#but rather categorically. at least... that's what i think

[kimyoonmiauthor]

Depends on the culture...

I think one can get stuck in the but I need these events, without thinking about impacts?

But pure story theory after consuming stories from West Africa, Ethiopiam, Zimbabwe, South Pacific (still working on it), East and South Asia, South East Asia, the US throughout time, UK, Germany, France, Italy, and lightly the rest of Europe, Russia, and of course Indigenous stories from North, Central and South America as well as from Australia...

You can be tied really closely to a formula and fail the story completely by getting too clinical with the story and not thinking about how the events shape the characters and the characters shape the events and what does that make you THINK and what does that make you FEEL? Non-writers relate to *those* things and often don't know anything about act structure and honestly, despite my long post, don't really care. The story tools are there to make you do those two things, primarily, and for those things, that's why you should break the rules, discipline characters and events.

All story telling tools are how do you get to those two points. This is patently why things like Gen AI don't work for fiction.

I still hold that Wonder Woman 1984 (besides would have been better if it was queer) hit every single part of the 3-act perfectly, but it made people feel and think nothing. The cycle between characters and events didn't do anything for people because no one thought about the impacts. It was more like this happens. And this happens, and then the character reacts, and then this event happens.

So be careful to not rely on formulas overly much and think rather on the basis for the reaction and effect on a local and global scale.

Everything Everywhere All at Once used Kishotenketsu, (according to the creators, though I kinda thought it followed Qichengzhuanhe more, but off the rails here). But using it wasn't why it connected with the audience, but because of the small ways they managed to connect the audience to various concepts along the way. (You are the least interesting Evelyn) grew along the way. Laughing at rocks, became crying at rocks. And the emotional and metaphysical journey is what made people connect. And sometimes the character changes and sometimes they don't, but the thing that engages usually is the audience having some sort of reaction to it. And resonance doesn't have a particular formula. Waymond, categorically does not change, but in learning about him, the audience changes. (Ah, I still want that skill).

Just because Gustav Freytag, the genocidal maniac who hated everyone who wasn't German, the fascist he was before fascism became a thing (I have evidence) said it, doesn't mean it's true and people are and were workshopping the idea through the twentieth century. Do what works for you. (BTW, story structure has changed in the last 20 years in the European world. I've been tracking the changes).

🧩 How to Outline Without Feeling Like You’re Dying

(a non-suffering writer’s guide to structure, sanity, and staying mildly hydrated)

Hey besties. Let’s talk outlines. Specifically: how to do them without crawling into the floorboards and screaming like a Victorian ghost.

If just hearing the word “outline” sends your brain into chaos-mode, welcome. You’re not broken, you’re just a writer whose process has been hijacked by Very Serious Advice™ that doesn’t fit you. You don’t need to build a military-grade beat sheet. You don’t need a sixteen-tab spreadsheet. You don’t need to suffer to be legitimate. You just need a structure that feels like it’s helping you, not haunting you.

So. Here’s how to outline your book without losing your soul (or all your serotonin).

—

🍓 1. Stop thinking of it as “outlining.” That word is cursed. Try “story sketch.” “Narrative roadmap.” “Planning soup.” Whatever gets your brain to chill out. The goal here is to understand your story, not architect it to death.

Outlining isn’t predicting everything. It’s just building a scaffold so your plot doesn't fall over mid-draft.

—

🧠 2. Find your plot skeleton. There are lots of plot structures floating around: 3-Act. Save the Cat. Hero’s Journey. Take what helps, ignore the rest.

If all else fails, try this dirt-simple one I use when my brain is mush:

Act I: What’s the problem?

Act II: Why can’t we fix it?

Act III: What finally makes us change?

Ending: What does that change cost?

You don’t need to fill in every detail. You just need to know what’s driving your character, what’s blocking them, and what choices will change them.

—

🛒 3. Make a “scene bucket list.” Before you start plotting in order, write down a list of scenes you know you want: key vibes, emotional beats, dramatic reveals, whatever.

These are your anchors. Even if you don’t know where they go yet, they’re proof your story already exists, it just needs connecting tissue.

Bonus: when you inevitably get stuck later, one of these might be the scene that pulls you back in.

—

🧩 4. Start with 5 key scenes. That’s it. Here’s a minimalist approach that won’t kill your momentum:

Opening (what sucks about their world?)

Catalyst (what throws them off course?)

Midpoint (what makes them confront themselves?)

Climax (what breaks or remakes them?)

Ending (what’s changed?)

Plot the spaces between those after you’ve nailed these. Think of it like nailing down corners of a poster before smoothing the rest.

You’re not “doing it wrong” if you start messy. A messy start is a start.

—

🔧 5. Use the outline to ask questions, not just answer them. Every section of your outline should provoke a question that the scene must answer.

Instead of: — “Chapter 5: Sarah finds a journal.”

Try: — “Chapter 5: What truth does Sarah find that complicates her next move?”

This makes your story active, not just a list of stuff that happens. Outlines aren’t just there to record, they’re tools for curiosity.

—

🪤 6. Beware of the Perfectionist Trap™. You will not get the entire plot perfect before you write. Don’t stall your momentum waiting for a divine lightning bolt of Clarity. You get clarity by writing.

Think of your outline as a map drawn in pencil, not ink. It’s allowed to evolve. It should evolve.

You’re not building a museum exhibit. You’re making a prototype.

—

🧼 7. Clean up after you start drafting. Here’s the secret: the first draft will teach you what the story’s actually about. You can go back and revise the outline to fit that. It’s not wasted work, it’s evolving scaffolding.

You don’t have to build the house before you live in it. You can live in the mess while you figure out where the kitchen goes.

—

🛟 8. If you’re a discovery writer, hybrid it. A lot of “pantsers” aren’t anti-outline, they’re just anti-stiff-outline. That’s fair.

Try using “signposts,” not full scenes:

Here’s a secret someone’s hiding.

Here’s the emotional breakdown scene.

Here’s a betrayal. Maybe not sure by who yet.

Let the plot breathe. Let the characters argue with your outline. That tension is where the fun happens.

—

🪴 TL;DR but emotionally: You don’t need a flawless outline to write a good book. You just need a loose net of ideas, a couple of emotional anchors, and the willingness to pivot when your story teaches you something new.

Outlines should support you, not suffocate you.

Let yourself try. Let it be imperfect. That’s where the good stuff lives.

Go forth and outline like a gently chaotic legend 🧃

— written with snacks in hand by Rin T. @ thewriteadviceforwriters 🍓🧠✍️

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

[d8tl55c]

oh boy !! ! ! ! !!! ! thANK y0u all for the kind words on my last art posts. you all get it and i was/still am so happy about it

as promised, here's some close-ups of the comic for image quality's sake, and other screenshots i rescued from the community whiteboard (and something else)

first up another sketch of mystery gender-ambiguous being. (please send me more name ideas for them if you got one- i like to hear em! (reminder it's the side character that appeared for <10 seconds in AvM Ep. 30))

a few fav scenes

emotional support cwab

they weren't meant for this purpose exactly, but i do have countless "fluffy sticks" loose in my notes and homework sheets from the school years.

papery critter.

even when i wasn't confident in fur or feathers, they helped me practice posing and create some satisfying gradients/flowing poses. (im a sucker for good tail poses) (oh yay! i found a good pic...)

and finally, little sneak peak for you for reading so far ;3

i realized that whiteboardfox is pretty great for my working needs. simple and to the point and all. feels nice with the mouse and the tablet.

so i started hashing out a big project idea just to see if it holds up and

[

several hours later ...

]

oh

oh man

it's a little bigger than i expected

<next>

[anam-mana]

It fascinates me that Alistair gets lumped in with the “Chantry Boys” in discussions about Dragon Age Archetypes because it’s just. Very untrue. But it’s an idea the text actually pushes you to connect with in a way I think is purposeful.

This guy introduces us to the lore of the Blight by asking if we want “the chantry version or the truth.” If we ask if they’re not the same thing he smirks and says with some attitude “they rarely are.”

He sums up his religious beliefs saying he’s “not especially” Andrastian, and that “believes in the Maker well enough.”

He’s actually LESS religious than Zevran, who describes himself as fully Andrastian with a regular prayer routine in optional conversation branches.

The things that people use to categorize Alistair’s supposed “Chantry Boy” boy status all have non-religious motivations.

For example, the big one, his virginity, is because 1. He’s nervous around women, which is the gender he finds most attractive 2. He’s actually the youngest Party Member, being freshly 20 years old. 3. And most importantly, he correlates sex with love and was brought up to see them as requiring the other and so feels uncomfortable having sex without what he sees as “true love.” And he just hasn’t been in love yet.

Another example would be his reaction to the Urn of Sacred Ashes. He reacts with wonder akin to Leliana where many others react with a contrasting blasee attitude. Even the Andrastian Zevran.

But you gotta read between the lines here. Zevran doesn’t hold remains as sacred. He’s an assassin. So his prophet’s body is in that urn. It’s a body. The least remarkable and most mundane, perhaps even the hardest to swallow, thing she could ever be to Zevran is a corpse. Kinda takes the wonder out of faith for an assassin if she dies and rests just like any one else.

