#common question about write from dictation

[blogtey45]

Mastering PTE Writing | Common Questions Answered | Writing Tips by English Wise

[zillychu]

I’ve gotten a WAVE of asks about this AU, so I decided to flesh it out some more and answer some of those questions!

I’ll probably polish this extended summary up at some point and submit it to AO3. But for now, here’s a rundown of my thoughts–please feel free to send more questions! I’ll update this post if I get any more. But if you’re someone who wanted to write fic for it, don’t worry, you don’t need to take my headcanons as gospel. It’s a pretty basic AU honestly lol

Summary:

The portal accident results in a violent explosion that wipes out the whole block, and condemns all of Amity Park. Danny haunts the city for 100 years, before Sam and Tucker find him. 

Setup:

In the 1920’s, 19-year-old Danny went into the incomplete portal on his own, hoping to help out his parents. Ripping the portal open through unnatural means created a huge burst of energy that resulted in a massive explosion. A good portion of the Amity Park population died, many were injured, and the ones on the fringes relocated–Amity was quickly deemed too dangerous due to the excess ectoplasm in the area that attracted ghosts. 

While the disaster was in Amity, the fallout was seen around the globe. Before, natural portals were rare, short-lived, and rarely allowed ghosts to fully slip into our realm (the most severe cases being on par with poltergeists that most people didn’t believe in). Now, natural portals pop open frequently around the world, large enough to allow the entirety of a ghost into the physical plane. They’re more common the closer you get to Amity, but they happen enough elsewhere that this change was something of a small apocalypse before people settled back down and found out how to combat at least some of their new, permanent neighbors. 

Danny is unaware that he’s only half-dead, believing he’s a full ghost. He ends up sticking around Amity, unintentionally making it his haunt. His grief and guilt over causing the death of his loved ones (and many others) makes him isolate and avoid human contact. Though he has, at times, scared nosy people away from the city in a mix of territorial instinct–and to get them to leave before a less friendly ghost finds them. 

Ghosts are much more of an uncontested danger in this AU. Lesser ghosts are practically mindless, and while stronger ghosts are capable of reason, their interests are limited. They’re highly territorial, possessive, and often destructive. Most worrisome is that they also like to snack on the life force of anything alive. No one is sure what dictates a ghost’s propensity to attack or hunt the living for their life force since ghosts don’t exactly experience hunger. At least, not the way we do. If a human is rescued before their life force is fully drained, they can make a full recovery–though humanity has still not yet found what this “life force" is. 

And since the Fentons’ research died along with them, there aren’t many tools available to the public to protect them from ghosts. Most homes have standard ghost shields and some weapons are available on the market, but certified ghost hunters are required to take care of anything more powerful than your average spook. 

Sam and Tucker met in high school, and are now rooming together for college very close to the Amity border. Rent is surprisingly cheap when you’re a stone’s throw away from a condemned area crawling with ghosts. Sam is the one who drags Tucker along with her fascination over finding out more about the city, and its largely mysterious demise. Sam is aware of the danger, but feels ghosts have a place in this world just like everything else, and does exercise caution–like one would while foraging in the woods with a known tiger population. 

What she and Tucker weren’t expecting was to run into a ghost that felt almost human. One that hasn't hurt them, not for lack of trying–while being powerful enough to walk past ghost shields without so much as a flinch. The long white hair is familiar in the whispers of the ectobiologist community, but there’s no way it could be the rumored ghost king Phantom, right?

About Danny:

He has very long hair, claws, and black sclera. His hazmat suit is more torn and ragged, with exposed hands and feet that fade into a burnt black.

His hair tends to float a lot on its own. It can start morphing into fire under duress. 

He does still technically have gloves and boots, they've just charred and melted into his skin towards the ends. He can't take them off in his ghost form. His hands and feet have a leathery texture that's tougher than the rest of his skin.

The white of his hazmat suit is both supposed to look like flames, and also a battered look representing his more violent, explosive death.

Overall, he appears rather listless and sad, with an unnerving air of danger around him–even for a ghost. 

Danny’s “ghost sense” comes out as white smoke.

He does breathe black smoke at times, usually when agitated. 

He's already fought and defeated Pariah Dark by the time Sam and Tucker find him, technically making him the Ghost King. This is heavily speculated by ghost experts, despite there being no real proof beyond a massive battle that scarred Illinois. He has not donned the Ring or the Crown, and captured sentient ghosts are hesitant to answer questions surrounding him. Danny basically has the throne but doesn’t do anything with it, and finds it meaningless enough to routinely forget he has the title. He only fought Pariah because he knew otherwise, humanity would have perished. A lot of ghosts are scared of him because he's so hard to figure out, and he's strong. 

Danny is usually very quiet and speaks softly, because his lungs were damaged in the blaze that half-killed him. He's technically healed since becoming a ghost, so it's more of a compulsion due to the traumatic memory. That, and he’s just… very forlorn and distant, shy around humans who don’t seem to understand how dangerous it is to keep hanging around him.

His memories pre-accident are extremely fuzzy. He knows the very basics of who he was, but specifics have been muffled due to trauma and isolation. He routinely forgets human habits, etiquette, etc. and tends to act more like a full ghost with some odd quirks. 

He does try to scare Sam and Tucker off numerous times. Unfortunately for him, they realized they shouldn't have been able to escape a ghost that strong–but they did, because he let them. 

Sam and Tucker think he's mute at first! He doesn't speak a word to them until several encounters later, when he fumbles his whole scary act and saves them from another ghost. 

He’s still half-ghost, though he doesn’t figure this out until Sam and Tucker come along trying to unravel the mysteries behind the Amity catastrophe. Physically and emotionally, he’s been stuck for 100 years–so his human form is still 19. It’s unclear at this point if he can age normally like a human as long as he stays in human form, or if he’s immortal. 

Danny's family did not turn into ghosts, though he sometimes worries he'll find them in the afterlife as shells of their former selves. He doesn't know if it's better or worse that he's not sure he'd recognize them. 

(Danny also still has some living family. Take a guess.)

Yes, he knows how to Wail. Understandably, he very rarely uses it. You do not want to witness this.

Danny :) is not immune :) from the allure of eating a human's life force :)))

[writers-potion]

Suggestions for a body swap story? They seem harder to write

Body-Swapping Stories: I Understand You In A Particular Way

The high-concept of a body swap story is versatile, with endless possibilities. The main factors of a body-swapping plot would typically be comprised of:

Two people whose souls are being interchanged (the catalyst)

Awkward/funny/dangerous things they encounter by living the life of the other person (main premise of the story) 

A resolution brought about through insight gained by the protagonist about the other person’s perspective/secrets, with a promise to act differently once they’re returned to their original body. (the moral of the story)

Why are body-swapping stories appealing? Among many reasons, the central premise of such a story is to address the theme of: how much do we really know about others? 

As souls living in one body only, we encounter problems due to our lack of understanding about others around us, including external conflict, jealousy, misunderstanding, etc. It is a universal human experience to be curious about what’s in another person’s head and want to be somebody else sometimes.

By forcing the protagonist to experience “thinking inside another person’s shoes” in the literal sense, body-swapping stories tend to be versions of the characters growing up by breaking out of their old worldview to widen their intellectual horizons. 

Here is a list of common story components and patterns for a body-swapping story.

