#but this is his strength

[eorzeashan]

First a season of fire. You saw the world burn. You kindled spark into the blaze. You...bound yourself to a darkness falling like rain.

This is possibly my favorite description of the history between him and Jadus, not to mention the sheer surprise coming off of an unflappable Voss Mystic who has seen countless traumas. I've always written their dynamic like dark waters; incalculably deep and frightening like the abyss, but comforting to those who cannot breathe anywhere but in its depths.

Falling like rain...is an oddly gentle metaphor. It extinguishes fire, does it not?

I'll be thinking on this.

Voss questline continues to remind the agent of their core. That strength remains. It's why he's won over and over again, even if he is no longer who he once was.

I imagine that's why he also ultimately triumphs over Hunter; he'll kneel on him and ask, have you ever loved someone, Hunter?

Hunter might stare at him in confusion. Maybe even answer "you, for starters," while coughing up blood in his shitty smile.

Eight will just hum and go, see, that's why you lost.

If there's one thing he believes above all else, it's that everyone needs their reason to fight. It doesn't matter how. It doesn't matter why or if the reason stopped mattering a long time ago. Without it, you truly are nothing.

Amin-Le: Your spirit shines, but it is trapped. You must change, what will you become?

Eight: Changing identities is what I do best. I'll be whatever I need to be.

There he goes again. I adore how compared to his Nine playthrough, this quest reminds him of the sheer Light he holds inside that drives him to victory each and every time. As Nine, he was so broken at this point that he simply wanted to be free, so it was much different than the confidence he has here. He doesn't need to be free as Eight; he has his own power in knowing fully what he can be and what he values most. Nothing can take that away from him.

I can change. I will change. I will not fear it.

Final note: The number Eight resembles an infinity symbol. It has no end, and no beginning.

[souporsaladnatural]

Obsessed with the sudden shift in Cas' willingness to say insane romantic shit to dean in season 8. A couple of seasons ago, he would tell dean that they had a profound bond to his face. That everything he did, he did for Dean. Now? He's hesitating. He clenches his fists to avoid hugging Dean back in purgatory. He stutters and looks away before saying he stayed away from Dean to protect him. When asked what broke through heaven's brainwashing, he looks away and says he doesn't know. It's so interesting to me

[thetransguard]

kabru is canonically too smart for miscommunication trope. if anything laios would flirt with him One Single Time and kabru catches on immediately and runs it through his mental processor (does laios not know what he's doing? -> no he does. is he doing this to practice?? -> laios would not lead me on like that -> is he aware of how i feel? -> am i aware of how i feel???) and then literally the next time laios is free he schedules a meeting they sit down at the table kabru leans across looks him dead in the eyes and says very calmly on a scale of im just playing to lets get married how serious are u about this

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[hamable]

Love the Bad Kids immediately shutting down Porter’s attempt to proselytize; like absolutely not, you can’t defend this. You’re a bad teacher. Yeah, we spent the summer hunting the Night Yorb on behalf of the school, because the Night Yorb was our fucking fault in the first place. Elmville didn’t refuse to sign Gorgug’s MCAT, you did, Porter. You’re a freak. You’re 45 and you’re juicing and the teenage archdevil who clocked your bad vibes freshman year day one already swooped the godly domain you’re vying for out from under you and put it on standby like last week. Get fucked old man.

[stil-lindigo]

the fox god.

a comic about a trickster.

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creative notes:

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[stilitrash]

The dynamic I never knew I wanted but definitely needed

[sergle]

I don’t know if there really is any science behind workout routines separated by sex, but even if there is benefit to doing exercise “for women” i don’t give a shit. and i will intentionally seek out guides made For Men. because by and large, this is how the different video thumbnails shake out

[nibbelraz]

Awe , God's first prayer 💞 this God is very stressed about it

[egophiliac]

LET THE BOY HAVE AN EDUCATION

officially at the point where we're starting to see where it's all headed and I am just going NYEEHEEHEE in delight at it all. ahhh...next week can't come soon enough...