But Alistair is fascinated, in awe. 1, probably because the Chantry he doubts so much now has some kinda proof that something they said was true, unlike what he previously believed. 2, Alistair is WAY more patriotic than he is religious and we gotta remember that the Fereldans pride themselves on Alamari heritage, and Andraste was probably the most powerful and influential Alamari person to ever live. 3, he’s actually a giant history buff. He info dumps history on you often, with the memorized readings of whatever question you ask. If asked about the King and Loghain before the betrayal at Ostagar, he shows respect for Loghain’s service in the War for Independance, and knowledge of his tactics. And when speaking about his time in training with the chantry as a child, he says the education was actually what he liked most. And a lot of his gifts are things like replica soldiers, Fereldan historical things, maps, (along with his interest in magical artifacts but that’s for another day.) etc. Given his patriotism and love of learning history, yeah, the Urn is a big deal to him.

I have more things I could say, but really, I just find Alistair to be one of the most misrepresented by fandom characters. His character has a TON of subtext that challenges you to look beyond what others represent him as and the low opinion he holds of himself.

The perception of him as Andrastian and devout is one pushed on him by people like Morrigan (and others to some degree) who fights Alistair more like a straw man representing society than she engages with him as himself. She sees him as a Templar even though he left the order specifically because they abused him And he fundamentally disagreed with their practices, The Harrowing specifically being what pushed him to fight to leave.

There are, textually, two ways to interpret Alistair. Through face value aesthetics and symbolism pointing to association with the Chantry and by observing other’s opinion of him. Or through actually listening to what he says and watching what he does.

And it’s just interesting to me that a lot of people get caught in the trap of what he represents aesthetically rather than who he is.

[miamc]

it’s funny how when will says that el has a bunch of letters from mike he says “that’s because she’s my girlfriend will” not, “that’s because i care about her will” or “that’s because i miss her”. because we know mike misses and cares about will too so that couldn’t be why he didn’t write to him or call. the way he says it almost feels like he’s treating it as some kind of obligation. it’s like his mind categorizes el as “the girlfriend” first rather than just “el”. like there are certain things he must do because she is his girlfriend and he is her boyfriend and that’s the way it is. it all feels very mechanical.

then the “we’re friends, we’re friends!” it’s just?? nobody said you weren’t? it’s like he’s equating keeping in touch with romance. if he kept in touch with will like he did with el who is his girlfriend, will would be like his boyfriend. and we know he wanted to call but couldn’t because of joyce’s telemarketer job. so why didn’t mike just explain this then? it would’ve been really simple. “i wanted to call but i couldn’t because the line was always busy” maybe will would’ve thought it was an excuse but you would still think mike would have said it?? why did he create a situation where it would have been romantic if he tried to keep in touch instead?

i can only imagine how this was for will who is already so scared of what mike’s reacted to him being gay will be like. it must be so confusing. every time he confronts mike about a failing in their friendship, mike gives the conversation a gay undertone when there wasn’t even one in the first place 😭 will probably thinks he’s being too obvious or doing something wrong when in reality mike is the one making it weird.

while will didn’t call either, the entire situation is framed as mike ignoring will and acting weird, when will is the one supposed to be acting weird because he likes mike! mike doesn’t suspect that will likes him so why would he distance himself from will? literally all of this comes from mikes side not wills. if mike was really straight i think they would have written the scene differently. i mean there has to be some reason he got defensive rather than explaining himself.

they wanted us to know about joyce’s telemarketer job as they revealed it later on. they wanted us to connect the dots and realize that’s why mike couldn’t call. but why wouldn’t mike say this to will?? what about calling your best friend that’s moved away could be misconstrued at romantic?? i think too many people focus on will in this scene and the “what about us” that they comely forget to focus on mikes reaction. the way he says “what” is about a hundred times more incriminating than “what about us”. will meant that platonically. he wants to know what happened to their friendship. but mikes distraught face and vulnerable “what” immediately followed up by defensiveness? no sorry. that’s not how you would react to your best friend asking about your friendship.

something about being asked to examine his friendship with will scared him. if it was all really platonic he could have at least said what is an exasperated annoyed tone. no, instead he said it in such genuinely vulnerable tone like it’s impossible not to notice it on a rewatch. he was dreading that question for a long time.

[raven-at-the-writing-desk]

Since you've discussed your favorite parts of ep. 7, I'd like to know your biggest criticisms of it & how you would've addressed them.

[Referencing this post!]

*raises finger* (my lawyer pulls me away)

Here’s how I would change the ending (while still staying within the Disney + mobile gacha game restraints and sticking with the themes + patterns established by other OBs):

Rework all the dreams. Every single last one. I can’t count the number of issues I have with them. Between the inconsistent pacing (4-35 parts per boy), the lack of urgency, extra fat (irrelevant convos), frequent contradictory explanations of the dreams, and the on-the-nose announcements of how each boy has changed, these are horribly inefficient vehicles for storytelling and need to be significantly tightened. Maybe even consider cutting out all of them except Adeuce and the OB boys; make the rest optional or side missions or something.

Between each dorm’s dreams, cut back to Malleus and Lilia so they at least STAY relevant for a book that is supposedly about Diasomnia. Let us know what Malleus’s current state of mind is, have Lilia reflect on what it’s like to see Malleus twisted into… this. Something, anything.

Make the explanation for the dreams consistent. Instead of changing the explanation or slapping on new details every other update, just claim right from the get-go that dreams tend to pull from a dreamer’s wishes/desires but it’s unknown how the dream worlds will actually be interpreted or how they’ll interact with Malleus’s magic since each person is so different. You can still have the dreams with deeper hidden meanings, but avoid overcomplicating the logic governing dreams in the first place.

Have Lilia join up with us in the dream world. Maybe a scene where Ortho or Idia connects the dots on his identity and contacts Lilia using his Muscle Red gaming ID tag in the dream world. Lilia receives his invite that way and joins us for the battle maps + help Silver and Sebek train with their new equipment. You can also potentially use this section to have Silver and Lilia reconcile over Lilia keeping secrets from him.

Like how Sebek had moments with the first years in their dreams, give Silver moments in which he can reflect on his relationship with + thoughts on the Dawn Knight. It feels a little strange to me that we went from emotional breakdown learning about his lineage to… thanking the Dawn Knight for allowing him to meet Likia at the end??? Like it feels like we missed the middle part of that development. We never got to hear his inner thoughts about the ordeal or how he comes to terms with it. For something so heavy, you’d think there would be more screen time dedicated to that??

The sword strikes Malleus, which brings him back to his senses but doesn’t break the horn. (This is just a personal dislike thing; it’s uncomfortable for me because it inevitably reminds me of poor injured animals and that’s not exactly… fun 💦)

Lilia still gets in the way of Malleus and Silver’s final stand-off, but rather than dying, he’s in critical condition and is in very real danger of dying.

Have Malleus willingly sacrifice a significant chunk of his magic (since he has all that excess from the senators blessing him + Malleus even canonically says he’ll give up his wings, his lifespan, etc.) to bring back Lilia from the brink. This would serve multiple purposes: 1) permanently power cap Malleus, 2) show him that his previous actions actually hurt Lilia but he also has the power to do good too (so he’s not filled with complete despair at the end), 3) rids him of the excess power he didn’t ask for, so now he’s more “approachable” to people, 4) doesn’t bring up potential issues with reviving the dead, since this could be categorized as ultra powerful healing magic, and 5) parallels the self-sacrifice Lilia had for him, that Silver had for Lilia, etc.

Honestly, I think Lilia should move away to the Land of Crimson Long to retire instead of regaining his magic and returning to NRC as a student. That way, Malleus isn’t the “special” OB boy that doesn’t have to still deal with the thing he OB’d over. Have it end on a hopeful note though, like have Idia or Lilia showing Malleus how to text (which is now more feasible due to Malleus’s reduced power) so he can always reach out to Lilia at a moment’s notice. This also fits in with the theme of keeping connected.

Alternative scenario to the previous point: have Lilia be taken away to urgent care and/or in a coma for a while. Let Malleus stew with the weight of what he did. Then maybe he + Diasomnia are called in when Lilia’s unstable and this might be good-bye 💦 Idk, at least then Lilia wouldn’t be dead for all of 5 seconds and Malleus would actually have a period where he’s forced to sit and reflect on what he did. Worrying and praying that Lilia will be saved, promising to the stars that he’ll never act out again if they just save Lilia. (You can still have your power of love saves him moment here!)

Following the OB, give a more balanced view of the repercussions of Malleus’s OB. Tell us how other nations are reacting, show us that some people are suspicious of him + need extra help recovering after the fact (in addition to people who love his UM and want to stay in there longer), etc. The current version works overtime to reassure us that there are zero negative (or even dubious) consequences when, logically, there would be at least some. This includes the main cast. Realistically speaking, they’d at least have some reservations or complicated feelings revolving around what happened in their dreams and how they feel seeing Malleus return. Ultimately, they’d welcome him back but some of them would still snark a bit while others are more forgiving (depends on the character; not all of them would react the same way).

