#death in fiction

[rainboneish]

i see some people on tiktok and twitter acting like gojo not getting memorialized is the only logical conclusion to his arc to either

1) symbolize how no one really understood him and/or could reach him or

2) he shouldn’t be an exception and no other sorcerer got a funeral/memorial either, that’s just how sorcerer society is

and while i firmly believe there is no objectively correct way to end a story, the attitude some of those fans are showing trying to act like everyone who wanted something different is less media literate than they are is annoying me so time to bring up reasonable counters to those arguments:

on 1): complete understanding isn’t a prerequisite for affection and/or grief. Multiple characters (Yuji, Yuta and Shoko at the very least) are shown to have some amount of care for him and them wanting to lay his body to rest, or at least offhandedly mentioning that it was done does not contradict their lack of complete understanding of him in any way. Yuji himself says that he will never forget Gojo (Yuji is also arguably the only character really given closure about Gojo’s death in the story through that flashback (with the exception of Satoru Gojo (hehe see what i did there) and the other deceased characters in 236)

In fact, one could argue that them not fully understanding that Gojo wanted everyone to move on from him and “forget” him would have been reinforced by them grieving him

(I don’t personally think that them processing his loss in a healthy way (read, all the studies about how funerary rites are important to a healthy grieving process) would be contradictory to his wish but since people want to argue that that’s why it was done i think it’s fair to bring up the counter)

on 2) this could easily be solved by having the characters honor all of the recently deceased. (Nanami, Yuki, Choso (what better way to mark him accepting his human side like Yuki told him to)) People keep bringing up how none of the sorcerers got a funeral (as well as Todo’s speech in Shibuya about how they live in through their comrades) and while that is correct (in fact, Todo’s speech represents the whole reason why the last couple chapters are named after Gojo’s dream of a reformed jujutsu society, a dream that his students are now carrying out for him, one of the main issues with traditional jujutsu society (and consequently one of the reasons that lead do Geto’s defection and the formation of Gojo’s dream) is the fact that sorcerer lives are treated as expendable, the fact that sorcerers aren’t given the time and support they need to process the trauma they are put through on their missions.

Part of letting the kids experience their youth is also giving them healthy coping mechanisms and while i am not someone who believes that every character needs a “therapy” ending (hence why i’ve been yelling about not wanting Gojo (who is satisfied with his own death and afterlife) to come back to life to un-learn all of his unhealthy coping mechanisms and his (partially self imposed) isolation as the strongest) i do think getting time to acknowledge and process their losses is part of that.

(Looking at Megumi especially, he might have kept distance between himself and Gojo, and fanon portrayal of their relationship often makes it deeper than it is in canon, but Gojo was still the most consistent adult mentor figure he had in his life, and he experienced Sukuna killing him with his body, a letter isn’t gonna cut it i’m afraid… Megumi’s character arc in general is one people are criticizing and i do to some degree agree that while him freeing himself from Tsumiki specifically being his sole motivation is something, him immediately finding new people (Yuji and Hana, the latter for guilt reasons) to base his reason for living on is a bit… but that’s part of characters not needing to have a perfect therapy ending i guess…

people like to bring up that Nanami, who has been dead for a while now, was also never shown getting a funeral but characters were shown processing his death once the fight was over, both through the conversation between Gojo, Shoko and Ijichi and through Ino requesting and using his weapon in the fight against Sukuna. Yaga’s death was also discussed between Gojo and Gakuganji (changing his conservative outlook) as well as as a motivator for Kusakabe

While Yuji was definitely shown processing Gojo’s death (in chapter 265 and 271) the characters i personally would have liked to see processing/commenting on Gojo’s death the most are Yuta and Shoko,

Yuta for “i will share the mantle of becoming a Monster to take some of the load of Gojo-sensei” reasons (all this talk about how concerned everyone was about what it would mean for his humanity to have to take over Gojo’s body and then we don’t get a single panel about how he actually felt about it after the fact)

and Shoko because we get all these glimpses of her caring about him in her own way (most notably the “i was there too, wasn’t i” moment as well as her stress smoking during his fight against Sukuna, and in a way still being his closest and oldest confidant, even if they never connected the way he did with geto (hence why he felt comfortable leaving the letters for Nobara and Megumi to her, as well as being the reason why he was a little miffed at her lack of reaction to the body-switching plan). Shoko isn’t an emotional character, she is very desensitized to the death and injury of people around her, but the scene by Tsumiki’s grave and her comment about Geto’s body confirms that she (to some degree) considers it an honor and a privilege to be able to give them post-mortem care. I never wanted a scene of her crying over his body or anything, but a scene of her standing by his grave (which could have been inserted between the Tsumiki grave scene and the panel of her throwing away her cigarettes) would have done enough for me.

People like to make fun of everyone asking for a funeral by saying “sorry y’all didn’t get a ten page funeral with everyone crying about Gojo”, but personally i would have been happy with a single panel showing his grave/ossuary with an epitaph (possibly the same for Geto so we finally get confirmation that Gojo’s (and the Hasaba twins’) wish of having his body put to rest was fulfilled, especially after those panels in 270 sowed more doubts), maybe a couple extra panels of the characters i mentioned earlier

also not to be extra brain rotten stsg but Gojo being put to rest in a way where he is with suguru (Shoko being the person most likely to make those arrangements for both of them and also being the person who knew how much they meant to eachother the best) or him being memorialized together with everyone else who fell in those past couple months would symbolize that while he might have been lonely in life, he is not lonely in death (just like he wasn’t lonely anymore in the airport scene in 236)

what i haven’t seen people bring up much is that sorcerers as a whole are said not to be religious. Despite the heavy buddhist themes in the story, sorcerer society as a whole is described as secular, something pointed out by the chairman of the star religious group. On the world building front i think it would have been interesting to know how they process their dead, past the general vague description of “shoko handling bodies” and “having to make sure the body can’t be misused/the sorcerer won’t turn into a curse after death”. Maybe that’s my little goth heart but i really would have liked to know, we see people end up in the morgue but no one really knows what happens after that. Maybe everyone (whose body can be recovered) is cremated and disposed of in some unknown location (Greek cemeteries have “bone digesters”, big pits where bones are put if the family doesn’t rent an ossuary/claim the remains after the lease on the grave plot is up, maybe it’s something like that), maybe there are ossuaries like the one pictured in the Shibuya OP (it’s still unclear to me how much input Gege had in those), maybe the cremated remains are given back to the family on a case by case basis (especially for people from non-sorcerer families who might have religious beliefs). Either way, it’s something i think would have been interesting to know, plus lack of big funerary rites doesn’t really mean the characters can’t think of/mention their deceased comrades.