A Body Swapping Mechanism 

The body swap happens out of the blue as a one-time occurrence: a lightning strike, electric shock, supermoon, weird potion, etc. In this case, not much justification is required as there is no magical system or follow-up about why this happens.

A higher power conducts the body swap: a fairy, a disgruntled God trying to teach a lesson, a reputable couple therapist, etc. The rationale here is that this higher power is trying to redeem/punish the protagonists. 

One character actively wishes to have their body swapped: the school nerd who envies the prom queen, a daughter who wants to be a grown-up, a poor man wanting to be the rich man next door, etc. 

A character has the ability to “infiltrate” other people’s bodies. They use this ability in an attempt to solve a mystery, espionage, disguise a murder, etc. 

Only “destined pairs” can swap bodies. In this case, a bit of justification/worldbuilding would be good to convince the readers how these people are paired (bloodline, soulmates?).

Body swaps are conducted through a specific ritual or potion. This can be a candles-and-pentagon type, a magical notebook, a specific dance, etc. 

Body swaps are common in the story world, and everybody (with certification/practice/of age) can use this ability. 

The character(s) do something wrong which sets the swap in motion.

The Relationship Between Two (or more) People Getting Swapped

Relationships with long-standing misunderstanding: busy parent & unhappen child; couples on the brink of breakup; siblings with beef; strict teacher & irresponsible student, etc. 

In a romantic arc, a potential couple who are now going to fall in love as a result of this body swap

A human and an animal/supernatural creature 

Enemy relationships: the head of rival companies; a murderer and his victim, etc. 

If you have a magic system, your choice of people would depend on what the magic system dictates. Ask the question: is this someone my protagonist must learn about? 

Things to Explore

Protagonist(s) exploring each other’s bodies

Them arguing over how the other person should/shouldn’t use their bodies

Them trying to keep secrets from each other.

Them teaching the other person about how they should/shouldn’t act so that the body swap goes unnoticed by others around them. 

Them snooping around each other’s lives and secrets without the other knowing.

Them trying crazy stuff they’ve always wanted to do but couldn’t due to physical constraints.

The Purpose of the Body Swap

Providing the entrance into a new (fantasy) world. Ex) Human swapping bodies with a witch, forcing them to learn about the secret society of magicians.

Teaching the protagonist a hard-earned lesson. Ex) An ungrateful child gets to live a day in the life of her mother which humbles her. 

To resolve a long-standing (romantic) conflict. 

To provide a tool for crime, with unexpected consequences. 

Interesting Ideas

Writing these here just because I can. 

The Living Realm and the Dead Realm are like parallel universes. When someone meets an untimely death, their body gets swapped with their doppelganger in the parallel universe.

The protagonists are living in two separate story worlds. The author who’s in charge of writing stories for them is highly indecisive and keeps switching protagonists mid-story. 

The protagonist and her friend swapped bodies to cheat in an exam. But the protagonist’s friend dies – in the protagonist’s body. 

A magical agency offering to swap bodies for trans people who wish to have the body of the opposite sex. But their services come with a huge price tag…

Hope this helps <3 Let me know if you guys have more questions/ other ideas/ helpful resources below in the comments!

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[certifiedsexed]

hi hi hi ik this isn't really a sex ed question but it's a queer question and i'm too afraid to google it. what exactly makes someone butch? i've been told i can't be butch cause my face/body are too feminine but i think your identity being dictated by how you were born is kind of bullshit in the queer community. i've got raggedy as hell short hair, i've never worn makeup a day in my life, and 90% of what i wear is a tanktop, shorts, and boots, the only thing differentiating me from butches i've seen recognized as such are that i'm kinda waifish and have a girly face. maybe it's mannerisms? i'll be the first to admit i'm upbeat but the idea that butches can't be cheerful also seems dumb. idk, i'm worried i'm overthinking this. i don't want to take t but i'd have been born less girly if i had a choice. i just can't tell if i'm inserting myself where i don't belong or if i've happened to meet a lot of people with weird ideas around queer women. your insight is appreciated oh certifiedsexed

Hi! Actually, information about sexualities and the like fall under sex education! Thanks for asking me!

Let me be clear, there isn't a list of categories you have to meet to be butch. It doesn't have to do with your body or personality.

The "butch" label is about a queer (or generally gay) connection to masculinity and/or a queer/gay presentation of masculinity: it's very common [and was born] in the lesbian/sapphic community but you can hear it thrown around in the general gay community as well, especially in older corners.

It's not a sexuality, though it can be a gender.

There are social aspects to the identity, specifically in the sapphic/lesbian community. It has very deep roots and a lot of associations that change depending on where you're from but the important part is that gay/queer connection to masculinity. The way you look/act doesn't really matter.

You're correct on the second option, it sounds like you've just met some people who have some weird ideas about queer women and identities associated with them.

The best person to learn about being butch is butch folks, so if you're looking to learn more about it, you should look up some writings and/or media created by butches! [I can provide some resources, if you're interested. <3]

Hope this helps! If you have anymore questions, let me know! <3

[writingquestionsanswered]

Fanfic Character w/Conflicting Traits

Anonymous asked:

How do I write a character who has low self esteem + is very pessimistic while also being (rightfully) proud of his work and rude? I'm having trouble balancing these traits of this fanfic character as I don't want want to go to the "soft sad boy" or "arrogant evil guy" extremes, both of which I've seen the fandom push their characterization toward sadly. I see myself in this character so it makes me want to go for a more nuanced approach.

The tricky thing about this character is the dichotomy between having low self-esteem yet still having the ability to be proud of his accomplishments. That definitely requires a nuanced balance, which is why I think people struggle with portraying this character, tending to either veer into "soft sad boy" or "arrogant evil guy."

The fact that you see yourself in this character to a degree will give you a leg up on others who are writing him. Hopefully you can look to canon as a guide and suss out how these two contradictory personality traits coexist. If low self-esteem doesn't inhibit his ability to take pride in his work, how does it affect him instead? What is it that allows him to see the value of his work and take/show pride in it, despite feeling low about himself in other ways? Examine how canon handles this and you'll have a better idea of how to portray it.

You can look at other specifics, too. How does their low self-esteem typically dictate their interactions with others? Is rude their default because of the low self-esteem? Or is there another default, and the rudeness comes on as a matter of pride? What sorts of things tend to trigger this shift? Is it specific to mood, circumstances, or even character?

Your best bet for doing this well is to pay very close attention to how they behave in canon and really try to get to the bottom of what makes them tick. Then, you can apply your own sense of things--from your own experiences or whatever it is you see yourself having in common with them--to fill in the gaps left open by canon.

Happy writing!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[gremlingottoosilly]

Hey! I got a question for you if you don't mind.

You mentioned briefly in the fic that Emperor König has concubines. Does he still keep them in his harem even after he's married to reader? Perhaps he still keeps them for diplomatic/politic reasons, since these concubines came from influential families.

How will he react if one of these concubines try to seduce him and attempt to replace empress reader? Or even hurt reader in the first place.