We can still have the party + knighting ceremony at the end, but include some kind of magical broadcast or something where Malleus apologizes to all of Twisted Wonderland and lets them know what steps he intends to take to make amends moving forward. In the original, he only apologized to NRC, which I feel doesn’t cover the scope of the lives he could have affected. And if you’re going to have the other OB boys recite their flaws + how pathetic they were wallowing in darkness + how they’ve changed/are better than that now, grant Malleus that same opportunity here. It would also be great if he could go around and acknowledge the important people in his life, including classmates, to show us that he truly recognizes the value in these connections. I do, however, want to caution: the speech shouldn’t sound like Malleus speedran a character arc and is now without flaws. Malleus should also have some lines where he admits he’s imperfect and may falter, and if that’s the case, then he trusts us to admonish him and set him on the right path. This would show us that he’s willing to give up control to others and that he’s being more receptive to criticism.

Add a nod to Raverne at the end??? Like maybe Malleus wonders where his father is and we get some explanation as to why he didn’t show up in the Castle Wildrose memories but his mom did.

I don't think I actually made many changes here; most of the plot points remain, just change the execution and what the focus is on.

[haphazardlyannotated]

With how much we as a fandom discuss what will happen to John in AtN, it's kind of surprising how little I've seen on what the future has in store for Alecto. Since I already love her, I've decided that won't do. So here's a bunch of possible endings for Alecto:

1.) Alecto dies (alongside John): We know that neither of them can die while the other one is alive, so if John dies in AtN the most likely result would be that Alecto does, too. There are several ways I could see this going down. To the subsections!

1.1) The cycle of violence: Alecto is killed unwillingly as collateral damage by someone who wants John dead more than they want her alive. This ending mirrors how John killed Alecto the first time trying to get revenge on the billionaires. I really hope this doesn't happen. Not only does Alecto deserve better, it also doesn't bode well for everyone else's future.

1.2) The self sacrifice: Alecto dies willingly so John can be killed. Slightly less horrible for her than replaying the trauma of her death and birth to the letter, but still pretty damn sad. We know from Nona that Alecto at the very least has the potential to love being alive. I want her to get that chance. But at least this ending gives her some agency.

1.3) The peaceful rest: In this version Alecto wants to die. Something something necromancy as a violation of the natural order, something something everyone John wanted to keep around died 10000 years ago and his desire to hold onto them only caused everyone pain, and so on. A more bittersweet ending. However, I still struggle to believe that the entirety of Nona didn't mean anything about Alecto's will to live. Nona accepts her death, but that's for the lack of a better option. I firmly believe that Nona is still a fundamental part of Alecto and I want her to have the chance to live and be happy again. The odds of survival for Gideon don't look good in this ending either. If keeping someone alive via necromancy is meant to be categorically bad, the only way we're getting a happy ending for griddlehark is on the other shore of the river.

2. Alecto stays alive as Alecto: We know Alecto doesn't like her current body, so this goes square in the middle for me.

2.1) The survivor: I know I was just talking about how John and Alecto live or die as the world's worst package deal, but to be fair, their situation is entirely unique. There could still be some way for Alecto to survive John's death. There's an entire book left to find loopholes. Alecto would probably have some kind of feeling about whatever ends up happening to John, but I don't think we've seen enough of her yet to know what these feelings would be. Not to mention, part of her soul is stuck in John, and I suspect it's a tad optimistic to think she'd get those parts back if he died. Killing him would leave her with a literal hole in her soul. My girl deserves better. In any case, I dont think this ending is likely. It's too neat and basic for a series like tlt. And besides, why have a 'perfect' solution when it's so much more fun to make characters choose between flawed options?

2.2) The wanderer: This one's not tied to Alecto remaining in a humanoid form, but I'm putting it here anyway. This ending sees Alecto leave the Houses behind to travel the universe. Possibly with someone else. John? Paul? Pyrrha? Varun? Who knows. This ending is pretty open and feels more like a new beginning, but it's also rather hopeful. I could live with that.

2.3) The probation officer: This would be a version of events where John survives and is sentenced (by anything from court to the narrative) to some version of restorative justice. In this ending Alecto finally gets to see John use her powers the way she intended. This is basically the antithesis to the cycle of violence ending. Whoever chose this weighed saving the innocent (Alecto/humanity) against punishing the guilty (John/the billionaires) and decided that Alecto's life matters more than revenge. While I'm not entirely happy keeping Alecto in a body she hates, I think it would be an otherwise satisfying, hopeful ending for her. And hey, maybe someone can give her a necromantic makeover.

3.) Alecto lives, but not as Alecto: I don't think it's unreasonable to think that the planet who became a girl, who became a different girl and then became the first girl again might end up going through another transformation.

3.1) The Resurrection Beast: What it says on the tin. I'm not sure if Alecto technically is one already, but who says she can't turn into an eldritch being even larger than the planet she used to be? Unless this is combined with a wanderer ending (probably alongside Varun), I see this more as a temporary step that happens during the finale. In this case, I am incapable of imagining as anything other than an even messier version of the Steven Universe future finale. John being eaten by RB Alecto would also be one of the few ways I can think of to achieve a John dies, Alecto lives ending.

3.2) The planet: I feel like I'm daying 'hopeful ending' too much, so I won't do so again. It's a good one, though. I picture Alecto walking into the sea and dissolving into foam like the Hans Christian Andersen version of the little mermaid as the planet comes back to life. I like this ending a lot, not only because it would be a happy ending for Alecto (but bittersweet enough for those who loved her to still be exquisitely painful), but also promises a chance of healing for the rest of the cast.

3.3) The Paul: Short version: Alecto and John do a Paul, but since John's just a guy and Alecto is literally the world, it's not an equal fusion like, well, Paul. This post already says everything about John's side of this better than I could, but I have some additional thoughts on what it would mean for Alecto. Because part of her is in John, right? Doing a Paul would return these parts to her and (hopefully) heal the damage John did when he ate part of her and stuffed the rest in her barbie form. I think this ending has a high potential of going into the planet ending as well.

And that's all the endings I can think of right now!

For everyone who read through this entire thing, please tell me which one of these endings you're hoping for. Here's a poll!

[drdemonprince]

Hi Devon !

I just listened to your newest YouTube reading of your Substack and it made me realize that I have a different understanding than you of Sizhen’s gender framework, or perhaps am still developing my understanding of it.

You describe yourself in the piece as, through failing to join the Power gender, a Faggot-Subaltern. Other writings of yours describe experiencing some social privilege of having been perceived as masculine, and we both agree that our transmisogyny-exempt status renders us by average safer than our TMA siblings. In my understanding of Sizhen’s framework, this would render you closer to the Not-Power gender category, making transition something of a lateral move: away from Some misogyny but towards transphobia. Or, rather, in different gender categories depending on the power systems that be: given some power in comparison to TMA folks, recognized socially at times as an ally to other Not-Power folks against the subaltern of the transfem, but an otherwise marginalized category that is used as a threat to those within the cisgender hierarchy. Perhaps this perspective of conditionality is not the purpose of the framework; I’d like to hear what you think.

This also made me think about other scenarios where marginalized gendered folks engage in respectability politics - transmeds, transandrobros, and the like. Would you describe them as claiming Not-Power status against a Faggot-Subaltern for profit, safety, and success? Or is their ultimate failure in doing so a sign that they are in fact Faggot-Subaltern?

Thanks for reading !

I would say that the 'Not-Power' category is, predominately in our society, the category that cis women are relegated to and enjoy certain privileges within, and my trans masculinity doesn't slot me into that category so much as expel me from it. I was in not-Power when I was moving through the world as more or less a cishet woman. As a man, I'm theoretically aligning myself with the Power category, and my masculine qualities often afford me a lot of the privileges that come with being in the Power category, at least relative to those around me (I have always worked in fields filled with women, queer people, and men of color, and so I can access the privileges of white manhood relative to them). However, I'm also someone people yell "faggot" at on the street who cannot pass as a straight man for more than a thirty second interaction. And it's abundantly clear in how other men and cis women relate to me that I'm faggotized, as the sizhen system post talks about. If you're in the faggot subaltern, you pretty well know it, and I know it immediately in the way other men physically relate to me. It's a mix of condescending feminization, dehumanization, and imparsability that's very distinct. (it's hot as fuck when it's some big burly masc guy throwing my over his shoulder and dragging me home at the gay bar, and even kind of cute when it's a straight man in line at the walgreens smelling my hair, but not so cute when i'm alone on a train platform at night and a crowd of drunk Cubs fans is approaching.)

I am notably LESS safe in a lot of straight spaces now than i ever was as a cis woman, because I'm not in Not-Power, I'm in Faggot Subaltern, and everybody can see it a mile away. I stand out as not belonging and not following the rules of either pre-determined gender category ("powerful" men and 'not-powerful" women) and there is a looming threat that comes with this, and that's what defines being in the faggot subaltern. as you can see i dont see this stuff as fully categorical, but rather contextual. depending on the situation i have both privilege and a lot of vulnerability, and that's true of a lot of feminine gay men.

[kulemiwrites]

VARIOUS | Love Languages

Characters: Masato Aizawa, Akira Nishikiyama(x2), Reina, Osamu Kashiwagi, Kaoru Sayama, Kazuma Kiryu, Goro Majima, Taiga Saejima, Shun Akiyama

Prompt: What are their love languages?

