#but the power fantasy isn't doing whatever you want

[hunterofthehunters]

seeing people talk about the new animated superman show reminds me that the issue superman's had for the last few decades in mainstream media, which is that too many dudebros assume the point of his character is about his "power". like "oooh look how scary he could be, if superman were real he'd be soooo dangerous" and missing the real truth. the ultimate truth. the actual truth:

superman works because he is a fundamentally very similar character to spider-man.

[chronicbitchsyndrome]

i have been in community with profoundly developmentally disabled peers and peers with brain damage my whole life, bc i had a childhood diagnosis. i have also been leftist my whole life; my mother was a marxist and raised me that way, and while their politics were absolute dogshit, they were lefty dogshit.

my entire life, i have seen leftist educators throw mentally disabled people away as "lost causes" because they couldn't engage with the material the way it was being presented. leftist outreach and education does, genuinely, have a massive lack of accessible material. to be blunt, people are not interested in retrofitting their leftist outreach to be accessible to people who learn best through episodes of sesame street.

as in, i have repeatedly faced outright laughter and cruelty over the idea that this could be a priority. or even something that we consider doing at all.

"people who are that mentally disabled don't need to know about these things," the kindest interpretation goes. ("people who are that mentally disabled don't interact with the world, anyway, they're all in institutions or monitored 24/7 by their parents," the uncharitable underlying assumptions go. "they wouldn't be a worker who needs a union. or a library attendee. or a member of the community garden. or a volunteer at the food bank. or or or")

the people i have seen this hurt the worst, over and over again, are profoundly mentally disabled people of color whose lack of access to accessible antiracist education is causing real danger in their lives. institutionalized disabled people of color who have learned racist ideology and behaviors from white authority, whether they were adopted by white families or incarcerated in care institutions run by white staff. who are treated lower than garbage by leftist educators, who view them as "lost causes," as unworthy of time and effort and attention, as deserving of their abuses because they... what... internalized the abuses that make up every aspect of their lives since birth?

i see people saying things in this conversation like "disability isn't an excuse for racism or transphobia or whatever, people have the obligation to improve themselves." oh, believe me, i have seen again and again how many privileged disabled people utilize their disabilities to punch down on others, try to escape accountability for their punching down by citing disability. but individual weaponization of identity is just that: weaponization of identity.

the power structures at play are what they are. it is a noble and admirable goal to want leftist outreach and education to be more accessible to all. if that is truly your goal, you must eventually reckon with the existence of people who do, actually, really need it presented in a picture book. or an episode of bluey. or a conversation where you only use examples of people they know in real life, using things that happened to them personally. the existence of people who cannot grasp forms of abstract reasoning, who need information presented as rules, or as guidelines, or as categories. the idea that yes, fully grown adults who need daniel tiger to explain racism to them are human beings who not only deserve access to that very thing, but who also deserve to be a part of leftist spaces and benefit from leftist organizing. are people for whom it might be INTEGRAL they get to be a part of leftism. are victims of racism themselves and suffering without access to antiracist spaces and community and support.

and you will need to reckon with the abject cruelty of your peers who laugh and mock the very idea of this. you need to reckon with the fact that a lot of people you respect, a lot of leftists doing genuinely good work, will respond to this by making fun of the people you're serving, even outright telling you their violent fantasies about these people. that is the experience of organizing in leftist spaces for profoundly disabled people. that is why so many of us burn out so fast. there IS a structural problem with mentally disabled people being seen as disposable and not a part of community. and it is EXTREMELY present in leftist organizing and outreach efforts.

[vaguely-concerned]

I understand and agree with a lot of the frustrations about the shortcomings of Inquisition as a story. but sometimes when I hear people complain about the chosen one narrative in it I do want to just be like... you know it's a deconstruction of the concept more than anything, right. the inquisitor isn't actually chosen by anything except stumbling into the wrong (right?) room at the right (wrong?) time because they like, heard a noise or whatever. or if you think they are chosen, as many do in-universe, that's something you have to take on faith, the maker-or-whoever moves in mysterious ways indeed-style. the Inquisitor isn't actually a Destined Chosen One, they're a Just Some Guy in a fancy hat, self-delusions of grandeur to taste as you'd prefer.

a running thread that goes through all of the personal quests of the companions is the concept of a comforting lie vs. an uncomfortable truth, upholding old corrupt structures vs. disrupting them, and the role of faith in navigating that. (blackwall the warden vs. thom rainier the liar and murderer. hissrad vs. the iron bull, or is that the other way around? cassandra and the seekers -- do we tell the truth about what we find, even if it means dismantling the old order of the world? and so on.) and your inquisitor IS at the same time a comforting lie (a necessary one, in dark times? the game seems to ask) and an uncomfortable truth (we are the result of random fickle chance, no protective hand is held over the universe, it's on us to make a better world because the maker sure as hell won't lift a divine finger to help anyone, should he against all odds exist). faith wielded for political power... where's the point that it crosses the line into ugliness? is it before it even begins? what's the alternative? will anyone listen to the truth, if you tell it?

interesting how you also get a mix of companion agency in this -- you have characters like dorian who ALWAYS choose one side of the comforting lie vs. uncomfortable truth dichotomy. he will always make up his own mind to go back to tevinter and try to dismantle the corruption of the old system no matter what you say, or how you try to influence him. meanwhile iron bull is on the complete opposite side of the spectrum -- so psychologically trapped and mangled, caught in an impossible spiritual catch-22, that his sense of identity is left entirely to you and your mercy. you cannot change dorian in any way that matters; you can be his friend or not, support him or not, but he is whole no matter what. you are given incredible and potentially destructive-to-him power over bull's soul. it's really cool (and heartbreaking) to think about.

this is a game about how history will eat you even while you're still alive, and shape you into whatever image it pleases to serve it, and for all your incredible power right now you are powerless in the face of the gravitational force of time -- of more than time, of History. you won't recognize yourself in what History will make of you, because you belong to it now. you don't belong to yourself anymore and you never will again. the further you were from what it needs from you to begin with, the more you will find yourself distorted in its funhouse mirror. (why hello there inquisitor ameridan, same hat!)

and to me this is so much the core of what Dragon Age is about right from the Origins days -- how and by whom history gets written, the inherent unreliable narration of it all. I hope you like stories, Inquisitor. You are one now.

I do think it's probably still the weakest of the games narratively, and it's hampered by its structure and bloated systems. but I also find it disingenous to say that there's nothing deeper or actually interesting going on with it, thematically. if you're willing to engage with it there is Some Real Shit going on under the high fantasy-tinted surface.

[littjara-mirrorlake]

The Color of Hope: Ambition, Necromancy, and Black Mana

Black is one of the most misunderstood colors in Magic: the Gathering, not least because it appears on the surface to be so straightforward. Look at the most iconic black cards of Magic and you'll see deals with demons, necromancy, mass destruction and cruelty and suffering–the trappings of classic fantasy evil. Even the color's symbol itself is a skull, a universal signifier of death and danger.

And in early Magic that seemed to be all it was. White was the color of Fantasy Good, black was the color of Fantasy Evil, and the rest of the colors were... fire magic? Elves? Whatever odd but intriguing skeleton affairs are implied by Time Walk?

Gradually, though, Magic deepened as both a game and a storytelling medium. The color pie grew into itself as a system of complementary philosophies, archetypes whose associated aesthetics were only part of the full picture. Their arrangement around the wheel, below, is highly deliberate; neighboring colors are said to be allies with a high degree of philosophical and mechanical overlap, while colors on opposite sides of the pie are known as enemies, more likely to disagree on fundamental levels.

Black stopped merely representing capital E Evil and became the color of striving for power; unlike its peers, black felt that nothing, least of all morality, could prevent it from seizing what it wanted. Mark Rosewater's 2015 article about black emphasized the color's focus on the self:

"Black's philosophy is very simple: There's no one better suited to look after your own interests than you... Many costs require the sacrifice of others for your own advancement. Because it puts itself first, black is always willing to make this trade. The weak must fall for the strong to thrive." -Mark Rosewater

At its worst, black is an exploitative, amoral color that prioritizes itself at the expense of all others, allowing the "weak" to fall and scorning the very idea of compassion. Rosewater writes that black is "always willing" to trade others for itself. And these can certainly be parts of black's philosophy, when taken to its worst possible extremes, but they're far from the entire story.