now i’m not saying everyone who has a different opinion on this is wrong, again, that’s not the approach i like to bring to media analysis/commentary, in fact this whole rant is prompted by my distaste for people doing that, but that is what i personally would have liked to see to call this a 10/10 ending for ME

[theauthorpaula]

(via Killing Off Characters: 10 Tips for Committing Fictional Murder)

[halogenwarrior]

I see a lot of discussions online about death in fiction and how it’s poor writing to write a character death just for the sake of shock value and drama, in the process wasting the use the character could have had alive in the narrative and ending their story prematurely. The alternative usually suggested is that characters should only be killed off it is a fitting conclusion for them in the narrative. While this is all completely true, I feel that people sometimes go too far in the other direction; the character deaths feel so choreographed and cliched in when they happen (i.e the only character who dies is the mentor character at the exact moment they have taught the hero the important thing and they need to Learn Independence now, complete with a flowery sequence of last words), that it makes the characters feel less relatable. They are not living the way us real humans do in the shadow of death as an inexplicable thing that rudely steals away life and leaves gaping holes in their place, instead they are dealing with an entirely different experience of death whatsoever, a refined death that politely coheres to predictable narratives, and it makes the characters feel not as fully human in the process. What I think often gets lost in the discussions of character deaths is that, while of course you should make narrative decisions like that carefully and have greater thematic purpose than just “shock value”, you still have to write it so that the readers can’t clearly see the metaphorical puppet strings, they have to have the suspension of belief that the characters are grappling with death in the same way real people grapple with death. If you don’t pull that off, it can make the story feel like it has nothing to say about actual humanity.

[igotfatter]

Ex boyfriend stepped out on me a few times. My solution? Make sure he can never take a step again.

[alexandraisyes]

It's not normal to send people death threats over fiction 👍

If you're so bothered by a piece of fiction maybe you should go to a therapist and talk about why it bothers you

Not send death threats

Authors and artists are real people, not machines for you to abuse

[malcolmschmitz]

The Insider and Outsider Detectives

So there's a lot of discourse about detectives floating around, ever since 2020 shifted a lot of people's Views on the police. Everyone likes a good mystery story, but no one seems to know what to make of a detective protagonist- especially if they're a cop. And everyone who cares about this kind of thing likes to argue over whether detective stories hold up the existing order or subvert it. Are they inherently copaganda? Are they subversive commentary on the uselessness of the police?

I think they can be both. And I think there's a framework we can use to look at individual detectives, and their stories, that illuminates the space between "a show like LAPD straight-up exists to make the cops look good" and "Boy Detective is a gender to me, actually".

So. You can sort most detectives in fiction into two boxes, based on their role in society: the Insider Detective and the Outsider Detective.

The Insider Detective is a part of the society they're investigating in, and has access to at least some of the levers of power in that society. They can throw money at their problems, or call in reinforcements, and if they contact the authorities, those authorities will take them seriously. Even the people they're investigating usually treat them with respect. They're a nice normal person in a nice normal world, thank you very much; they're not particularly eccentric. You could describe them as "sensible". And crime is a threat to that normal world. It's an intrusion that they have to fight off. An Insider Detective solving a crime is restoring the way things ought to be.

Some clear-cut examples of Insider Detectives are the Hardy Boys (and their father Fenton), Soichiro "Light's Dad" Yagami, or Father Brown. Many police procedural detectives are Insider Detectives, though not all.

The Outsider Detective, in contrast, is not a part of the society they're investigating in. They're often a marginalized person- they're neurodivergent, or elderly, or foreign, or a woman in a historical setting, or a child. They don't have access to any of the levers of power in their world- the authorities may not believe them (and might harass them), the people they're investigating think they're a joke (and can often wave them off), and they're unlikely to have access to things like "a forensics lab". The Outsider Detective is not respectable, and not welcome here- and yet they persist and solve the crime anyway. A lot of the time, when an Outsider Detective solves a crime, it's less "restoring the world to its rightful state" and more "exposing the rot in the normal world, and forcing it to change."

Some clear-cut examples of Outsider Detectives are Dirk Gently, Philip Marlowe, Sammy Keyes, or Mello from Death Note.

Now, here's the catch: these aren't immutable categories, and they are almost never clear-cut. The same detective can be an Insider Detective in one setting and an Outsider Detective in another. A good writer will know this, and will balance the two to say something about power and society.

Tumblr's second-favourite detective Benoit Blanc is a great example of this. Theoretically, Mr. Blanc should be an Insider Detective- he's a world-famous detective, he collaborates with the police, he's odd but respectable. But because of the circumstances he's in- investigating the ultra-rich, who live in their own horrid little bubbles- he comes off as the Outsider Detective, exposing the rot and helping everyone get what they deserve. And that's deliberate. There is no world where a nice, slightly eccentric, mildly fruity, fairly privileged guy like Benoit Blanc should be an outsider. But the turbo-rich live in such an insular world, full of so much contempt for anyone who isn't Them, that even Benoit Blanc gets left out in the cold. It's a scathing political statement, if you think about it.

But even a writer who isn't trying to Say Something About The World will still often veer between making their detective an Insider Detective and an Outsider Detective, because you can tell different kinds of stories within those frameworks. Jessica Fletcher from Murder She Wrote is a really good example of this-- she's a respectable older lady, whose runaway success as a mystery novelist gives her access to some social cachet. Key word: some.

Within her hometown of Cabot Cove, Fletcher is an Insider Detective. She's good friends with the local sheriff, she's incredibly familiar with the town's social dynamics, she can call in a favour from basically anyone... but she's still a little old lady. The second she leaves town, she might run into someone who likes her books... but she's just as likely to run into a police officer who thinks she's crazy or a perp who thinks she's an easy target. She has the incredibly tenuous social power that belongs to a little old lady that everyone likes- and when that's gone, she's incredibly vulnerable.

This is also why a lot of Sherlock Holmes adaptations tend to be so... divisive. Holmes is all things to all people, and depending on which stories you choose to focus on, you can get a very different detective. If you focus on the stories where Holmes collaborates with the police, on the stories with that very special kind of Victorian racism, or the stories where Holmes is fighting Moriarty, you've got an Insider Detective. If you focus on the stories where Holmes is consulting for a Nice Young Lady, on the stories where Holmes' neurodivergence is most prominent, or on his addictions, you've got an Outsider Detective.

Finally, a lot of buddy detective stories have an Insider Detective and an Outsider Detective sharing the spotlight. Think Scully and Mulder, or Judy Hopps and Nick Wilde. This lets the writer play with both pieces of the thematic puzzle at the same time, without sacrificing the consistency of their detective's character.

Back to my original point: if you like detective fiction, you probably like one kind of story better than the other. I know I personally really prefer Outsider Detective Stories to Insider Detective Stories- and while I can enjoy a good Insider Detective (I'd argue that Brother Cadfael, my beloved, is one most of the time), I seek out detectives who don't quite fit into the world they live in more often than not.