Notes: It's not Sunday but I thought I'd go ahead and bring back one of my lighter hearted posts after dropping that last Nishikiyama fic. As promised 🤍

Original note: Personally, I’m of the belief that most people have multiple love languages. It’s just that they tend to favor some over others. Hence why I categorized things the way I did. Anyway, one of my love languages is including the faves of some of my friends/mutuals. 😘

MASATO AIZAWA

Most Likely to Respond Positively to Receiving:  Physical Touch. He’s affectionate with loved ones by nature. It was how he was shown love by the people who raised him and it never left him. There’s honestly too much to appreciate about being close to his partner– holding them, caressing them, that Aizawa simply cannot go without for too long. He craves the warmth of their skin against his own, the texture of it or the fabrics of their clothes, that slight vibration in the throat and chest when they speak, their scent… 

Most Likely to Offer: Physical Touch. He’s never been someone that had a way with words. Sure, he can communicate whatever message he needs to get across but he’d much rather show than tell. His partner can feel how much he loves, cares and even respects them through the tenderness of his touch. He’s delicate with them when he’s brash toward everything else in the world. They can know how much he needs them from the linger of his gaze, hugs, caresses and kisses. He can show them how much he desires them from the passion of his kisses and stroke. In truth, he’s not only just affectionate with partners though. He shows a friendly affection toward most people that he cares about like, friends and family by greeting them with hugs, ruffling their hair when he’s being cheeky, draping an arm around their shoulder as he stands next to them and more. If anyone ever wonders how Aizawa feels about them, they should look no further than how often he invades their personal space or if not that, how gentle he is when he does.

Least Likely to Respond to: Receiving gifts. It’s not even that he wouldn’t appreciate it, he absolutely does. There’s just not much that he ever truly wants and needs outside of necessities. So, there’s not much he would ask for that he feels he couldn’t just get himself. He feels that the burden of treating himself is his alone.

AKIRA NISHIKIYAMA (Y0)

Most Likely to Respond Positively to Receiving:  Words of Affirmation. He may minimize or dismiss what’s being said sometimes but it’s only because he doesn’t always believe that he’s loved, that he’s attractive, that he’s appreciated, that he’s admired. While he may roll his eyes, laugh and push out, “Psh,” outwardly, know that inside, his heart is doing somersaults and blast beats beneath his rib cage. While he emotionally benefits from praise from outsiders, not much hits quite like being praised and uplifted by the person he knows actually loves him and isn’t trying to get anything out of him. 

Most Likely to Offer: Quality time. One may think that this would have been gift giving, but at this point, the majority of his gifting is spearheaded by either obligation or intent to display means. There is often little thought behind a bulk of those purchases. In his mind, a gift's worth is based on its monetary value rather than the quality and what it means for the other person. It’s completely vapid, devoid of deliberate consideration. It’s a way for him to win– be it favor, respect, and/or admiration. Looking at gifts that he gives as an indicator of what he feels for someone is a losing battle. What isn’t though, is noting how often he makes time and space for his partner no matter what he’s got going on. He never lets too much time pass between dates. He often invites his partner to tag along as he goes about his day just because things feel so much easier when in their presence. Whether it’s shopping, cruising around town, washing his car or asking them to be his plus one at social events, Nishiki enjoys being able to look to his side and see their smiling face. 

Least Likely to Respond to: Receiving gifts. Unless it’s something that is of sentimental value, he tends to feel a tad awkward when he’s on the receiving end of a gift. If his partner is intending to purchase something for him, they might wanna make sure they’ve got a good eye for his tastes first. He’s very particular about what he likes and he’s pickier than most. He never leaves himself wanting for long. So, even if there’s something out there that he desires, he tends to just get it himself and that often just makes him difficult to shop for. 

AKIRA NISHIKIYAMA (K)

Most Likely to Respond Positively to Receiving:  Physical Touch. He’s probably the most touch starved he’s ever been in his life around this point. Most days, he walks around with his jaws clenched and shoulders tense. He’s often repulsed when he’s touched by those he has no favor toward but once he’s under the loving caress of the one he adores, every muscle in his body relaxes from top to bottom. He doesn’t even realize how unbelievably wound up he is until he’s practically deflating in their arms. Initially, he’d find someone like that dangerous and consider letting them go, not wanting this ability to disarm him– become a liability.. But once he experiences that, he’d start to crave it before too long.

Mostly Likely to Offer: Quality Time. He doesn’t have a lot of free time, but he will make his loved ones fit into his schedule somehow. It doesn’t really matter how he goes about it either, be it enjoying the comfort of home with them or dragging them along as he handles his… more palatable business. For him, quality time and physical touch go hand in hand. He can’t spend time with them without feeling them near him and he is hesitant to part with them once it’s over.

Least Likely to Respond to: Words of Affirmation. He’s too distrusting to believe just about anything anyone says to him. He counts on people discounting his ability to read between the lines and underestimate him. He’s lost track of how many times he’s heard one story then witnessed the opposite from the very same pair of lips. It’s why he monitors a person to determine what they mean instead; their tone of voice, their body language, the ability to hold his sharp, piercing gaze. His partner can say whatever they want but he’ll be the one to determine what’s true and what’s not.

REINA HATTORI

Most Likely to Respond Positively to Receiving: Quality Time. She loves to spend time with those that she loves. She never tires of seeing her loved ones’ faces! When her partner takes the initiative to make time for her, she will take notice. They don’t need to do anything fancy. Sometimes being alone together is more than enough to make her feel cared for. A perfect evening for her could be as simple as looking up in the vanity mirror as she’s painting her nails and seeing her lover in the background occupying themselves with something.  

Mostly Likely to Offer: Acts of Service. It could have a lot to do with her upbringing where she was shown love by acts of service from her parents rather than them outwardly vocalizing it. Picking up the errands her partner dislikes, making them soup and fresh tea when they’re not feeling well or even cooking their favorite dishes to cheer them up and celebrate wins despite her not enjoying the act of cooking are but a few examples! Knowing that those things will bring a smile to her partner’s face makes it all worth it in the end.

Least Likely to Respond to: Words of Affirmation. To her, words are insultingly cheap when the person’s actions don’t back it up. She hears all types of flattery day in and day out and she’ll be the first to let someone know that it will get them absolutely nowhere. She might appreciate some kind words here and there but it’s a turn off when someone lays it on kinda thick.

OSAMU KASHIWAGI

Most Likely to Respond Positively to Receiving:  Acts of Service. ‘I love you’, ‘I care about you’, ‘I worry about you’, ‘I need you’, and ‘I want you’ are phrases that do not often find themselves in his vocabulary. He’s very old fashioned in the way he shows his affection toward someone (when it’s not blatantly written on his face). He appreciates when he hardly has to pick up around the house because his partner wants him to relax.  

Mostly Likely to Offer: Acts of Service. He’s not really all that sure of other ways he can show his love than by, well, showing it. He’s a very observant man– probably more observant than most. It’s because of that, that he’s often able to tell whether someone actually means well or if they’re simply going through the motions. He never wants anyone putting themselves out for his sake. If he sees that his partner isn’t doing something for him out of obligation, rather than because they simply want to take it off his hands, he will never hesitate to repay them in kind. He almost automatically takes the responsibility of head of household, and he’ll take it seriously. So often, he could be drowning but his partner wouldn’t hear a word about it because he doesn’t want them to worry. He will ensure they’ve had no less than three meals a day and surprise them with snacks when he thinks they could use a little pick-me-up.

Least Likely to Respond to: Words of Affirmation. There aren’t many ways in this world that make Kashiwagi feel flustered or embarrassed but there are a couple and they fall under the ‘direct proclamations of love’ category. He’s not one to fix his mouth to say the words and if he does feel the need to say something, it’s about as indirect as it could possibly get. He’d very much be a ‘tsuki ga kirei desu ne’ type of man and he prefers that his partner understands that. Otherwise, there shall be some awkwardness afoot.

KAORU SAYAMA

Most Likely to Respond Positively to Receiving:  Acts of Service. So often, she feels she needs to carry the world on her shoulders because she knows that she's all she’s got . She takes care of herself. She has no qualms with doing so. She doesn’t need anyone else to take care of things for her… But, she’d be lying if she said she wouldn’t feel the relief when someone comes in and carries the load themselves without her so much as having to ask. She loves someone that can basically say, ‘While I know that you can do it, I’d like to do it for you.’ with their actions.

Mostly Likely to Offer: Physical Touch. She may have a hard exterior but it’s a layer she sheds very easily when she's beneath the touch of the right person. She can’t be touched by JUST anyone. She’s had coworkers who felt the need to squeeze her shoulders or touch her waist when they pass by and she physically recoils. In fact, she nearly broke someone’s wrist when pinning it behind their back because they were too ‘friendly’ with her. She’s called frigid. Folks assume that if she ever winds up with someone, that person would be marred by her fangs. However, that couldn’t be further from the truth. The person she loves has a way of melting down her icy barrier. Even when she’s being smothered, it somehow doesn’t feel like enough. Just… don’t expect her to explain/say any of that.

