threads yesterday, so adding another muse is going to make you feel worse eventually. Don't do it! :)" is so not what they were looking for. As was evident by the return meltdown over how they could do what they wanted, like I said they couldn't or had any authority over what they're doing with their time.

It's an obnoxious bit of pandering for a foregone conclusion.

Have you ever seen anyone who posts that sort of thing not pick up that muse? I haven't. I've only seen muns who are legitimately on the fence about it asking others in private conversations or testing out the muse decide against it. The thing that makes this incredibly irritating is the attention-seeking and need to validate something they must know isn't a great choice, otherwise, they'd just do it. They're aware that they're behind on drafts, asks, and other things - aware that this is maybe a dick move when they owe everyone already. So, they're seeking "permission" with full knowledge that multiple mutuals are going to hop on that post with encouragement, even some of the ones being messed over by this choice.

It puts people in a bad situation.

Some of those people genuinely don't care, they just want to interact with any muse, and I'm going to be awful and say it - they don't care about totally interchangeable muses and have them themselves. That's fine, this isn't a problem for them. It is for the mutuals who are hoping that maybe if their writing partner gets into this new muse, they'll get a reply to their threads with that energy, or that they'll stick to this one and they can have consistent interactions with them. It is for the mutuals who feel pressured to respond positively because they fear not responding at all will make them seem like bad rpers.

One more thing playing into the counter logic excuse for shitty behavior of "it's just a hobby" is one more thing too many, and it does exactly that.

No one wants to be accused of being remotely too invested in RP anymore, of taking it too seriously, or having any emotional investment in muses, stories, or muns. Not accepting every choice someone makes that negatively impacts you with a grin on your face while you dump confetti on them for it just isn't a comfortable option for a lot of muns anymore. Honesty isn't a comfortable option. While the other option isn't either, it seems better than that mutual noticing you're the only writing partner who didn't hop onto that post with support any of the multiple times they reblogged it. It's only a hobby in which everyone can do what they want until what one wants clashes. Then, you're getting a callout for being addicted to RP.

And the way it tends to clash most is in having expectations of others. Ones that would be totally normal in any other hobby requiring interaction with other people.

Like not overburdening yourself at the expense not only of yourself but those on your "team." That's what is being done when someone knows they cannot keep up with themselves, but continues to add to the situation with new muses.

Not only are you no longer getting responses already while they're intending to add even more to their overflowing plate, you'll be dropped again when they have to "fresh start" their blog because they're burned out.

I have to put that in quotations because I don't know how it's a fresh start when you keep everything but the blog layout the same. All the muses and all the behaviors, including adding a new one despite not having the time or interest necessary to do so, is inevitably maintaining the problems that led to burnout. Dropping every thread, changing the URL, a new blog layout, new aesthetics, isn't fixing the issue even if it temporarily reinvigorates the mun.

The mun is definitely doing things that are not helpful to them, it's stressful and upsetting to experience burnout, but it's at least that mun's choice. Both to do it and to become defensive over fixing it, thus, never fixing it. It isn't anyone else's choice to be repeatedly dropped or ignored, though...unless they just keep sticking around for it.

Again, we're supposed to respect everyone's choices. That's fine when it really works that way, when it is truly everyone. But it's not an acceptable decision to see a multimuse of twenty or more muses and say that's your limit, that you've experienced too many muns who are serial muse-adders not being able to keep up with themselves, so you don't interact with these blogs. If one feels that way, they had better not put it in their rules or ever be upfront about this as a reason, when one is demanded, for not following back or interacting.

It's not acceptable to see a writing partner adding another muse after they've owed you for months, just wiped their inbox, and keep expressing being overwhelmed/behind and become annoyed. Let alone dropping them or explaining to them why you are doing so.

The only "acceptable" course of action is hoping that they totally forget you exist so you can quietly slip away.

I don't feel like that's especially fair or mature. It certainly isn't helping the communication problem we absolutely do have here in the RPC when only one party is allowed to communicate without fear of being labeled, rather ironically, as a bad RP partner.

While this problem seems to be most prevalent in more casual RPers, it's certainly not isolated there. I feel like it's necessary to say that I've had muns I both interacted with and were simply on my dash alike who were not on that more casual side who went from being multis to being muse collectors. Once they hit over fifteen of them or so, they stopped even bothering to try to refrain from picking up at least one muse from every new piece of media they consumed or were inspired by.

It was more annoying because they had been capable of writing truly unique characters they stuck to, and even if they were, with full and upfront admission before interaction, slower to respond, those responses were well worth any wait for the quality of writing and storytelling going on. That's so much worse than someone who was always at a lower skill level as a writer, didn't have a good grasp on characterization, and wasn't especially dedicated to anything. It's depressing and disappointing, but it's also not what you think you're getting into when trying to carefully pick who to write with. Like everyone else, my time to enjoy this hobby is far from twenty-four-seven as well. It's important to me to try to choose muns I'll work out with well so that neither of us is wasting the other's time. And that's what it feels like - the investment of time was a waste because their hobby became adding infinite muses, or rather, the idea of muses.

So, yes, while it is fully everyone's right to write what and how they want to (even if it amounts to not writing at all), it'd be nice if we were all as committed to doing so in a way that was adult enough to respect commitments we've made to each other as we are, as a RPC, to losing our minds when someone merely drops the words "commitments" or "respect."

For the inevitable muse-collectors running across this:

Fiction is inspiring! That doesn't mean you needn't be inspired by anything, just that picking up or creating a whole other muse might not be the best way to follow this inspiration.

If you're considering another muse, but you find yourself already behind and/or overwhelmed? Try one of these instead:

create a plot based on it! Write up the idea and put it in your wanted plots/wishlist tag. Bring it up to partners you think might be interested in it as well, or seek out a crossover from that fandom

make it a new verse for an existing muse! This is as close as you get to creating a new muse without actually doing so, and in many ways, it takes even more creativity. How is your muse different in this AU than they are in canon, how are they the same? In the ways that they are the same, what similar events but done in a way that is natural/logical to this universe have happened to maintain that? Get really creative!

for either/both of these, make some moodboards and aesthetics with that energy while you're waiting on someone to take you up on these new things. Answer some HC asks or tag games using your new verse, or write an independent HC for the verse or plot

talk to writing partners who already love that muse about their new verse/your desired plot! No, not pressuring talk, just normal conversation between friends, but maybe they will be interested in starting a thread

simply be inspired to include some aspect of what you liked in an existent thread. A particular scene you could pull ideas from, the overall mood of a film, or the way something was written in a book - include that in your replies somehow! RP is creative writing, be creative

There are so many, honestly more organic, directions to take inspiration than bluntly adding a new muse. Especially when you're already overburdened, not holding up your end of replies, and/or not able to portray each muse as their own character properly.

Sometimes, it's not just not a great idea to add a whole new muse, and that's alright. There seems to be a serious problem with fomo going on with this whole issue, too. You're not going to miss out if you do not immediately add this character to your multi, and you're never going to fully keep up with what is trending anyway. Do it because you still want to write this muse in four months instead, they're obviously not going anywhere if that's the case, and they'll be a better developed, interesting portrayal for that.

And people do have a right to be annoyed when they feel sidelined by you seeing a shiny object and repeatedly pandering for validation in dropping them for it. Particularly if you're a mun who, further, expects everyone to be just as interested in every new muse you make as the last. As in, you're annoyed when you keep creating muses no one is falling over themselves to interact with, guilting, shaming, or outright demanding that this new muse is interacted with before they have access to the previous ones.

They don't have a right to be mean you to, but they have a right to be annoyed and to drop you. They even have a right to politely decline explaining this to you if they feel unsafe, or to politely explain it to you before they move on.

Absolutely everyone's right to pursue RP and every facet of it as they so please, but no one else has to like what you're doing.

If this response grates on some of you out there? Consider the other options you have, how you might be making others feel, and that it's actually completely okay to tell yourself no. You won't perish if you tell yourself no to taking on a new muse when you, honestly, should not! It'll be okay! Maybe, you just need to evaluate if there is another muse, or more than one, you should remove before adding one. Maybe, you just need some time to reorganize how you reply before you add this one. "No" when told to yourself can simply mean "no, not right now, it isn't a good time/situation."

[thejustmaiden]

Fiction and Real Life Go Hand In Hand

This blog goes out to all those pro-Sessrin fans out there who refuse to acknowledge the very real effects fiction can have on our world and vice versa. I highly encourage other Inuyasha fans who defend/enable these shippers to read this, as well. I assure you, by no means are my intentions here to stir up trouble. Honestly, I just want some good healthy discourse for once if that’s not too much to ask. If you do decide to engage, please be mindful of that and treat others with respect and I will do the same in return. All in all, the goal of this blog is to exercise my right to speak out and be critical about content I believe to have very potentially detrimental repercussions. I ask that you not attack me or insult me simply for stating an opinion. Thank you! 

It’s like the title says, meaning fiction does matter. Where do you think we get ideas for all the stories we tell? Where do we draw inspiration from in the first place?

Real life, that's where! And yes, always with a touch of imagination! Long story short: fiction matters because real life does.

Allow me to elaborate.

Shippers of the Sesshomaru x Rin (Sessrin) pairing say it's not fair of us to throw around serious accusations or use certain deragatory terms that suggest such awful acts like child grooming or pedophilia because of the harmful implications. One of their reasonings being that some people IRL have actually lived through these traumas, so we shouldn't dare to assume they're comparable since one is just fiction and the other is not. But this isn’t about which is worse than the other, because they’re both super problematic. All we’re literally doing is making a link between grooming in real life and grooming in fiction. They mirror each other. Same issue; different mediums. We’re not undermining any one’s past experiences with grooming or the like, nor are we prioritizing fiction to diminish real life abuse. They’re both awful in numerous ways and that’s all we’re trying to say. In fact, if anything we’re attempting to demonstrate just how crucial this correlation is between them. In order to protect past victims and prevent future ones, we must remain vigiliant of the content we consume, and yes, sometimes that means we have to challenge it too. Just because it’s widely-viewed does not make it widely-accepted or well-received. It is paramount that we educate ourselves on how to be more critical of some of the harmful tropes and images that are still way too prevalent in mainstream media. Sexualizing young and pre-pubescent girls is way more normalized than some of us even realize. It’s sad but true that Sessrin is just one of many examples. I know it feels like society has failed us in a lot of ways, but it’s never too late to re-evaluate and re-learn better and more improved ways of viewing and processing information presented to us.

Our mission: Let’s not show our kids that grooming or any other form of abuse are acceptable if they may ever come to experience or encounter it themselves. Be it the real world or on screen. Deal? 

There have been a number of occasions where real life victims do speak up against the Sessrin ship and express how extremely uncomfortable it makes them feel by what it represents. The problem is that it’s becoming more evident now that many of their fans will dismiss anything purely on the basis that we pose a threat to their ship and nothing more. What it comes down to is they have no real leg to stand on and cannot possibly top any of what we have to say so instead they simply disregard it. Our inconvenient truths don't fit into their ideal *cough* OOC *cough* narrative so they just choose to be willfully ignorant. It conflicts with their fantasy, so rather than present a sound argument of their own, they flat-out reject it and offer no plausible back-up behind their reasoning besides "I don't interpret it that way." GUYS, CHILD GROOMING IS NOT UP FOR INTERPRETATION.