And if that's the vibe you're looking for... you're not going to run into a lot of police stories. It's absolutely possible to make a story where a cop (or, even better, an FBI agent) is an Outsider Detective-- Nick Angel from Hot Fuzz was originally going to be one of my 'clear-cut examples' until I remembered that he is, in fact, legally a cop! But a cop who's an Outsider Detective is going to be spending a lot of time butting heads with local law enforcement, to the point where he doesn't particularly feel like one. He's probably going to get fired at some point, and even if his badge gets reinstated, he's going to struggle with his place in the world. And a lot of Outsider Detective stories where the detective is a cop or an FBI agent are intensely political, and not in a conservative way- they have Things To Say about small towns, clannishness, and the injustice that can happen when a Pillar Of The Community does something wrong and everyone looks the other way. (Think Twin Peaks or The Wicker Man.)

Does this mean Insider Detective Stories are Bad Copaganda and Outsider Detective Stories are Good Revolutionary Stories? No. If you take one thing away from this post, please make it that these categories are morally neutral. There are Outsider Detective stories about cops who are Outsiders because they really, really want an excuse to shoot people. There are Insider Detective stories about little old people who are trying to keep misapplied justice from hurting the kids in their community. Neither of these types of stories are good or bad on their own. They're different kinds of storytelling framework and they serve different purposes.

But, if you find yourself really gravitating to certain kinds of mysteries and really put off by other kinds, and you're trying to express why, this might be a framework that's useful for you. If your gender is Boy Detective, but you absolutely loathe cop stories? This might be why.

(PS: @anim-ttrpgs was posting about their game Eureka again, and that got me to make this post- thank them if you're happy to finally see it. Eureka is designed as an Outsider Detective simulator, and so the rules actively forbid you from playing as a cop- they're trying to make it so that you have limited resources and have to rely on your own competence. It's a fantastic looking game and I can't recommend it enough.)

(PPS: I'm probably going to come back to this once I finish Psycho-Pass with my partner, because they said I'd probably have Thoughts.)

(PPPS: Encyclopedia Brown is an Insider Detective, and that's why no one likes him. This is my most controversial detective take.)

[theellipelli]

arent you gonna wake up sometime soon ?

[twoandahalfstudios]

Merry Christmas, Sunshine 🌻

2024 has been the year of Grimmy - we're excited to see what next year will bring!

For now, we wish you all a happy holidays and a restful new year 🥰

___

To close out the year, here's a few quick reminders!

🌻 The Steam Winter Sale is on right now! You can grab a lot of our games for ~60% off

🌻 You can grab the Grimmy 2.0 Plushie and the Grim/Azrael Pin Set on Makeship for a limited time only!

🌻 Maybe coolest of all... Beyond the Bet, our brand new A Date with Death DLC, is out right now on Steam!

Use your Christmas money to buy it (or make your friends send you a copy as a gift) <3

[caffeinewitchcraft]

The Fool Dies

Summary: You are a villain known for telling the future. When a Hero kills your right hand, you’ll let the future burn to get her back.

Hero Cowboy kills your henchman after you’ve already surrendered.

Gunshot silence, the scent of iron heavy in your nose, the crippling cold that floods your chest. All familiar sensations, companions you’ve carried with you since you even became a villain, but this time—

This time it’s…different.

You’re on your knees, the rock salt on the road digging into your kneecaps, with your hands above your head, the ghost of your signature smirk fading fast. The street isn’t empty. There are witnesses. The Hero pulls his punches when there are cameras and citizens and teammates. That’s what your plan says. He pulls his punches.

She asked if you were willing to bet her life on that and you said yes.

Your henchman’s body is stuck in the crumpled side of a car. You see her out of your peripheral, the pale oval of her face unencumbered by the mask you’d lovingly bestowed upon her six years ago. Cowboy backhanded it off of her as she was falling to her knees beside you. There is wet and red and twisted metal dancing foggily around her. The air is harsh and cold to breathe. The world is wavering as tears flood your eyes. You can’t blink them away. If you do, you won’t be able to see her just at the corner of your vision, you won’t be able to watch for a breath you already know won’t come, you’re afraid she’ll disappear—

“Clever to pretend to surrender,” the Hero says. He’s like a swan, spreading his arms out so the leather tassels lining the underside of his sleeves look like wings. He tips his head back so that the news cameras rushing in can catch the strength of his jaw under his wide-brimmed hat. She’d managed to singe it in the fight and the light catches in his blue eyes through the resulting hole. “Was it worth it, Prophetess? Was your attempt on my life worth the life of your sidekick?”

Snow falls, a few flakes here and there. The street is lit like the middle of the day thanks to the news cameras swarming out of the side streets now that the fight is over. The fire is being put out and thick curls of smoke rise from just beyond the gathering crowd of onlookers.

Your spellbook is lying a hundred feet away at the bottom of the lake. That’s why the Hero is flaunting himself in front of the cameras, trying to minimize her death at his hand. He did what he had to do. They were wrong, not him. Unfortunate but expected. The Hero always wins.

She’s gone.

The Fool. She always wanted a different name. But you were adamant she wouldn’t receive one until she earned one outside of her service to you. Until then, her name was a reflection of your journey. Your first step, foolish and unknowing, young and ignorant of the consequences. The name felt right when you called it and you never thought to question why. Only now can you taste your own cruel power in the decision. The power of prophecy spelled her fate out in front of you and, like always, you didn’t listen.

Your tattered cloak ripples in the breeze coming off the water. The vibrant purple is stained with soot and worse, the once smooth velvet charred and eaten away at by the Fire Cowboy’s flames.

They don’t remember that you surrendered before he struck. He’s dismissed your uncharacteristic action as an act, and so the world will too. The Prophetess always lies. Isn’t that the first line in your Hero Force file? The Prophetess has no powers of divination; she lies.

The world is magic. You believe it like the sun, like the earth, like the ocean—

--like her—

--and there is magic even here. The spell of your grief rises over your head like a shroud and, for a moment, you are drowning in the dark as the world heaves. You can taste the last cup of coffee she ever gave you going sour at the back of your mouth, the small daily comfort washing away under the metallic scent of her blood. There is a purple current around your thoughts, painful and biting. You will always be in this moment with her jester’s mask – cruel, you are so cruel – leering up at you, closer to your hands than her. How did you let her get so far out of reach?

Why didn’t you hold her close?

“I asked,” Cowboy says from directly in front of you, “if it was worth it?”

The world pulses back into purple focus. Cowboy is looming over you and the smoke of your battle rises into the night behind him. The media jockeys closer the longer you are silent and they’re inching around the car she’s lying against.