Least Likely to Respond to: Word of Affirmation. She feels that if someone acts with intent, there’s not really much need for words. Show, don’t tell is practically her motto when it comes to romance. Nothing kills her interest in someone faster than a bunch of empty words and promises. 

KAZUMA KIRYU

Most Likely to Respond Positively to Receiving:  Physical Touch. If he ever sat and thought about it, he’d realize that the majority of the physicality he’s ever experienced in his life has been physical violence. Most people wouldn’t have experienced even a fraction of what he has. It’s sort of sad. He’s not very… in tune with his innermost desires. He’s not very honest about what he wants, whether it’s because he believes that he’s just not deserving of it or just that it’s a little embarrassing to admit, even to himself. That said, deep down? There’s a craving to have a pair of loving hands on him. He aches for that tenderness. So often, he finds that when he’s actually with someone, the time he feels most fulfilled physically is not when they’re touching him with lust but rather when they reach for him in comfort. 

Mostly Likely to Offer: Acts of Service. There’s not much in this world that he wouldn’t do for those that he loves. Sure, he often makes questionable choices but his intentions are always in the right place. He would do for his partner before he’d do for himself. He would put himself in difficult, uncomfortable situations if it means he’s able to help his loved one go through their days with ease. He’s not someone who has to be told what needs to be done but if he is told, he doesn’t really need to be told twice before it’s handled.

Least Likely to Respond to: Words of Affirmation. He’s not against hearing his partner out as they affirm him. He’s just not always sure how to respond to it. In instances where he’s rallying the troops, he’s got more than a few powerful speeches in his arsenal but he doesn’t plan them. He gets by by sheer passion while he’s internally waffling. He may spit out a simple, ‘Thank you’ after his partner tells him they love him and accidentally hurt them in the process. Being that vulnerable with a partner is infinitely more difficult than he’s emotionally equipped to handle.

GORO MAJIMA

Most Likely to Respond Positively to Receiving: Physical Touch. Touch starved doesn’t even begin to explain what he’s got going on. He can probably count on one hand how many people he trusts enough to get close enough to him, let alone touch him. His case is a lot like the previous in that he’s experienced more physical violence than affection. In his case though, he knows what he wants or even, sometimes needs. It's just a matter of who is capable of disarming him well enough to fill that void. When he's got the ‘who’ sorted, he has no shame in asking for what he needs. He may be a little playful in the delivery but it’s not really a joking matter.

Mostly Likely to Offer: Physical Touch. There aren’t many instances where he exhibits his capacity for tenderness but reaching for the cheek of his loved one is one of them. Observing him with others then witnessing him show his ability to be warm, kind and gentle can be a little disorienting for those that believe everything that they see. He has a desire to be the beacon of safety in his partner’s eyes. He’s failed at that before and he shut himself out from opportunities to try again. It takes him reopening himself up, lowering his walls and trusting himself to be capable of not making the same mistakes twice. When the gloves come off, he wants his partner to know there’s no need to fear his touch.

Least Likely to Respond to: Words of Affirmation. Perhaps it’s because he spends so much of his day going around spouting bullshit for the sake of spouting bullshit that lots of things have little to no effect on him. He’s capable of confessing his love and he’s capable of accepting his partner professing their love but his partner would known from the way he treats them, long before the words come out of his mouth. He’d appreciate it if this was mutual.

TAIGA SAEJIMA

Most Likely to Respond Positively to Receiving: Quality Time. He’s lost a lot of time and so he’s someone that makes sure to treasure every second that he gets whether he’s alone or he’s with the people he cares about. If his partner makes it a priority to share their time with him, no matter how much or how little, it doesn’t go unnoticed and he is sure to appreciate it. 

Mostly Likely to Offer: Words of Affirmation. He’s not a man of very many words. He’s someone who tries to speak with intent. He feels one can get more out of listening and observing than speaking a lot of the time. That said, when he does open his mouth, it’s because he’s got something that he feels is worthwhile. He doesn’t like to go through his life regretting that he didn’t say the things he should have said when presented with an opportunity. Again, he’s lost too much time and he’s lost one too many people not to. When he does affirm his partner, he tends to leave an impact.

Least Likely to Respond to: Receiving Gifts. He lost his sense of materialism ages ago. He doesn’t usually care about things. He doesn't want anyone wasting their money on him, especially when he knows that sometimes, one wrong move and he can lose everything. After having to start from zero more than once, he’s simply relinquished his attachment to material goods. However, he does hold a deep appreciation for things that are homemade especially for him. It’s practically a different story.

SHUN AKIYAMA

Most Likely to Respond Positively to Receiving: Acts of Service. Not to kick the man for being a lazy bag of bones but, he’s a biiiit of a slouch and often finds that he cannot be bothered to lift much in the way of a finger. When he’s with someone that does all the less than glamorous work for him, he takes notice. He might be a little cheeky when he speaks up to acknowledge it but his appreciation is genuine. He tries to remind himself to repay them in kind. 

Mostly Likely to Offer: Giving Gifts. While he’s not always the one to pick the gift personally, the idea to get something for his partner was his own. That’s gotta count for something, right? He doesn’t always trust himself to get something that his partner will like, even when he knows them like the back of his hand. It’s a damn shame too, because getting to see the reaction they have is like a little gift for himself. If he has taken the initiative and picked the gift, he’s almost a little anxious when he’s handing it off. Seeing them react positively to a gift he’s chosen for them does a little something to his mind that he’s not able to explain. It leaves him wondering why he doesn’t trust his judgment more often. When it’s time for another, he’s back to pawning the responsibility back onto Hana as if he’s learned nothing. Least Likely to Respond to:Quality Time. He understands that a lot of relationships require time to nurture but the truth is, he sort of enjoys his solitude now. He enjoys it to the point of being almost neglectful. He realizes he’s got that selfish streak in him and he won’t resolve it until he’s ready to do so.

[sscardinal7]

Live stream happened, and we got some designs revealed! As well as a couple of information, but not anything major.

Miss conductor, not much of a surprise (but miss girl looks gorgeous as always)

And Node, who is sort of the main antagonist.

I made a prediction before, and April 21 hit,.. so I believe it is well due for an update by now.

While we did not receive nearly as much information as we were anticipating, a design still reveals much on the character itself when going through the lens of a general analysis. In this context, their abilities and name aid significantly in the status and essential depths of their character.

With what I can gather in my research, nodes play an important role in networking because they are the building blocks of a network, precisely the gateway for connection, direction, sending, creating, receiving, and storing data. It requires only software to connect to the network, and it can be run by completely anyone. Applying this knowledge with concept arts of the game and overall worldbuilding of the series itself—everything becomes a lot clearer.

So now, how can we apply this to Node?

Node's name is simple in itself, and it connects to their design as well. They are quite literally made up of nodes. One in their head and the other in their limbs. Their body is translucent.

Network nodes are categorical. Thanks to DJ, we got a helpful hint that incredibly reduced their types to a digestible and simpler layout.

Their name starts with i.

There are countless forms and types of nodes, the hint condensed it down to 2 answers, both starting with the letter “i”

Intermediate nodes

These include devices like routers and switches that help direct data to the correct destination while also receiving it. They don't originate or terminate data but instead pass it along to where it needs to go.

IoT nodes

loT (Internet of Things) Nodes serve as devices that establish connectivity to the Internet via a gateway, effectively enabling the integration of the physical world into the vast realm of the Internet. Within an loT ecosystem, these nodes function as crucial components for bridging the gap between the physical and virtual worlds. Taking charge of managing the entire loT system.

We had seen this ability before vía King's icons' staff, in which it only sucked in Minecraft mobs due to the strong force being their obligatory origin, overriding the game itself due to the overlapping icons.

In regards to King, he used this ability for the very destruction of the game itself, down to the code, reducing it to nothing but.. nothing for the sake of vengeance. Or at least what would have occurred if he did succeed.

way to go CG! Give credit where it's due

Despite this being marked with the intention of erasion and minimization, I think it's safe to group this as receiving and storing data. The two icons combined created a horrifically dramatized version of the force with storing and receiving, which created an incredibly overpowered demolishing force.

In Chosen, we had seen this ability before as well, as the constellations are seen right as he creates the gateway from the Outernet, which sounds awfully familiar. This is what you would refer to as an "extension to the digital world"

I think I can be able to safely group this to direction and creation.

From how I see it, it seems as though it's quite diverse in a fictional worldbuilding sense within characters.

And obviously, it won't be the last time we would see it. It seems as though we would be exploring this quite a lot.

In their cameo, Node is in an assumed line-up with all the major series antagonists.

But if you’re asking me, it seems as though our iconic antagonists appear to be rather victims of Node. Menacingly behind them, their abilities floating not far behind as they're stuck in a swampy substance. But that's just me.

Node's entire antagonistic ordeal is beyond my grasp, but I'm assuming their abilities and attacks surrounds the embodiment of network topology, which would mold and diverse into the connections of nodes. They possibly intend to screw up with the gateways that are responsible for the receiving, directing, and sending of data between various devices through communication links that are defined as network—with the basic visuals of concept art we were given.