Emperor!Konig has the most frustrating and horny harem of them all because he literally never touches them. Not even once. There are rumors about the emperor basically being infertile or lacking a dick or exchanging his balls for the ability to resurrect people - because he has some of the most wonderful women in his harem, stock in different castles because he couldn't be arsed to keep them all in one place for easy access. These are all daughters of important families in his Empire - he never requested one, since he couldn't really care less about the importance of maintaining the royal bloodline(he fully expects to kinda...never die at this point, and he couldn't care less about kids, but still). The second reason, way more secret, is that he...doesn't know how to act around pretty women. Pretty royal women. Really pretty really bitchy royal women who were selected by their families to live in the intrigues of the royal court. Konig was never intended to be an emperor, a ruler - he is a bastard, a nobody who was raised to be the most dangerous person in the world just through his strength and ability to rule over the armies. He would love to give up his title and be a general, but he also kinda liked power lmao. Just not the public aspect of it. One of the reasons he took Reader is because she wasn't royalty - but she still received enough education to be mistaken as one, so he could pass her as the regent empress without society bitching about marrying a commoner. He couldn't care less, really, but his political capital is running from one side of the swing to the other. People have very mixed opinions on him...good thing he is a dictator, right? He has a harem and it was still present up until the royal wedding - poor women were just kept in different castles with money and their own lovers because no, Konig couldn't care less about sleeping with them. He took a few before, but it were flings purely for carnal desires - he respected women who just wanted sex from him, but attachments and the hunger for power that comes later...not so much of his style. I'm not going to write more on the subject here because I intend to make a chapter about it in the fic, but thank you for the idea anon!! You're my concubine now lol

[doumadono]

I just wanna know why so many adult mha smut creators say they age up minors as if it justifies their attraction to them. Would you say it's okay to age up Eri too?

Ah, aging-up fictional characters, my favorite controversial topic! ♥ You know, I was low-key anticipating an anon to drop this kind of question, sooner nor later (what a pity you didn't have balls to come off-anon tho!). I've had my fair share of childish anons before, and trust me, those went straight into the digital dumpster. But hey, this time, I've decided to lay it all out on the table, crystal clear 🙅‍

You know, I've done it all – murder, rape, summoned demons, even glorified Satan and had several children killed in my stories. But guess what? Not a single pair of handcuffs in sight! 😎 And don't get me started on the horror section at any bookstore - it's like a buffet of dreadful deeds.

Let's be real, the purity police can take a hike. There's something oddly fishy about the fact that fanfic, mostly crafted by awesome writers, gets the brunt of the criticism or some ridiculous accusations, especially the smutty bits, while the gruesome stuff gets a free pass 🤷

Look, folks, it's all about context. Fiction is a realm where creativity knows no bounds, right? So, if I want to age-up a character for a mature storyline, I'll go for it 🤷 Look, it's all a part of the creative process. Fiction is like a playground where we can swing from the monkey bars of imagination, right? Aging-up fictional characters is a common practice in creative communities, and it's important to remember that these characters exist solely within the realm of fiction - they are not real, so it doesn't hurt them in any single way. It allows creators to explore different scenarios and relationships without crossing any ethical boundaries :) Also! Aging-up characters isn't some sneaky scheme to write "inappropriate" content about youngsters. It's about taking characters you adore or find fascinating and giving them a new lease on life. It's like those college AU fanfics for characters in their late 30s or kidfic for full-grown adults. It's all about exploring different phases of their lives. So, whether it's smutty or not, the essence remains the same 😎 You see, the whole "aging-up" thing in fanfic/fanart is just common sense. We're not into the whole "let's sexualize kids" scene, so we gracefully turn our characters into adults. It's all about creating content featuring responsible, grown-up folks. And let's get real, if reading about something meant you were all in on it, then every mystery novel reader out there would have to be either an undercover detective nor a murderer 😎 So let's dial down the judgment and just enjoy our creative freedom, shall we?

But you know, trying to equate aging-up with things like grooming/pedophilia is like saying eating a banana is the same as piloting a spaceship because they're both hands-on activities. Let's keep our perspective here, folks, and not get too carried away with the terminology 😂

If you don’t want to read those stories (containing aged-up characters/dark content/smut with aged-up characters) - then don’t read them - problem solved!

Oh, how times have changed, my friend! Back in the day, I used to let all those comments and anonymous hate bring me down. But guess what? I've evolved, and I've got news for the critics: I write what I want to write, and nobody's gonna tell me otherwise. I've got this little thing called free will, and I'm not about to hand it over to anyone who thinks they can dictate what I should or shouldn't put on paper. If that means ruffling a few feathers, so be it. I've shed my tear-soaked days and embraced the fact that I couldn't care less about those sensitive souls who can't handle a bit of fiction. So, to all you "snowflakes" out there, if you're trying to stifle my creativity, good luck, because I'm just going to crank up the heat and write even smuttier storylines with aged-up characters! Thanks for the encouragement, dear Nonnie – you've only fueled my fire! 🔥😎 I might even consider writing some very dark-themed fic with aged-up Eri, why not! 😈

Oh, hey Anon! Quick question for you. Have you ever picked up a Stephen King book? You know, the master of horror and suspense? Well, if you have, you might've noticed that he doesn't shy away from some pretty explicit content, and not just with adults. Sometimes he writes about kids too, and they're sometimes off legal age as well! Surprise, surprise. You can stroll into a bookstore, grab a book off the shelf, and guess what? There's a good chance that some of those books contain content that would make a sailor blush! Yet, the world isn't collapsing because of it. The point is, even in mainstream literature, you'll find situations that might make you raise an eyebrow. So, let's not throw stones at age-up fiction creators when the literary giants sometimes walk on the same edge, right? 😏

In the conclusion, if you've got a problem with aging-up fictional characters, dear Nonnie, you might want to take a chill pill and remember that it's all just a bit of fun in the end ♥ Well, you know what would truly make my day? If you took the liberty to hit that "block" button with glee and gracefully vanished from my interactions. And if, by some chance, you decide to stick around, don't hold your breath for a response. I'll be too busy conjuring up some fiery, smutty tales featuring Bakugo or Shoto or any other character I like to bother with your, shall we say, less-than-enlightening queries. But hey, chin up, pal – here's a little nugget of wisdom from your "older and wiser" friend: go get a life. It's an absolute game-changer 😜 I'm tagging some content creators who write dark fics or use aged-up characters and might face similar anons/anon hate: @mrskokushibo @ectologia @kyojurismo @bakubunny

[kcwriter-blog]

Let’s Talk Solas on the Balcony

A comic in which Solas and a Qunari Inquisitor discuss his views on the Qunari people is making the rounds. Per usual, it is sparking conversations and arguments about whether Solas is a racist piece of shit or not. I don’t think people’s opinions can be swayed one way or another at this point, so I’m not going to try.

What I want to talk about is the diffculty Weekes would have had writing this scene, the contradictory nature of the balcony conversation with banter, and the fact that Solas may not be entirely wrong (although he shouldn’t have said it that way).

The writing. I’m going to use the Qunari balcony conversation because it’s the most egregious, but all conversations Solas has with an Inquisitor of any race are problematic. I don’t think the intention was to cast Solas as a racist. I could be proven wrong in The Veilguard, of course, but for now, let’s say that was not the intention.

Weekes had the Herculean task of writing the “loyalty” conversation that happens after every companion quest is successfully completed. That isn’t an easy thing to do when the character is hiding the kind of secrets Solas is and who might not be feeling particularly loyal at the time.

The writer must show that Solas has doubts about his plan based on his observations of a single person – the Inquisitor. Weekes must show that Solas is looking for anything he can cling to, to justify his plans. They must show Solas’ growing admiration for the Inquisitor – in some cases against his better judgement. They must show that Solas is only just beginning to realize these people are real and destroying them would make him a monster. They must do it all without giving away the stinger. Not easy and very open to misinterpretation.