Just because you so desperately want your ship to come true does not mean you can up and decide to redefine a word so that it caters to your stance. Remind yourself that these are complex AND objective terms that we have no right to fiddle with to serve our own selfish purposes. This is why we can conclude that there's no debate about Sesshomaru's actions towards Rin embodying child grooming.

I apologize if any of my words are triggering by the way, so please feel free to take a break and return later if that’s more suitable for you. it's just really important that everyone in this fandom comprehends the extent in which Sessrin going canon is catastrophic. And no, I'm not exaggerating; I'm simply speaking the truth. Shippers justifying these horrible acts- yes, even in fiction- is usually due to the stubborn refusal to hear us out. No offense to anyone (just stating facts), but more times than not antis like myself feel as if we’re talking to a brick wall when we interact with Sessrin peeps. They go in circles and never expand on their perspectives. 

Just a head’s up: THIS GETS LONG. Stick with me. :p

Just look at their take on the Inukag vs. Sessrin relationships for example. This isn't a question of age gaps, this is a question of physical/emotional compatibility. Inukag are the same age mentally wise regardless of one being demon and the other not, whereas Sessrin is not and never will be, and yes, even once she's an adult. The thing is we have debunked this time and time again, because they’re not the same and therefore not comparable, but for some reason these fans won’t drop it. Nothing has changed in their argument, yet they’re persistent in bringing it up. I choose to not go into more detail, since like I said, you can find it around everywhere. I just wanted to touch upon it briefly to prove a point. Maybe it will come up again later in my blog though! 

Where was I earlier? Right, child grooming! Haven't you guys realized that what you’re doing is precisely what child groomers do to make excuses or deny any grooming took place at all? (FYI: I’m not accusing you of being child groomers yourselves.) “They reciprocated so the feelings are mutual" is a typical groomer response, but of course it varies. More often than not, victims of grooming aren't even aware they've been groomed until much later. That's how manipulative groomers are that they can legitmately convince you that maybe you're wrong in questioning their motives. Perhaps in the victim’s mind that because one huge indicator of grooming never actually took place it technically cannot constitute as grooming. They start to doubt themselves even though their intuition is telling them something’s off. They should just ignore it then since it can’t possibly be grooming if that one particular thing never happened, right? Wrong, grooming isn’t strictly this or strictly that. It's much more complicated and multi-faceted. This is why the “but Sesshomaru left Rin in the village” point upsets me greatly. HE WAS STILL INVOLVED IN HER LIFE, Y’ALL.  

On top of that, are you aware that this is the exact same kind of predatory mindset pedophiles use to describe their infatuation with children? They'll say things like, "I don't see them as an adult and a child. I see them as two people with a soul connection." Okay no joke, I wish I was lying, but that is literally a point one pro-sessrin fan on here recently used to defend this ship. It both astounds me and terrifies me that they don't see the glaring similarities they share in common with actual pedos.

Alright, I want to quickly return to what I was saying earlier about fiction's impact on real life. (Sorry, I’m a bit of a scatterbrain!)

The characters and their worlds in our stories that we dream up and bring to life are nothing short of awe-inspiring and magnificent if we so choose them to be. If it wasn't for our imaginations, stories like Inuyasha would have never come to exist. Fiction provides us an amazing outlet where we are given the opportunity to express ourselves and explore its infinite creative possibilities.

But strip away all the demons and magical components of this show we all love so dearly and what are we left with?

At the very core, Inuyasha is a story that's very reminiscent of the human experience: love, camaraderie, a sense of purpose, and much more!

So perhaps we got a full-fledged dog demon like Sesshomaru, but does that necessarily mean we can't relate to him or understand him simply because dog demons don't exist in the real world? Well, I hope that's not how you view it or else you're missing the whole point of why humans create stories to begin with. We create them to make better sense of and thus connect with the world we live in. And when you really think about it, our stories are just a celebration of life- both our struggles and our triumphs. Now I'm no philosophy professor, but I'm pretty sure they'd say I hit that nail right smack on the head. ;)

All shitty jokes aside, the whole reason I’m mentioning this specific example in the first place is because this recently came up with another Sessrin supporter. That supporter tried to defend the ship by stating that we aren't allowed to use Sesshomaru as an example to judge by since his kind don't exist in the real world.

Now if it isn't evident already, this "it's just fiction" argument is a popular go-to stance many Sessrin fans will resort to once they've run out of ideas and are metaphorically backed into a corner. The funny/sad thing is that they seem to sincerely believe this is strong enough evidence to defend their ship with, but per usual, they fail to see how hypocritical that would be. I’ll clarify soon down below. 

Seriously, since when did we decide that fantasy- or any story genre for that matter- stopped reflecting the real world we live in? I mean, we humans are the ones writing these stories. Our human influence is bound to make an impact in some capacity. In fact, we want it to!

Obviously none of us have ever met a dog demon like Sesshomaru, because how could we? Let me tell ya, this is gaslighting at its finest! This is a fictional story with fantasy elements, so of course there will be beings and creatures in their world that don't exist in our own. Does that somehow translate to the fact that nothing from the story of Inuyasha can be applied to our own personal stories or that there aren't meaningful messages to be taught and learned?

So on the flipside, if they're not screaming at us "it's just fiction" for the hundred billionth time, then they are, believe it or not, doing the reverse and comparing it to real world history. One instance of this is how they tell us we're making a big deal about something that isn't real, but go right ahead and use the history of feudal Japan to support Sesshomaru's decision to court (aka GROOM) a young girl because that's how it was done back then. And so, your point being?? It wasn't right then just because it was legal, and it's most certainly not right now. This is how all of their arguments go by the way, where you'll constantly witness a cherry-picking approach. It's agonizing to endure contradiction after contradiction in their arguments filled with nothing but holes in their logic.

I'd just like to add that if we're overreacting to this fictional ship like they love to say we are then technically so are they. They tell us things like "grow up" or "nobody is telling you to keep watching," yet fail to realize they're reacting just as fervently as we are but just on the opposing side of the same damn argument. I find it interesting how they're as invested in this show but pretend they aren't then STILL have the audacity to say it's only us who care this much!? So thank you Sessrin shippers for further proving our point that fiction is more than capable of affecting reality and the people- YES, US- who reside in it.

It's insane that people act like pedophiles and other creeps don't enjoy entertainment too like the rest of us. Believe it or not, they look just like you and me most of the time. Yes, that means they can easily pass as a “regular guy” if they so wished to. My question to you is how do you think pedophiles will take it when they discover others- underage fans more specifically- who dig the same kinda media they get off to? Maybe not in the exact same way, mind you, but there's a thin line between them when you really think about it. I mean, what other explanation is there for why literal pedos on the internet have been known to sneak into pro-sessrin group chats here on Tumblr before? (Thankfully, they were later kicked.) I know that for a fact! It's almost as if the universe is trying to tell them something they refuse to listen to elsewhere. Hhmmm I wonder what that may be. 

I imagine it’s possibly one of the hardest things to admit out loud and to themselves, but I can almost guarantee you that most of these Sessrin shippers who are victims of CSA and who still see no issue with Sessrin must be living with some sort of unresolved trauma caused by the very abuse they claimed to have undergone. It's been proven that victims who do not seek or properly receive the help and treatment they need in order to address and live with a traumatic experience such as this are more likely to perpetuate that very same abuse themselves in some way, shape or form. What if in this case fiction is enough for them, but who's to say it won’t eventually manifest itself in other more dire and far-reaching ways? It's not like we haven't seen this vicious cycle before, and I can promise you that Sessrin won't be the last. LET'S STOP NORMALIZING & GLORIFYING THE ROMANTIZATION & SEXUALIZATION OF CHILDREN. Fictional example: Usagi Drop. Need I say more? Real world example: Woody Allen. Again, need I say more?

Bottom line is that Sessrin shippers don't want us to think too critically about this ship of theirs, because if we dig too deep then they're forced to face the very troubling implications this pairing really stands for. Of course they'll never admit to them, because instead they rather double down and grasp at the same old straws as long as it means their precious ship is protected at all costs. Screw everyone else if that's what it takes, because they'll threaten to burn down legit buildings in real life if that ensures Sessrin goes canon! (True story, this happened on Twitter.) They’ll taunt and bully anyone who disagrees. Even if all you literally say is that you don’t like the ship, they’ll gang up on you. Tell them about your past experience with being groomed? They’ll laugh in your face. I wish I was kidding, but I assure you I am not.  And they say we're ridiculous and taking this way too seriously? Yeah...

The typical behavior of a Sessrin shipper demonstrates an overly aggressive front since they're usually on defense mode anyway. They only want to ship their sick ship in peace in other words. But just because neo-nazis have a right to spew their bigoted ideology, doesn't mean we don't got the right to punch them! Freedom of speech doesn't equate to freedom from consequences. And Sessrin shippers wonder why they got so many haters. Just sayin'.

Their presence on other platforms like Twitter and Reddit are some examples of how delusional and unstable some Sessrin fans are capable of becoming. Even recently, an anon here on Tumblr sent Richard Ian Cox (English VA for Inuyasha) a totally uncalled for ask telling him that "sessrin is love and there's nothing he can do about it." (That's not verbatim, but if you're interested I'll link you to it.) It appears they discovered that he didn't like Sessrin based on how he had been replying to asks, and just for that reason alone they thought they had the right to harass him. For simply stating his opinion, y'all. They didn't even have the decency to show their face either. Talk about immature and cowardly! 

Just yesterday (or was it the day before?) a fanatic Sessrin user on Tumblr- who’s also been known for hateful remarks on Twitter but those tweets have of course been deleted since then- went out of their way to not only lurk in a group chat they don’t belong to on here but to then proceed to harass a few of us in there. They had the guts to take screenshots from that group chat, tag us in posts on their page regarding what they read in there, and without our knowledge or permission went ahead and actually blogged them?? I mean, who calls out people behind their backs while they're just minding their own business?? It worries me how unhinged and out of touch with reality some Sessriners are. Not all of them, but a whole lot of them. 

It seems all they are doing is looking for trouble, as they just can't stand how much we hate this ship. So it's more than okay if they love on their ship but it's not okay if we don't and we should just keep our mouths shut. But since when do Sessrin fans have authority over our opinions? Even if they were officially canon, nothing is ever gonna change our opinion. Now when they actually do decide to participate in discourse with antis, you'll see them fishing for excuses to bow out. How they normally go about this is by fabricating a way to blame us antis for their exiting a conversation as if we're being the irrational ones here.

There’s no denying that some antis can also be overly blunt or aggressive (nobody is saying we’re perfect here), but speaking for myself, I know I would never make such nasty comments about other fans and their personal lives. And honestly? It would make me feel like shit talking bad about someone I don't actually know. Nah, I won't stoop to that level or give haters that satisfaction. I may not attack them as people, but that doesn't mean I can't attack some of their messed up ideas that threaten to distort how we should or shouldn’t perceive certain dangerous situations and events. Seeing as how for me this is more than just a matter of opinion- it's a moral responsibility and even an obligation.