Over time, Magic's outlook on black gained nuance. Magic story introduced protagonists like the necromancer Liliana Vess, whose craving for immortality, seemingly exploitative nature, and demonic deals called back to the oldest portrayals of black–and yet she was not one-dimensionally evil. She underwent character development over the years, learning the value of reclaiming herself and standing beside others, and at no point did she become any less mono-black for it. Remember her; we will come back to Liliana and her story later.

In addition to the usual death and decay, black cards began to feature a theme of relentless devotion. On the plane of Eldraine where each color represents a virtue, black's is persistence, explicitly as important as any other color. On the plane of Ikoria, the love between bonder and beast pulls Winota back from the brink of death. Wherever this Oathsworn Vampire printing is set, its flavor text is quintessentially black. It's the same self-driven attitude as before, but cast in a different light: black is nothing if not persistent when it's got its heart set on something (or someone) it cares about. Nothing, least of all the grave, will keep it down. After all, black will always come back for its own.

These newer cards uncovered the true face of black as a color capable of both great love and harm (sometimes even the latter for the sake of the former), and suggested a tantalizing new thread: perhaps putting yourself and yours first isn't all that bad, necessarily. Black is a deeply protective color; it says you don't just have to accept what you're handed, it's okay even to be furious about it (hello, ally color red), but let that galvanize you to do something about it. 

Vraska, a gorgon who faces extreme discrimination on her home plane of Ravnica, triumphs by reclaiming herself, gorgon powers and all–and even more radically, loving herself. She displays traits often considered the purview of white and green, such as a love of home and a drive to elevate the oppressed, but they are all filtered through the lens of her black alignment. Vraska staunchly refuses to deny herself or her people, the Golgari Swarm, of their value. Nor does she allow law or propriety to prevent her from championing them by any means necessary–even if that means cold-blooded murder, or aligning herself with a villain like the Planeswalker Nicol Bolas.

"[Vraska] thought of Mazirek, of the kraul, of the rest of the Ochran assassins and the malignant Jarad who reigned with casual ruin over the most downtrodden of the downtrodden. She remembered her years of isolation, and the heinous cruelty of the Azorius, and how no group deserved to suffer as much as those who would subjugate her own. Eliminating that hell was all she ever wanted." -The Talented Captain Vraska, Alison Luhrs

Like Vraska, black loves fierce and hard, willing to break any taboo for the sake of those it cares about. And it whispers, the entire way through, you are enough. You deserve better. No matter what others may say or do, you are enough.

"If I am to be met with disrespect, then I must first love myself with a fierceness no fool can take away." -Vraska in Pride of the Kraul, Alison Luhrs

Even black's "ruthlessness" isn't as fundamentally cruel as it appears, centering a passion for problem-solving (shared by its other ally blue) instead of a blunt disregard for others.

"People don’t understand the word ruthless. They think it means 'mean.' It’s not about being mean. It’s about seeing the bright, clear line that leads from A to B. The line that goes from motive to means. Beginning to end. It’s about seeing that bright, clear line and not caring about anything but the beautiful fact that you can see the solution. Not caring about anything else but the perfection of it." -K. A. Applegate

All of this comes together to make a black a color not of evil but of strength, integrity, and persistence. And that's all well and good, but I'm going to take it even further and put forward a new proposition: that black is the color of hope.

Of the nine mono-black Magic cards with "hope" in their names, all but Liliana portray black as an instrument of hope's destruction. This is, once again, black's flaw taken to its extreme–crushing others to achieve its own ends–but neglects black's own relationship with hope.

Black, more than any other color, requires hope to stay alive.

For black to persist, it must believe in a light at the end of the tunnel, a future in which its goals are realized. As long as it does, it will endure any hardship, walk through fire, and turn reality itself upside down on its way there. Primal, desperate ambition is the engine of hope that burns at the heart of black, keeping it always one step ahead of stagnation. Bitter and stubborn, black believes tomorrow will come because there is no other choice. After all, for black to relinquish hope is to let itself wither, regress, and die–an unacceptable outcome. 

Thus, it is monumentally difficult to strip black of hope. That only makes it all the more crushing when it happens, when black contends with the idea that there is nothing it can do.

Black's deepest, darkest fear is helplessness.

Like any mono-black character, Liliana Vess is driven at her core by a seething, desperate hope. When Liliana first unlocks her necromantic power, it is out of a sheer refusal to allow her ill brother Josu to die, even when the esis root that would cure him is destroyed by enemy witches in an undead-raising ritual. She defies her previous training as a healer, which taught her only to take the safe path, in favor of a higher-risk and higher-reward approach: stealing life from the witches themselves to restore power to the esis root she needs. It is her knowledge that her brother needs her, and her sheer stubborn will to succeed, which allows her to defeat the witches against steep odds.

"Six foes, and Liliana stood alone. But Josu's life depended on her, and the power blossoming within her was more than enough." -Liliana's Origin: The Fourth Pact, James Wyatt

Tragically, however, Liliana's attempted cure goes horrifically wrong, transforming Josu into an undead being plagued by eternal suffering. In his pain, Josu attacks Liliana. For a while Liliana holds out hope, finding the power to fight back while she determinedly searches for a spell to reverse the harm she's done. It is when she realizes this isn't possible that her strength falters.

"All this time, she had believed… that she could turn the power of death to the service of life and health. That a healer should use every tool at her disposal. But Josu was the result, a horrible fusion of life and death, and all her spells meant to manipulate the life force of the living could do nothing to harm the dead." -The Fourth Pact

Liliana learns that even her own dark magic, fueled by determination, cannot solve the problem she's created. She discovers the hard limit of her willpower, and the despair of this discovery is what causes her Planeswalker spark to ignite.

At this time Planeswalkers are as gods, immortal and near-omnipotent. Liliana spends decades enjoying this affirmation of her capability before the Mending strips her and all her peers of their power, reducing them once again to mortal mages.

"Then the Multiverse reshaped itself, robbing her—and every other Planeswalker—of the godlike power they once had wielded. Some called it the Mending, as if something broken had been repaired, but to Liliana, it seemed the opposite. It broke her beyond any hope of repair." -The Fourth Pact

Once again, it is Liliana's fear of helplessness and her refusal to accept it that drives her to push beyond the bounds of propriety–this time, to make a pact with Nicol Bolas and four demons to maintain her immortality. It is not enough for her merely to delay death; she requires the security of knowing she is fully beyond its reach, that she will never be helpless before it again as she was with Josu.

"Holding death at arm's length for whatever years are left to me? No, that's not enough. I want to be free of its shadow." -Liliana in The Fourth Pact

Black isn't like its enemy colors white and green, which are superficially associated far more often with hope. Unlike white, it doesn't believe that conviction, justice, and community will bring about rightness. Unlike green, it doesn't trust in the wisdom of the world or the natural order. Black believes that nothing will change unless you make it change; ultimately, black's self is the only one it can trust to bring about the world it needs. In addition, black lacks its enemies' idealism. Instead, it strives to be a pragmatic realist, making a final assessment of defeat all the more definite and crushing.

While white and green are more amenable to finding hope and holding it aloft as a banner, black claws hope desperately to its chest with shredded, bloody fingernails. Every ounce of hope black has, it tore by itself from the clutches of an uncaring world.

Ironically for such a self-driven color, black's fierce hope is the greatest asset it can provide to others–on its own terms, of course. It was Liliana who turned the tide of battle against the Eldrazi titan Emrakul, defiant in the face of cosmic despair. And when Nicol Bolas made his bid to return to godhood, using Liliana's necromancy to command his undead hordes, Liliana finally turned against him. In reclaiming her power, so too did she use it to free her fellow Planeswalkers from Bolas' assault. Her fear of helplessness no longer shackled her to him; agency and autonomy were hers at last.

The triumph of black, its moment of ultimate victory, is the hard-won fulfillment of its hope.

"Do not go gentle into that good night. Rage, rage against the dying of the light." -Dylan Thomas

An aetherborn, railing against the shortness of their natural lifespan, constructs a new body for themself with their own bare hands. An artificer's grief over her lost companion causes her to push invention to its limits. A young girl who loves her brother calls on the darkest of powers to save him. As it turns out, necromancy–that original thematic keystone of black–is only one of black's many, many refusals to let go of love and hope once it has them, even in the face of the ultimate end.

Time and time again, black–in love with life, ablaze with hope–looks the Grim Reaper in the eye and tells it: "Not today."