“Tell them to get away from her,” you say. Normal, your voice is so normal. Your arms are burning from holding your hands over your head and your neck aches from forcing yourself not to look. You are afraid your tears will fall if you blink so you stare at the gaudy belt buckle in front of your face. Your eyes are purple in the reflection and your face is as pale as hers. “P-please.”

Cowboy must kill all the time. He has no problem glancing towards the slowly gathering swarm and you can feel his eyes on her body as if they were on your own. “They’re trying to help her.”

“She’s beyond helping,” you say. Why would they even try? You can’t even look at her and you can tell that. “I don’t want anyone touching her.”

“They’re not monsters,” Cowboy says. There’s a scoff and then he’s crouching in front of you. He smells like singed leather. “Not like you.”

You’ve never seen the Hero this close. He’s older than you thought, only a few years shy of your age. His stubble is darkened with soot and his nose bears scars of past battles. His eyes—they’re not blue. You can see the edge of brown behind his contacts, the same deep brown as his mask.

“You killed her,” you say.

“No, you did.” He answers you so quickly it’s like he was waiting for those exact words. He tilts his head so the brim of his hat hides his lips in shadow. “She wouldn’t have died if it weren’t for you.”

He’s so confident that you nearly believe him. Your hands ache with phantom bruises from the blows and the weight of your sin falls onto your shoulders like the sky itself coming to rest there.

--------------.

 You see the trajectory of her life lined in gold. Her first day at your firm, her finding out your identity, her wavering in front of the window overlooking the Charlotte skyline as she admitted to knowing exactly who you are and how you’d been hiding more than your fair share of power all along.

That moment shines. She wasn’t the Fool then. She ripped her pencil skirt up the side as you debated her fate. When you asked her why, she said in case she needed to run.

“You would run from me?” you asked, eyebrow raised, conveying with expression alone how ridiculous you found the idea of her getting away was.

“I would,” she said. She grinned unhappily. “You can kill me, but you’ll break a sweat doing it.”

You laughed and held out your hand. When she took it, the outline of her life changed. No longer edged in gold. All black. A night sky all around her.

“You’re a fool for this,” you told her.

“The biggest one around,” she said, chagrined. Then she laughed with you.

You’ll never hear her laugh again.

----------.

There is a protocol for arresting a villain. Cowboy is already so outside of Hero Force code that it takes a while for things to be ready. He stands over you for the better part of an hour, smiling at the cameras, glaring you into submission, waving to the officers that eventually come to secure the scene.

An ambulance comes to take her body away. Only when they load her into it do you move. You watch the side of the vehicle like you can see through it. Cowboy tenses when it starts to drive away, but you don’t twitch. Her body isn’t her. If you start clinging to it now, you will never let her go.

“I know they call you Cowboy,” a woman drawls, “but you aren’t supposed to act like one.”

The reporters leap out of Strongwoman’s way. Barely five feet, Strongwoman is a super hero. Nobody is willing to get too close, regardless of how good and moral she is. The dark-haired woman is one of the few heroes who don’t wear a mask. No villain is stupid enough to think that makes her weak. Her dark eyes catalogue the scene quickly and efficiently. The ground rumbles as she approaches.

“Heat of battle,” Cowboy dismisses. His shoulders relax with another hero to support him and he shakes out his leather vest. Soot and snow falls from him. “Literally.”

“Hm.” Strongwoman finally turns the weight of her attention towards you. “Where’s her spellbook?”

“Bottom of the lake.”

“She hasn’t tried to summon it?”

“Her minion was in charge of that.”

Strongwoman’s voice whips. “We don’t call them minions.”

“Sorry.”

“You should be,” Strongwoman says. She folds her arms across her chest. She always gives the impression of being wrapped in armor and it takes you a moment to realize she’s wearing a tank top despite the cold. The muscles in her arms twitch. “That’s your third body this year.”

Cowboy hisses, eyes flying over her head towards the reporters. “Don’t—” A coalition of people in dark suits are already herding the media away. Cowboy’s lips thin. “Not in public.”

Strongwoman raises an eyebrow. She reaches down with one hand and hauls you up by the collar of your robes. “Fine. The car then.” She frowns at the way your hands hang by your sides. “You didn’t cuff her?”

“She doesn’t have her spellbook.”

“Protocol, Cow.”

“It’s Cowboy.”

“…”

“Shut up.”

“I didn’t say anything.”

Strongwoman cuffs your hands behind your back. The familiar sting of power suppressors races up your arms. The last time someone managed to get them on you, the Fool had to break them off once you escaped. You feel her breath against the shell of your ear and her voice whispers, Now who will do it for you?

Her memory is another spell on you. The edges of your life – dark and violently violet – cover your eyes so that you’re blind and deaf to the world around you. Once this new incantation runs its course, you’re sitting in the back of a Hero Force car. The grate between you and the front seat is closed. Beyond it, you can see Strongwoman at the wheel, shoulders vibrating with tension. Cowboy is sitting in the passenger seat like a petulant child.

You read their lips in the rearview mirror.

--review, Strongwoman says. Three. Three deaths on your hands.

This one was just a villain—

Tell that to Foresight. I beg you. See how he likes that excuse.

Cowboy changes tactics. You know the Prophetess is basically an S-Class—

Without her spellbook?

She had it for most of the fight.

Did she?

You lean your head back and close your eyes. Cowboy’s been operating alone for too long. They’ll likely stick him in probation and then transfer him to a hero team with an established leader. Maybe Atlas’ team in San Francisco or Light’s team in LA. Hell, if they really want to punish him, they’ll assign him to Omit’s team in Chicago. The guy’s the most righteous and the most powerless leader out there. Cowboy might actually become a villain if he’s forced to follow that guy’s lead.

“He’ll suffer,” you say in your prophecy voice.

A speaker crackles to life overhead. “No divination,” Cowboy snaps.

“I wasn’t talking about you,” you say.

“Prophetess lies,” Strongwoman says to Cowboy. “Remember, she always lies.”

“It’s still a threat—”

“Prophetess,” Strongwoman says. “Let’s go over next steps. When we get to Charlotte HQ, you’ll be taken to a secure floor where you’ll be asked to remove your mask. It’s important that you understand your identity will remain confidential until your loved ones can be secured—”

“He killed her,” you interrupt. You watch the ceiling of the car. “I can tell you my identity now if you’d like.”

There’s a pause. “That won’t be necessary,” Strongwoman says. Is it just you, or is her voice a little softer? “There is a proper course to this investigation.”

The way she says it makes it sound like she’s promising you something.

It’s like your mind is scrambling for connection to her. There is nothing in what Strongwoman says that reminds you of the Fool. And yet, as the car falls back into weighted silence, one word rings. Proper.