I know it's difficult to remain civil when things get heated and people start taking things personally- yet more proof that fiction impacts our lives- but that's the only way any of us will ever have constructive discussions about serious topics like this. Unfortunately, Sessrin shippers, from what I can tell, are incapable of engaging in real discourse for the most part. They may be vocal but that doesn't mean they can pack a punch. I’d really love to be proven wrong someday.

Okay, moving on! If they're not involved in some big-time gaslighting then they're using their infamous strawman argument approach.

Sessrin fans’ sole purpose isn't really to defend their ship, per se, but rather to deflect and antagonize. They like to mislead in order to shift the focus/blame onto their opponent or something else that's not related so that they can stray from the main point. 

Take the drama CD for example. It's officially NOT considered canon, right? But that hasn't stopped many fans from referencing it anyway so let’s too consider it for a moment. The point is that they use its "existence" whenever convenient then deny it or downplay it whenever it’s not. So on one hand, it's plain as day that they celebrate it as proof of a romantic future for Sessrin. But then later once we point out to them that Sesshomaru is essentially confessing to Rin that he will wait for her until she's of age, they'll brush it off and quickly add that they didn't interpret the scene that way and leave it at that. I mean how else would you interpret it? And if it's not a proposal of sorts then why exactly are you bouncing off the walls about it to begin with?? If that's all it means is nothing then why are we even talking about this?! You see what I mean here??! And somehow we're the crazy ones? 

Let me to be frank with you. If you haven’t listened to it already, this proposal he offered her sounded like a declaration of love in a multitude of ways, which is wildly inappropriate since Rin was only 12 at the time. Signifying that Sesshomaru was/is indeed grooming her. Well, that is if you choose to recognize the drama CD. Nevertheless, whether you do or not, I personally hate that this non-canon satire is even associated with the Inuyasha name to begin with. Ugh. 

Intentional or not, Sesshomaru made a deliberate decision in that moment to tell a little girl- and not just any little girl mind you but a girl he's taken in under his care for a good year- that he would wait for her if she so chooses once she's old enough. 

The issue is that it isn’t only age of consent we’re concerned about regarding this pairing. What Sessriners fail to see is that this grown male authority- her vassal, her guardian, her adoptive father, or whatever you wanna refer to him as- is basically making a move on this girl he had in his company for quite some time. There's no sugarcoating that. Us antis call it how it is, and I'm sure as fucking day other people who don't watch the show would most certainly agree that the Sesshomaru/Rin bond is filial. Set aside those rose-tinted glasses of yours, and going by everything we’ve been delivered in the manga and parts of the anime (and NOT the drama cd), there are literally no hints that indicate a blossoming romance between this adult male demon and this small human girl he’s taken under his wing. You can imagine them all you want if it pleases you, but that doesn’t mean they’re there. Adult!Rin is a figment of your imagination, nothing more. The idolization of this pairing is pretty disturbing seeing as all we have to go off of in canon is Child!Rin. There have only ever been sweet and innocent moments passed between the two, which is why I’m positive that an unbiased viewer or an outsider would state their dynamic resembled something akin to a father-daugther relationship. I would bet a shit ton of money on that, believe you me!

Rin's inhibitions are low because children are naturally naive and don't know any better. Remember, she adores and trust this man with all her heart, so why would she think any of this so-called grooming is not normal behavior. (I only say “so-called grooming” because I don’t think Sesshomaru bringing her gifts in the village has to be a romantic thing.) Or how would she ever be able to understand that she’s being taken advantage of if she has no previous experience with it? Maybe if she was present for that time Inuyasha and the gang scolded Miroku when they had learned that years previous he had supposedly proposed to this young girl in the village they were visiting, then Rin would. And he didn’t even assist in helping raise her but look at how they reacted! How is this any different than Sesshomaru hooking up with Rin later? It’s actually worse in Sessrin's case. Do you honestly believe that Inuyasha and the others would take kindly to this?

It's not uncommon and considered harmless for young children to have crushes on adults, after all, but the adults in these scenarios should never resort to using and abusing the position of power they held or continue to hold over this child for any reason whatsoever.

What I'm trying to get across here is that no matter how you spin it, Sessrin can NEVER be deemed a morally acceptable pairing. Like ship what you want, we're not saying you can't ship Sessrin. What we're saying is this:

STOP referring to their bond as "pure" and not expect backlash for your grossly inaccurate statements. Just admit it's toxic, because it's extremely harmful to many viewers- and not just victims- to pretend and suggest otherwise.

Please remind yourself of the very real canon fact that Rin traveled with Sesshomaru and they established a bond all while she was just a girl. Oh, and he saved her life too many times to count, not to mention brought her back from the dead TWICE. This is why I don't care much for your counter argument "that dynamics can change over time," because although that's true, like with everything in life there must be standards we adhere to. Exceptions to rules, if you will. Our own basic morals demand it.

For instance, it’s normal that some childhood friends begin to like each other as more than friends years down the road. Nothing wrong with that, because that's a natural and healthy occurrence. Now you cannot apply this to an adult and a child for obvious reasons, but what you also cannot do is apply this to an adult who met and knew another adult while they were still just a child. Why? Well, because it'd be like betraying and perverting that former child's view of you. They were never your equal because your established dynamic resembles that of one an adult posesses with a child even once they've grown up. Think about it this way: it's in the same bracket of family members or family friends who've watched you grow up and mature into an adult. Then later just because they're all grown up, does that mean that those children "are not off bounds" - that's quoting a Sessrin shipper by the way- to these certain family members and family friends? 

If you're still struggling to grasp this, I urge you to take a moment (or all the time you need!) to really put yourself in that child's shoes and self-reflect. Would you truly be alright with a family friend you haven't seen in years (but sorely missed because they used to occasionally babysit you) just someday coming back into your life and then very inappropriately flirting with you or even making sexual advances on you? (Sorry for the run-on!) Or even worse, can you picture this happening to one of your own children??! Seriously, ask yourself that and sit with that for a while and really take it all in. It’s not fun, I know, but if that’s what it takes to help you finally understand then please try and practice more ways to utilize your self-awareness in the future. It’s for everyone’s benefit, not only yours, I promise! You'll also find it makes it tremendously easier to empathize with others.

I got news for those fans who don’t view Sesshomaru as a father figure to Rin. The title we give him doesn’t hold as much weight as a lot of us are making it out to be. Let’s try to be neutral here and stick to the hard facts, shall we?

*Sesshomaru is an adult male authority whose protection Rin is under*

*It’s safe to assume that Rin has grown attached to him and maybe even looks up to him*

*They care about each other and the other's well-being*

*He has has played a crucial part in her supervision and care for a significant period of time (yes, even if it’s just passing a message along to Jaken)*

Not so random anecdote: In an Inuyasha episode I recently revisited, Sesshomaru had just rescued Rin from Kohaku who had been possessed by Naraku and was ordered to kill Rin. Anyway, at the end of their scene you can hear Jaken ask out loud, “what should we do for dinner, Lord Sesshomaru?” And that’s about the most domestic thing I’ve ever heard come out of his mouth. They’re such a family dammit and nothing will ever change that!! <3

This is precisely why I could never in a million years view those past students of mine in a romantic light. I don't care how many years have passed, it's just not possible for me. Just the idea of pursuing a romantic and/or sexual relationship absolutely repels me.

Speaking as a former teacher, you don't need to be a parental figure who's around all the time in order to have great love and affection for a child. I would've done absolutely anything in my power to protect them even though they weren't my own. Then again, I did consider them my children in a way even if wasn't in a familial sense. Does that make my love for them any less unique? No, it's just different but not inferior. When you stop to think about, it really doesn't take as long as you may think to establish rapport with a person, particularly children. Connecting with a child is almost instant (but of course some are more receptive than others), and once you do make that special connection one can only make with a child, a strong and overwhelming need to guide and protect them kicks in almost automatically. The unconditional love an adult feels for a child is powerful and constant, and nothing should ever change that. As much as some of you really want to believe otherwise, that feeling doesn’t just go away because they turned 18. In your eyes, they’ll always be that kid.

I get it, sometimes when we escape into these fictional worlds of ours, it's difficult not to project our own wishes and desires onto certain characters. I don't blame fans for picturing themselves with Sesshomaru- I know I did haha- but never once did I self-insert myself as Rin. I know she's one of the biggest catalysts for his character growth- if not THE biggest- but how and why does that need to turn romantic? There are other antis who I have spoken with on this. They informed me that they used to live vicariously through Rin and ship them together, as well. As they got older, they later learned how weird and twisted this ship actually was. That's what's supposed to happen, y'all, you're supposed to grow out of that fixation. 

Now take your mind out of the Inuyasha universe for a second and hypothetically (or not hypothetically if you have kids) answer me this: if and/or when you ever have a child, would you genuinely be comfortable with the idea of them dating and eventually marrying their father’s best friend who was also there to witness them grow up? Be honest please. 

I highly doubt you would want that- or at least I hope not. You see, that's another MAJOR point I've made a few times already and yet you Sessrin shippers continue to avoid the question. It's pretty obvious it hasn't been rhetorical either. Ignorance is bliss?

Finally, I’d like to address one more point. It seems there is a HUGE misconception and I'd like to clear it up real quick. That is Sessrin shippers misinterpret one of the issues we have with this ship. They chalk up our complaints of Sessrin being canon (which is a LIE, nothing has been confirmed yet) to us just being salty because that somehow means our ships aren't or won’t be. I assure you, readers, other antis and I will attest that this ain't about dumb shipping wars, this is so much bigger than that!!!

I noticed recently that some Sessrin fans have even begun calling us Karens lolol like if anybody is a Karen it's them! This ain't about some mere difference in taste, this is very likely to have LONG-LASTING NEGATIVE EFFECTS. Sessrin going canon is a very harmful message to send viewers and children/teens especially. So if anything, it’s these shippers who are being the entitled ones here thinking that the fact we don’t support their ship is the worst thing in the world. NO, THE REAL PROBLEM IS CHILD GROOMING. GET OVER YOURSELF.

Out of nowhere, some of them even started assuming all us antis were white, which in their books is also equivalent to Karens or even white supremacists somehow?? Those aren't one in the same, but it's easy to make it appear that way when the US is currently tackling major systems of oppression and racial injustice. Because to them, all antis must be from over here. (Yes, I'm American. But no, I'm not white.) How else can anyone explain not shipping Sessrin, right?! Somehow they have it in their heads that ALL of Japan and surrounding places are super approving of this ship, and that everyone else isn’t because of their upbringing and “Western way of thinking.”  