(The gateway, ethernet tunnels, the train cough cough)

Node's goal and story behind that destruction remains anonymous, as the writing is still in early development. Regardless, food for thought.

[shallowseeker]

i know it’s used loosely as a joke (which is admittedly just as hilarious and every bit as whimsical as the character A-never-did-anything-wrong phrase)

but real talk for a sec:

caring about a person’s family and then caring about things/people they care about through virtue of knowing and being with them in a supportive unit is a lot how empathy works

i think cas’s 15c18 testament gets taken a bit too literally sometimes, as least for my tastes, and it can come off a little weird imho to use it to diminish the idea of cas caring about other things

and again, maybe this is just my taste, but i view the whole caring thread as more like… a domino effect rather than “the first thing is the de facto realest/deepest/truest thing through which everything else pales in comparison to or must connect back to” (which could… almost read as an amara-coded mentality: “then you went and made all those other things”)

living and growing up in the world is just like this: once you allow yourself to grow and care about things, your world keeps getting bigger and bigger ykwim? (that’s what the whole amara and “our little world” thread echoes for me)

and importantly!!!!

cas cares about things quite naturally on his own… that’s why torture and brainwashing happens to him so early and often… even other angels remark that cas’s heart was always too big

and like dean, i think cas tends… NOT to give himself enough credit for his own caring and emotions… cas grew up under an authoritarian regime that punished him for caring on his own merit, so it’s no surprise he seems much more comfy coat-hangering those “softer” things on humanity or individual humans

but like… consider this.

it’s clear onscreen that even as a full-powered angel, cas REALLY feels guilt, worry, and regret!!! in those early seasons, it’s very obvious! he has values that he wants to act on! he has doubts/regrets/feelings the point other angels point it out!!!

but cas himself later frames his so-called newfound empathy primarily through his human experience; he invokes being hungry and dying it as THE gateway to his overcoming an ends-justify-the-means soldier mentality

when that’s… just categorically NOT what we see onscreen! onscreen, cas had to be tortured OUT of caring. cas had to me memory wiped over and over. like dean, he can’t help but care!!!! i think maybe it’s cas’s romanticization of his own emotions at work here, retroactively tying them to humanity…

and while i do think falling/losing his grace helped cas parse his own emotions, to say being human and dying is “why he can feel guilt now”??? nooooo. hell no. (aside/// cas you are lying to yourself and putting human emotions on a pedestal again… which he will do off and on until s14-15 when he starts verbalizing “humans can be the worst kind of monster.”)

anyway my point is!!!!

i think cas sometimes gives other things or ppl credit when it comes to his own emotions or intuition.

dean tends to undercut himself in this same manner, like when he tells jody that sam is the one who’s good with emotions/talking… when that, again, is not what we see onscreen

anyway

the beauty in TFW to me is the resilience and joint effort to continue to try and support that caring heart… through the good, bad, ugly etc

it requires bravery to care! especially in heaven. you can be killed for caring about the wrong thing.

and once you care, you can lose things. you can get disappointed (and intolerance of disappointment is the chuck-coded mentality)

but caring in my head is a bit akin to the whole acting on free will is a group effort angle…

my broader point that i think i’m losing is that consider that… contagious caring does not diminish the later things you come to care openly about. these things that come after come more easily because of having a safe space to express your natural heart as it wants to be expressed…

EDIT: now if only we could conquer the final frontier…

getting the hero/soldier to care not just about loved ones and the world… but himself

he is not expendable!!!!!

[mahou-furbies]

The more recent magical girl titles have made me think about the trends in the genre. Or more specifically in the henshin heroine/magical girl warrior sub-genre.

This is what the magical girl genre as I see it is built upon, stories aimed at girls where the heroines transform into a cute outfit and fight monsters. And if a character in a non-mg work is a fan of an in-universe magical girl show, this is usually what is referenced (rather than the cute witch or magical idol type). Lately there has been very few new IPs like these aimed at a younger audience; a ton of older hits are getting some kind of reboots or sequels, but outside Precure there aren't that many new titles. And the Precure seasons of course are a part of the franchise instead of something totally new.

When Madoka came along it caused a wave of other darker magical girl titles, with their premise being some variation of "what if the stories from the previous group were edgy?". And, contrary to what detractors say, they mostly have something new to offer and aren't just Madoka clones, though I think it's obvious that Madoka's success is what led to the creation of so many of them.

I feel that the golden age of the edgy magical girls has also passed, and now the new works like these are generally a part of an existing franchise (namely Madoka), and the new magical girl shows aimed at an older audience tend to be parody types, like MahoAko, Magical Girl Destroyers or Machikado Mazoku. Or the parodies have been there all along, but nowadays they're more prominent when there's not many of the more straightforward stories around. In general otaku media experiments with genre elements a lot (seriously look at all the isekai premises for example), so these genre-aware works are par for the course.

What feels fresh is the increasing amount of magical girl titles aimed at a younger/non-otaku audience that are more genre aware and have characters who know what a magical girl is and have expectations on what they should be like, or at least expect the audience to. Here we have MahoAku (a fluffy comedy of how the magical girl and the evil officer are in love), Magilumiere (magical girl is a regular job for adults in this universe), Acro Trip (the main character is a normie and a magical girl fan) or Mahou Shoujo Dandelion, which inspired this post in the first place (a manga where one of the monsters is friends (family?) with the magical girl).

Here's to hoping for more popularity for these! While I would very much like for more new magical girl stories with a more straightforward premise, I also welcome any variety with open arms. Especially when Precure as pretty much the only other player in the game of non-reboot non-otaku magical girl anime IPs is so categorically opposed to doing anything new with its story.

[elspethdekarios]

Gale as an archmage

I've been thinking about this for a while. If you select Gale as an origin character in the character creator and play his intro, he introduces himself as Gale of Waterdeep™ he immediately follows with "please - no need to be intimidated."

Now I think we initially brush this statement off as Gale being full of himself, but the first time you talk to him and ask him to tell you about himself, there's an option to say something like "Come on, you must have stories from your time as archmage."

And I've always wondered - how would tav know this? Gale hasn't mentioned it. Which leads me to my research question:

Is Gale famous?

Not Elminster-famous, of course, but is he THE archmage of Waterdeep, known throughout the Realms? Is Gale of Waterdeep a legitimate title, not just one he decided to use because it sounds important?

Maybe all of this is common knowledge in DnD lore, but it's a fairly new world to me. Here's what I found about archmages:

From the Forgotten Realms fandom wiki (https://forgottenrealms.fandom.com/wiki/Archmage):

Archmages were among the most powerful arcane spellcasters found throughout all of Faerûn. These practitioners of the Art were experts at manipulating and altering their spells, often in strange ways. Many cities across Faerûn had a single archmage who dedicated themselves to serve that settlement and its people. Some notable cities included Lyrabar in Impiltur, and the great western metropolis of Waterdeep. The term "archmage" was often used to refer to spellcasters who took on leadership roles among similarly-inclined practitioners of The Art. In the drow city of Menzoberranzan, the head of the arcane academy known as Sorcere was granted the title, Archmage of Menzoberranzan.

So, to summarize, archmages are super powerful, big cities often have a singular, dedicated archmage, and they take on leadership roles in the city, sometimes (or at least once) being deemed THE archmage of the city.

I've already seen posts about the insane amount of power held by archmages, so I'm not really going to go into that. I'm just interested in how well-known Gale would be in the Realms. One issue I'm running into while researching is that many people seem to approach the archmage in terms of DnD stats (spell levels, player levels, etc) rather than from a storytelling perspective.

I can't find much else specifically on how widely known archmages would be. There is a list of archmages on the Forgotten Realms wiki, but Gale isn't included on it. I'm assuming maybe BG3 lore is considered an off-shoot of FR lore and therefore not necessarily canon? Let me know if I'm wrong about this.

So that leaves me with message board responses. Here are some notable ones:

An old candlekeep.com forum on the differences between the titles used by magic users. Several users seem to agree with this person.

From the same thread as above.

Interestingly, DnD beyond has archmage categorized as a monster. I'm not sure if this applies only to evil-aligned mages or not, so anyone with more familiarity, feel free to chime in. Anyway, here's what DnD beyond says:

"Archmages are powerful (and usually quite old) spellcasters dedicated to the study of the arcane arts. Benevolent ones counsel kings and queens, while evil ones rule as tyrants and pursue lichdom. Those who are neither good nor evil sequester themselves in remote towers to practice their magic without interruption. An archmage typically has one or more apprentice mages, and an archmage's abode has numerous magical wards and guardians to discourage interlopers."

Gale does mention having students/apprentices at some point (he says something about being impatient with them if I remember correctly, but I can't remember when he actually says it), and, if he's Professor Gale in the epilogue, you're told that an apprentice delivered the invite to the party.

I also find it interesting that archmages typically have wards around their home to keep out intruders, implying that they're well-known enough to have people regularly trying to break into their home?? Or at least has happened enough times to warrant protection.