There is a proper way, the Fool whispers. You could fight this spell, but don’t. You sink into the car seat the best you can with your hands behind your back. Hear me out.

Please, you think. By all means.

------.

The first time you ask her to dinner, you’re too hasty. There’s blood on the hem of your robes (possibly a tooth) and the city is still screaming the sirens of your escape. The Fool isn’t shivering like the rest of your henchman; she is standing next to you. Her Jester’s mask is carefully secured with three exact ties despite the haste with which she put it on.

“I can never wear this skirt again,” she says. She is standing on the very edge of the building, the toes of her sensible work shoes a bare inch away from nothing. “This was my best work skirt.”

The city sparks with the purple of your magic, violet vines climbing the buildings and blocking your view of the street below. Your magic is mostly illusion, but all power leaves behind a mark. Where your spell has started to fade remains a charred outline of leaves and flowers against the concrete and stone of the buildings.

While the rest of your minions look a bit like chimney sweeps, the Fool remains untouched. It’s an obvious sign of favoritism; you had room for one other person underneath your cloak and you chose her.

Somehow the memory of her pressed against your side as she used her power to lift you both up to the rooftop makes you blush.

“You don’t have any residue on you,” you say. “You can stitch it up.”

She scoffs. At you. “It’s recognizable, Prophetess.”

It’s really not. The black pencil skirt is the same kind she wore when you first met. How many does she go through? You find yourself smiling at her bare thigh.  Since she first told you she knew who you were, you’ve seen her rip at least three.

“Something amuse you?” she asks. Her voice is short and snappish, the tone she uses when one of the other paralegals aren’t as thorough as they need to be with the briefs. She turns to face you so that the setting sun lights her outline in orange and pink and gold.

“Have dinner with me,” you say.

And for a moment, the hope of her saying yes is as blinding as the sun behind her. Her lips part and you imagine that her eyes widen behind her jester’s mask. A wind picks at the long strands of her hair, sending them fluttering around her like a halo, and you’re standing so close that one brushes your cheek.

“There is a proper way,” she says and then stops. Her right hand twitches at her side. “There is—” is she stuttering? “This isn’t—Prophetess.”

You’re fascinated. She’s always so precise with her words. Even when you threatened her all those months ago she never once floundered like she’s doing now. “Hmm?”

“Hear me out,” she says.

You nod. “Of course.” You lean forward so that you’re only inches away from her. “I’m listening.”

“This…is not the time,” she says. You feel her attention slide to the others and then back to you. She hisses when she finds you even closer. “Prophetess.”

You don’t want to push too hard.

You lean back onto your good leg. “You let me know when it is time,” you say. Your lips quirk. “My little Fool.”

“Oh my god,” she mutters. She turns sharply on her heel. “Get yourself off the roof. I’m going home.”

You watch as she steps off the roof without hesitation. Her telekinetic powers are unique in that they can work on people too. You usually rely on her to get you home.

Maybe you should have asked her afterwards…

You turn to your other minions. Low-level villains without the drive or power to execute their own heists who all owe you the same favor. You raise your brow. “So how are you lot getting me off this roof?”

“You’ve got legs,” the Ace of Swords says.

“I broke my left one,” you say. And, to prove you aren’t lying, you draw away your cape to show that your pant leg is soaked in red.

The Ace of Swords stares. “This is why she said no.”

“Was that what it sounded like to you?” you ask. His surety makes you frown. “For that, you get to carry me down.”

The Ace of Swords groans as the other Swords flee.

-----------.

Your Swords are not always Swords. Sometimes they are Pentacles or Wands or Cups. There’s meaning to the costuming you put your people through, a meaning that escapes Hero Force.

“Where are the others?” Cowboy growls at you over the interrogation table. He keeps aggressively tapping the photos he flung in front of you. Grainy shots of your Wands storming through the Christmas Parade you used as a cover to kidnap the Mayor, blurry screen grabs from security footage of them as Pentacles in the art museum, a delightful brochure featuring them as Cups in a reproduction of Macbeth you used to do some light money laundering. “If you tell us, we might cut you a deal. Six of your people are being prepared for interrogation right now. Want to bet who breaks first?”

The ghost of you smiles behind your dead eyes, leans forward, and sneers in Cowboy’s face. That version of you is delighted by Cowboy mistaking six people for twenty-four and wants to play the interrogation game he’s offering. But the real you feels as heavy as lead and it takes all your strength to watch as Cowboy slowly works his way into a frenzy.

“For too long you’ve been tormenting this city,” he says. He shakes a finger in your face. “I told Headquarters, I said you were a problem when you first showed up in Raleigh. I said, ‘This one is going to come to Charlotte and she’s going to show up with an army.’ I did. I said that and now you’ve got the largest crew in America.”

“Quite the fortune teller, aren’t you?” you murmur. The Fool is at the front of the brochure, all done up as Macbeth. You’d tried to get her to be Lady Macbeth, but she’d insisted she be the main character for once.

You don’t understand Macbeth, you’d said.

His name is the play, she argued.

Lady Macbeth is the mastermind.

Did you read the play?

Did you?

Neither of you had.

Cowboy slams his hand on the table. “Look, Prophetess, I’m the only chance you’ve got at a deal. As soon as those DC heroes get in here, it’s off the table.”

Ha.

“It would be convenient for you if there were no witnesses,” you observe. “More convenient if you get to them before the DC crowd.”

“Witnesses to what?” Cowboy blusters. But he draws back and his gaze is colder than the Hero Force air conditioning that’s already making this room glacial. “To justice?”

How dare he lie to you? Her pale face haunts your peripheral vision. You can see her in the window of the interrogation room.

“To murder,” you say. Your glares clash when you finally look up at him. The soot is still in his stubble and you imagine you can smell her blood coming from his singed leather vest. “She surrendered. We all saw it.”

“She was an A-rank villain with telekinetic powers strong enough to crush my skull,” Cowboy bites back. “I acted in self-defense.”

“With us both on our knees—”

Cowboy whips his arm across the table, scattering the photos of your people into the air. He slams his hand again. “Last chance. Tell me where the rest of your minions are!”

In your holding cells, you stupid—

“You’re a pathetic worm of a man,” you say. You clear your throat. “Sorry. Let me say it in a way you’ll understand.” You adopt your prophecy voice. “The dust Cowboy leaves behind is red, red as the blood on his hands. His golden star is stained—”

You see the blow coming. Not a prophecy, of course.

You just know what heroes do when their buttons are pushed.

-----.

The second time you ask her to dinner, you’re too stupid for her to say yes. It’s not your fault though. How could you have known the Mayor had superpowers? He didn’t do anything besides embezzle taxpayer money!