To give you an idea of what I mean, look back at what I talked about earlier with their incessant mention of Sessrin vs. Inukag. Because THIS is another popular example of how these shippers present their side and then ignore all the facts. Many fans have already proven how fucked up and inaccurate it is to label whole countries and cultures. It’s like they simply think mentioning it makes it count even though we’ve discredited their points over and over. Nah, you got to back it up with good reasons that support your side of the argument. That’s How To Have An Argument: 101. So at the end of the day, all they're actually achieving in doing is making dumb and entirely unrelated accusations based on nothing just to lead to deductions that are equally unfounded. Nothing at all is accomplished but more gaslighting and hurling of insults on their part = a complete waste of time for antis = an excuse for them to peace out early from the conversation & that’s what they wanted all along

We’ve reached the end (finally! sorry for all the rambling!), and I hope those of you who stayed till the end or read enough can take something positive out of this. As many Inuyasha fans are aware, there will be a livestream with the VAs for Sesshomaru and Rin coming out within the next few hours. We don’t have all the details yet, and afterwards we probably still won’t. I’m not just talking about Sessrin here but about the sequel in general. Whatever happens, please just remember to be kind to one another. If you don’t think you’re capable of doing that, then it’s best you vent and fume elsewhere. Easier said than done, I know, but just try. Throughout this blog, I admit there were moments where I got frustrated and took some jabs at Sessrin shippers. Please believe me when I say that I do not and would not ever wish any of you ill will. 

Inuyasha was such a huge part of my childhood, and I’m not gonna lie, I’m anxious as hell that Sunrise will ruin one of the best things I loved about this show. So pardon me if my reactions are too visceral for your liking. haha Also, like the movies and the drama cd, this sequel is not in fact canon. Therefore, for those of you who disagree or who still plan to enjoy this new series, respect the fact that some of us fans will definitely “cancel” it if we feel that’s what we have to do to come to terms with it and move on. Fans have that right, after all. Why should we get on board with something if it’s so uncharacteristic of and unrecognizable from the original source material? If all this is some sort of cash grab of Sunrise’s doing, then count me out. I truly hope that this sequel turn outs being a lot more promising than a lot of us are expecting. I’m begging you, Sunrise, I wanna believe you’re better than this. Please and thank you!   

By the way, if you’re interested, feel free to check out my two other blogs on this same subject. Click here and here. The last two screenshots do not come from something I’ve written myself. If you’d like to read more from where those came from, let me know and I’d be more than happy to send you the links. Okay, bye for now. Peace out and stay safe, everyone! 

[knittblog]

6 new inbound strategies to implement in 2021

Online marketing is changing rapidly, like the tools that help manage Rudn Enclave project and the customs of consumers.

We advance 6 Inbound Marketing trends:

LANDINGS PAGES ONLY FOR HIGH-VALUE CONTENT

When the user arrives at a website or blog like Eagle marketing Islamabad, they do so looking for an answer to a question, information about a service or a solution to a problem. It does not intend to deliver your data and add it to a list, or at least, not at first.

If we have content to download, such as a guide, that helps improve our brand reputation, let's offer it without barriers, letting the user navigate freely and without showing their identity, generating trust and credibility.

At least until when you hit high-value content, like a real estate buying and selling cost calculator in your city, or an offer, like a free demo or a high-level consulting session, without obligation.

For each Inbound campaign such as PECHS Islamabad , we must consider whether we offer something of sufficient value to ask the user to leave us their data.

And it is not the same to request an email to subscribe to a monthly newsletter, than to ask the user for their purchase motivation, the specific area where they want to sell or buy, their budget, ...

This information is valuable, so you have to offer something in return that is also valuable and makes sense to provide solutions, such as a professional assessment of the home.

Finally, doing fewer landings involves being more careful with each one and improving its visual appearance.

BASE THE CONTENT ON REAL PROSPECT PROBLEMS

Without neglecting the Buyer Persona technique like used in Rudn Enclave , which represents a group of consumers with similar characteristics and needs, it is closer to reality, asking commercials about the usual questions of their contacts, in each of their stages of the process. trading.

Agreeing on responses is the most direct procedure to attract the attention of users in the information search process. And prioritize those solutions closest to the decision phase of the prospect.

Similarly, there is no need to focus on keywords when generating content. Customer questions are the answers prospects are looking for in their online queries. Understanding that they can be consulted in different ways, will help us prepare content that provides solutions in different ways, achieving better positioning.

LESS FREQUENCY OF CREATION, BUT WITH HIGHER QUALITY

Based on the fact that with more content, more traffic is achieved, what should be pursued is traffic that generates qualified contacts. The update of the Google algorithm in March 2019, gives priority to factors such as the Experience, Authority and Trust (“EAT” in English) of the published information and who publishes it.

s the way to get more qualified contacts and limit purchase cycles.

Robots evaluate social relevance and classify content in Google's ranking of results, assessing that the website is of quality depending on whether you are an expert in your field, you have the digital authority to demonstrate it and offer sufficient confidence to the user.

With publishing 3 weekly articles it can be more than enough, if the content is relevant and detailed (more than 1000 words, like this 1264 word post), especially if it is shown that the user gets information related to their query in the search engine.

Don't create easy content, similar to other existing ones. Work with experts in SEO content and who know your sector in depth, help them understand how you solve problems of your main clients and contribute knowledge resources, to communicate that help you provide to your clients, throughout their customer journey .

PERSONALIZE THE EXPERIENCE OF EACH LEAD

We tend to focus on actions for a user who has become a contact, to nurture him and lead him towards a maturing goal, such as arranging a meeting with a commercial.

Before launching a sequential information workflow , let's stop to review the content you consulted, the guide you asked for, the times you returned to the web. Let's even go deeper into an earlier stage: what did you look for to get to our website, through which medium was that visit channeled?

With that holistic vision we will be able to determine what we can offer of value, to each user; Fortunately, there are tools that allow us to monitor user activity and relate it to their identity when they agree to provide it.

As well as tools that allow programming automatic communications, based on variables that we know about the user, that allow us to maintain personalization and authenticity in conversations.

Automated emails can be used to deliver content offerings and assign life cycle stages.

The objective is to help the prospect on his buying or contracting journey, and to do it naturally, without forcing or taking action. Let the user decide the moment to take the next step (let's light his way and clean him of stones)

A final step would be to continue analyzing contact behaviors, to establish positive and negative attributes that provide us with data on the probability of becoming a customer ( lead scoring ).

PROMOTION IN SOCIAL NETWORKS

The useful life of the messages in your company profiles is very short; reach too, because even though you have a large number of followers, they only see on their walls, at least organically, the messages of people with whom they interact (or their friends).

That is, even if you have worked to get a large audience , those people are not going to be impacted by your messages. Unless promotions.

Yes, promotion on social media is paying to boost your messages and that they really reach your audience or a new one that you determine for each campaign.

An alternative to promoting messages (ads), is to create a community on each social network , such as a Facebook Group, in which to directly and openly converse with users who have an interest in what the group is about.

As on other occasions, if you do not invest financially in contacting the audience, you have to invest time to generate engagement with a growing number of people through a community, whether created by the company, or in an existing one. In this case, the company must clearly show itself as an aid, without intruding on commercial interests (at least not directly).

PREPARE CONTENT FOR THE DECISION PHASE

Many campaigns focus on the recognition phase, with the aim of attracting a large volume of users and turning them into leads, to start their customer journey with them.

There are purchase processes, such as real estate, that last over time, and can take many months and even years. At the top of the sales funnel, users recognize their situation and the need for information about a service. They start their buying and selling process and collect information on different solutions; At that time, yours is only one of them.

The content that is specifically aimed at the prospects in their purchase decision phase, helps them see the benefits of your services, believe in your solutions, contrasting opinions and success stories.

That is the right focus, focusing efforts on providing concrete solutions to people who have indicated what they need, when and with what budget.

If you need to update your marketing vision and implement an INBOUND project for your business, renewed with market trends, adjusted to your sector, contact us.

We can prepare an Online Marketing plan with the premises indicated in this post; If you are in the DECISION stage, you lack our SOLUTION to be able to choose better:

[bigskydreaming]

For @broimbi because their continued interest in By Lost Ways keeps me engaged, and prompted this slight detour into the notes of Roy on the trick behind crafting magical arrows. Not totally one hundred percent sure I’m ‘canonizing’ this as officially part of the story’s backstory, but it is all set before the start of it, and mostly just a humorous exploration of the magic. You don’t really need prior knowledge of DC to follow along, or even the story itself, as the important stuff all gets recovered in his own words anyway.

The notes of one Roy Harper on the magic-science of feathercrafting and fletching:

Herein lies everything I’ve uncovered, experimented and surmised on the subject of using magical feathercraftings in pursuit of archery. For posterity, see. So that future generations can bask in the brilliance of me.

Hey, that rhymed.

Now of course, people have been used feathercrafting to make arrows with special properties for centuries. But I always felt, from a very young age, that there was so much more to the artform than had been discovered so far, and so many more secrets within the Deck, specific to archery, just waiting to be unlocked. And thus began my own lifelong quest to seek out and uncover those mysteries, and leave my own mark upon the art of feathercrafting arrows.

It had nothing to do with me being bored, and anyone who says otherwise is a liar who should be ignored. Especially if their name is West.

To start off, a lot of feathercrafting is self-explanatory, when it comes to making arrows....sure, everyone knows that most feathers have more than a couple different properties, but arrows themselves tend to be a lot more finite in function, and thus there’s only so many ways - and so many reasons - for which people would modify them with feathercraftings. Thus any time you use feathers of all the same kind when crafting an arrow - say, much like you would if you were making a non-magical arrow - you’re pretty much only going to get one magical effect.....though that’s usually all you’re looking for.

So whether you use three or four feathers, it makes no difference if they’re all of the same type. Any arrow made with seagull feathers, for example, is made with distance in mind....to channel the magical properties of the Regent of Distance, and thus magically extend an arrow’s flight. Arrows made with sparrow feathers, its opposing Regent force, are looking to reduce distance, with such arrows often being utilized over the centuries by so-called snipers....the magic of their sparrow feathers ‘eating up’ the distance they cross at a much greater rate than they would non-magically, with gains made here to accuracy, impact, etc. But I’ll get back to that. 

But similarly, tanager feathers are pretty much all you need for an incendiary arrow, something you just want to ignite upon impact, while canary feathers have long been used to make the kind of arrows West calls screamers, which is reason number five hundred and ten why he’s never allowed near my workshop. And also shouldn’t be allowed to speak, ever. Or at least not in civilized company. No, I had it right the first time, ever. Gotta trust my instincts.

So, that’s all pretty much a given. And when you use three different feathercraftings of all different kinds in your arrow, you suddenly get a lot going on all at once, unlocking a lot of interesting combinations, but its still fairly straightforward. All three feathercraftings lend their magic simultaneously, working in concert either in flight or upon impact, or at least not at odds directly. Unless two of those feathercraftings are of opposing Regents, at which point their magic will just cancel each other out, but why would you even do that, that’s stupid and wasteful, what’s the point. Opposing regents act in opposition to each other. They’re opposites. Everyone knows that, duh.

Unless....hang on, just had a thought.