[kaiserin-erzsebet]

I would LOVE to hear more gripes about accuracy of portrayal of historical monarchies!!!

I have been wanting to do this for a while, because there is a lot that irks me. And this ranges across board from big budget period dramas to how people write royalty AUs, which means this isn't one specific thing I'm pointing at. And if it is helpful on a writing tips level, I'll be happy with that.

Long post under the cut:

Disclaimers:

I research 19th century European history, which has a lot of questions about what a monarchy is and why they continue to exist. That's the perspective I am bringing to this.

I probably shouldn't have to say this, but: this is not about modern monarchism. This is about history. I don't want to debate whether you think certain countries should continue to have their monarchs be public figures who are only nominally head of state.

The short version:

Monarchies are institutions. They are part of how the government functions and that should have implications for how someone writes them. A monarch is a person with a built in job that they were born into.

Monarchies are not all absolute. They can exist in a multiple forms with very different structures, and often discontent within a monarchy wants to reform the system not replace it.

My biggest advice would be this: figure out how your fictional or historical monarchy is structured. You don't have to exposit about it, but you do need to know it.

The long version:

The King has a job and there is a right and wrong way to do it.

Fantasy monarchies that draw upon history seem to have Versailles in mind in terms of an aesthetic space and royalty with a lot of power over the people around them. This also includes a lot of lounging around and looking pretty and doing lavish things. However, the issue is that this is a mental image of the dysfunction in the French monarchy close to the revolutions. You can't "Après moi, le déluge" through several centuries of government.

A King (or Queen) has a job, a really important one. They are the head of state, the highest authority in the country, and the highest judge on legal matters. At least in the platonic ideal of absolute monarchy, those jobs being concentrated into one person means their responsibility and good judgement will give the state stability and consistently.

Enlightened absolutism was exactly that: monarchs staunchly holding onto the ideals of the Enlightenment and making reforms from the top down. People who read texts about ideal government and natural rights and put it into practice.

A lot of fiction takes that and goes: Oh, so they have unlimited power and can do whatever they want. Being king means you can do what you want without oversight? That's why someone would want to be king?

And yeah, sure, in theory. But the problem with having a job is that you can do it poorly and people will object to you doing it poorly. If someone is not fulfilling obligations, it is noticeable because the state functions poorly. The premise of Robin Hood is that the king is doing his job poorly. He's overtaxing, the officials are corrupt, there's disorder. The solution? Bring back the true king who is good and fair, and thus functional.

Ludwig II of Bavaria gets ousted from his throne for being more interested in opera and extravagant building projects than ruling. Again, it is a problem and people notice.

Historically, if you want to protect from someone being bad at the job you can support the idea that there should be more oversight and safeguards: Other bodies that control parts of the government alongside the king's ability to approve or disapprove. This tactic takes away the ability to be arbitrary since laws and such are not just coming from the crowned head of state. That would be a constitutional monarchy.

Not everyone needs to be Franz Joseph, waking up at the crack of dawn and working on governmental papers and meetings until bedtime. However, if a monarch is shown in fiction lounging around or talking to courtiers all day but never doing any actual governing, I'm going to assume they are very bad at their job.

2. You're probably understanding Courts and Ministers wrong.

I run into the issue quite a bit that courts are flattened to random servants, ladies-in-waiting, and people trying to be the king's sole advisor (for malicious power grabbing reasons).

The first problem: Being at court isn't an easily accessible thing. You're probably nobility or a scion of an important family. Your presence is built on family prestige and your own skill. Yes, even people in service to the monarch. There are no random people here, because proximity heightens the likelihood of greater promotion.

For example, I'm currently doing my research on a prince from an important dynasty in the 19th century. His secretary is a Baron.

It's not impossible for someone not of noble birth to get to be at court. They could have risen up the ranks of the army or be an exceptionally skilled civil servant promoted to the rank of minister. Though depending on the time period, expect these "new men" to get pushback from nobility by blood.

Ministers also matter.

Unless your fictional monarch is one of the few people who decides (to mixed results) to do all of the thinking about government on their own, there is a cabinet and ministers.

These are skilled people whose job is to think about aspects of government and be knowledgeable about them. A monarch might have many of them that argue and balance each other.

Or, you can write a particularly skilled statesman in a leading role that makes them just as prominent as the monarch if not more so. There are many historical examples of ministers who define their period:

If your monarch character isn't a strong person politically, but is intelligent, having them find a minister to take over most of the governing is a good idea. This person is promoted based on merit, even if the monarchy is hereditary.

I have rarely if ever seen fiction do a good job with a prominent minister as a character (except A Royal Affair, which everyone should watch).

Think of monarchies as whole institutions of government. They have people within them who do all the jobs of governing. But the structure of the government and the personality of the monarch can determine whether it is one person (Joseph II, Peter the Great, etc.), a prominent minister (like a Metternich or Bismarck) or a counsel or congress.

The structure can support a person not doing a lot as monarch, but you as a writer need to think what structures are around them allowing that.

3. Revolutions are scary.

There is a common trend in fiction to make your good guys pro-republic. They're revolutionaries who want to get rid of the king, so they must be good.

But here's the thing: Revolutions are a step into the unknown and have historically happened rather rarely and with very mixed results. That's because the system has to be really broken for something totally new to sound better than what you already have.

A monarchy can create a sense of stability: A fixed head of state who will be there until they die. Historically, people aren't seeking to change that. More often, the call is for a change within the existing structure. The Magna Carta or a written Constitution. Firing of Bad Ministers or the abdication of a bad king in favor of their heir. Creating elected bodies under the sovereign. These are all shifting the monarchical paradigm but keeping the monarchy intact.

And historically even the most liberal of people wanted to place restrictions of some sort on voting, especially property and gender restrictions.

There is a myriad of ways to change the system, the person at the top, or both while maintaining a monarchy. You can have a monarchy be elected as the best person among the nobility (though it didn't go that well for the Polish-Lithuanian Commonwealth).

Completely throwing the whole thing out means risking all stability vanishing. That could be anarchy. That could mean a charismatic strongman who is also bad at governing in power. You could end up with a guillotine and rivers of blood in the streets. You could end up with a restoration eventually because Cromwell or Robespierre doesn't actually produce something people want to live under and they want the old certainty back.

People have a sense of inertia about changing government. What you have is better than what you don't know, especially if there can be internal reform. Making your character a Republican (in the Jacobin sense, not the US politics sense) means that they are a radical in most times and places and will likely be in the minority.

If there is one thing I would say is the point here is that monarchies are government systems, and thinking through how someone exists in that system in fiction is important. Being king isn't actually much of a fun job unless you're very good at delegating or very irresponsible. Unless you want to be celebrity, president, congress, and moral center of the state all in one, being king isn't a great deal.

[nonotnolan]

Jock Cock, Part 1

"You wanted to see me, sir?" Adam Johnson, next year's star quarterback and this year's bane of my existence, looked up at me with his baby blue eyes. If he was trying to look small and unintimidating, it would have worked better without carrying 200+ pounds of muscle on a six foot frame.

Well, if he wanted to be melodramatic, two could play that game. "You know full well why I called you here, Adam." I thumped the stack of papers on my desk for emphasis. "You've been failing ECON 105 all semester, but suddenly you can score an 83% on the final exam? It's enough to get you D- in this class. It's not a perfect score, but it's still enough for you to avoid academic probation."

His face flashed with a brief moment of irritation before setting back into his normal, casual stupor. "Well, I wasn't studying before, and now I did. It's not like I scored all that great... sir."

"We both know that you don't know what 'sustainability' means, Adam. You tried to fly under the radar, you didn't cheat your way into a 100%... but it's still cheating. We both know that academic misconduct is a serious crime." I tried my best to sound stern and disappointed, but it was hard to be angry at a face this sexy.

Adam just laughed at me. "And if you could prove it, you wouldn't be calling me into a private meeting, would you?" He leaned back into a shit-eating grin, displaying his dazzling white teeth. This asshole had the upper hand, and he knew it.

"I checked every single essay!" I said, pounding the stack of papers once again. "Every essay, in every single TA's session of this class. You didn't plagiarize... but we both know this isn't your style of writing. And we watched you like a hawk during the exam itself, so you didn't cheat that way, either."

Adam leaned close into my face. "Professor Michaels has no idea that you called me in here, does he? You're just a Teaching Assistant on a power trip, and it's all because you can't stand knowing how I did it." He was right, and I hated him for it. Worse, when he stood this close to me, I could smell the musk of his body.