“Maybe,” she says tightly, dragging your leaden and paralyzed body through the grand halls of the mayoral house, “you could have done a single iota of research instead of sewing all those costumes.”

Feeling is coming back into your hands. They still ache from finishing the elf-themed Wand costumes you’d made for your employees. You think the group costume of Five of Wands came out particularly well. All those little elves holding giant candy cane wands…a perfect symbol for the tumultuous election Season. You flex your fingers and then wince when the Fool’s nails dig into the soft undersides of your arms. “Ouch. Could you—”

“I am not slowing down,” she says. She grunts as she slings you around another corner. “We need to get to the backyard. Ace is meeting us there with the chopper.”

“Such a waste of money,” you bemoan. The chopper had been Two’s idea and all she does is maintain it. She won’t let you fly it until you get your license. “We should’ve got a boat.”

“Great idea,” the Fool snarls. She adjusts her grip so her nails are now digging into your shoulders rather than your arms. “A giant vehicle we have to keep in the harbor. The heroes would never find that.”

“Okay, you have me there,” you say. Your words are crisper now and you can even push a little with your legs as she pulls you into the empty kitchen. “But consider this. I could take you to dinner on a yacht. I can’t take you to dinner on a helicopter.” She stops in her tracks, head whipping down to look at you. Your noses nearly touch. You grin dopily. “Hi.”

“Are you asking me to dinner right now,” she asks in a tone that tells you you’d better be careful with your answer.

She’s so pretty. That’s why you aren’t careful when you slur, “Yes.”

She drags you through the doorway into the backyard. “I sure hope it’s the drugs making you this stupid.”

“Hey—”

“Hey!”

Both of you look back towards the house to where the Mayor has just appeared. He’s wearing the smoking jacket he’d monologued in and the handkerchief he’d used to drug you is hanging limply in his grip.

He points at you. “You. You should be unconscious! Nobody escapes my venom!”

“Oh gross,” the Fool says. “Does he make the sedatives from his body?”

“From his sweat,” you affirm. Then, raising your voice over the growing sound of the chopper and her gagging, “Maybe you should sweat better drugs, huh?”

The Fool coughs and wheezes. You recognize a laugh in the sound. “Don’t antagonize—”

The Mayor bellows and sweat begins to drip from his forehead. He mops at it with his handkerchief and then advances across the grass. “Get back here!”

“Hahaha,” you say, “He was definitely a hero. I know how to push their buttons.”

It becomes a race to who gets to you first; the chopper or the Mayor.

As usual, the Fool wins.

-----.

Cowboy isn’t allowed in your room after hitting you in the face. You can feel him lurking in the hall outside when Strongwoman takes the seat across from you.

“That…wasn’t supposed to happen,” she says and pinches the bridge of her nose. She’s sitting on a special crate they brought in for her. It creaks when she leans forward. “Are you sure you don’t need medical attention?”

The Fool is the only one you let tend to your wounds. Blood stings your eye. Cowboy was wearing his rings when he hit you. “I’m fine.”

Strongwoman sighs through her nose. She’s short and stocky, dark hair and wide nose. There’s a beauty to her when she’s still and quiet. When she moves? She moves like a threat. “We need to know where your base is,” she says.

“Home is where the heart is,” you say. And you killed mine.

Strongwoman’s lips thin. “Look, if you want the guys who speak riddles, we can wait for them. Or you can answer my questions and maybe we can come to some sort of understanding.”

“Interesting offer.” You lean back and contemplate her. “You have my spell book.”

“Except that,” Strongwoman says immediately. She winces. “Sorry. You’re in custody. The spell book isn’t even on-site anymore.”

“Then you can take these off,” you say, nodding to your cuffs. Their faint glow is making you sick. “As a sign of good faith.”

“Tell me everything about your operation,” Strongwoman retorts. She shakes her head. “Nobody believes you’re harmless without your spellbook.”

“Cowboy does.”

“Cowboy is operating under a lot of false assumptions,” Strongwoman says. She leans forward to match you. “Like the one where you have over 30 lower-level villains working for you.”

“Oh?”

“We have six,” Strongwoman says. “Tell me where the rest are and we can negotiate.”

Ha. She doesn’t know either. You are so good at costuming. It’s not like your henchmen can multiply. There are always just six with you and it’s through your costumes that they transform. You’ll have to tell the Fool—

Your mood sours. Tell the Fool. Who’s the Fool now? You’re not in the mood to play games. “I tell you everything, you let me talk to those you have.”

“No—”

“I don’t know everything about them,” you snap. “You’re asking me to betray my people. Fine, I’ll do that. You lot will pry and pull and claw until you find out anyway. But allow me to give them the chance to tell you about whatever family or loved one they haven’t told me about. If I must take them down with me, at least let them beg Hero Force for leniency for their loved ones.”

Strongwoman considers you. “And what do you want in exchange?”

“Let,” you clear your throat. Your eyes are hot and itchy. “Let me have a moment with them. To mourn one of our own passing. To—” you clear your throat “-to lay the Fool to rest.”

The silence sticks to the walls and builds. It presses into you on all sides until you feel like you’re in a coffin. You once told her you would die with her.

Not allowed, ma’am. I don’t think we’d go to the same place.

You swallow hard and stare at your hands.

“Deal,” Strongwoman says finally.

“Thank you,” you say. Your head bows until your forehead presses against your shaking hands. “Thank you.”

“Cuffs will stay on,” Strongwoman says gruffly. She pulls out a pen and pad. The pen looks like it’s made of metal. “Start talking.”

You do.

-----------------.

The third time you ask her to dinner, she stares at you for a long time. It makes you nervous in a way you haven’t been before, her unrelenting stare. Is it because she’s usually so quick? Or could it be because you can feel her eyes on your bare face for the first time since she stood in your office and called you a villain?

The same office you’re currently standing in now as the sun sets behind her?

“I have concerns,” she says at last.

Oh thank god. You’re smiling too widely. “I can work with concerns.”

“Can you?” Her eyes flash gold with the sun. “You keep asking me out while we’re working,” she says.

You blink. “Do I?”

“You do.”

You consider her words, leaning back against your desk. You’re wearing your pinstriped suit today and it’s getting a little tight. She feeds you before and after every meeting you have and you have a lot of meetings. “I’m always working.”

“That’s true,” she says. She turns on her heel. “And that’s the concern.”

You stand up. “Wait, how is that—”

She stops at the door and turns to look at you in a way that steals your breath. “I am not work,” she says. Her lip twitches. “Nor am I a fool.”

“I know, you’re—”

“Ace says they’re already at the meeting place. According to your schedule, we’re running late.”

“We haven’t finished talking.” You try to sound firm, like you used to. Instead, the words come out as almost a plea. “We can be late.”