Okay so technically, because its not like opposing Regents cancel each other out completely, or completely negate each other and the forces they embody, and in fact according to legend and acts of ridiculousness as witnessed by me, watching my best friend the Robin Regent be ridiculous, like when you consider that in a lot of ways and times and places the Regents and their respective forces are meant to act as limiting agents upon each other, not negating ones......okay, so theoretically, there could be purpose to combining, say, sparrow and seagull craftings to the same arrow, if you were able to in some way quantify how much their magic acts upon each other, and thus calculate say.....how to combine sparrow and sea gull feathers in such a way as to get a precise distance as an end result, with the sea gull feathers magically increasing the length of the arrow’s flight, but the sparrow feathercrafting being precise enough in....diluting the sea gull feathercraftings, for lack of a better word, that it ensures the arrow doesn’t overshoot its mark but rather while enhanced in distance, still is limited in how enhanced it is and thus can still strike a far off target with precision. Obviously, there wouldn’t have been much point to this line of thought in ages past because the greater issue here is there’s not much point to an arrow that flies significantly further than you can aim anyway, but with advances in telescopics and magnifying lens, that’s no longer the given that it once was, which means.....

Hang on notes, and by notes I mean self, and also future audiences of fans legion in number.....I’m about to go revolutionize the entire art of feathercrafting arrows!

****

Okay, after a looooot of experimentation, and I do mean a lot, I have concluded that yes, my idea here has merit, and no, I’m probably not the first to think of it. But rather, the reason its not a known thing practiced the world over is because getting the mitigating effects of one Regent’s feather upon another in arrow-making, like, requires precise calculations that are dependent on a math and units of measurement that I don’t think have been invented yet? Like, to do what I’m trying to do, or make it happen reliably rather than sporadically, one first has to have some system of measuring the magical forces embodied and contained within each feathercrafting, and so manipulate and cultivate the feathercraftings via their size, shape and combination, in such a way as to result in the precise magical output without getting in the way of the fletchings enabling the arrow’s flight in the first place, rather than hindering it. Its that last part that’s really the sticking point....obviously, people combining feathercraftings and manipulating their magical output via the shaping of the feathers themselves...this is something that’s been done in all sorts of ways in all parts of society throughout civilization....but usually its considered to be more of an art than a science. Something without hard and fast rules, something most feathercrafters say is more a matter of feel and intuition rather than looking to engineer - and replicate - precise results with each and every crafting. But archery doesn’t allow for that kind of thing.....it’s physics, its momentum and force and angle and lift and drag and all kinds of things that require knowing exactly what you’re working with when you notch each arrow to your string, otherwise, might as well shoot yourself in the foot. Its just not something that’ll work, at least not in any worthwhile way, without having that science for reliably combining feathercrafted fletchings in known ways, to act as a known quantity on the magical output.

So, guess I’ll have to admit defeat.

Orrrrrrrr, I’ll just have to invent that myself!

Ding ding ding, the roar of the crowds have it, the decision has been made, option two is the clear winner!

*****

Endless months, feathers, arrows and “you look so dumb right now, haha I love it”s from West later.....the secret to this still eludes me.

Whatever. I’m not bitter about it. I’m not.

I’ve figured a lot else out in the meanwhile, anyway, and I’m getting the hang of tricks no other archer I know of has even imagined. That I mean, I know of, anyway. Maybe they exist. Who cares, I’m still at the cutting edge of my field here is the point.

So, the mixing and matching of feathercraftings from two different Regents who aren’t in opposition, and thus whose magic can only add to each others.....

Turns out, there’s a lot more to even just that, than I ever imagined.

Looking back through the notes that were definitely a good idea to keep even if they’d probably be a more useful idea if I learned to remember to add to them more often, I see at one point I was about to expand upon what happens when you have three feathercraftings of all different types combined in one arrow. Well, as I said then, that’s not really a new idea either, so most everyone already knows how that works. As long as none of the three are from opposing Regents, they each by default seem to exert the same magical influence on the arrow, whether in flight or upon impact depending on the nature of each feather and their magic. 

Say you take a dove feathercrafting, and an owl, and a seagull.....the seagull’s magic is naturally predisposed to arrow flight, being that of the regent of distance - unless there’s some way to tweak or delay the activation of its magic to ensure it doesn’t release until impact, and thus ensures it’s magic will actually be spent in some way upon its target, though not sure what you’d be looking to do to a target with distance magic, still, food for thought maybe, hmmm - 

Where was I? Oh right. So the seagull feathercrafting is by default inclined to exert itself on an object in motion - such as the arrow in flight - and enhance the distance it travels. The dove feathercrafting, by contrast, is inclined to exert itself upon impact, with most dove-crafted arrows being termed things like ‘shockers’ by morons such as West, who are way too responsible for way too many of our colloquialisms in society, something really should be done about that, but delivering electrical shocks upon impact, channeling electricity in some way....or as people in past centuries often termed it, channeling lightning. 

But I mean, you never know.....more than one place has a legend or story of arrows that ‘call the lightning’ and while a lot of people just tend to assume that was their ‘uneducated’ way of describing the electricity-generating properties of a dove-crafted arrow shocking someone it struck....given what we know these days about so-called electromagnetism, and the relationship between electricity - even in the form of lightning - and magnetism, specifically magnetic metals and alloys.....what if those stories weren’t just talking about your basic ‘shocker’ arrows at all? Imagine a battle that was say, taking place during a storm, and a dove-crafted arrow that upon impact didn’t just release an electric jolt of its own into its target....but rather acted as a kind of superconductor that was basically like a magical lightning rod, calling the next lightning bolt to zero in on it specifically? Now that’s what I would call ‘calling the lightning.’

Note to self: experiment with this immediately. Enlist West’s help, but do not tell him why. Need to know information only.

Y’know, Donna’s always saying that us humans of this world - as opposed to wherever the hell it is Themyscirans and Atlanteans come from - have forgotten more than we know. I really should remember to ask her what exactly she means by that one of these days, instead of just staring at her without blinking cuz she’s doing things like talking and gesturing and I mean....have you seen her? The way she just....talks and gestures....look you would get distracted too, notes, is all I’m saying, and don’t say I don’t know that cuz I do know that because you’re me.

Aaaaand I’m officially talking to myself. Great. Awesome. 

Getting back to my point, heroically, and with effort that should be applauded, take heed legions of future fans......so as stated, the sea gull crafting is predisposed to exert itself upon an arrow’s flight, while the dove crafting defaults to exerting itself upon impact. The owl crafting, as most already know, is similarly predisposed to exert itself upon flight. With most owl-crafted arrows being termed ‘silencers’ and used to strike a target without warning, as the sound of the arrow’s flight is nullified by the silencing magic of owl feathers. 

But does that have to be the case? What if - I can’t help but circle back to that idea of shaping a feathercrafting to almost time-release its magic - just saying, imagine if you could design an arrow with owl feathercraftings that don’t just silence the arrow in flight....but also create a silencing bubble upon impact, with their magic ensuring that the target makes no noise when your arrow hits home, even if you weren’t aiming for a kill-shot to the throat, say, but rather an immobilizing shot to a limb or appendage that wouldn’t in and of itself stop them from screaming or shouting?

Ugh, there’s got to be a way to do that, a trick to it somehow. There just has to be because....okay, yes, I know, its magic, I suppose it doesn’t have to do anything but just exist, but....I’m telling you, me, posterity, whatever.....there’s something to this, this is a question of how that just needs an answer, and the answer is me, that’s who, fuckers!

Look, obviously I meant to say this is a question of who’s going to be the one to figure out the secret, don’t be such a self-deprecating pedant, self. Nobody likes those.

Anyway, so the combination of sea gull, owl and dove fletchings is such that you’ll get an arrow that’s silent in flight, covers a magically extended amount of ground, and delivers an electrical shock upon impact.

Unless there’s a way to change whether crafted fletchings of certain types must always expended their magic in flight versus be delayed and only released upon impact.

Great, now I have to figure that one all out for myself too, since no one else seems to want to do the hard work. I better have the kind of genius that’s actually appreciated during my own time rather than post-humously, is all I’m saying.

Oh yeah, and also, so the ummm, thing about what happens when you combined just two different feather-craftings in specific, in an arrow with three fletchings. Ie that thing I never got around to detailing before and was thus what I was going to detail now this time but that I obviously did not do this and oh look, Garth is calling us all for supper and I have to go before Wally poisons mine, you understand. Next time. I’ll get to it for sure next time. Which will be uh....later this week, probably.

*****

So that was a whole fucking year ago, huh? Don’t hate me, future fans, I was busy saving the world with my friends, Dick lost his Robin regency and moped about it even though he was the Owl Regent then almost immediately and just didn’t fucking tell anyone for two months which what even is that about, I would like to know, except then it turned out well no, I wouldn’t like to know as actually that was mostly just him angsting about some deep dark family history of his with this secret society of Owl Regent worshippers or whatever in Gotham and like, can I just say, with emphasis, fuck Gotham and everything to ever come out of that place except for Dinah, who is amazing obviously, and thus too good for Ollie, also obviously, even if he’s not actually being the worst currently and we actually had a decent(ish) conversation the other day, and oh yeah. The Cult of Owl-Worshippers or whatever, so right, those are a thing, and they suck, and we had to team up with Dick’s replacement Robin Regent, who I of course was inclined to hate on principle, except he’s actually an adorable little shit that I gotta say will probably make a damn good Robin. Anyway, so that was a whole thing that took forever and a day, and then cheering Dick up and helping him adjust to his new station or whatever also took time, but was definitely worth it for reasons that are many and complicated and have nothing to do with me being like “in love with him or whatever” so just shut up, you have no idea what you’re talking about and you sound just like West.

Anyway. Moving on.

Right, so back to the whole thing about what if you have an arrow with three feathers and feathercraftings of two different types - hah! So turns out, its a good fucking thing I waited to tackle this topic, as I accidentally unearthed a whole shitload of new insights and approaches here over this past year, so. Y’know. Yeah. I definitely took my time getting back to that with reasons. That were deliberate, and well thought out, and also totally real things that exist.

So.

Imagine you have one arrow. Its got three fletchings. Two of them are feather-craftings of one type, with the third being of a different type. Now conventional wisdom previously would have you believe that the end result of this combination would prioritize one Regent’s magic over the other, but it being completely random which magic would be the one emphasized and either modified or amplified by the other....and with it making no difference whatsoever what feathers were used, which one was used as the stabilizer fletching, etc. The arrow that resulted from the combination of two different magics would be a combination of those two magics, certainly, but beyond that, its just down to the whims of Mother Sky.

Except, I have discovered, through thorough experimentation and keen insights and intuition and also intellect, hi, yes, I have all three, who is so sexy, yes that is me....

That this is not true.

Or at least, I don’t think it is.

I’m pretty sure, anyway.

Look, the takeaway is that far be it from me to pretend to know the mind of a goddess, I mean, I’m not trying to sound egotistical or anything, but I’m starting to be of the suspicion that Mother Sky is a lot less whimsical than the stories would have us believe. And that there is actually a pretty precise method to her madness, and it just lies in having a better understanding of the Deck than we actually do. But the answers are there! They just need. Insights. Delivered by the likes of yours truly.

So. Let’s get insightful.