"Tell you what," he added, pulling off his tank top to reveal a set of firm abs. "You let me get away with this... sign off on my scores, whatever you need to do... and I'll let you live out one of your deepest, darkest fantasies." He struck a pose, showing off both his rippling muscles and his hairy pits. "We both know that you'll never get jock cock any other way. Come on, Teach. You want this."

Was I really that easy to read? "I-- I'm sure I don't know what you mean. Look, if you're going to stick to your lie about studying, then you can just leave. I don't... there's no need to insult my moral character. You're a student, Adam."

He responded by leaning in close to me, and placing his hand on top of my bulge. "Your body betrays you," he whispered, letting his fingers massage my inner thigh. "If it makes you feel better, I'm not your student. Adam and I swapped bodies so that I could take all of his final exams."

"I... yes, well..." That was the last thing I expected him to say, but it would explain a lot if it were true, somehow. It seemed much more likely than a desirable athlete like Adam coming onto me, at the very least.

"Be that as it may," I said, grabbing his hand and moving it away before my cock started leaking though my slacks, "that body still belongs to one of my students. And I still have meetings to attend today, so if we're done here..."

Adam, or the stranger in Adam's body, just laughed at me. "You're the one who wanted to have this meeting, remember? But that's fine, I know when I'm not wanted. But here's the thing-- once you submit grades at end of day, Adam's not your student anymore." He started typing something on his phone. "And honestly, I expected this from you. You're so uptight. Good thing you gave everyone your cell phone number on the syllabus at the start of the year. So if you change your mind... now you can have Adam's number, and a bonus pic from me."

"I know you don't know the real me, but trust me Kevin-- I've wanted to plow that uptight hole of your for months. And in this body, I've actually got a shot at it." The stranger slapped my ass before I could react, and swaggered out of the room. Whoever was inside of Adam's body, they knew my first name.

I looked at the retreating wall of shoulder muscles, and down at the teasing bathroom selfie the stranger sent to me. God help me, I was only human. And he was right-- how else was I going to get jock cock? He wasn't a student, not really, and that's what mattered. "You win. Tonight at 8pm, my place. Bring lube."

Check out Part 2 here. Check out Part 3 here.

[amomentsescape]

Slashers x secret admirer!reader.

How would they react to all the small gifts left for them? Would they track the person down? Would they confront them? Would they stalk them? How would the slashers react if the gifts stopped for a period of time?

Slashers with a Secret Admirer

Slashers x Secret Admirer! Reader (Separate)

Includes: Freddy, Michael, Jason, Thomas, Bubba, Brahms, Norman, Billy, Stu, Vincent, & Bo

Freddy Krueger

Oh, he knows

There isn't a way for you to be discreet when he can literally enter your mind every night

That's how the admiration started for you in the first place

Seeing him there, taunting you in such a creepy and yet powerful way

Something drew you in

And the feeling is mutual

I mean, why else hadn't he killed you yet?

He keeps his eye on you whenever he can, sometimes ensuring your dreams are happy and not all nightmares

Some are still terrifying though

He knows you like the thrill

You've tried to surprise him with gifts and letters a couple times, but he knows about them before he even receives them

You really can't keep anything from this guy

And don't even think about taking anything back

You started this whole "game" between you two

There's no way out now

Michael Myers

He immediately assumes the worst

The moment he sees the gifts and letters left for him, he quickly believes that someone is out to get him

You're trying to play mind games with him, but it won't work

Nobody will ever best Michael

He watches you for a while, plotting his moves carefully and thinking of the best way to get back at you for your taunting

There really wasn't anything about your gifts that seemed threatening to him

In fact, he quite liked a couple of the things you gifted him

Well, as much as Michael could like something other than killing

And this is partly what angered him so much

How on earth could you know him well enough to gift him such items?

He was going to get answers one way or another

And it was going to be soon

Jason Voorhees

He's honestly just baffled

How did you even find him in the middle of nowhere?

And even worse: what were you plotting?

No one has ever shown him kindness before besides his mother

This type of attention is so foreign to him that he just assumes you have the wrong person

This was all just some weird accident

But he's happy to play pretend for a while

And if the gifts suddenly stop, he can't help but feel disappointed

You must have finally figured out that he wasn't the one you were trying to impress

He won't be the type to try and figure out who you were

It all just seemed too sweet to be real, and he just wanted to play into the fantasy for a while

It was nice while it lasted

Thomas Hewitt

He quickly guesses that this is just some poor joke being played by someone in the family

No one comes out here

If they do, they're dead

And if a person was really wanting to surprise someone, there was no way he would be that someone

But after days of keeping his eye out, none of his family seemed to be acting suspicious

So this is just odd

He goes on and lets the gifts keep coming

It honestly gives him something to look forward to each week

But after a while, he becomes too curious on who you are

So he does what he does best: he sets a trap

Nothing to hurt you, but he just has to know who this secret admirer is

He doesn't want to go another day without feeling this level of kindness ever again

Bubba Sawyer

A gift? For him?

This has to be Christmas, right?

He prances around the house every single time, flaunting whatever new item you sent his way

He truly believes that you must be his guardian angel looking out for him

That's the only explanation

But as many know, Bubba isn't very patient

If he's craving something sweet, he immediately takes the candy, no questions asked

So don't expect to be a secret for very long

He's going to do whatever it takes to "catch" you

That way, the gifts and fun will never end!

You sort of dug yourself into a whole with this

But don't worry

He'll treat you just as sweetly

Brahms Heelshire

He doesn't react as badly as one might think right away

He just assumes the gifts are from his parents

But after receiving his first letter, he realizes this is more romantic in nature

And this is quite a dangerous game you're playing

Since he immediately becomes obsessed

He'll kindly play this game with you

He'll leave the doll near the main window, coaxing you to come take a deeper look

He'll start to leave the door unlocked or a window cracked open in hopes you'll be tempted to take a trip inside

But unfortunately, Brahms is as shallow as he is dangerous

If you are a beauty, he will gladly whisk you away into his home

But if you aren't what he pictured you to be, he will dispose of you

You've created this idealistic image in his mind, and he needs it to be perfect

Norman Bates

He probably reacts the most "normal" out of anyone else

He's surprised of course, but he happily takes the gifts and finds a little drawer at home to keep them

He likes to pull them out whenever he is feeling down

With how shy he is, he won't be the one to step up and try to confront you or figure out who you are

He kind of likes the mystery

Although, he does hope one of these times you will finally reveal who you are to him

If the gifts suddenly stop, Norman will become a lot more upset than he could have predicted

It can be so lonely where he is, and he finally thought maybe he was making an actual connection with someone

He may make a trip to the nearest town in order to people-watch for a while

He secretly hopes there will be some sign that will make you known to him, but that's clearly wishful thinking

Billy Loomis

He's flattered, don't get him wrong, but you are certainly not the first nor the last to admire him from afar

He's gotten several secret admirers in his day

I mean, look at him

He'll gladly take your gifts or letters with pride, but they'll likely get thrown in with all the other trinkets he's gathered over the years

If the gifts suddenly stop however, he'll act like it doesn't phase him at all

But he becomes curious on why you stopped

And this curiosity soon becomes obsession

Every killing he goes on, he'll raid the house, trying to find any sign on who his secret admirer is

Why would you stop? What's wrong with him?

The questions are enough to drive him insane

Stu Macher

Almost anyone can tell something has changed with Stu

He holds his head a little higher, smiles a little wider, and talks a little louder

He walks around school with his eyes peered, hoping that eye contact will be enough to figure out who his secret admirer is

But when he's not at school, he's making a list on any person he thinks it could be

He makes sure to convince Billy to hit those people's houses first during their "nights out"

He may even go as far as interrogating all of his victims, eventually killing them when he realizes they know nothing about his secret admirer

But he shakes this off quickly

He has full faith that he'll learn who you are

There's only so many houses in Woodsboro after all

Vincent Sinclair

He's honestly completely in awe at this situation

It had always been Bo who had the secret admirers

People have been fawning over his brother since they were younger, but now he's the one being sought after?