I love Weekes as a writer but even they can miss the mark. Solas has a tendency to say whatever is on his mind in the most socially awkward way possible. Probably because he spent 4,000 years conversing only with spirits. I love Cole but imagine spending that long in a place where everyone talks like that. Also Solas' first language is Elvhen, a conceptual language that is much more fluid than the common tongue. He's trying to express complicated thoughts in a language that isn't his. Again the writer has not and probably can't give us this context.

What Solas says on the balcony contradicts his banter. This could be because of the way banter triggers. It’s possible that banter was meant to trigger after the balcony conversation to show the growth of the character. But let’s look at it.

In an exchange with Bull Solas defends Tal Voshoth. Bull calls them savages and says they are sick. Solas says they aren’t. They are victims of a sociopolitical system that denies them agency so when they gain it, they don’t know what to do with it.

If you save the Chargers, Solas is the person that helps Bull through his concerns that without the Qun he will turn into a mindless beast. My family has dealt with enough racism to know that a racist would never do that. Basically, if Solas was a racist, he would absolutely believe Bull is right and he will eventually turn into an animal.

Solas’ problem- as has been stated multiple times - is with the Qun and the fact that most Qunari don’t question the regime they live under. The Qun removes agency from the people. That is anathema to Solas. The problem with the balcony conversation is that this isn’t expressed. Solas seems to be saying he believes that without the Qun all Qunari are savage brutes when he clearly defended all Qunari who have rejected the Qun.

It’s poor writing because it isn’t made clear that this is Solas’ problem with the Qunari. When he says the Inquisitor is different he means that they question the world around them. They don’t take things for granted or mindlessly follow whatever their society dictates. Again, poor writing choices don’t make this clear.

And Solas isn’t entirely wrong. The Qunari aren’t savages but they can be brutal. Most of us have played all three games. We have learned a lot about the Qunari and it isn’t all good.

Their goal is for everyone to live under the Qun. The entire second act of DA2 explores what your average Qunari believes. We must fight through Kirkwall because the Qunari have decided the city would be better off under the Qun. We know that the Qunari treat their mages even worse than humans treat mages. Circles are bad but the Qunari cut out the tongues of their mages, sew their mouths shut and give them personal minders. They are fed a chemical that keeps them pliable (a chemical they feed anyone who is judged to be a problem child as Fenris tells Isabella).

The Qunari don’t have names. They have numbers. Their “names” are just their job descriptions. They can have all the sex they want but when it comes to children there is a breeding program. They are told what jobs they will do. If they don’t do what they are told, they can be made Tal Vashoth or killed. In DA2 we free a Qunari mage who doesn’t want to be free and self-immolates because he feels that’s what he must do under the dictates of the Qun. Most Qunari, even Bull, would rather turn themselves over to re-educators than become Tal Vashoth because they have been told they will turn into savages without the Qun to guide them.

As of Tevinter Nights we know that a subset of the Qunari decided to take the “Path of Blades” to forcibly get other races to submit to the Qun.

Solas would see all of this and hate it. He doesn’t hate the Qunari people - which is an aspect of racism - only what they have become because of the system they live under. The Inquisitor is different, not because they are a special snowflake (they are because they are the hero of the story) but because they don’t believe in the Qun.

The fact that Qunari can throw off what he perceives to be their shackles confuses him and makes him believe that they and possibly Bull aren’t the only ones capable of doing this. That’s not good for his plan. That’s why he wants to know if the Anchor has affected them. He wants to believe they are special because of the Anchor so he can carry out his plan with a clear conscious.

I think this is true of the other conversations with other Inquisitors. The solution to the problem would have been for the Inquisitor to be able to strongly push back against Solas’ comments. Weekes could have then provided some clarity. As it is we get no clarity and people are left with misconceptions.

[eldritchelfwriter]

Thoughts on religious trauma and leaving religion in Baldur's Gate 3 and real life

It is rare to see religious trauma in popular media - in fact, I struggle to bring any other examples to mind besides Shadowheart's journey in Baldur's Gate 3.

I was so excited to see an experience so many go through finally being acknowledged to the world at large. Leaving religion is an experience I have had myself, and the fanfic that I'm writing over on A03 is partly influenced by those experiences.

So what stacks up from Shadowheart's journey in Baldur's Gate 3 with real life?

Firstly we see in Act 1 and Act 2 that Shadowheart is subtly suffering from cognitive dissonance - holding two or more opposing ideas in mind at the same time.

For Shadowheart this is a tension between her religious dogma and what she (mostly unconsciously) really feels, or in actions that don't line up with her beliefs (see her "there'll be penance later" line after saving the refugees at the party, and her surprise at how good it feels to care about them). There is a rare line that can come up in Act 2 where Shadowheart says she is distracted and "it's almost like I'm conflicted about something" which shows that her cognitive dissonance is slowly coming into her awareness. Cognitive dissonance is a common experience for people trapped in unhealthy religion but not enough on its own to leave. It's something that takes a lot to even be aware of, but there's also plenty to keep people from acknowledging it. For Shadowheart we see an extreme response from the religion: the uncurable wound, punishing her whenever she goes off the Shar-approved trajectory as a sick example of attempted behavioural modification.

I think a key reason Shadowheart is able to start "seeing the machine" behind her beliefs is because the whole incident with the nautiloid has unwittingly removed her from the cult environment that has kept her imprisoned in her own mind for so long. Never underestimate the power of shared routines and behaviours, and their power to keep people in one place without questioning. If you have a friend or family member who gets sucked into a cult, one of the tactics to try and free them is in fact predicated on an environment change that opens them up to being able to question what has been going on without the constant bombardment of indoctrination and behavioural manipulations.

By contrast we start to see Shadowheart in Act 3 making decisions to put a line under her time as a follower of Shar. The fear that she describes, about having to chart her own future is a very real one for a lot of people who leave toxic religion. All the guard rails and scaffolding of religion that makes life certain and safety are suddenly gone, and being the one in charge, after letting others lead you around, can be a very disorientating experience. Especially if the toxic religion in question encourages a significant level of co-dependency. And in all fairness to Shadowheart, it's why I'm particularly proud of her decision, at the end of the final fight, to invite Tav to enjoy the life Shadowheart wants to live - not just mould herself into something she thinks Tav wants.

The Act 3 scene where she is at the statue of Selune, considering how she feels about Selune now is a very powerful one for those who have left a religion. It is hard to suddenly go without all the trappings of daily rituals, a ready made community and easy certainties and some people do find themselves exchanging one religion for another, because of the "easy" comfort it brings. Leaving a toxic religion is very strange for a while when days of religious significance come up - a little like the first time after a bereavement that you experience the birthday of the person who has died. Shadowheart's line about how she sees why "it's so easy to bow" and have your life dictated by a deity is particularly poignant.

Whether Shadowheart still has the incurable wound by the end of the game depends on your decisions, but regardless of your decision, shock and grief over what has been lost and uncomfortable reminders of the past are certainly completely normal.

(Check out the fanfic).