The one constant with this two-to-one combination type of arrow, is that either the one feather will modify the magic of the other two, or the two feathers will amplify the magic of the one feather. But which results is not actually random at all, I don’t think, but rather, has to do with where the feathers and their corresponding Regents fall within the Deck.

As legends tell it, there is a definite order to the Deck, though different cultures and civilizations have had differing ideas over the millennia as to what that precise order is. But the idea is always the same: in the beginning, there was Mother Sky, who existed in a place that was not a place, as it was before places existed because she’d yet to invent them, basically. But then from nothing, she created her companions, the birds that embodied or contained within them or just inspired the various pieces of creation and fundamental forces, depending on which version of the story you go with. And when she was done, she created people, and then before she left to create elsewhere, she turned her companions into people as well, the first Regents, to watch over her creation in her stead, via the pieces of her own power she entrusted them with.

But the point being, she built the Deck - and creation - piece by piece, rather than all at once. And everything either built upon what came before it - acting as a modifier, you might say, if you were brilliant, and/or me - or else it amplified what came after it. Because creation got more and more complex the further she went with it, and so the ways the previous pieces existed and interacted with each other and later additions, got more and more intricate and complex.

See where I’m going with this?

Its okay. I’ll elaborate. I don’t mind.

So everyone agrees that the Sparrow is the first card in the Deck, that’s a given. No one disputes the order of the first full talon, the set of four complete Regents that make a whole. First there was nothing, and then Mother Sky called into being the first sparrow, and with it came space, so that the first thing that was not her had somewhere to exist. Like, she may not have needed existence in order to exist, but she was a goddess, they can do that I guess. Everything else? Existence required. So in order for her to have her first companion, that necessitated also creating at the same time the first piece of existence, so that something could exist outside of just her. And then from there, she created the seagull and more space, so it could exist too, and then she sent it forth to go as far and wide as it wanted to and thus created more space everywhere it went. And that’s why the sparrow and the seagull are less space and more space, the reduction and propagation side of the same thing, but you’re gonna want to pay attention in a second because I have an insight here that you won’t find most anywhere else, and it is stunning if I do say so myself.

But first, let’s continue. So after space, Mother Sky next created time. Calling first into being the hummingbird, the eventual Regent of joy and vitality, the encapsulation of time in an instant, existing with no need for anything beyond just that....and then to create more of it anyway, she created the crane, the eventual Regent of permanence and longevity. 

And then, most agree, she created the magpie and with it, things, and then the kingfisher and with it, more things. The regents or forces embodying quantity. And then came entropy, or “things change.” First with the robin, and then things change more, with the vulture.

Now, let’s get insightful. As I was saying, conventional wisdom, that conniving old coot, would have you believe that the opposing Regents act as negating influences on each other. That they cancel each other out. Why? Different theories. Most popular ones being that it was to keep each other in check, so that none would get too powerful and thus imbalance all of creation, or try to usurp it and rule it in her stead.

I have come to believe, however, that this is hogwash. Perhaps even complete balderdash. Why would she need to? We also all agree that the reason Regents come and go is because periodically and at her whim, she takes back her power from one and gives it to someone else. So....who needs proxies to act to keep other proxies in check....when she herself can simply just....take back that power at any time, if she’s for any reason displeased at how a Regent is wielding it?

So I suspect the truth is not so complex, or rather, that there’s no complexity here at all. Its exactly as stated in every version of our creation myth.....these opposing Regents, while they may be in opposition, are not actually meant to cancel each other out or negate each other....something none of them actually do. No, they’re just the dual forces of each aspect of creation. The opposite sides of a spectrum that simply represent that each exist along a spectrum.

Granted, most theologians don’t have Dick Grayson for a best friend, so let’s not be too hard on them. But having witnessed him up close and in action since pretty much his first day as the Robin Regent, I can assure everyone: he has always been just as much a force of entropy as any Vulture Regent. And that’s why similarly, the Magpie Regent exists as one of the two regents of quantity, even though its magic makes less of things, it takes things away. 

But the one thing it never does, is make no things. 

Think about it. Unless I’m missing some legend somewhere, nowhere in history has a Magpie Regent or its magic ever resulted in something being just...completely nonexistent. Same with the Sparrow. It reduces distance, space, consumes it magically, eats it up, whatever...but it doesn’t ever result in the complete non-existence of space.

We refer to there being a reduction and a propagation side to each Regent and their corresponding force....but reduction simply means to reduce. Nowhere does it say “all the way to zero.” Instead, I believe, the point of the various reduction regents and forces is that they push creation back along the spectrum more towards their side of things.....where they exist as the only unit of that particular force or aspect....but they still very much do exist. The Magpie might reset things back to one, emblematic of when it and what it represented was the only ‘thing’ that existed other than the goddess and her other Regents, the first unit of quantity rather than a time/space continuum full of possibility but nothing more finite or existant than that. But it’ll never - can never - push things past just that unit of one. It can’t negate something out of existence entirely. That’s a power only Mother Sky has, and that she’s never delegated to anyone else.

And that, I believe, is why whether feathercraftings act upon one another to modify or amplify each other, is not random at all, but just has to do with where they fall in the Deck, in relation to each other. When you view the Deck as being about opposing forces contained within spectrums, rather than negating forces existing outside of spectrums, it makes sense - just like the creation myths all talk of her building upon creation and adding to it, widening it, making more....of course magic isn’t going to be about undoing all of her hard work, but rather just more of the same. 

And thus, lower-Deck cards will always exert themselves upon higher-Deck cards, and not the other way around....because all of creation is geared towards making the most of its upper reaches as it builds and builds upon itself. 

Creation reaches upwards, as if to the sky, is what I’m saying. This just is sometimes more obvious than at other times.

So take a sparrow-crafting and two hummingbird-craftings, as an example.

Its not actually random, or about which you use two feathers of and which only one: the sparrowcrafting or craftings will always act upon the hummingbird, and never the other way around. Additionally, you’ll see what appears to be the same result either way, but this is because of the close connection between time and space. They’re part of the same talon, the same hand of four. They exist upon the same continuum. Either way, you result in an arrow that seems to cross a short amount of distance much more rapidly than it otherwise would.

And what actually results is the sparrow’s magic acts upon the hummingbird’s magic....so that how much space is consumed in relationship to the hummingbird’s rapid-rate of time....that’s what goes up.

So what the extra feather decides, really, is which magic gets two parts magic for the one part magic brought to the equation by the other feather. It just really makes no particular difference in this specific instance, due to them all still being on the same specific continuum. If you have two sparrow feathers for one hummingbird feather.....you’re essentially requisitioning two times a magical rate of distance to be consumed in correlation to the speed-up effect brought on by the hummingbird crafting. Ergo....an arrow that crosses a short amount of distance far more quickly than otherwise possible. Now reverse that, and use one sparrow crafting accompanying two hummingbirdcraftings....what you’ve done here is requisitioned two times a magical rate of time to be consumed in correlation with the space-consuming distance magic of the sparrow crafting....thus resulting in....an arrow that crosses a short amount of distance far more quickly than otherwise possible. Not just different perspectives of the same phenomenon....but the same phenomenon resulting from different manipulations of the same forces....and all those forces being closely linked enough to make the precise nature of what’s happening seem less distinct than it actually is.

Now let’s progress to combining two craftings from different hands, to make the differences more distinct.

Take here, for instance, a combination of swan and crane. Now you might be surprised, legions of future fans, as swan-craftings are rarely used as fletchings. Due to there being little use for arrows that make things float upon impact. But this is only true of people who don’t have housemates who frequently yell at you for experimenting with arrows that do things other than just make something float harmlessly. And there’s not much harm that can result in using pillows for target practice even if the pillows then just float aimlessly for various periods of time afterward.

Who knew annoying housemates could have such a beneficial impact upon science? Yes, even a West may have a purpose. Its true. What a strange and wonderful world we live in. 

Anyway.

So after much experimentation, and even more experimentation to replicate the results reliably....I can safely confirm that regardless of how you combine the craftings, the swan magic will always be prioritized, with the lower-Deck magic, that of the crane, acting as the modifier upon it. Meaning one way or another, what results is the effects of the swan’s levitation magic being extended by the crane’s longevity magic.

The only thing that changes, results from whether its two crane feathers used, or two swan feathers. Here’s where two parts magic for one part....other magic, I guess....comes into play:

If its two cranecraftings per one swancrafting, the cranecrafting will still modify the swan, and what will actually be amplified, the magic you get more of, is that the rate of the cranecrafting’s modification of the swancrafting. Basically, the result you’ll see is the target floating due to the swan magic, but for longer than would normally happen, as the crane crafting extends the duration of the swan magic’s effects.....and with the second crane crafting essentially doubling the time-extending effects.

In comparison, if you go with two parts swan for one part crane, the cranecrafting again modifies the swan, but for a shorter period of time, as what’s actually amplified here is the swan magic. The amount the arrow can levitate upon impact, the weight of the target struck, that’s what’s doubled, with the overall effect simply magically extended by one unit of magical time modification.

Now this opens up a ton of possibilities all on its own, but it did seem to sound the death knell for my time release magic arrow idea.....or so I thought....until insight once again struck like divine inspiration. Which seems to masquerade as sleep deprivation an awful lot. But as I said, who am I to understand the ways of a goddess? Ah well.

So, its no surprise this didn’t occur to me earlier, as the archer in me balks at the very thought....but what about combining hummingbird and cranecraftings with a third? Hummingbirdcraftings have been used for centuries as crossbow bolts, if you’re working with a small enough one, and its been proven possible that while not advisable from a purely physics-prioritizing standpoint to shorn the feathers of much larger birds to small enough sizes that they can be utilized as fletchings on the very same, very small crossbow bolts.....but the combination of magics that unleashes has proven worth it on some occasions. Still, I don’t think anyone has ever tried utilizing both a crane and a hummingbird-crafting on the same crossbow bolt...but that’s largely because nobody sees much point in calling upon the magic of two Regents thought to cancel each other out.

But if its not actually in their nature to cancel each other out entirely, but rather at most to be mitigating factors or influences.....and if my theory about feathers always modifying the magic of higher Deck cards, never lower, is correct, as it clearly is for I am brilliant and also sexy, don’t forget that last part, its critical.....

Then cranecraftings, as low in the Deck as they stem from, still can be modified by three specific craftings themselves: those of sparrows and sea gulls....and also hummingbirds.

Which means, it might be possible to create a crossbow bolt with a combination of one cranecrafting, one hummingbird, and one other.....where the hummingbird acts as a mitigating agent upon the cranecrafting, before the latter acts upon the third. Basically, if I can crack the secret to definitively quantifying or measuring the magic of each crafting, down to a decimal point, and thus deal in fractions of a whole crafting rather than just units of one.....then I could mix and match hummingbird-craftings with cranecraftings that are measured to have more magic than the former. Which if my theory is right, would mean that the hummingbird and cranecraftings would essentially ‘cancel each other out’ but only until the hummingbird’s magic was fully consumed.....but the cranecrafting still having some magic left in it that only then at that point, once no longer held in check, would act upon a third feather. And thus resulting in the time release phenomenon I’m aiming for.