This can't be real

He does his best to keep all of this from his brothers

He's worried that them finding out will ruin the whole thing somehow

And he truly loves how it feels to be wanted

If the gifts stop at any point, he'll be devastated

He won't go as far as to seek you out

But he will certainly mourn you and your attention

He knew it was too good to be true

Bo Sinclair

Similar to Billy, this isn't his first rodeo

But unlike him, he's not as kind about the situation

Your gifts are disposed of as quickly as they are received

It's not that he isn't appreciative, it's just that he seeks confidence and hates games

If you're interested in him, then why not just step up and make a move in person?

If you're not willing to do that, then it's mostly a waste of his time

If the gifts keep coming, he'll eventually hit a point where he becomes annoyed

He'll break the gifts and trash them right outside the door, leaving them there in hopes you'll take the hint

And if you do, then he's satisfied

He doesn't need the attention because he knows he can get whoever he wishes

He doesn't have time for silly teenage games

[sleepyangelkami]

I'm posting this from my phone so please bare with me guys.

"ew, you write y/n as a baby."

okay, so. I understand that the way I write might not float everyone's boat which is so okay !! But yk what you could do...? Scroll !! There's no need to hate. I really apologize if the way I've written my readers in x reader fics is harmful in any way. However, I'm not going to stop making the character they're with baby them and look after them. The beauty in all of this is that none of it is real. Life can be hard and life can be way toooo much and at the end of the day you might js wanna read ab getting babied. People baby their partners all the time whether you're male female any other gender none of this matters. I write female y/n and if you have a problem with the characters babying her but at the same time you're posting matt sturniolo (I apologize if I spelled that wrong) and saying omg cutie baby 🥺🥺 it's the same thing !!! It's so normal and people are making it weird. If you want to read badass!y/n then write badass!y/n. People get so hung up on writing shy readers and saying it's weird. It's how a lot of people feel and I'm personally really shy irl which is why everything on my account is fake !! Kami isn't even my real name ! You guys need to stop spreading hate towards people and if you don't like their work whether it's cringe or even a little weird then please just scroll

"ew innocence kinks are for p*edos."

Oh my. More often than not innocence kinks are usually submissive people loving the chase and getting dominant people to spell it all out for them. Not only that but sometimes people suffer from childhood trauma (me !!) and they read things that make them get to relive the part where their 'innocence' was 'taken' from them in a gentle way and not by abuse of power. Also, some people just have innocence kinks !! And that's okay as long as you're two consenting adults. When did everyone get so judgemental !! I've seen stepcest, ACTUAL incest and more prominently pain kinks and knives kinks guys innocence kinks really are not the worst problems out there ! I understand that some people take them too far which is not okay and under no circumstances would I ever support someone taking advantage of someone else who doesn't fully comprehend what's going on. But yk what this is?? Mere fantasies. They don't exist, it's just what people like to read so please leave us alone 🩷

And finally, "why is y/n such a pushover omg?"

Wanna start off by saying I don't condone cheating ever !! And I would never write a fic where the reader gets back with the character after they cheat. With that being said, the only fics I have ever seen of that (very VERY few) they have put trigger warnings at the beginning to let you know what you're reading. And for the people who say that the reader shouldn't go back because their partner yelled at them... Guys PLEASE !! I understand that yelling isn't something that should be excused, you should never put your partner in a position where they are scared or feel uncomfortable. However, I also know for a fact that everyone reading this has at one point in their lives yelled at someone. Being loved isn't about loving someone with happy rainbows there's gonna be bad days which I find realistic enough. Partners argue, sometimes relationships even take breaks and people get petty and people yell but you know why?? Cause we're human !!! It's in our nature if we're angry or annoyed or whatever it may be. Of course this behavior shouldn't be excused if it's constantly on show. Although denying the fact that you'd ever get back with someone after they yelled at you during an argument is a little bit childish. I don't mean hate to anybody whatsoever I'm just saying that you're dating a human (hopefully) not an alien (you'd be surprised on Tumblr I actually can't rule that one out) they have emotions and while sometimes they can be misplaced... It doesn't mean they're a bad person for it.

This isn't meant to harm or send hate to anyone !! I've just seen so much hatred spread across Tumblr and it's really upsetting. People should learn to support one another and if you don't like the content, scroll ! Once again this is hate to nobody enjoy ur day/morning/evening/night lovelies !!! 🩷🩷

(sorry for the ramble angels)

[nkjemisin]

Hello NK Jemisin! I'm a huge fan of yours, and I wanted to thank you for writing all of the books you've written, and doing all that you do. You're really awesome and you are doing important work! :) I had a long question, if you have time to answer! What's your commentary on creating fantasy cultures, using real ones as inspiration? You've done this before in your stories, and I wanted to know if you had any guidance on doing it well. I'm writing my first novel right now (fantasy!) and am dealing with a surprising amount of guilt regarding using real cultures as a basis for my fake ones. On one hand, I want to create a really unique fantasy world, not the bog-standard European stuff. It's not only more interesting to me, but I also admittedly want to use my story to help introduce people to concepts that might be helpful in the real world, help readers understand what these real people go through and perhaps inspire change. On the OTHER hand, I don't know if it's 'my place' to do so (I'm Black btw, but I'm not just writing about Black-coded fantasy characters). And I'm worried about representing people in a harmful way, even if it's by accident. I'm even hung up about names! Should I use names from real languages related to the cultures I'm inspired by, or should I just make them up to emphasize that, while yes these people are clearly inspired by real cultures, they are ultimately *their own* thing. I'm really conflicted on this and am hoping you can offer some feedback and/or commentary. Sorry for the long ask. Either way, have a great day and I look forward to whatever work you do next!

If I can rephrase what you're saying here, it sounds like you're concerned about cultural appropriation -- specifically, which cultures you get to "borrow from" and "remix," how much remixing you can do before you've done damage, how to depict people from cultural backgrounds other than your own, etc.

If that's what you're asking, then there are whole schools of thought on how to "appropriate appropriately." A lot of thinking on this has evolved in the past few years, for good and for ill; Own Voices, for example. (The short version: the Own Voices hashtag movement started as a grassroots attempt to get marginalized voices telling the stories of their own cultures, because there's been a nasty trend of only white/Western/Anglophone/etc. authors publishing books about those cultures. The problem? Some publishers and readers started acting as if marginalized writers weren't allowed to do anything but stories in their own cultures -- a restriction, instead of an inclusion/correction. Worse, publishers, etc started using it as a marketing shorthand, in ways that were just... not good. They made it weird, basically.) But I'm still fond of the approach that's in Writing the Other, by Nisi Shawl and Cynthia Ward. It's centered on ethnicity/race, but a lot of its approach can be extrapolated to culture. There's too much good stuff in this book to summarize it easily, but you should read it instead of a summary anyway -- it's short.

I don't see the point of guilt, when it comes to something like this. Guilt is what you feel when you've done something wrong, and admiring another culture enough to want to tell a story featuring it isn't wrong. However, there are things you need to do -- research, conversations, considerations of power dynamics -- to reduce the harm you might end up doing by telling that story as an outsider. And note that no matter what you do, though, you might still end up doing harm. (Even people writing about their own culture can end up doing that.) If you fuck up, apologize, figure out what went wrong, and try to do better next time. That's really all you can do.

And then write whatever the hell you want. There's a persistent pressure on Black writers to only cover certain subjects, certain settings; nah. We get to have range, too. You've just got to put in the work to do it well.

Good luck.

[yanderestarangel]

꒰♡꒱─ 𝐒𝐓𝐄𝐏𝐅𝐀𝐓𝐇𝐄𝐑 𝐀𝐋𝐁𝐄𝐑𝐓 𝐖𝐄𝐒𝐊𝐄𝐑 𝐂𝐎𝐍𝐂𝐄𝐏𝐓

TW: afab anatomy, dub con, dark themes, ftm reader, v!sex, sub!reader, stepson x stepfather, dilf!wesker, praise, smut.

─ 𝐬𝐭𝐞𝐩𝐟𝐚𝐭𝐡𝐞𝐫!𝐚𝐥𝐛𝐞𝐫𝐭 𝐰𝐞𝐬𝐤𝐞𝐫 - who always takes care of you, always sending you large amounts of money, regardless of what you ask for, he will give you his black card so you can spend it on whatever you want, he will just want his favorite stepson to a little kiss and spend some time with him... especially because you both know that he only married your mother to be close to you.