[charrfie]

i need to so badly know your opinions/thoughts on wilfre and sock

Unsure if this is the same dtl anon as before, but either way HELLO AND THANK YOU FOR BEING CURIOUS!!!!! I would be more than happy to share! Because the phrasing of this ask was pretty vague, I winded up writing a multiple page essay in an attempt to cover everything wilfre/sock related. So it's all under a read more. That being said, if I've not covered something you were specifically curious about, let me know. I have a million more thoughts on the two (or the whole game!) I'd be happy to share. Here's an additional drawing I made to accompany everything :^]

For those unfamiliar with the drawn to life series, please be warned MAJOR SPOILERS BELOW!!!!

So, to get into it! I figured I would start with the very basics: wilfre, sock, and the rest of his forms. A lot of folks have different interpretations on the intricacies between wilfre and his disguises! I'm a believer in the fact that they *are* all the same person (in contrast to how some people believe them to be disguises created from stolen appearances/stolen bodies)... but different facets of this same person. Essentially, normal raposa wilfre was a wholly fleshed out being, and every other form he takes exaggerates various traits of his. Flanderization, I guess, but only to a certain degree. Shadow wilfre is an elevation of his more sadistic tendencies, sock is an elevation of his cowardice, and salem is an elevation of his mystery/flair for the dramatic. Granted this is a fairly barebones description of the way his forms worm since I do believe there to be more to these characters and their behaviors, but what I've said already gets my point across well enough for a generalized "what are your thoughts" type of question. Though I will say, sock's spotlight on cowardice is especially interesting to me considering- at least from what I've seen- wilfre's character being largely dictated by his own fear is not something focused on often by fans; it's much more common for you to see him just being cool and evil. We'll come back to this.

Another thing that comes from my belief of them all being the same person is that wilfre absolutely *did* design his separate forms with conscious intent (with an exception of shadow wilfre, which was likely only natural corruption of his form following his exposure to shadow). It speaks so heavily for who he is as a creative!! He likes being a little edgy and snobby- hence salem's design- and he also doesn't think too far ahead sometimes- hence sock's name, which absolutely had to be something he thought of on the spot! So many hints at who he is as an individual outside of "the antagonist" are hidden away in small details like that.

Now, with that out of the way, back to the topic of wilfre's fear!

In the first game, his sights are not set nearly as high as they are in the sequel. He chooses to spread shadow over the whole world as an effort to fix what the creator ruined; he WILL take matters into his own hands and bend the world how he pleases if it means a reality "done better." While there may have originally been truth in such a goal, his reasoning is slightly disingenuous considering it's more of a rebellion than an instance of wanting to actually better the world (due to his inability to ACTUALLY fix things how he wishes he could). Wilfre has a habit of convincing himself he's correct though, so it makes sense why it pans out this way. The writing of the first game makes it out to be a lot more malicious and pointlessly evil than dtl:tnc. Sort of always seemed flat and boring to me in how it's presented so I tend to have to embellish it a bit in my fanworks lol. It's also at this point that the fear which drives him isn't as obvious... while there are suggestions of it in dtl, it's ramped up a whole new degree in dtl:tnc. For now, most of what the player sees sets the stage for this development with wilfre's struggle against power imbalance.

At the very beginning of dtl:tnc, this framework of a power imbalance comes into play almost immediately when wilfre is spoken to directly by the creator. It's almost insulting to him considering he prayed and begged for some kind of answer for so many years, and yet only when he is far past his worst- when he is no longer devoted- now he hears them. He's livid and extremely reactionary about it! In part, this is due to justifiable anger, but I've always been lead to believe fear plays a large part here as well. His manner of speaking shifts, he hesitates; he's unsure, only for a moment before breaking out into an extravagant display of his power. Almost as if to reaffirm his control of the situation. As the game progresses, these sorts of actions increase in frequency.

Alongside these sorts of direct fear reactions popping up much more often, wilfre's shifted goal also reflects the terror which motivates him. His sights have been set on bigger things by this point: saving the world by freezing it in time and space. It's destruction is imminent if he doesnt stop those who try to return color to it. It's an action SOLELY motivated by fear of death, something he develops an almost obsessive fixation with.

Wilfre's thought process during the execution of his plan tends to follow the idea of "you can't bake a cake without breaking a few eggs," which is essentially the equivalent to "you can't save the whole world without killing or harming a couple people along the way." Even if it requires him to create a sterile, barren, unmoving world, he will do anything to prevent the physical destruction of the world... to prevent death. This is something he considers noble and just; something which makes him a savior. Realistically, freezing everything EXACTLY how it is is not much better than the world and it's inhabitants fading out of existence; it's basically the same thing! But when fear dictates logic, it doesn't need to make any sort of sense. Self preservation is the most and ONLY important thing one accounts for.

Sock, specifically, embodies wilfre's myriad of fears to a whole new level. Rather than fear being combated with a reactionary display, he cowers, hides, and acts dismissively towards a various amount of situations. I'll delve into this a bit more later in a separate point, but while some of this may be to manipulate others in the situation, it's not uncommon for wilfre to do/say something that puts on a front while masking other meaning. It's just that his typically inward thoughts tend to project themselves outwardly in this form of his!

Keep in mind that while I do believe there to be reason behind wilfre's logic and actions, that does not necessarily excuse all or even most of them. Do not misconstrue me!!! He's killed people, he's trapped people both in physical cages and in time and space, he's psychologically tortured others, the list goes on. And that's what makes him so fascinating! He's not a good guy! If you erase or excuse all of his terrible actions he becomes so much less interesting as a character and antagonist. But its undeniably interesting to look into the psychology and motivations behind his actions.

Moving on from this, it is also worth noting that I am a HUGE proponent of jowfre and it's very much so interlaced with my reading of the story/characters. Let me explain:

Sock, as a character, stands out to me a lot in how he is a major turning point for wilfre. According to his plan, the "sock" disguise SHOULD be another approach to the same issue at hand: preventing any raposa from impeding on his end goal. Disguising himself as salem was his first attempt at this... but holes were quickly poked in it's execution, and he found that prevention by force would not be successful. Instead, he then goes the opposite route; by disguising himself as sock, he can befriend jowee (who at this point has assumed the role of leader), gain the trust of others, and destroy their group from the inside. Which works! ...A little too well, he finds, as he too starts to believe his own lie of being someone who cares about jowee and his fellow raposa. And in return, he is gifted something he thought impossible in his current state: jowee's genuine friendship.

Now obviously this is a BIG DEAL. For a lot of reasons. For one, it's a hell of a lot harder to endanger the life of someone you care about than it is a random stranger who hates you (worth noting that every time this happens in the game, it becomes increasingly passive to the point that any danger isn't even coming from wilfre himself, sock just suggests that everyone leave/give up). But even less than endangering someone's life is breaking someone's spirit. If he can break jowee's determination and make the village give up on their mission, he'll succeed. And yet this is STILL something wilfre can't find it in himself to do.

I have two personal favorite examples of this that stick out to me. The first is the infamous treehouse balcony conversation... where jowee is heartbroken about the disappearance of mari. Discouraged and lost, jowee confides in sock, airing out his grievances. It's an ideal moment for sock to reaffirm jowee's broken view of himself; jowee wouldn't argue with the state he's currently in. Instead though, sock listens to him, encourages him, and comforts him. One can argue that it's a simple manipulation tactic since it's the perfect moment for wilfre to gain jowee's trust, but it's always stood out to me as something very... vulnerable. Jowee *is* the first raposa wilfre has had casual conversation with in ages anyway...... it's as if he's relishing the feeling of being able to relate and be on equal ground. The shadow has influenced his entire being, yes, but there's an undeniable glimmer of humanity in him still that yearns to escape. It's also here that we get critical insight to wilfre's inner principles when he tells a (likely fictionalized) tale and ends it with "I made a decision that- regardless of consequence- I would succeed." It speaks so much for who he is at his core and how right he believes himself to be. He's sharing BIG things with jowee rather than breaking his spirit.