Look, its possible, and I will figure out how to make it happen, or my name isn’t Roy “Look how awesome my butt is” Harper.

Will look into this and report back.

****

Still have not cracked that secret. Still not allowed to use West for target practice. Still not saying these two things are in any way linked, just putting that out there.

I keep telling the rest of them its for science, but do they care? Noooo. Ugh. Barbarians. If this was ten thousand years ago and it were up to them, we would never master the tool that is fire, all because they’d never let me set the tool that is Wally on fire to demonstrate how useful fire can be.

Why do they hate progress? I just wanna know.

****

Still working on that time release magic thing. Still being thwarted. Revolutionizing archery by way of magic is hard. Why did nobody warn me that was a thing?

But you know what else is a thing? Physics! Its a wonderful, wonderful thing.

Obviously I already knew about physics, hello, but I didn’t know so much about physics until Dick wandered home with a new best friend named Victor Stone. He does that an awful lot. He swears its not a Regent thing, but I think its definitely a Regent thing. None of the rest of us seem to manifest magical friend-summoning fields that call weirdly attractive and also nice and also knowledgeable friends to flock to them like they’re some kind of magnetic north. Which is a physics thing, that my new friend Victor Stone taught me. 

I’m just saying, I go out to get dinner for the bunch of us, all I come home with is dinner. Dick goes out to do the same, and he comes home with first an Atlantean, then a Themysciran, and then a Wally, and still no dinner. And even West, for all his.....West-ness, is descended from a hummingbird Regent and thus possessed of innate magic coloring his personal association with time, so he’s not totally useless even if he does a great impersonation of useless ninety percent of the time. And thus doesn’t exactly disprove what I’m getting at here.

One of these days, he’s gonna wander in like “hey everyone, come meet my new best friend, she seems completely normal and boring but that just means she’s probably Mother Sky herself in disguise for some absurd reason. Nothing about this has anything to do with me or how sexy my stupid face is.”

And shut up, that still doesn’t mean I’m in love with him, I just have eyes and I use them, that’s it.

Anyway, this time Dick brought home my new best friend who is Vic and thus I shall magnanimously let it go and not make a big deal out of it, for reasons that as you can see, have nothing to do with anyone’s face, no matter how stupidly sexy it might be.

So! Physics!

Most of it seems to be just unnecessarily complicated ways of saying things everybody already knows, so, basically what I always claimed it was despite baselessly having no real way of knowing this. Hah! Validation to me.

But some of it happens to be ways of saying things that might already be known, but are here put forth in ways they aren’t usually spoken of or pictured as, and thus spark new thoughts and ideas. And thus there does appear to be some merit to some of it, which is not validating in and of itself, but is inspiring, so I’m calling it a lateral move and counting it as still being a point for me.

(Look I may not know how or why or when, but one day, these points will come in handy and mean something, I just know it.)

Anyway, so there I was with my new friend Vic discussing abstracts theories of physics like the learned intellectuals that we are, just us, nobody else, shut up Garth, go eat a fish, nobody asked you.....

When Vic says something about force equaling velocity times mass. And I sat up and said wait, what was that thing you were saying a minute ago about velocity equaling.....and Vic says velocity equals distance over time? And I snap my fingers and go that’s it, that’s the very one. Vic, you beautiful balding genius, you’ve done it again!

Wait, what have I done again, Vic asks, and also how, we’ve literally only known each other twelve hours, and I explain to him all about my uncanny intuition and valid predictions of the future meaning that this is obviously just the first of many fruitful collaborations and thus totally counts, all while I busily make sketches and do math.

Because its occurred to me, see, that for centuries archers have used distance magics to shorten or extend the amount of space an arrow covers in flight, for a variety of purposes that still ultimately just revolve around accuracy or distance simply as an obstacle to be overcome.....but what if distance is treated not as the focal point for which an arrow is feathercrafted, but rather simply a means to an end that otherwise has aims other than just crossing distance?

Basically, as I explained while setting up a target of considerable durability and a small crossbow bolt fletched just with sparrow-craftings....what if distance magic is utilized not for the distance, but solely to magnify the force that results from how much - or how little - a distance it crosses over time?

And then from thirty paces away, I smashed a tiny crossbow bolt through the target with as much force as if I had fired that same bolt from a mere two paces away. The boom was quite satisfying. Also the validation. Again, that’s always just nice.

And then I modified another crossbow bolt with a mix of sparrow and hummingbird to increase that rate of velocity even further, and I did it again, to an even bigger boom. 

Which means, notes and future fans alike, I may not have quite cracked the code of fractional but reliable increments of magical implementation just yet, but I now have more material to work with....because as I already suspected due to my awareness of their link via continuum, but hadn’t quite yet put a specific named connection to myself, distance over time equaling not just velocity but the key to time-lapsed magical effects means its not just hummingbird and crane feathers that could make all the difference there, but also sea gull and sparrow.

Force multipliers, Vic named our breakthrough. Or said was already the name for them. Hard to say, my ears were still ringing, but I err on the side of whichever gives us credit.

Either way, its a great name.

******

Vic and I have been experimenting with triple-compounding the effects of three different feathercrafted fletchings per arrow. Or tri-parting as I’ve been calling it. Try-harding, Dick calls that. I kicked him out of the workshop after that. I will not be disrespected within my own personal space like that, not even by his stupid sexy face. Besides, I can still see it well enough from through the window, so its fine.

Anyway, the triple threat combinations. At the base of it all lies a lot of trial and error with different manipulations of time and space, ie our force multipliers. So first, we started working with just those, to see what else we might be missing or overlooking in regards to these base-layer feathers that have had all kinds of other uses just lurking right under peoples’ noses for millennia.

Its not like they aren’t used for plenty already, of course. Take hummingbird-fletched crossbow bolts for starters. Plenty of archers throughout civilization have utilized them in conjunction with bolts tipped in different sedatives or poisons. Shoot a bolt at someone from close enough away that its magic isn’t consumed entirely in flight, and the temporal acceleration effects of the hummingbird magic then exert themselves upon the next nearest thing....the poison or sedative coating the bolt, which from there spread through the bloodstream of the person it impacts....now at a magically expedited rate of time. Similarly, plenty of assassins have used bolts or arrows coated in poison and fletched with crane.....to extend the effects of poison and whatnot upon the person shot with one.

Same thing with combinations of two types of craftings, both of which are known to default to exerting themselves on the same thing: arrow’s flight or arrow’s impact. Obviously we’re not reinventing the wheel with something like combining crane and canary, with both magics working in conjunction on the same things at the same time.....thus extending both the flight and the magical effect in-flight of a canary crafting’s ear-splitting shriek.

So its not as though we were expecting to uncover a lot more along the way to what we were really looking to explore, just us doing our due diligence until that point. And in no way were we delaying our experimentation out of nervousness that this wasn’t the long-sought next step in my lifelong pursuit of Science-Magic: The Roy Harper Way, and worrying that this theory like so many others would simply fizzle into failure. No. Don’t be dumb. That absolutely wasn’t a thing here.

So was the real hold-up all along just us stalling and killing time until Donna left on mysterious Themysciran missions because the night before she’d looked at us theorizing excitedly and decided to douse that flame by sighing and saying, ‘you’re going to blow up the house’? To which we naturally replied ‘don’t be daft, we’re not going to blow up the house.’ And to which she replied ‘oh yeah, you’re totally going to blow up the house’? Were we basically just tarrying and occupying ourselves with lesser experiments of no real value until she was gone like the ill omen she insists on being and that we simply refuse to see proven right? At least not when she’s around to witness it?

Right, so...yes. It was definitely that last one. That was literally the entire reason.

Look, if you’d ever had Donna sighing and despairingly shaking her head while listing totally understandable reasons why you shouldn’t do the thing that you were still going to do regardless because well, duh, you had to, obviously.......you’d understand.

The point being, the second she was out the door we quit wasting time with that load of crap, and brought out the real toys. Or....test subject....thingies ...prototypes! That’s it, that’s the word.

So first off, we started with the combination hummingbird plus sparrow plus shrike feather craftings. Shrikes, of course, being the magic of bindings and battles, and with the Shrike Regent being Boone, some sort of love-hate friend-nemesis of Dick’s past that he refused to ever elaborate on, no matter how much ranting he did on the subject of the man when he came up even tangentially. This of course, was our first real mistake. This was about the time when I kicked Dick out of the workshop, the timing here being a total coincidence, even if I did happen to mutter in passing that if he love-hates the guy so much he should just marry him already. Or kill him. Whichever. Preferably the killing thing though.

Unfortunately, adding insult to injury, or potentially injury to West if he interrupted us one more time, the shrike combos were getting us nowhere. Like the true friend he is, and sensing my dwindling mood and also its corresponding effects on West’s future, Vic suggested we switch gears and try combining just time-craftings with dove and something else.

Which is what brought us to the hummingbird-dove-kingfisher combo, and our first real success.

You see, as I’ve mentioned before, tanager-fletched arrows aren’t anything new....they’ve been used as incendiaries for thousands of years....but the why of it, with Vic’s additional physics insight, brought up some interesting theories. Same with the way dove-fletched arrows had been used for their electrifying properties for ages.

The reason dove-fletched arrows carry the properties they do, as he explained it, is that by channeling the electromagnetic force embodied by the Dove Regent - specifically, the propagation or amplifying side of that spectrum - its like the arrowhead becomes a magnet drawing electrical impulses to it out of the air it passes through. The whole atmosphere contains what he calls ionized particles, which is not apparently, the same thing as baby lightning. Even if its really just the potential for lightning, and thus totally fits in my opinion. But what our eyes perceive as simply an arrow slicing through empty air, in terms both scientific and magical, in another sense the arrow is swimming through a sea of ionized potential, collecting some of that to itself along the way, and delivering the totality of that through its arrowhead upon point of impact.

What tanager-fletched arrows do is apparently not hugely different in theory, even if it does tap into different physical properties. Essentially, tanager feathers, embodying the amplifying side of the thermodynamics spectrum, act upon the combustibility of oxygen, which is all around us in the air we breathe. Oh, also, the air is just fire waiting for a big enough match, apparently. That was good to know. So again, two different forces, two different kinds of particles which are not the same thing as molecules except when they are, and actually, what happens when dove arrows do what they do is only a little bit like what happens when tanager arrows do what they do, but still mostly not at all the same, even if they do happen to sound totally the same but whatever Victor....anyway, the point is physics is great and useful but also at the same time totally confusing and annoying, but what happens when you combine all this information with my contribution that is the keen scientific observation that the lower in the Deck will always act upon the higher in the Deck? 

Something actually useful, not that I’m trying to rub it in or anything.

But the way I understood it, if the combustibility of a tanager arrow comes from how much and how combustible the oxygen it draws to it is, upon striking a target and delivering the additional magical spark of a tanager-crafting....and if the electrical impact that results from a dove arrow comes from the nature of a dove arrow to draw enough particles to it in abundance, with the combination of tanager and dove meaning its the latter that will exert itself on the former....the end result is you’re going to get a super-combustible arrow, instead of merely a combustible one.