I also appreciate this reddit comment on a thread asking about the rarity of archmages:

This lead me to a super interesting reddit post which I really suggest you check out if you're interested. The OP breaks down the percentages of each class and level and translates that to city populations. I'm bad at math so that may be a horrible explanation. Anyway, here's a chart that they made:

I have been trying my hardest to put the alt text on the images for accessibility but I have no idea how that would work with this chart. I did include the text at the bottom for screen readers just in case. I'm sorry!

Sooooo someone in the comments asked specifically about Waterdeep and here's what someone who is good at math figured out! (They are correcting a previous comment with incorrect math, hence the first part of the comment):

Since a wizard is considered an archmage at level 18, it's safe to say that Gale would definitely be one of only a few wizards in Waterdeep with such a title. And if the above commenter's assumption about the Blackstaff being one of the only archmages in the city, Gale being of a similar level is HUGE, right? The Blackstaff is a big deal. From the Forgotten Realms wiki:

Blackstaff was the title and name given to the master of the eponymous staff and Blackstaff Tower, including Blackstaff Academy, as well as the Archmage of Waterdeep.

So if the Blackstaff is THE Archmage of Waterdeep, Gale, obviously, is not. But!!! If we can trust the math of the reddit users above, and we assume Gale was at least a level 19 wizard pre-orb/tadpole/whatever ... he would be one of two archmages in Waterdeep, second only to the Blackstaff themself.

I personally think that's enough renown to be a somewhat familiar name throughout Faerûn. So yes, Gale is a bit arrogant and, in his own words, pompous about being Gale of Waterdeep™ but perhaps it's warranted.

This has been a deep dive fueled by procrastination about writing the research papers I should actually be writing right now. Thank you for your time

[raven-at-the-writing-desk]

On the topic of EAH and Twst I can't help but think about how it would translate to the rivalry between NRC and Royal Sword Academy. Like, there would be a whole school for the heros and another for the villains. I wonder if it would also make the general population see the NRC students as evil and murderers or something

[Referencing this post and this post!]

I guess that might be including elements of The School for Good and Evil then? Those tack on a lot more social discrimination based on what your role is labelled (either “good” or “bad”). Raven Queen in EAH does experience ostracism from her classmates due to her mother’s legacy, but plenty of people in the main cast treat her like a normal classmate rather than someone to be wary of. In SFGAE (and even Disney’s own Descendants), there is a lot more overt hatred and discrimination of those deemed villains.

The concept of separate schools could mess with the roster of NRC students by separating unclear villain characters or non-villain characters out. For example, Kalim, Rook, and Silver are “good” characters. Jack has no clear inspiration, so he isn’t exactly a “bad” wolf unless you specifically assign him a destiny as one (such as the Big Bad Wolf). It could also be argued that “minion” characters like the card soldiers aren’t truly “bad” because they’re operating under an even greater evil. Strict categorizing and sorting into schools based on that might be more difficult than you’d think. I think I’d at least want one campus as a shared space for everyone to interact.

I think it how the public perceives the students would differ based on the severity of the destiny, honestly. Some might think of them as murderers but others might just assume they’re spiteful or unpleasant (or will be someday). If you’re fated to kill someone then surely you’d get more harsh judgment than someone who… I dunno, stole some tarts. In any case, the bulk of it wouldn’t be anything positive. I feel like that’d create this environment where the average NRC student feels like they have to fend for themselves (since the public sure isn’t supporting them), which leads into them coming across as independent and arrogant, which only goes on to confirm people’s preconceived notions of them, etc. It becomes a self-fulfilling prophecy, and that’s something else they have to break free from.

[kalinara]

(X-Men Red #9)

So my tangent in this post suddenly reminded me of this scene.

On one hand, I'm suddenly really interested in the fact that Scott is okay with what Xavier's trying to do with/to Gabriel here, comparing it to an information download. Alex, on the other hand, thinks it's a repair job, making it sound a lot more like repairing Scott's brain damage through resurrection would be. That's something Scott has categorically refused over and over again.

It's very rare that I say this: but Alex is right here, and it's a fascinating point of hypocrisy for Scott.

But the real reason I hunted down this scan is the reveal that Emma, rather than Jean, is the one who tends to be involved in Scott's resurrections.

I know Alex says he's not "dissecting" that one. But I find it fascinating.

So in the other post, I was thinking about the general lack of sexual jealousy that Scott tends to display, even in the midst of multiple love triangles. Even when Emma admits to having slept with other men. His one moment of territorialism ("they don't know you, not like I do") is emotional, rather than sexual.

It's interesting to relate that idea to what we see of their respective dynamics in Krakoa. It's never clear to me whether Scott and Emma actually sleep together in Krakoa. It definitely could have happened, I think. They've exchanged some flirty comments, at the very least.

But I feel like, ultimately, the real draw of their relationship to one another is emotional more than sexual. (Which doesn't mean they weren't banging! They don't necessarily have to be, though.) And that part has definitely held true. I think about the time when Scott and Jean have their little mini-coup in Swords of X. The most morally upright members of the Council all immediately volunteered to abdicate their positions and go with them. That wasn't surprising.

What WAS a bit surprising was when Emma offered to come too. She'd already put so much work into the Council, and honestly, a LOT of Krakoa's successes in terms of PR as well as economics pretty much came from her direction. The Autumn Council had loftier concerns. The Supervillain table was busy snarking and scheming. The hero table was busy disapproving and spreading themselves too thin. And even at her own table, Shaw was a hinderance more than a help, while Kate was more rebellious minded: a good guerilla rescuer, but not a politician.

So the fact that she was willing to give that up in that moment was significant. As was the fact that Scott immediately understood what she was offering and just as significantly let her off the hook. Because what she was doing and the work she was doing was significant.

And it makes a strange kind of sense that Emma's the one who is involved with his resurrections.

I mean, for one thing, I'm not sure Jean has ever done a resurrection before. I keep thinking I remember her doing one, but then I look back and it's actually Hope. (The problem when your f!sem daughter looks exactly like her "dad". Tangent: I still think that's how Rachel should finally come into 616 proper - let Jean knock up Scott. I feel like he'd be willing.)

It's interesting that Jean doesn't resurrect people though. It seems like she should have the skillset, being an Omega level telepath and all. But then, Quentin Quire doesn't resurrect people, either. Maybe that kind of restoration requires a subtler touch when they're like a sledgehammer.

And well, Jean might not be embracing the Phoenix at this time, there is the fact that she historically has never responded well to Scott being injured or dead. Even without the full space god powers, she could do a lot of damage if she's upset enough.

For all that it's Scott and Jean first and foremost for me, I do think sometimes he puts on a role for her. Like, even now, when you read the Phoenix: they talk about what she's doing while he volunteers very little beyond maybe a wistful question about timetables. Does she even know he's restarted the X-Men? Does she still think he's hanging about in his parents' cabin, recuperating?

She might know! But it says something, I think, that it's equally as plausible that she has no idea and will get extremely irked when she finds out.

I think he's more comfortable going mask off with Emma. So to speak. He finds it easier to express darker emotions and be more raw. Jean is the only one that can judge him while Emma won't ever judge because she accepts her own dark side and his.

...there's an interesting gender swap element with this. This is not an Archie with Betty vs. Veronica dynamic so much as it's one of those YA urban fantasy romance books again. Heh.

What I like about this though is that it's not a matter of one relationship being better than the other. They're just different. Emma likely would have been welcome on the Moon, but I think she'd take one look at that comfortable domesticity and run away screaming. That's never been something she's wanted.

And the decor is so pedestrian, darling.

But that's what makes it work. Scott and Jean are deeply in love, first in their hearts, wanting that life together - whatever that means, with their family (whoever's still alive), their kids (no matter how old they are or whatever dimension they come from), and everything else.

And even though Jean's off doing Space God things right now, there's no doubt that she'll be coming home eventually. And in the mean time, he's made her a "home" to take with her. Utterly unnecessary, given her powers, but comfortable and human.

Scott and Emma are partners. They understand each other on a soul deep level. They don't really make each other better, but they're always good at shoring each other up, being the ballast that the other needs to stand up and move forward.

At the same time, they live in different worlds. Scott would be miserable in her penthouse. He's not particularly suited to running a school that ISN'T also a garrison and we've never really seen him even try to actually teach. She's never wanted to be even step-mom to any of the Nathans or Rachel. She's got her own set of daughters, thank you very much, with their own complications. She hardly needs his.

So that's what makes the Krakoan polyamory work so well, because when it comes down to it, there's nothing really incompatible about these relationships. Jean and Emma aren't looking for the same thing from Scott. Well, I think they'd both enjoy having him tied to their bed, but they can figure out a schedule for that. Otherwise, the only obstacle to these relationships co-existing is the idea that you can only have a deep and meaningful non-platonic relationship with one person.

And Jean and Emma seem to appreciate that too, because aside from a snarky aside or two that involved both laughing, we don't actually see any jealousy from either of the women as well. They seem to have realized that since they both want different things, they've got no reason to compete.

I'd like to think they also bang. It'd be fun. Domme vs. Domme, go!

It does occur to me, yet again, how much of a missed opportunity the Throuple is.

I mean, I never expected much from the Scott/Logan end beyond the little scenes and hints that we did get. (More than I honestly expected, less than I'd like.) It always seemed pretty clear that they were slipping it past the radar and Marvel's cold feet wasn't surprising. I can write up something based on how they see them, but it's based on fannish interpretation, not established canon.