─ 𝐬𝐭𝐞𝐩𝐟𝐚𝐭𝐡𝐞𝐫!𝐚𝐥𝐛𝐞𝐫𝐭 𝐰𝐞𝐬𝐤𝐞𝐫 - who manipulates you to keep you away from your friends, he just wants you for himself! You're his sweet boy, so don't be surprised to see Wesker using his money and powers to keep you trapped at home, keeping you like a cute, cuddly doll that he can control and twirl around his fingers, like a beautiful marionette.

─ 𝐬𝐭𝐞𝐩𝐟𝐚𝐭𝐡𝐞𝐫!𝐚𝐥𝐛𝐞𝐫𝐭 𝐰𝐞𝐬𝐤𝐞𝐫 - who considers you his only weakness. Wesker would destroy the world for you, he would destroy everything he built throughout his life just to have the guarantee that you would stay by his side forever, regardless of the price it would cost - and when he completes, all his plans, you will live forever next to him, beautiful and molded perfectly by his hands, his pretty boy.

─ 𝐬𝐭𝐞𝐩𝐟𝐚𝐭𝐡𝐞𝐫!𝐚𝐥𝐛𝐞𝐫𝐭 𝐰𝐞𝐬𝐤𝐞𝐫 - who takes you to the most chic and private dinners, with businessmen from the 'umbrella corporation', introducing you as their precious stepson. He will pamper you with expensive suits that adorn your ass for him, getting possessive if any guy tries to flirt with you - he would probably pull you into some room or take you out of the building, throwing you on the expensive leather seat of his BMW, towering over you as he took his hard, throbbing cock out of his pants, while you could see his red iris glow behind the dark lenses of his glasses. "-Are you going to act like a brat and let others take what's mine? Are you really going to do that boy?" Wesker would growl angrily, as he ripped the fabric of your pants, exposing your pussy to him. "-Daddy will teach you a lesson... after all, bad boys don't get rewards."

─ 𝐬𝐭𝐞𝐩𝐟𝐚𝐭𝐡𝐞𝐫!𝐚𝐥𝐛𝐞𝐫𝐭 𝐰𝐞𝐬𝐤𝐞𝐫 - who fucks you with all your desires and dark fantasies, he loves to fuck you in the most expensive hotels and the best panoramic views of the city, making you doggy style and pounding your cunt from behind, while pulling the rope of a collar of diamonds you wore around your neck - obviously given by him "-I could fuck you like this all day..." Wesker grunts in response to your sweet moans, slapping your ass. His thrusts become stronger, bringing you closer to the edge of release. And just as you're about to fall, he slows down once again, prolonging your ecstasy, the buildup almost unbearable. "-Not yet, my dear," he whispers in her ear, his voice filled with wicked delight. "-You will come when I say so. Only when I give you permission, you can do this, right? Like the good boy you are to your daddy hm?" He begins to move, establishing a rhythm that exposes you to the fullness and power of his thrusts, filling you completely. "-Such a good boy, accepting me so well, squeeze those thighs and stick out that fucking ass more! Yes baby boy, exactly like that..."

─ 𝐬𝐭𝐞𝐩𝐟𝐚𝐭𝐡𝐞𝐫!𝐚𝐥𝐛𝐞𝐫𝐭 𝐰𝐞𝐬𝐤��𝐫 - who fucks you all over the house, while praising you for handling his dick so well in your little cunt. "-Such a beautiful and cute pussy, just for daddy's cock isn't it?", "-atta boy, do you feel that, angel? it's all for you... take my cock like a good boy.", "- Fuck-! I love hearing you beg for more... I'm going to make you cum so hard, baby boy...", "-You better get used to this my little boy... Because from now on on. Your life will revolve around me... And I will always make sure you are satisfied, whatever the cost..." Your body responded to his touch, arching into him as pleasure washed over you. You could feel the tension in your body growing, your pussy clenching around his dick as you neared the edge of orgasm.

─ 𝐬𝐭𝐞𝐩𝐟𝐚𝐭𝐡𝐞𝐫!𝐚𝐥𝐛𝐞𝐫𝐭 𝐰𝐞𝐬𝐤𝐞𝐫 - who would lock you up in one of his mansions, in a beautiful golden cage, he would cut your ties with your mom... friends and even normal civilization, nothing exists beyond him now, you are just his, he will leave you just there , for him and for him. "-You will always be my doll boy... won't you?" Wesker would smile darkly, as he handed you the clothes he wanted you to wear. "-You'll never get rid of me... I'm your daddy forever... right my prince?"

𝐚𝐥𝐥 𝐫𝐢𝐠𝐡𝐭𝐬 𝐫𝐞𝐬𝐞𝐫𝐯𝐞𝐝 ©𝐘𝐀𝐍𝐃𝐄𝐑𝐄𝐒𝐓𝐀𝐑𝐀𝐍𝐆𝐄𝐋 2023. 𝐝𝐨 𝐧𝐨𝐭 𝐜𝐨𝐩𝐲, 𝐫𝐞𝐩𝐨𝐬𝐭 𝐨𝐫 𝐭𝐫𝐚𝐧𝐬𝐥𝐚𝐭𝐞.

[sunny-haven]

A reminder to hypnosis subjects and those interested in hypnosis

I've been thinking about this for a while now, especially because I had to explain it to a subject who was new to being hypnotized recently. It's something not often acknowledged in the hypnosis community, at least from what I've seen.

As much as hypnosis is often portrayed as mind control, and as much as I often like to lean into that fantasy that I control my subjects' will and body, you the subject are in control at the end of the day. You are lending control to the hypnotist, and how much you lend is up to you! Many people enjoy the idea of the hypnotist having complete control over them, but it's just that: an idea, a fantasy.

Now, that isn't to say you aren't easier to convince while hypnotized. I like to think about it like being in a really good mood - you're happy to do things you normally wouldn't do, but you're still you, and you won't do anything that you really wouldn't want to do no matter what. Because of that, I always recommend being hypnotized only by those you trust, someone who cares about your well-being. But that means if a hypnotist is making you uncomfortable for whatever reason, you have the power to reject what they're telling you, no matter what they say. They're called "suggestions" for a reason, and hypnotists are more of a guide than someone who controls your every whim.

You might also find that when you're hypnotized, you're still "aware" of what's going on, and it might feel like you can stop it at any time. And that's okay! That usually is a sign that you're being hypnotized, not the other way around. You are in control and you can stop at any time, but the fun of hypnosis is that you won't want to stop listening to the hypnotist's words, their suggestions will feel like there's no harm in following them (provided it's something you're okay with). You're in control, but you're choosing to let go and let the hypnotist guide you into doing things that you might not normally do and you might enjoy.

As I said earlier, I like leaning into the fantasy of controlling my subjects almost completely, but I make sure they're okay with that sort of thing before I ever hypnotize them (and a lot of the time, people are). We talk about our limits and boundaries, what we want out of a session, and I do my best to make sure my subjects feel comfortable and safe around me. Ideally, anyone trying to hypnotize you will do the same! This allows those who really like the idea of handing control to me to do so in a safe space.

Hopefully this helps someone out there, and I hope y'all have a good day. ^w^

[orphiclovers]

The next Big Arc I'm excited for the webtoon to adapt is Kaizenix arc for multiple reasons but one of them is that I'm VERY curious about what they will do about heesung.

because heesung have a romance arc in kaizenix right. I don't think I need to prove it's canon like a fujoshi talking about her favourite M/M ship, red yarn and cork board style - we're all on the same page here, this is a completely uncontraversial take on the token het couple in orv, right? kim dokja sees them in kaizenix and thinks "damn I'll have to allow interpersonal dating in kimcom now" I don't think anyone is arguing for a platonic explaination here (het ship advantages etc) HOWEVER.

Jung Heewon looked like a man at the time.

"She's mentally a woman so it's fine and not gay" is a much easier pill to swallow when it's words in a novel and her appearence isn't described, and the flashbacks appear as disconnected lines of dialogue so you don't really think of them as looking like Erich and Bilston and imagine them as Jung Heewon and Lee Hyunsung regardless of their actual appearence.

But the webtoon is a visual format and that won't fly. They physically can't be non-committal about this, they have to draw SOMETHING and I can't WAIT to see what it will be, because whatever they decide to do will be massively entertaining to me.

Do they say fuck it, heesung yaoi canon? I can't imagine they want on screen (apparent) gayness in their male power fantasy manhwa, but they might bet on the 'she's a woman on the inside' cognative dissonance 'it's anime bullshit, don't question it' logic will win over in most dudebro heads, as with it did in the novel.