[lordsovorn]

dunmeshi inner voices but it's all actual strengths of the characters

Senshi: maintain a balanced diet, listen to your body and be mindful of where your food is coming from. Don't take more than you need from the ecosystem, but remember that to live means to take.

Chilchuck: get paid upfront, get a contract, always have ways to protect your interests in a job, unionize.

Marcille: maintain good hygiene, and take care of your hair and clothes - it's nice and it's worth it. Things in the handbook are there for a reason, but tools aren't moral.

Laios: know your weaknesses and your strengths, and those of your friends. Rely on them and make sure they can always rely on you.

Falin: it's always worth to try kindness first, and to keep a heavy blunt object on hand if that doesn't work out.

Izutsumi: search for your own goals. Be open to change.

Kabru: make your own judgments, and then update them, rather than fit everything you see to your expectations. Act on your beliefs and judgements.

Shuro: always keep the cops in mind, never trust the cops. Know how to balance pressure and politeness in diplomacy.

Namari: maintain a balance between your personal and group interests. Act on your strengths.

Hien: you're staggeringly pretty as is

P. S. Banger post. Here are verified collections of links where you can donate to: Ukraine Syria Palestine

Chilchuck says: Do what you can from where you are. Every action matters, every dollar counts.

[0vergrowngraveyard]

mangey and werehog/boscage sonic 🫶

[poorly-drawn-mdzs]

I *need* to get pregnant by him.

[First] Prev <–-> Next

[mroddmod]

she’ll be alright because she had you.

[aletterinthenameofsanity]

Alright, I'll say it: Jack Harkness and the Doctor's relationship is possibly the most fleshed out/complicated dynamic in Doctor Who and that is INCLUDING the master/doctor relationship. Seriously, think about it:

the fact that when they meet jack is presented as sleazy con man and the doctor makes him brave- makes him good

but that they are both willing to die for rose as long as she is safe

and then she comes back and dooms them both to live (even though jack has already died for her and the doctor WILL die for her)

(ninerosejack is canon and you cannot convince me otherwise)

but then the doctor sees jack as immortal as someone he COULD spend the rest of his life with

and instead of embracing it like you'd think he would because he is so wrecked by people leaving him/being left by him the doctor RUNS bc the Doctor is so scared of jack of what he means of what he is

jack ends up abandoned in dalek dust goes back in time to find the doctor suffers a hundred years alone/being tortured but STILL WAITS

(screw amy being the girl who waited or rory being the boy who waited- Jack Harkness is the boy who waited and he did it FIRST)

Jack finds out that he was abandoned. that the man that he loves HATES the sight of him. that the doctor would rather have a genocidal murderer than have him

and so Jack gets the hell out of dodge to go to a man who DOES love him

and don't get me wrong Jack loves Ianto and Jack DOES remember Ianto until he dies as the Face of Boe don't forget that (protecting Novice Hame from the virus as he couldn't Ianto

BUT AFTER EVERYTHING THE DOCTOR HAS DONE TO JACK JACK STILL LOVES THEM

Jack still considers five billion years cursed to never die to be BETTER than the alternative: dying a young time-agent-turned-con-man

Jack has more reason than any other companion save maybe Amy to hate the Doctor & yet spends 20 years in jail to rescue Thirteen still LOVES HER

AND AFTER FIVE BILLION YEARS HE ORGANIZES THAT FIRST MEETING ON SATELLITE FIVE HE ORGANIZES 9/ROSE'S FIRST DATE

jack harkness is a living ghost a reminder of the doctor's failures a physical fixed point and yet he still loves the girl who cursed him and the time lord that turned him into the kind of person that would give his dying breaths to protect the last of humanity in a dying city and tell the doctor that he is not alone

because fuck it, YANA was a warning but also a reminder a final gift

jack had been there all along, a ghost an echo a PROMISE

there is no more human character than jack harkness

[gravitysoda]

refusing an impossible wish and settling for one last game of chess.