But I'm deeply disappointed at the wasted opportunity that is the Jean/Logan side of the Throuple.

Because this was the chance to FINALLY tell us what these characters see in each other and what they get from each other, and what an established relationship actually looks like between these two characters and we've got NOTHING.

These two characters were in the same book for a WHILE. Logan has a solo running simultaneously. There was room SOMEWHERE to establish what Jean and Logan as a couple actually look like. But all we get is one sex scene in the hot springs. And maybe that time where she telepathically supports him in X Lives of Wolverine, but she'd have done that even if they weren't together!

But it really seemed like the folks at Marvel were too enamored with lone cowboy Wolverine. Which would have been great at ANY other time, but right now, on Krakoa, Logan's got what he's always dreamed of: a romantic relationship with Jean Grey!

And we see almost none of it! (He also has kids, alive on Krakoa, and has so little interaction with them that the point where Laura gives him a world's greatest dad mug in Sabretooth War seems like a passive aggressive dig. Did he even get to meet Talon?!).

Despite a canon romantic/sexual relationship, we still have very little idea of what this couple actually means to each other. The beats that I've picked up: Logan's attraction to "Jeannie", as a girl next door type that inspires him to be a better, more civilized person. That's been established really early on. But we still don't know what that MEANS.

Jean's always seemed drawn to his inner nobility and the sacrifices he makes (it's explicitly what draws her to him in the mini-series set during Fall of Krakoa, and I think it's pretty compatible with what we've seen before.) But is that enough for a relationship?

I can extrapolate a bit here. Theirs is a sort of weird courtly romance. They're both drawn to an ideal that the other represents. Which is not necessarily a bad thing, but to flesh that out into a real romance, we need to see it challenged. What does that MEAN?

We know Logan's not suited to domesticity. Jean doesn't really need that from him though since she's got a husband and children.

He is a very romantic figure though. In a way Scott hasn't been and could never be. If Scott ever had that tendency, it got carved away a long time ago. But Logan's survived amnesia and experiments and still goes strong.

I feel like you could do a lot with the idea of them as each other's oasis: kind of an escape from the pressures of their every day life, where they can just be romantic together - all the big gestures, the roses and champagne that's too civilized for him most of the time and too impractical for her.

...THAT's what I wanted to see from them. Sex in the hot springs is all well and good, but I wanted to see them with a candlelight dinner on the beach, enjoying those lovely, deep sensual moments that Logan would never find on his own, and would just bewilder the Scott Summers whose first impulse at finding himself with his wife at an isolated cabin was to suggest they clean it up.

But none of this is canon. It's as fannish as what I'd write up for Scott and Logan. Possibly more so, because at least Scott and Logan have had decades of their weird push-and-pull dynamic to fall back on. Jean spent a lot of that time dead!

The funny thing is, in the course of this post, I've finally discovered an interpretation of Jean/Logan that works for me, but I resent that it's my invention, when the folks at Marvel had a chance to sell us on a CANON interpretation but fumbled the ball entirely.

[utilitycaster]

Inspired actually by me nonstop thinking about the Young Witch Solving The Disappearance Of Her Neighbor's Cat In The Alps tweet since last night and a number of other unrelated posts I have been thinking about the concept of maturity in media, because I think there's a lot of different dimensions to that. It's a series of spectra, rather than a binary, and if you use the terms "mature" or "immature" you can quickly realize that a lot of our societal metrics for what's adult-appropriate vs. child appropriate are very skewed in specific and in my opinion untrue and unhelpful directions. This could honestly be a 10 page essay and I may very well write that when I'm on break but just to give you my outline here:

Stimulation - is it grabbing your attention with bright lights and loud sounds and fast action, or do you have to actively focus? Action films can be just as "jangly keys" as children's animation despite being an "adult" work, whereas something like Mad Men can have vivid colors but would bore a child to tears in terms of pace and action. However, and this will be an ongoing theme, you can have a very choppy, fast-paced narrative that is complex and a very slow and dull one that is incredibly simple and childish.

"Ratings" Subject Matter: Sex/Violence/Profanity. This is the one I think is most misleading, because you can have an incredibly puerile R-rated film, and you can have an immensely complex narrative without any of the above. [note: I have zero patience for people who act like sex and violence are inherently unnecessary wastes of time; they are merely things within a narrative that can be executed well or poorly, but it is true that something can have a simple plot and constant bright lights and stimulation and essentially be big old jingling mobile for infants but there's a sex scene in it so it's Adult Now. Unfortunately a lot of people are like "and this is why YA is inherently better" which we shall see is not the case.]

Other Difficult Subject Matter (I don't have a good name for it, but to give examples, death, racism, genocide, abuse, serious or chronic illness, etc). This one is tricky because all of the above are topics present in works for quite young children, because they can experience all the above or have someone close to them experience them, and fiction is a powerful teaching tool. Obviously the nature of how this is presented varies, and later points will cover it, but while in my opinion the simple presence of these topics says nothing about the work's level of maturity on its own I'm including it because you do get people who think that children should be shielded from all the above and would consider the mere inclusion of those topics as inappropriate. They're wrong, but it's definitely an axis of judgement/categorization that exists.

Adult-level processing of information (probably a misnomer in that teens can do this but like, teens read adult books all the time, and as Tumblr has shown us, many adults cannot do this): does the narrative require you be able to pick up on subtext? Do you need to understand what is relevant to the story and what isn't? Do you need to be comfortable with or at least able to tolerate not knowing entirely what is going on right away? Do you need to have a sense of irony? Is there an unreliable narrator?

Adult-level processing of moral complexity (in my limited, not a parent or educator experience, I honestly think teens do better with the information processing than this, ie, this is one of the last things to develop; also Tumblr is even worse): does the narrative require you accept that sometimes things are unfair and will never be fair? Do you need to accept a story in which the Quote Unquote Bad Guys walk free without real consequence? Do you need to accept a story in which no one's actions are entirely defensible or in which no choices are easy and clean and harmless? Do you need to attempt to understand an alien perspective? Is there senseless tragedy? This incidentally is how you separate out the children's books from the adult books on topics like illness or catastrophic events; a lot of children's books end with a message of "it's hard and sad, but it will be okay eventually" and focus on very relatable POV characters which is understandable! But, to use an example as someone who went to a Jewish school with a robust Holocaust education, elementary schoolers read Number the Stars in which the (entirely fictional) Jewish family escapes to Sweden; middle schoolers read Night in which Wiesel's (real) father dies painfully in front of him.

None of this is to say that escapism/cozy fiction/whatever you want to call it is bad - I am not interested in a diet entirely made of thorny moral quandaries and no happy endings. I enjoy a stupid turn off your brain action movie, or a fluffy romantasy. But I do think that a demand that every ending be happy and that Justice Be Served in every story is no less immature than saying "ew, there's kissing in this???"

[prettyboykatsuki-moved]

even tho you dk him yet,, caleb 🙂‍↕️

here we go pre-emptive sex taste typology with mr siscon yan cyborg

also no direct incest but just assume its implied w him which is why i tag w psuedocest

disclaimer for all that with the exception of zayne i really only barely know these men. at least im only semi-confident (read: barely) in writing for them. that is part of the fun.

of them, i know the least about caleb aside from what ive absorbed via osmosis. and sylus

my opinion of this guys sexual preferences is very mixed fyi. i havent met him and have not spoiled the story for myself yet so . you know.

none of this is meant to be accurate DSJFHJKSD !!!!!!

to me he feels like a service top. if he were like normaler i would categorize him a very giving lover in general but he's got soooo many issues. still, i dont think this part of him really goes away KJDSHKJD. i just don't think he is kind about being one later on if u will ?

you're usually the one getting pleasured and doing the receiving but it's not out magnanimity but more like he is trying to prove a point to you by manipulating your body. id substantiate a guess that his desire from control comes form other fear of not wanting to lose u like most of the other men in the game lol

for kinks.........maybe sensory deprivation like blindfolding and corporal punishment but not so much it borders into complete sadism. a fan of spanking. also i do not go here so this is said rather unbiased but i think that man has a somewhat subconscious breeding kink perhaps.

though its less in how i think like. another character would have it and more in the effort to corrupt the idea of family you have between you. something something him cumming in you while you refer to him as gege etc. but he also just seems like he'd want to go bareback at all times even in a vanilla like... actual older brother context. again i do not rlly having a breeding kink. game just recognizes game.

he's in general obsessed with marking you in some manner or fashion for exactly the reason you think but i think just manifests w breeding yk.

hm. probably also likes being fully clothed while your naked. vulnerability, control, complete access etc.

i think he gets off on embarrassing you and probably has since you were a lot younger but it becomes very ugly later on lol. once again if he were normaler i think it'd just be him like...making you beg for it in bed but its much weirder now. enjoys putting his thumb in your mouth for a weird reason as well

likes inspection maybe. thats really just me guessing though. based on vibes.

i think for now this is all i have got. i dont know this man so until i learn his character motivations this as much as i can cook for you guys. if u can without spoiling tell me my accuracy rate that would v funny