The second example of this is following the first hint of mari's betrayal: when she steals the book of life from jowee. Accusations are being thrown around, faith is dwindling, and the entire village is on the brink of collapse... but when jowee comes forward with the notion of wanting to try again, to not give up... out of everyone else there, sock is the first and only to speak up. Cheering for him and encouraging him forward. Without him doing so, the mission would have failed. WHICH IS CRAZY BECAUSE THIS IS LITERALLY WHAT HE'S BEEN ASKING FOR!!!!!! The entire time he's been accompanying the village he has again and again (and will continue to) try to get everyone to back out of what they're doing, to split apart. But when it's served to him on a silver platter, he can't. IT'S FASCINATING!!!!!!!!

As I said though, jowee's friendship doesn't just come with one issue for wilfre, but multiple. Arguably the most egregious is the fact that it makes wilfre question if his grand plan of draining the world of all color is really right. If it's something he should even bother to do. Which must be a realization so chilling considering *he is doing so to save the whole world.* How can such a pest of a single raposa make him- the great and infallible wilfre- waiver in his confidence? This particular issue is all implication rather than direct statement; I've mentioned previously how sock gets less and less pushy as time goes on, instead vouching for generally avoidant approaches, and this is what I'm referencing here. It's downright procrastination rather than prevention!

Wilfre drags the execution of his "destroy jowee's village from the inside out" plan out for so long that he only acts when he's desperate. When there's nothing else he can do, no further thing that might delay them. He's been backed into a corner and knows jowee is far too determined to quit. And so, he drops the act. He steals heather's pendant, reveals himself as wilfre, and escapes.

I highly doubt it's intentional (and I'll get into the details on why I find this legitimate reasoning regardless of intention later), but I do find it interesting that he waits until the moment in the map room to ask for the pendant because it directly follows jowee having an outburst about wilfre and how terrible he is. Realistically, it would have been even more in sock's favor to have stolen the pendant while jowee was alone with him on one of the islands they visited. At that point, the other villagers may even have turned on jowee- their leader- out of suspicion. Better yet, sock could have stolen the pendant away while jowee slept, eliminating the need to get caught entirely. But he doesn't. It's not until he's desperate AND is directly getting reminded that the person he most cares about hates him that he acts. It's a nice callback to the aforementioned treehouse conversation the two have: regardless of consequence, regardless of losing someone he had come to care about, he would succeed in carrying out what he meant to do. And so he does. He tries to, at least.

A brief interruption from this point to speak on the writing quality of the games themselves. The drawn to life series contains two separate writing approaches: multidimensional storytelling and face value storytelling. "Multidimensional" in the sense that the writing itself mirrors a character/dictates their identity (e.g. jowee's writing reaffirming his position as someone thought of as unworthy) and "face value" in the sense that the writing tells the story in a straightforward sense with no hidden meanings (e.g. most large plot developments). It's pretty fascinating! Now, do I think this approach of dual writing systems was intentional? Well... no. Truthfully it's my opinion that the writing in the game is fairly underwhelming and not very well thought out. It's not a masterpiece by any means. But despite intent, the dual writing system is very much so at play, and one needs to approach the game being ready to actively parse through which is which.

I bring all this up to say that occasionally, the blatant multidimensional storytelling embedded in the games' writing is really just meant to be normal, face-value storytelling. Certain interactions or events seem deeper than they really are, implications come to the surface due to it, etc. And because of this, the growth of certain characters is entirely stunted. Namely due to the fact that while the player expects said character(s) to act in a certain manner due to implications previously made, this character will instead act in a wildly unexpected way because it was what the writer initially intended. And as we've established, intent does not equal correct execution. By far the worst example of this is the latter half of dtl:tnc, where wilfre tears the appearance of "sock" away with no remorse and escapes to his wasteland. After all the build-up of his blossoming relationship with jowee, his dynamic character development, and overall stakes rising, the player is suddenly brought back to a very static, unsatisfying square one... a completely out of left field 180° with character direction. I've always suspected the reason for this was that midway through the project, the script writers realized the villian had become more sympathetic of a character than one of the main protagonists (mari) and out of nowhere switched it up, cut off character arcs, etc just to ensure their original intent was preserved.. even if that ultimately led to something that felt clunky and odd.

A bit of a longwinded side tangent, but it all prefaces my next point: if the games were written with more care and without the literary biases present, wilfre would have had a redemption arc. Or at least an arc where he sees his redemption as a choice, but turns against it.

I know, I know. You can't simply see a villian character you enjoy and go "well I think they should've had a happy ending so I'm going to let AU reflect my analysis of the canon media." That's not what I'm saying here! It's not just a simple wish for better circumstances influencing my thoughts. I would have been 100% okay with an unhappy ending for him either way, if only the writing didn't handle it in a way so jarring. Because it *is* jarring though, I try to work with it by incorporating it into my analysis rather than just discarding it as unusable, disingenuous storytelling. Case in point: what I did with my jowee pmv... you GOTTA boost the drama and stretch the truth a little bit...

To wrap this very long response up, I wanted to briefly mention very minor miscellaneous thoughts I have about wilfre that didn't fit in with any other main topic I touched on:

Based on my interactions with the fandom, I've come to notice there are a LOT of people who seem to think wilfre doesn't believe in the creator. In reality, he very much so does, he just thinks they suck lol.

I think it's very cute seeing how wildly out of practice wilfre is living as a normal raposa. He's spent so long as a shadow that things which used to come so easy to him are such a chore now (e.g. in lavasteam where he breathlessly chases after jowee trying to keep up with him.. he's so used to floating he's out of practice actually carrying his bodyweight around).

I have always read drawn to life as being a story relating heavily to forced role fulfillment; a character must fill the role they are given, or the world/their own self will fall apart. Assuming you're the same anonymous asker from before, you've seen my pmv, so you know how evident jowee's forced role fulfillment (or lack thereof) is throughout the games. But wilfre is also a shining example of this narrative theme! Many of the issues that the raposa world suffers from (be it relationship disputes, societal structures, general unhappiness, etc) are oftentimes tacked on as something wilfre is somehow at fault for, however loosely. The shadow's influence leads him to lose a lot of his humanity (raposity?) on its own, but his role as the scapegoat does as well, since it warps him into more of a concept than person. This is another reason his paralyzing fear of death is so critical to get across; it returns some of the humanity and dimension to him which make him more well-rounded.

I mentioned that sock becomes more avoidant as the story progresses, but what I've neglected to mention is the fact that wilfre is generally very avoidant by nature. Despite having more power than any other thing he commands, throughout both games he incessantly tries to have the hero and others dealt with through indirect means (other bosses/shadow creatures, influencing potential allies, robbing raposa of resources, etc). It's a pretty obvious behavior that dictates his character, but is further enabled in the circumstances I elaborated on outside of these notes.

Not very wilfre-specific but moreso just general info: I do not consider the newest entry in the series of drawn to life: two realms canon in the slightest so none of my interpretations of stories or characters will ever stem from two realms events. Sorry!

