#depending on the religion/setting etc

[thekavseklabs]

Do you have any critters or flora unique to this world/blog, and if so, could you tell us about one of them? :D

I sure do, lots of them! But here's one I haven't talked about before: Lilila'[click], or Ripplelight-(harmless)fish. They're a type of fish with long, rippling bodies, similar to ribbon eels, but bioluminescent both in a pattern of dots alongside their sides, and on the bulb ends of little stalks that grow along their bodies. Their faces are reminiscent of viperfish, which is terrifying, but like viperfish, they feed primarily on algae, scavenged meat, and small fish eggs, the teeth are for self defense, and the lights are for communication. They travel in spread out colonies rather than close knit schools, each within view of a few others, and they follow currents or vents.

Many sea kei believe that they are spiritual guides, and that following them to or in a current must be done cautiously and respectfully as they are finding their next soul to guide, and that one should not follow them once they break downwards from the current, as they are leading that soul to the realm of the dead. In reality, they are drifting downwards to search vents or loose sand for either eggs or scraps of neglected meat, and when heading upwards, they are finding a current.

That said, due to their need to scavenge widely, they have a high tolerance for dangerous environments and can become aggressive once followed into a hunting ground where they can't just feed off algae in the current and luck. On their own, they aren't dangerous, but they can make you bleed, and bleeding in the ocean while alone and im a possibility especially dangerous environment is a very bad idea on K'war, just as is the case on Earth. There is also a small chance they will swarm even if another predator doesn't take notice, so it is in fact not a good idea to follow them or try to touch them once they leave the current- they may in fact lead you to the 'realm of the dead'. Heading towards or actively in the current, they are generally harmless, and following them can help a kei find a good current to follow and rest in, though again, be cautious and respectful of them, and never feed them anything larger or more solid than loose algae if you don't want to accidentally risk sending it into aggression.

Despite the superstitions and danger, they are widely beloved, and when in the current, sea kei will often follow them and play by swimming circles around the fish or by playing with hoops around it. The fish in question will generally ignore them, but if they catch any indication the fish is bothered, those kei are backing off immediately and apologizing. After all, you wouldn't want to offend or anger a potential psychopomp. You have no way of knowing if its next soul to guide will be yours.

[antimony-medusa]

One of the things that I think sometimes gets lost when we talk about what's appropriate in fandom spaces is the notion that things can be appropriate in one space, but not for another. And that doesn't mean that the thing that's inappropriate in that setting is wrong, it just means that it's rude in that space. I think people want a single set of rules that's appropriate everywhere, but the thing is, you have to be able to assess the situation, and adjust your behaviour accordingly.

So an example. I have a fairly popular text post that was me asking about c!phil and religion in all innocence, and someone said "the only thing I have to say about c!phil is that he worships on his knees, thank you and goodnight". And I reblogged it like "I can't believe I forgot about how this fandom does phil analysis", cause it was at the height of the dilfza memes.

Anyways that's obviously a phil-is-happily-married/oral sex joke, in an oblique innuendo way, and on this site, where Phil is not here, and his friends are not here, with it being clear I was talking about the block man character, and we make jokes about sex and profanity (a very popular url scheme for a long time was "[name]shugecock" (or smalldick, depending on the joke)— that's a fine joke to make. I'm an adult, I can make sex jokes about fictional characters on the sex joke fictional character social media site.

If I was to make that joke in Philza's twitch chat, a) in his face, b) with his wife modding, c) in an enviroment where people aren't prepped for sex jokes, d) with it being not clear if I was talking about the cubito or about the real guy, that would be wildly inappopriate. I would be banned in every chat Philza mods in and I would deserve it.

That doesn't mean that it's inappropriate to make the joke in the first place though, just because I wouldn't do it at a Phil meet and greet. It means you gotta learn to read the room. (And like, sometimes it's hard to learn to read the room, but you can do it by pure brute-force memorization. I did.)