“You’re never late. Besides, I hear it’s going to be a regular rodeo.”

“Cowboy? Ha! When did he blow back into town?”

“His probation period is up.”

“Lucky us.”

-----.

Lucky us.

You Fool.

--------.

You look over the bowed heads of your employees. Ace, Two, Five, Eight, Ten, and Page. The room Strongwoman led you to looks like the cockpit of a spaceship. Noxious blue light undulates up the concave walls. There are no chairs in here, no pulpit for you to stand behind.

So your employees kneel when you walk between them all to stand in the very center.

“Prophetess,” Ace says. Her voice is thin and high. “We—I’m so sorry.”

Two looks up. Her face is drawn and there’s a deep bruise along the side of it. “We know how it is to lose.”

“You do,” you murmur. You’re aware of the eyes on you here. You saw Cowboy sneering in the observation room on the other side of this one. There are cameras scattered like black stars across the ceiling. “I know you do. But there is a renewal in Death. If—” you swallow hard “-if you allow it.”

You expect fear. What you’re asking of them has happened exactly six times. The favor they owe is not only to you, but to each other. Death is the complete annihilation of everything you know. It can be the end. Or it can be the beginning.

But it takes people to begin.

And you have asked them too many times before.

“Anything,” they say as one.

Your head shoots up. “What?”

Six of your employees – your friends – return your gaze unflinching.

“If I have to redo everything again, I will,” Ace says. She presses a hand over her heart. You know a picture of her son lies there. “Time doesn’t matter. We won’t lose anything but time.”

“We know we can rebuild,” Two says. Her eyes are fierce. “We can do it better.”

“You taught us how to do it better,” Five says.

“I thought you would’ve already done it,” Page says. He scratches the back of his head. “I didn’t eat lunch thinking you woulda done it by now.”

“You didn’t miss much,” Eight tells him. Then, to you, “You did it for us. Again and again and again—”

“—and again and again and again—”

Eight punches Page. “Shut up.” She breathes in through her nose. “Prophetess. It’s okay. We’re okay.”

“The memories you have made will only remain with you,” you remind them. Your hands are shaking. This—you have asked this favor for the sake of others. Did they feel this vulnerable asking? So hopeful and so full of dread. “It will be different. Time changes all and you who have experienced it—”

“—will be like fortune tellers in a strange new land,” Ace says. “We know.”

“We’re okay with it.”

“Are you?”

The time is approaching. You can hear voices outside the room. Ten minutes. She’d promised you thirty, but you figured they’d interrupt sooner. Especially considering what you’re saying.

You breathe in deeply through your nose. You think of her pencil skirt and her flashing eyes and her warm smile. The ghost of her pale face is fading into blackness as this curtain closes.

Your resolve firms. It was a bad ending. As a villain, you’re allowed to rewrite those.

“Tonight,” you say in your whispering voice, “we rebalance the deck.”

The blue in the room flickers. The voices in the corridor gain urgency. The cuffs around your wrist flare and then go dormant.

“I see my son a babe again,” Ace sings. Her eyes burn with your purple power as she brings her hands up towards you. The memory of the favor you granted her rises with her words. “I hold his hand.”

The blue flickers purple and electricity arcs. The Hero Force suppressors are to stop superpowers.

There is very little they can do against fate.

“I see the bus that takes them away,” Page says. He doesn’t sing. His voice is as dry as the desert and he salutes you. His hand glows against his temple. “They get on it.”

“I see my friend at the crossroads,” Two says. She holds her hands palm up and tilts her head to the sky. Tears of neon violet fall down her face. “I follow them.”

“The power I have falls into my hands like rain,” Eight says. She cups her hands in front of her and they fill with your power until it spills over onto the ground. “I drink from it.”

“The harm I caused erased,” Five says. He crosses his arms over his chest and bows his head. A halo the color of lilac blooms over his head. “I atone.”

“I do better,” Ten says simply.  They stand with their hands by their sides. Their eyes burn with your power and they do not flinch. “I don’t bury them.”

Your power crawls along the walls. There are no more blue arcs of power. There are purple flowers and thorns that leave shadows in their wake. They seal the door shut and you are distantly aware that Strongwoman is trying to smash her way inside and can’t.

Fate takes a different type of strength to overpower.

“I see her again,” you say. The tides of the world pull at your long hair. You are drowning in light. The ground shakes under your feet. You think of her life outlined in gold, yourself outlined in gold. Is it possible you can see it glittering there in the unrelenting ocean flooding into you? “I see her again.”

Thunder crashes and everything becomes nothing.

-----------.

You are at your desk. You blink at the pages lying before you. A brief. A case. From four years ago.

You release a trembling breath. You never doubted it would work but it’s a relief to see not so much time has passed. Ace will still share some memories with her son. Page will not have to sit by his brothers’ bedsides again. Ten won’t be trapped in her father’s house.

The rest…the rest will not expect your help. You didn’t help them the last three times. Cruel, maybe. Fate often is.

You think Two is in Charlotte at this point. She mentioned something about a halfway house…

You freeze grabbing your coat as familiar footsteps echo from the hall outside your door. The skyline is twinkling with city lights, but it’s nearly midnight. Nobody should be here, you don’t remember anyone being here at this time—

The door opens without a knock. Her hair is chopped beneath her ears and she has a lip piercing and there isn’t a pencil skirt to be found. But it’s her. It’s her.

“Anika,” you breathe.

Her gold eyes flick to you, to your desk, to your coat in your hand. “You working?”

“N-no,” you say. Your words pile up behind your teeth. Do you remember? Of course you do, otherwise how would you be here. But how? Did I infect you? Did the outline of my life really drag you into my power enough--

Anika waits. When you continue to stare at her, she prods, “I’m not your paralegal.”

“You don’t look like you’ve even finished your degree,” you blurt out. You point. “A lip piercing?”

Anika rubs her piercing. “I’m not the Fool,” Anika says patiently.

A light bulb goes off. “Oh,” you say. “Oh!” You get down on one knee. “Anika, will you marry me—” Anika throws her purse at you. It misses by about three feet. You stand and try again. “I mean, will you go to dinner with me?”

“Yes, I’ll go to dinner with you.” Anika rubs a hand over her face. “Everytime I give you an inch, you take a mile—"

“For the rest of our lives,” you promise.

Anika shakes a finger at you. “Dinner.”

“It’s a beginning,” you say cheerfully.

The best one you’ve ever had.

-------.

Thanks for reading! I do love my supervillain stories and appreciate you for making it through this one! Sometimes I wonder if I can even write flash fiction anymore haha

Next week's story is already up on my Patreon (X)! I'm super excited to share it as it made me laugh writing it. It's an AITA style post from a woman who used to be a Cryptid professionally and feels like she's made a misstep with her Slasher boyfriend.