Wtf is up with him being weirdly flirty with mari at the end of tnc btw. I usually just excuse it as bad writing and that sudden shift in character I talked about. Which is funny because if that character shift is indeed the writers overcompensating then that means they were worried about too much gay tension between wilfre and jowee I guess LMAO there's literally zero reason for it otherwise.. it's so ooc and out of left field. Can I just write this dude myself please.

Thank you so much for asking in the first place... I love talking about these guys!!!!! <3 If you can't tell, lol. Hope you found it interesting, I'd be happy to elaborate further if anyone's curious. Just know it might take me a little while since it took me about a week to get to this ask haha

[myfandomrealitea]

I always want to wholeheartedly agree with the "create what you want, just label it" argument. I really want to. Right up until people defend unexamined bigotry. For example, I once ran into a story where Martha Jones was actually about to fail out of medical school when she met The Doctor, because she was "incapable" of learning human anatomy and medicine, and despite "bribing her teachers". I wrote in my journal that I thought the story was racist, in a public post, and people scolded me for being censorious and not letting people "have fun". (This was back when LJ was viable.) I have a pile of other experiences like that. I would never agree with the antis that Someone (aka them) should prevent people from writing whatever, but I feel like to completely agree with "create what you want, no limits, nothing matters but creating," I have to agree that a fan of color has no right to be hurt by a story that turns an intelligent Black woman into a cheat and an idiot, even in that fan's own space. What do you think?

You have every right to feel offended or hurt by a story. But your hurt and offense does not negate someone else's ability to create. Nor does it dictate that you can tell them what they can and cannot create.

How do you know the author wasn't a person of color themselves? How do you know they weren't writing the story based on their own emotions, difficulties or experiences? Is painting a person of color as 'unintelligent' a common theme in their works or was it just the plot device of this specific story? If Martha Jones was Asian or Indian or Caucasian, would you have still been offended on her behalf that an intelligent woman/intelligent woman of color was being turned into 'an idiot'?

These are questions we have to ask ourselves when trying to determine if a work was genuinely created with the intent of being harmful. Because individually not liking or being hurt by the content's of a story is not a good enough reason to advocate against it.

The 911 fandom, for example, saw a lot of it with Eddie Diaz. People were so entrenched in fandom virtue signalling that pretty much any depiction of Eddie Diaz in fanfiction was getting bitched about as 'out of character' or 'racist' including works written by actual people of color. It got to the point where for quite a while fanfiction production within the 911 fandom dropped way down because people were too annoyed with or upset by the constant accusations no matter what was being written.

And I know it probably sounds like I'm just smokescreening for racism or excusing it. but I can promise you, I've blocked and reported authors and fandom creators before for being blatantly racist in their content. But fanfiction and literature become trickier because the purpose of stories is not to be palatable or feel-good. Stories do not have to be pleasant. Fanfiction does not have to conform to the source material.

Describing someone as "incapable" is typically a turn of phrase and has nothing to do with trying to allocate unintelligence to a specific type of person. Plenty of people would be classed as "incapable" of learning medicine because its a hard fucking thing to learn. You need to dedicate more or less five-ten years of your life to studying it before you even really get anywhere with actually practising it.

If you're someone who's easily distracted or has trouble remembering things and vice versa, you're unlikely to go into a career field that especially demands these things of you.

I imagine in any case her failing out of medical school was likely the plot point that leads her to going off with The Doctor. Which is a simple narrative and not a case of "unexamined bigotry." Its just as likely that if the author had had Martha Jones simply give up her aspirations and career to follow The Doctor, someone else would've been offended by the trope of a (black) woman giving up everything for a (white) man and deemed the story sexist or racist. Possibly both.

When analysing literature you have to be critical of if something is offending you personally or if it was intended to offend people of color as a whole. If the answer is only the former, then its a situation where you just have to recognise the work is not for you and move along.

[ranticore]

20, 21, 33, and 34 for qedivar!!

My lil birdman....

20: Who do they like as a person but hate their work? Vice versa, whose work do they like but don’t like the person?

He likes Amivar his frenemy roommate who is also writing a thesis at the Spire, tho Amivar is doing historical anthropology. They tend to get along well, they can work in close proximity without wanting to murder each other (...that often), and sometimes they're fwbs. The only problem is that Qedivar absolutely loathes Amivar's theory of evolution, he thinks it's poorly founded and a whole bunch of nonsense, especially as there don't seem to be any mammals on Siren other than the people living there, so there's no evidence of close relatives, ancestors, etc. aside from the odd unaltered human skeleton in the fossil record. But no transitional forms! Amivar's reconstruction of an unaltered human places feathers on the arms, where they should be, but the wrist shape is all wrong. Qedivar isn't convinced. They fight about it a lot.

The reverse is Tekteivar, a scholar studying world languages. Qedi respects Tektei's work a whole lot because Tektei is the one who back-translated modern speech into English, so that all the records from Ishmael's time could be understood properly. But that's where the respect ends. Tekteivar is grating and cold and fighting with him isn't even fun.

21: What common etiquette do they disagree with? Do they still follow it?

In the Spire, the world's only university, the hierarchy of scholars is absolute. If you haven't published your work, or been recognised as an authority in your field, you have absolutely no right to question the knowledge of someone who has. The higher someone is up the chain, the less acceptable it is to question them. Qedivar used to respect this, as obviously you need to acknowledge when someone knows more than you. But since he started his own research into predecessors and Ishmael, and was completely blackballed as a result of his controversial findings, he no longer cares to follow that etiquette. The facts are what must be respected above all else, not the people studying them.

33: How do they greet someone they dislike / hate?

The Spire has a massively high population density and conflict is always held out in the open, to avoid simmering grudges or dysfunctional relationships that might affect dozens of individuals just because everyone's so closely packed together. So if you hate someone, you need to tread a fine line between making it known, so no feelings get bottled up, but not allowing it to dictate how you behave around that person. When working with Tekteivar, Qedivar is as functional as can be - all communication is clear, concise, to the point. They don't like each other but they are colleagues and working to a common goal, which they acknowledge, so they make it work. A greeting would be something like "Hello, today we will discuss [subject]", so that expectations are clearly stated and they don't have to spend more time together than is strictly necessary.

34: How do they greet someone they like / love?

He wouldn't greet them he'd just launch straight into whatever it is he'd want to say, trusting that the other person is familiar enough with him that he can do this without being misconstrued as rude or whatever. He is such a dramatic person that he'd probably start telling a story about how he almost DIED getting over here to meet them, with a multi-stage blow by blow account of the traffic conditions and whether he saw anything interesting along the way. He's very fun to be around but he can be exhausting lmao. Also Spire culture is very.. free and open where intimacy is cocerned so he would probably greet a friend with a hug or kiss [no distinction is made between friend and lover in the Spire]

[shiraglassman]

Hey, I know this is kind of a dumb question, but I came across a TikTok about a month ago suggesting that dragons (the western, fire breathing, princess snatching, treasure hoarding ones) were rooted in antisemitic in the same way something like goblins are. I couldn’t tell if it was a joke or not, and it kind of sent me into a tailspin, since I’ve always loved dragons (I read the WoF series ONCE and wouldn’t shut up about it for 3 years), and I was worried that I would have to drop them entirely for fear of offending someone. I can definitely see the similarities between common antisemitic tropes and dragon tropes, but I’ve always heard that the origins of the western dragon were that it was just a scalier of the devil and not meant to represent any marginalized community. However, I am not Jewish in any way, and I’m aware it’s not my place to dictate what is and isn’t harmful, so I was curious as to what you thought. (Sorry about how long this is TuT)