Or they might decide that it WON'T fly with the dudebros actually and they shouldn't risk it and-this is where it gets really funny- try to make heesung less gay.

They could tweak their scenes to downplay the romance aspect (make them more humorus or cut some parts). They could keep Jung Heewon's face and hair the same as usual except she's in armor don't worry about what's under it ok. To 'keep her recognizable' even though they're not usually afraid to make the designs temporarily unrecognizable (KDJ's YJH cosplay moment for example), or some combination of both, which is what I'm betting on.

Just friends-ing their scenes...... changing her design to a woman's...... All of this would be, and I can't believe I'm saying this, gay censorship.

heesung about to be the first het couple to experience gay erasure. that's awesome I love orv

That's why I NEED all of us to have a countdown to heesungs schrödinger's yaoi event the same way some people had for joongdok demon king stabbing scene. the POTENTIAL IS THERE OPEN YOUR EYES PEOPLE!!!

[snootlestheangel]

Here's one of the better ideas I've had in a hot minute that I forgot about for a couple of days (it appeared when I was trying to fall asleep and I thought about it so good I slept really hard and it disappeared until this morning)

Combining fantasy and modern day

Price, Soap, and Gaz are still the 141 and are still SAS and still highly skilled soldiers. It's still a modern military for them, and everything is just about the same.

The fantasy element comes with assassins.

There's a worldwide understanding basically that any country, place, person, what have you, can hire an assassin for whatever purpose. They're kind of an independent, neutral organization that regulates how much an individual should be making based on the task they're being asked to do (assassins but if they unionized)

But they're not called an assassin

They're Reapers.

Unnamed ghouls of darkness that leave behind a trail of bodies everywhere they go.

Its a dangerous job, one that's short lived and where one dies unknown and uncared for. It's why seniority ranks so high for Reapers, and usually the senior a Reaper, the more notorious they've become. The most notorious Reapers get named, not only by other Reapers, but by the world. But these are few and far between.

The most notorious was named Grimm. It's presumed he was the first Reaper and the most successful. He had a whopping thirty year long career, and an impressive number of confirmed kills.

Then there's Plague, War, Shadow, and Oni. *yall see the vision?*

All Reapers wear dark, more form fitting clothes. Perfect to blend in and move around undetected. The named ones get ornate masks, still made of dark colors to blend in, but an image that imprints on people that are lucky to survive.

But then there's Ghost. The only Reaper to wear white. The saying there is "when you're so good at your job, what's the point in following the dress code?"

He has a decent career now of ten years. In his early two years, he was the laughingstock of Reapers. A Reaper who wears white? Surely I'll see him coming!

But it's how he earned his name faster than any other named Reaper. After just two years, people quickly realized the white mask didn't make a difference. He was lethality personified. He was there and then he wasn't, like a ghost. There's definitely some play about ghosts always being portrayed as white sheets with holes in them.

But Reapers have a bit of power in their own to choose who they worked for, what they do, and for how much.

Reapers could place bids on anyone/thing asking for assistance from one of them. The actual bidding process is unknown to any organization that isn't a Reaper, and being bid on isn't always a good thing. Sometimes it means Reapers want to take YOU out, and they're competing to see who gets the honors. Seniority and notoriety gave bonus "points" to the bids, and named Reapers usually won everything they bid on because of those extra points gained: and usually just because of those extra points *wink wink*

Task Force 141 is stuck dealing with a massive terrorist network and they're having trouble taking out many of their targets.

So against what is considered ethical, they make the announcement they're looking for a Reaper.

And the bids started off high. Most Reapers only bid to be the one so they could see how high the numbers got.

Laswell is the one fortunate enough to inform the boys when the bid closes and they get their Reaper. It's an official message from an unknown origin, impossible to trace. It details how big of a deal this particular bid was for the Reapers, and Laswell shares it with the team.

Their Reaper won by a landslide, Laswell informs. She tells them how even just base bid points, excluding any seniority and notoriety points, the Reaper had outbid the next one by over a thousand points. The bonus points accumulated another 10,000.

And they're all sitting there in shock, cause holy shit, who would bid that high in the first place and who has that much in bonus points????

The message Laswell got?

"Congrats. Your bid broke records, with the winner's base bid being over a thousand points higher than the next. This excludes the ten thousand in points earned from seniority and notoriety. Ghost will dictate the price at his arrival. Best of luck."

A rather shocking way to learn that The Ghost had bid so high on their little team's efforts.

The reason he bid so high, you may be wondering?

Well he wasn't about to let any other Reaper work for his husband, now was he?

Of course, poor Soap MacTavish is in for a world of surprise when he learns his quiet husband Simon Riley is the most notorious Reaper to date.

I have a couple little sneak peek ideas brewing for anyone that wants to ask. I'm just gonna let this settle first 😁

[kittenintheden]

Smut Writing Tips

I could go on for 600 years on this so I cut myself off at seven basic tips for improving your smut writing. I don't know how to name this something that isn't suggestive so fuck it we ride at dawn etc. If you're having trouble writing smut/improving your smut writing, here are a few things that might help? I'm not the ultimate authority, do whatever you want, take what serves you and leave the rest, etc.

1) Get in touch with what turns you on. You can take this literally or figuratively. You don't have to be sexually active or even sexually aroused to write smut! It's not required. But you should know what gets you going, you know? Because whatever you're into, there are other people out there who are into it, too. Writing the things you're passionate about translates to the page. If you're disconnected from what you're writing, it's going to read that way.

2) Practice by translating a personal fantasy to text. THIS IS FOR YOU ONLY. Unless you like it enough to share? But this is an exercise to get you past the initial discomfort and embarrassment of writing sexy scenes. Many of us have romantic or sexual fantasies, even those on the ace/aro spectrum. When they live in our head, they feel safe. When we put them to the page, they suddenly EXIST in a space where someone else can theoretically perceive them. Getting comfortable with that takes a little bit of work/practice.

3) Try writing from the POV of the subject of the reader's desire. When I smut, I write from my OC's POV sometimes, but more often... I write from Astarion's. That's intentional. It's hot to feel DESIRED, to feel WANTED. Being in the subject's head means that the reader is experiencing that desire for themselves. There's power and sexiness in knowing you're making someone feel that way.

4) Physical description and positioning is great, but how do they FEEL? If you've ever heard the term "male gaze," you know it's frequently applied to visual media, especially where the subjects are treated as objects to be observed rather than people with interior thought and feeling. Smut WRITING gives us the opportunity to both describe the actions taking place and also the internal responses of the characters. It's not just what goes where, it's how that makes the body feel, the mind, the heart. It deepens the scene. Not everything needs to be "making love," but the tension and character interaction are still vital.

5) Realism is a fine base but it's not required. Look, there are a lot of smut tropes out there that are not REMOTELY based on reality and we love them anyway because a big part of this style of writing is the FANTASY of the thing. Like, yes, it's going to take some readers out if you're describing a position that's not physically possible. That's something that should be workshopped. But like. People come here for sex pollen and knotting. It's okay to be a little weird. Just consider the fantasy logistics.

6) Sometimes a little humor or awkwardness adds to the experience. Not everything has to be peak romance of the highest order, you know? Sex is messy and weird. If the participants can be a bit messy and weird together, it's both character-building and endearing. Don't be afraid to be like, oh this resulted in fluids and now we have to take care of that.

7) The tension is as important as the cumshot. Yeah I said that. An important piece of writing burning-hot smut is properly building tension. You can do that in a few words or many words. The ANTICIPATION, the WANTING, the not-quite-there-but-god-I-wanna-be of it all. It makes the release that much sweeter.

[dailyadventureprompts]

DM Tip: The Debt Always Comes Due

Isn't it weird how little we engage with gold as a real gameplay system? Sure, at low level wealth makes a great questhook, the party is usually hurting for a payout so that they can afford necessary gear upgrades/ubiquitous healing potion restocks/their next trip to the magic item shop. After a while though the promise of raw wealth loses its lustre, and the party is less likely to go out of their way to accept bounties, go off chasing treasuremaps, or accept gigs from shady patrons.

Generally I'd advise that this is a sign that your party are done being run of the mill sellswords, and it's time to hit them with a big epic questline that's focused more on emotional and narrative stakes than base currency. That said, sometimes you want to run a longer adventure arc that's centred around the acquisition of wealth, but to do that, you're going to need to go against the grain on one of the foundational assumptions that underpins D&D both mechanically and narratively.