And the drawback of an incendiary arrow, as any archer knows, is that it can only do so much. Firing an arrow that will burst into flame upon impact is all well and good....but if the place of impact is largely wet and incombustible, that first flicker is still going to die out before ever becoming more. But if that first burst is more than just a mere flicker....and if its immediately fanned and fed and magically fueled by say, the existence of a third crafted fletching, that of a kingfisher, whose magic by nature creates more.....

Well, apparently muddy beaches go up quite nicely when lit by an arrow of this variety. Particularly if you then follow it up by a swift volley of kingfisher arrows aimed purely at magnifying the resulting fire itself. 

I might have gotten a bit carried away with the fire-lit cackling with which I celebrated our success, but on the other hand, I made West wet his pants, so. Worth it.

*******

Bit of a rough-weather atmosphere in our house this past week, as apparently the rocks I set on fire with our little tanager-fletching experiments happened to be Garth’s favorite rocks, and he’s a bit perturbed with me as a result. Nobody seems to care, no matter how often I point it out, that its just weird to have favorite rocks, and who even does that, because Garth that’s who and I guess I was supposed to somehow just....know this?

Anyway, it was ‘advised’ emphasis on my skeptical assessment of that last word there, that I avoid fire in my experiments for the time being. Which is fine by me.

On to....magical ice arrows!

Now ice isn’t a force, its not a thing that you can make more of like fire, as I explained to Dick and Wally earlier. Its the reduction side of thermodynamics, the less than....essentially, you don’t so much make ice as you do...remove heat. Thus a tern-fletched arrow isn’t really a frost arrow, its more accurately, a heat sink.

They didn’t need to know that it was basically Vic that explained it all that way to me about an hour or so earlier. Besides, the heat sink bit was all my addition, and that was the really important part, clearly.

What was mostly of interest to me here, was its prospects in magically replicating what happens when you get metal cold enough, fast enough. Which brought me to the hummingbird-tern feather crossbow bolt combo, two parts tern feathers and only one hummingbird feather as a modifier. What I was after was double the heat-sink properties of tern magic, sped up by a hummingbird-crafting.

It mostly worked.

The tern feathers drew in heat well enough, and the hummingbird-crafting sped up the process enough that more cracks would have spread through the metal the bolt was embedded in....if the bolt had.....actually embedded itself into the metal. I’m pretty sure, anyway.

It was the damn force side of the equation that was still getting in my way. Even when I did get a bolt to sink home in something that was already brittle enough to lodge into even if it couldn’t penetrate all the way through on its own, the force still was lacking without magical amplification. But there was no fletching I could add to magically modify the force of the bolt itself that wouldn’t also exert itself elsewhere, even upon just the hummingbird feather. I even tried adding a sea-gull feather and then firing the bolt from merely a foot away, trying to maximize the force without using up the distance modifier during actual flight time, and that was the biggest find of the day and it was a total accident as I realized two seconds after firing it that I was supposed to be trying to amplify the force by reducing the distance, and thus I meant to use a sparrow fletching, not a sea gull! 

But then what actually happened is my crossbow bolt embedded itself and ended up magically making enough more space for me to follow up with two more bolts, and then the combination of multiple bolts all drawing heat from around them at a magically enhanced rate led to the whole thing growing brittle with cracks all the way through it, which.....was not at all what I was going for but was still useful to know, so, I’m calling it a win. It counts.

Look, it just does, okay? You’re my notes, I’m not supposed to feel judged by you. You’re doing this all wrong.

******

Dick brought home a new friend today, named Kory. She seemed like a perfectly, nice ordinary girl at first glance. Then she took off an illusion-casting crow mask and revealed she’s actually a seven foot tall, golden skinned, ‘battle priestess of X’Hal,’ whatever that means, but the rest of all that sounds about normal.

Oh and also, what that means apparently is she’s from a whole other world and she voyaged here in a ship that apparently travels between stars which is a thing that can happen, and also she has green-glowing eyes but that’s just because she can make magic green fire that can burn through anything, no big deal. Also, she can fly. Also, also, did I mention she’s a princess? Because duh, of course she’s a princess, why wouldn’t she be a princess, haha you sound so dumb right now.

Dick’s eyes glazed over and he stopped paying attention at “she can fly.” Not that I noticed. Or cared.

Anyway, apparently ships that can travel between stars being a thing that can happen is not actually the new information that I thought it was, as then Garth tried to insist that he’d totally mentioned that before which umm, lie. I definitely mentioned it before, he said, like a liar, and I think I would have remembered if you had, I said because hello, and then Donna said she and Garth had always been clear about Atlanteans and Themyscirans originally coming from worlds other than this one and okay fine but nobody ever said that involved ships that fly between stars I said. But of course its not like I had anyone to back me up on that because Dick was too busy trying to marry Kory with his eyes which will probably even work because obviously his eyes are very marriage material everyone knows that and West was busy being West so its not like he counts, and in conclusion, all my friends are either aliens and/or assholes. Except for Vic, who did say he’d run away with me and get married, but I’m pretty sure he was just humoring me. He wasn’t even drunk.

Whatever. The big takeaway here is that clearly I am like, this close to unraveling the mysteries of all magic everywhere and that’s why Mother Sky has decided to be mean to me, because she is threatened and also, like. Just mean.

*****

Turns out Kory’s actually a lovely person. So I guess I just can’t have anything, huh?

****

Also none of this still has anything to do with being in love with Dick, which I’m not, because obviously, and Wally’s still wrong about everything, because also obviously. And if he doesn’t shut up, I’m going to make a magical Wally-smiting arrow just for him. I don’t totally know what its going to do yet, but just see if I don’t!

*****

So over dinner last night, Kory was telling us all a bit about Tamaranean magic and how it works and what being a battle-priestess of X’Hal means.

So on her world, its told, their creator goddess X’Hal created everything out of herself, and so is herself in everything. With there being some kind of corresponding connection between the emotional or spiritual side of things, and the physical or material. And Tamaraneans have a periodic table that’s actually all about emotions rather than physical elements, and their magic is called spirit-alchemy and its about manipulating the elements or physical world by being in control of their corresponding emotions?

I don’t think I’m explaining it right. Okay, so basically, the way Kory described it is everything on their world was created by X’Hal, like, feeling a specific thing. From her passion, X’Hal created fire. From her hope, light. From her joy, weightlessness. And all the way up and down the material and elemental plane. So when she refers to the thousand names of X’Hal, its because of the whole “X’Hal” is in everything idea, and thus when speaking of each of those things, one’s also speaking of X’Hal.

But where the magic part of things comes in, is if like Kory, you train from a very young age to be what’s called a priest-adept. Or priestess. You get it. But the idea is all things are part of X’Hal and she’s in all things, and her people, the Tamaraneans, are all like X’Hal....enough so that they can manipulate parts of the world around them, wholly by manipulating the parts of themselves that are...spiritually resonant with those things, I guess.

So with Kory, the reason she can fly, and glow, and create soulfire which is what she calls the green glowing fire she makes that can blast through anything.....all of this derives from her spending most of her lifetime training to have a total mastery of three specific mental and emotional states. The ones that, in reflection of X’Hal, correspond with fire, light and weightlessness. By mastering her passions, broad sense of the word, she manifests soulfire which she creates much like X’Hal created...fire fire. Via her own mastery of and understanding of hope - not totally sure what that all entails, but that’s the connection - she similarly is able to manifest light, and her flight and weightlessness come from her control and knowledge of her own joy, for just...herself, life, everything. The battle-priestess bit is just her own kind of vocational calling rather than a specific group, but her magic only works because her own mastery of self is so extensive that she’s able to find even the joy in battle, the passion in fighting, the hope for victory, that let her still tap into the specific emotions that lend her this magic, even while in the midst of fighting for her life.

Obviously what she’s talking about is easier said than done, and the Tamaranean idea of self-control goes a fair bit deeper than get up and take a lap when someone, not naming names, says something particularly dumb.....but from the sounds of it she’s kind of a big deal back on her homeworld not even for the princess thing so much as for having mastery of three different states, no matter how connected. Like a lot of people spend their whole lives attempting to master just one, and she just happened to be adept level at three already.

I asked if anyone’s ever mastered all thousand, which apparently was a really funny joke, so looks like I’m hilarious in Tamaranean, but seems that’s not really a thing. “We’re like X’Hal,” was how Kory put it. “But only X’Hal can be X’Hal.”

Which does make sense, when you put it like that.

**************

Okay, so I was just picking Kory’s brain about spirit-alchemy a little more, specifically about her super-strength and where that comes from, since I thought joy, passion and hope were her three focuses. Except she didn’t know what I was talking about first, as she said that wasn’t one of her powers. Except I know for a fact that I saw her punch through a solid stone wall once, and said as much, and then she was just oh, that’s just part of my mastery of joy.

Which needed a little more clarification than that, because....what.

Basically though, it sounds like their emotional table is a lot like the spectrums between two opposing Regents throughout our Deck. Like a lot of what they work on mastery of is as much the absence of its opposite side as it is something in and of itself. Apathy is the opposite of passion, the negation of soulfire, but its not something someone seeks to master, so much as its an extension of their mastery of passion. After all, if one summons a form of passion within themselves in order to create soulfire, then by banishing the soulfire, even if just because they no longer have use for it, isn’t that and the emotional equilibrium that results in that....isn’t that effectively apathy? Same thing with hope....just because the goal of mastering that wasn’t to create an absence of light, that doesn’t mean that being able to put out the light she herself creates isn’t still connected to that emotional field and something requiring her awareness of it.

Which brings us to weightlessness. Her flight is a manifestation of joy, even when using it in battle, but utilizing it most effectively, as in changing elevations rapidly and with precision, often requires the inverse just as much as creating weightlessness for herself in the first place. So her control of self has to be so absolute that she can be a thousand feet in the air and then just let herself plummet, carrying with her all the force that entails, and only at a hundred feet in the air summoning her inner joy and using spirit-alchemy to instantly transmute that into the weightlessness that once again keeps her aloft but now at that new, lower elevation.

But the point being.....up until that last split second when she comes out of a dive and re-engages her magical weightlessness.....she and any strike she’s delivering, contain the full force its opposite.

Not at all unlike how you could describe swan and ostrich craftings.

So that’s when Vic and I just looked at each other and yelled: Force multipliers!

Forget time and distance modifiers, its the mass! The key is the mass! The propagation side of gravity even if applied not to go up or down because the gravitational force is only being applied magically, to modify other forces, not the physical mass of the arrow itself! This is it! This is the key!

Our first attempt put a crossbow bolt through an inch of solid steel. Now just waiting on Vic to get back with all the hawk and dove and tern and tanager feathers we have, we’re so close I can taste it!

Ugh, if Dick doesn’t marry this beautiful alien warrior princess, I’ll marry her myself! Or both. I could just marry both of them I guess. I mean, its for science.

Okay, Vic’s here, will report on findings later!

******

So, we accidentally blew up the house. I don’t want to talk about it.

Still think I’m right though. Just needs fine-tuning.

Might wait a bit before I bring that up. No reason. Just seems the sort of thing that can wait until we find a new house.