See y'all next time!

[nerd-elf]

I’m tagging all my favorites here, feel free to do the same

[thedykeparade]

I know for a lot of people the relationship between Elphaba and Fiyero feels rushed and underdeveloped, but, I don't know, I happen to like the fact that she had such a strong impact on his life in such a short amount of time... like, yes! of course she altered his brain chemistry and whole philosophy of life after a grand total of 3 encounters, she really is THAT girl (I just realized what I did there as soon as I finished typing it, I swear the pun was not intended).

I think they gravitated towards each other because they were exactly what the other needed in their lives.

In the beginning Fiyero was a person that felt comfortable reducing his entire existence and purpose to just being a "hot prince with a scandalacious reputation". But then he meets Elphaba, and she is different than anyone else he'd ever met in all those schools he went to, in more ways than one. She is Not Impressed by his looks or his title. She challenges him because she's able to look past his "nothing matters" bullshit and see that he's actually a really kind, caring person. She looks at him like she knows that he can do better, be better ("no matter how shallow and self-absorbed you pretend to be..."). She inspired him to become the best version of himself.

Fiyero needed that, someone to push him to take control of his life and act upon his wants and beliefs. Without Elphaba he would've had a content but unfulfilled life.

And Elphaba needed someone to stand by her, to not leave her alone, to not be ashamed of her, to fight for her, to prioritize her, and to love her unapologetically. That person is Fiyero (and yes, Glinda could've been that person too, but ultimately she made her choice, and by the time she realized she chose wrong it was already too late).

Elphaba spent her whole life feeling unwanted. She needed someone that would spend years looking for her!!! Someone that would risk everything for her!!! Fiyero did that!!! That man was devoted!!! And that's exactly what she deserved!!!

She was alone her whole life until Glinda (except for Nessa, I guess, but even in that relationship Elphaba was always the one that had to take care of her sister), and she is so strong, but in the end she didn't have to be alone anymore, and she didn't have to be strong, she could just let herself be held and loved, and I love that for her 😭❤️

In conclusion: fiyeraba they could never make me hate you

[nopiedraws]

🌊

[158590]

[whisperingwillowe]

People criticizing Nosferatu for 'romanticizing abuse' don’t seem to understand the essence of Gothic romance and literature. These stories aren't meant to make you feel comfortable or align with conventional morality. Gothic romance thrives in the tension between beauty and horror, weaving together the sublime and the grotesque to evoke emotions that are complex, raw, and hauntingly human. It’s not about endorsing behavior—it’s about exploring the darker corners of desire, fear, and the human condition. 🖤💀🪻

[prokopetz]

In recent posts I've complained that a lot of tabletop RPGs which toss around the term "fiction first" don't actually understand what it means, and I've been asked to expand on that complaint. So:

In my experience, there are two ways that game texts which want to position themselves as "fiction first" trip themselves up, one obvious and one subtle.

The first and more obvious pitfall is treating "fiction first" as an abstract ideology. They're using "fiction first" as a synonym for "story over rules" in a way that calls back to the role-playing-versus-roll-playing discourse of the early 2000s. The trouble is, now as then, nobody can usefully explain what "story over rules" actually entails. At best, they land on a definition of "fiction first" that talks about the GM's right to ignore the rules to better serve the story, which is no kind of definition at all – it's just putting a funny hat on the Rule Zero fallacy and trying to pass it off as some sort of totalising ideology of play.

A more useful way of defining "fiction first" play is to think of it not in terms of whether you engage with the rules at all, but in terms of when they're invoked: specifically, as a question of order of operations.

Suppose, for example, that you're playing Dungeons & Dragons, and you pick up the dice and say "I attack the dragon". Some critics would claim that no actual narrative has been established – that this is simply a bare invocation of game mechanics – but in fact we can infer a great deal: your character is going to approach the dragon, navigating any inclement terrain which lies between them, and attempt to kill the dragon using the weapon they're holding in their hand. The rules are so tightly bound to a particular set of narrative circumstances that simply invoking those rules lets us work backwards to determine what the context and stakes must be for that invocation of the rules to be sensical; this, broadly speaking, is what "rules first" looks like.

Conversely, let's say that your game of Dungeons & Dragons has confronted you with a pit blocking your path, and you want to make an Athletics check to cross it. At this point the GM is probably going to stop you and say, hold up, tell us what that looks like. Are you trying to jump across it? Are you trying to climb down one wall of the pit and up the other? Are you trying to tie a rope to the halfling and toss them to the other side? In other words, before you can pick up the dice, you need to have a little sidebar with the GM to hash out what the narrative context is, and to negotiate what can be achieved and what's at stake if you mess it up; this, broadly, is what "fiction first" looks like.

At this point I know some people are thinking "wait, hold on – both of those examples were from Dungeons & Dragons; are you saying that Dungeons & Dragons is both a rules-first game and a fiction-first game?" And yeah, I am. That's the second, more subtle place where game texts that talk about "fiction first" go astray: they talk about it as though being "fiction first" or "rules first" is something which is inherent to game systems as a whole.

This is not in fact true: being "fiction first" or "rules first" is something which describes particular invocations of the rules. In practice, only very simple games spend all of their time in one mode or the other; most will switch back and forth at need. Generally, most "traditional" RPGs (i.e., the direct descendants of Dungeons & Dragons and its various imitators) tend to operate in rules-first mode in combat and fiction-first mode out of it, though this is a simplification – when and how such mode-switching occurs can be quite complex.

Like any other design pattern, "fiction first" mechanics are a tool that's well suited for some jobs, and ill suited for others. Sometimes your rules are fine-grained enough that having an explicit negotiation and stakes-setting phase would just be adding extra steps. Sometimes you're using the outputs of the rules a narrative prompt, and having to pin the context down ahead of time would defeat the purpose. Fortunately, you don't have to commit yourself to one approach or the other; as long as your text is clear about how you're assuming a given set of rules toys will be used, you can switch modes as need dictates. However, you're not going to be capable of that kind of transparency if you're thinking in terms of "this a Fiction First™ game".

(Incidentally, this is why it can be hard to talk about "fiction first" with OSR fans if you're being dogmatic about fiction-first framing being an immutable feature of particular games. Since traditional RPGs tend to observe the above-described rules-first-in-combat, fiction-first-out-of-combat division, and OSR games tend to treat actually getting into a fight as a strategic failure state, a lot of OSR games spend most of their time in fiction-first mode. If you go up to an OSR fan and insist that D&D-style games can never be fiction-first, then attempt to define "fiction first" for them and proceed to describe how they usually play, they'll quite justifiably conclude that you have your head up your ass!)

[scipunk]

Love, Death & Robots - S1E7 - Beyond the Aquila Rift (2019)