TLDR: If you want your party to be motivated by gold past their first big pay off you should consider using a "wealth hurdle", which in short is a narrative and gameplay challenge that forces them to collect not only more gold than they already have but also more gold than they could get doing what they've been doing so far. This can be anything from a crimelord calling in a debt on them or one of their allies, a powerful monster swooping in and demanding tribute, comissioning some grand construction, or funding the defence of a region. Having the hurdle active should cause problems for the party, and not clearing the hurdle before a perdetermiend deadline will immensely bad things to happen. This will force the party to take risks they otherwise wouldn't, giving a high degree of focus to their subsequent adventures that they wouldn't have if they were content.

What we're trying to fix:

At it's core, D&D is a power fantasy, and a good chunk of its gameplay mechanics regardless of edition are about acquiring new strengths, options, and assets. These assumptions are likewise built into the genre and narrative structure of most campaigns: Heroes undertake quests usually for the promise of some reward, gain experiance/hit milestones along the way, and eventually stumble across some kind of loot drop at the end. There's nothing strictly wrong with this, but it does mean that all the resource problems the heroes face in the early game (and the inbuilt motivations that come along with them) are all but resolved by the time they hit the next gameplay tier.

This is complicated by the fact that outside of 3rd party options there's not much to spend money on. The DMG (which you should totally ignore) say you shouldn't let them buy magic items, and the common wisdom would say "let them buy a keep", but that solution only appeals a niche selection of adventuring parties.

Using Weath Hurdles turns acquiring gold not just into a quest goal but a gameplay challenge, forcing your party to scour the land for potential sources of wealth (and risk upsetting whoever or whatever happens to be currently holding it) and take on challenges they'd never normally attempt if there was only survival/personal enrichment at stake.

Food for Thought:

Tradional d&d structure has the party getting a huge payout at the end of their adventure in the form of a bosshoard or questgiver reward which is a very backloaded "you can have your dessert after you finish your greens" sort of attitude. Consider switching it up sometimes: have the party's patron or employer give them a small stipend to spend on kitting themselves out, have an early game treasure haul so the party can have a mid-arc shopping episode. This is especially useful in higher level games where your party may go weeks to months without a level up as it preserves the feeling of progression and gives them new toys to play with in between the big character defining abilities.

Recently I've been learning my way around blades in the dark (can't reccomend it enough btw), and just like any other time I've wanted to learn a new ttrpg system I'm having to do a bit of neural rewiring when it comes to figuring out how to write and run sessions of the game. Coin in BitD is both an XP (used for upgrading the party's shared crew sheet) a resource (burned to upgrade the results of various rolls) and a stat ( rolled to see if the players can lay their hands on various hard to come by items). It didn't really click for me until my first group messed up really badly on what was supposed to be their introductory adventure and pissed off the local crimeboss. I was just going to have him bully them, lock them up and then have a jailbreak the next session ( it's what I'd do in d&d), but on the fly I had the idea that he'd let them go with a massive debt they needed to pay off, which forced them to either pay him a percentage of their takings on all future jobs, or do small jobs in utmost secrecy so that they could build up their own strength under his nose.

Interestingly enough, the d&d game where I thought player wealth as a resource was most interestingly used was Dimension 20’s starstruck Odessy, which was a conversion of the amazing fanmade  starwars5e system. Starstruck is a parody of hypercapitalism and aptly uses money as both a narrative and gameplay feature. One character is stuck paying weekly insurance premiums on a debt he would never be able to pay down forcing him to act recklessly to acquire wealth in the immediate future. Another character was a economic and political power player and some of the best moments in the series come from her high stakes wheeling and dealing and bouncing money between accounts while the rest of the group engages in epic space battles; the rest of the crew might’ve barely got their ship out of the dogfight, but she’s the one who ensures they can pay for the repairs once they get to the space dock.   None of this would be possible without completely ignoring the normal constraints of wealth per level: gaining and losing huge sums based on moment by moment player decisions, The need for them to play along with the absurist gig economy to boost their rating and get better paying jobs, making a devil’s bargain with a corporate sponsor all so that they could risk their lives in a deadly arena fight all for the (very unlikely) chance of winning the equivalent of a million GP.  Not every campaign should, or even could so focus on money in this way, but it was FASCINATING to watch it in action. 

Artsource

[cripplecharacters]

Sorry if this has already been asked before but as a general statement do you feel like the trope of having mobility aids doubling up as weapons in a fantasy story is ok? I’m disabled myself so I have a lot of disabled characters in my story so there’s a wide variety of mobility aids. Since a lot of characters fight in the story because of the genre I was thinking of making mobility aids weapons (cane as a magic staff or like prosthetics with built in powers etc) but I’m not sure if it falls into the category of ‘character is disabled but it’s actually their superpower!!!’ because I want to avoid that trope at all costs. Hope this makes sense to you since communication isn’t a strong point of mine. Love your blog btw:)

Hi! I'm glad you enjoy the blog:-D

I really feel like it depends. It can be done well and respectfully, but in my experience it usually isn't.

If you're a mobility aid user writing about the aids that you're using, you can do whatever you want! For my deeper thoughts that are too long:

The main issue that I have with the "magic aids as weapons" is that often it feels like the author doesn't actually like the aid because it's "too boring" and thus wants to "improve" it by making a cane into a wizard staff that shoots fireballs or whatever. But I don't feel like that's a good way to go about it at all. Mobility aids are cool in itself! They allow use to be more mobile! Why do they need to be made into something else?

The something else part is also what bothers me a lot around magic aids, aids as weapons, all that. Like the old "replacing a wheelchair with an animal" thing. Why not have a wheelchair? Why not a walking cane instead of a staff, you know? It sometimes feels like the author tries to distance whatever they're writing about from disabled people and our actual experiences because they're "too boring to fit their fantasy story". Like it could be done effectively, but it usually really isn't.

To finally get to the combat part of the question, it again depends (...sorry). If the character with a cane has to fight using it, then I do find it weird, I guess. "Doing cool explosive stuff" shouldn't be a requirement for a disabled character to be included, especially because a lot of disabled people can't do the things that writers want them to do! Sometimes we are weak and unsteady and fragile. Fighting isn't for everyone, and I feel like that's where some of the annoying fantasy tropes appear.

"Hm, my blind character can't fight because they're blind.. oh they have a superpower that lets them 'see'! solved!"

"Hmm, I don't know how to include a wheelchair user… I'll give them a Magic Mecha Exoskeleton, now they can fight!"

"Hm, real life prosthetics seem inconvenient. I'll just make them Magical so they're just like meat limbs but with a gun!"

...and all these kinds of "solutions" that make one wonder if the author even wants to have an actually disabled character. It's not even that the disability is a superpower, it's more that it's non-existent. Sometimes the better solution is to have us in other roles and not make us do things that our disabilities prevent us from doing, which fighting can fall under.

If the above isn't what's going on, then I think it comes down to how the whole thing is even supposed to work. Are the in-universe rules for magic centered around the idea that the Body makes magic? In this case, it could be interesting to have a character who uses a mobility aid and considers it a part of their body to be able to use it in a magical way. Because a lot of people do consider their cane or wheelchair an extension of them, so it could be actually interesting to see it validated by the magic system. But if it's like, "anything could be used" and then every character with a mobility aid ends up using their aid for that, that's... somewhat weird. It does feel like reducing the character to their disability if abled character 1 has a spell book, abled character 2 has a magic necklace, but the disabled character has their disability aid as their magic weapon. To use the example that you did, if the character's prosthetic is the only way they can use magic, I do think that's weird, because like. why… it's both reductive and "disability as a superpower". But if they can use magic through, let's say, both of their legs, and one of them happens to be a prosthetic, then I think that's cool.

I also believe that it depends on what kind of weapon you are talking about at the end of the day - in real life, mobility aids are already treated as potential weapons. I'm under the impression that no one would assume that a walking cane could cast a spell, but people do very much think of a cane as a potential tool to fight with, of a prosthetic as a potential bomb, of a wheelchair as a potential way to smuggle something illegal. I have very much seen and heard of situations where a disabled person wasn't allowed to enter somewhere because their aid was seen as a threat - you don't want to make more people think that this is a reasonable conclusion to come to. If you want to go for it without doing any kind of retrospect on that, I would keep it as a fantasy thing.

I hope this helps! Apologies for the answer length.

mod Sasza