I held on to this ask for a few weeks to try to make sure my response made sense, so here goes. Disclaimer that I'm just one Jewish woman who loves dragons, and I claim no expertise or position of authority. I can't guarantee that someone won't look at your special interests and judge you unfairly. I also can't guarantee that you'll be hyperaware enough and careful enough to catch dogwhistles if they're subtle, compared with ordinary fictional dragons. What I can guarantee is that your average Jewish person is not going to assume you are more unsafe to be around than other unknown gentiles just because you like dragons, but fandom spaces and Tumblr spaces sometimes represent a skewed or specific cross-section of the population and may react differently. I can't make any of those calls. I don't want to tell you to start tuning out marginalized people when we speak about our issues including bad representation, but I also don't think "every Western dragon" is a problem the same way the entire perception of Halloween witches is, for example. For "some reason" (antisemitism) we've decided that big hooked noses are a thing you strap to your face to fake being a witch, or the way witches look in clip art. This is an issue because it takes a simple, neutral feature that some of us have and exaggerates it to the point of looking nonhuman. "Ha ha," says the trope. "Wouldn't it be funny if this trait that these Others have was so different and so jarring in appearance that they looked as different as they truly are, from us, the In Group?"

If the same group of folks who had anxiety about us coexisting alongside them created the witch aesthetic as created the Western dragon lore, and indeed much of old-fashioned European fantasy, it's easy to see how their feelings about us an other marginalized groups (disabled people etc.) creep into the stories. HOWEVER, it's also incredibly easy for dragons to not be us. Or have anything to do with us. If you're nervous when writing your own stories that someone is going to mistake your greedy characters for Jewish-coded, try to establish that real (human or otherwise) Jewish characters coexist with the greedy dragon or whatever to show that you're not using the dragon as a subconscious Jewish reference. But if you're talking about just "can I continue to buy dragon merch from creators who draw cute art", the only thing I can tell you is that there's an intense diversity of opinion among the Jewish people and even though I'm saying it's fine and probably most people at my temple would say it's fine, I can't account for strangers on apps I don't even have. Personally, I think you're safe as long as you avoid dragon things that evoke the trope directly. And many MANY dragons don't even evoke the trope these days, because so many millennials and younger grew up adoring dragons so we launched media where dragons are good. And don't even always hoard wealth. Much of modern dragon media seems to ignore the greedy and/or hoarding tropes entirely or have replaced greed as a motivator for the collections with "this dragon has a special interest", which is cute and doesn't evoke antisemitic tropes at all. You'll probably be able to make good judgments about what does the trope and what doesn't, but for some additional help here is a post Meir and I did on @writingwithcolor, which is where we'd prefer these questions be directed (yes, I know we're closed currently but we're reopening soon.) P.S. If this was sent to my personal specifically to avoid the WWC ask box being closed, please don't — that's an amount of volunteer work I simply can't take on. But I also know that it's possible and likely that you didn't know about WWC at all, so now you do — feel free to peruse our vast archives of past posts. @im-tired1124

[gay-jewish-bucky]

When people hear about my conversion journey, a lot of them ask what drew me to join the Jewish people. That's a very complicated question, it's a million, billion things that have happened during my life and before it.

I think the answer comes from my own writing, dictated to a child psychologist two decades before I began this journey, and it's remained a fairly common thread throughout my life. For as long as I can remember, I've felt as though I'm trapped between worlds. I'm a lot of different things, but I'm not any of them strongly enough to feel anything but alienated from those spaces. The dominant voice is treated as the universal and pushes me to the shadows or erases me entirely.

Then I started spending time in progressive Jewish spaces, ones that hold the philosophy that a strong Jewish identity comes from finding genuine fulfillment in how and what you practice. There is no implicit or explicit expectation, nor is there pressure, to meet an arbitrary ideal type of observance, all valid ways of being Jewish are enough and are all worthy of celebration and respect. I've finally found a world where I am enough as I am and I am enough as I will become. I am no longer relegated to the shadowy margins, but I am finally dancing hand-in-hand with my people.

[unolvrs]

what's something about your works that's often misunderstood? asking this because your stuff always has layers over layers over layers (COUGH dawn fowers COUGH) !!

THANK YEW FOR THIS WONDERFUL QUESTION! because i admit that sometimes, my everything and the flow get muddled up and confusing for the sake of the writing, and though i wanna pull the "it can be anything you want to be ><", nah.

but first of all a common misconception about frog in a well is that it's bnha-bashing. i admit, i don't like bnha at all but i wouldn't go as far as calling it bashing. and people always criticize froggie for nobara and megumi dissing the hell out of the hero community too much and to that, i say, shhh.

froggie is all about pacing and slow-build character development. nobara and megumi's characters are meant to be aggressive and confrontational and antagonizing at first because they're comparing their world to the other world, and the way they cope is through that. making themselves seem "better" than their peers give them a sort of safety because then, they aren't in danger, or are being threatened by the foreign world.

but of course, as we all know, as chapters passed, nobara and megumi get a character development. which is all froggie is about!

as for among dawn flowers (the face of god), i think this one has the most misconception because gojō is generally treated as an asshole there and yeah, he is, but i'd like to emphasize that while he is an asshole, the story is written in the reader's perspective. the explanation to gojō's actions are dictated by the reader, and we don't really get a proper gojō pov aside from the small snippet at the end which was barely a pov.

basically, i like writing vague stories with unreliable narrators so it's best to assume that not all that is written is what is actually going on.

[name-s-are-not-important]

Hi there, Just dropping by to say that I adore the subplot of Crowley learning Irish/Hibernian in your fanfiction. It's so sweet of him to learn it for Halt and I love Halt having his Irish culture existing in stories. I think you're doing great job with this! Which also leads to my question, do you have some connections to Ireland/Irish culture?

Hello, thank you for contacting me :) I'm very glad you like it, it's one of my favourite arcs in 'the Iron Song' fic, and has appeared/will appear in other stories too. I also fully share the opinion that we need more Irish Halt in the stories. I could write a separate essay about how canon has approached this, it's very annoying. But fortunately we have some pretty big fanfictions where Hibernian is a separate language and the Hibernian kingdoms do have a separate culture. I don't really have any connection to Ireland, I started to learn Irish through writing 'the Iron Song', so you could say I'm learning it along with Crowley :) My approach here probably stems more from how much I dislike the canonical solution, where everyone speaks 'English' and any major cultural distinction between countries is lost, even though neither colonisation nor Christianisation happened there, so the imposition of a language on neighbouring countries stems from…. well, from what? Why is a small island so important to dictate to other countries the choice of the Common Language? Where is the distinctiveness of Ireland when the British conquest and religious wars that ultimately led to such and not other conditions had not yet happened in the 'timeline' of the canon? Solving plot problems by having everyone speak the same language because the phenomenon of globalisation has to be introduced in quasi-medieval realities is something that personally annoys me a lot in fantasy/historical fiction. Well, and besides, I really like the plots of bilingual people. Giving Halt back his cultural distinctiveness, his language, and adding some untranslatable sayings, difficulties with grammar, mental abbreviations when he gets nervous and other such details is therefore something I really enjoy reading and writing.