This is the same theory that underlies the fact that you can call your friends a bitch in a friendly way, because you are friends and you know each other's boundaries, but if you call your boss a bitch, you will be fired. There are rules about workplace appropriateness, and there are rules about what's appropriate in front of kids (I teach teens, I do not swear in front of them, I swear a LOT in front of my roommate), and there are rules about what's appropriate in different fandom spaces. Participating in an exchange about pregnancy and babies with your favourite blorbo of the moment? Great. Showing the actor gift art you got of him pregnant? No. Bad. Go directly to jail, do not pass go, do not collect two hundred dollars.

The thing that concerns me is that I think there are slight signs that as we get more comfortable with sexy jokes and offcolour remarks as a MCYT fandom (QSMP is the big banner example but it happens with other smps), we're taking what's appropriate in one space (tumblr, home of the brain worms, where I have seen the blog "philzaswetpussy" on my dash), and we're bringing it into places that it's not appropriate (sure, slimeariana is clearly canon, but maybe don't put the actual dicks-out fan art in the art tag on twitter that slime checks). Cause we can obviously tell that the rules twitter is going with are silly for here, so it's full speed ahead for roier/spreen etc, but the trick here is that it's full speed ahead HERE, or in fandom servers, and not necessarily in the streamer's faces.

We have a bunch of situations where creators have said that it's not their place to weigh in on shipping or nsfw etc, and people have taken that as a go ahead and that's fine, but thats still something where I'd like, caution people that just because they said "not gonna look at it not my deal", that doesn't mean that like, you should make it difficult for them to avoid looking at it. Talking about scitties is an honourable tradition, but telling scar that he makes you question your sexuality in his TTS— I made a horrified noise in real life and the cats came to look at me.

And I'm talking about the shipping, but this is also a thing with like— sometimes I see a streamer and I go "my friend you just vividly described neurodivergent symptoms" but it is ABSOLUTELY not my place to say that in their chat. It might not even be appropriate to make comments about it on my blog, with the amount of followers I have. I have to keep the "streamer just described the ADHD experience again :pensive:" comments for the group chat. And we all nod and go "yeah sounds like streamer", and we do not put it in his face, cause that's inappropriate.

We get to have fun with the fictional characters, including off-colour fun, but we still have to remember that there are real people who don't know us who are steering those fictional characters around, and it can be profoundly weird to see some of the (stuff that is appropriate in fandom spaces!) just up in your face in the regular fan art tag.

Just think about the space you're in, and who you're in front of, and if a CC notice is actually likely, and if a CC notice would be Very Bad actually with what you're doing, and keep the "world's sluttiest absent father" bracket (with associated slutty fan art) for here, not with the streamer tagged on twitter.

[thatbitchery]

'Power' and 'power hungry' are those words that we have demonized and sacrificed to spread the level down propaganda that's egalitarianism and anti- hierarchy, when power is not only inbuilt meaning we all seek it but extremely important and useful to life.

Power is the ability to influence the outcome, perception and course of events. People that have power are people that have- control or at least influence over lives, theirs or otherwise. Lack of power is the most painful position one can be in- exhibit A your childhood if you had one of those parents. Lack of power power leads to slavery, bring under dictatorship, resentment, self loathing, humiliation, shame, etc. The most painful position you can be in is one where you Lack power over yourself.

Neitzsche (I can never correctly spell his name) insists that power over yourself is the most important form of power, and that a good life is a life spent garnering and exercising power over yourself. Power over yourself is simply- discipline. When your will is stronger than your impulses and urges and wants- when you're disciplined- then you have achieved the highest form of power in existence- which makes this the first point. An easy way to be powerful is to be disciplined.

Power over others, however , is just as important. As social species we are constantly in need of company, in fact isolation is a death- to be at the mercy of others is also a death. Since as a social species we are dependent on each other for survival it is important to have some level of power over others- we are also animals and people will naturally treat you at the lowest level they can- it's important to make this level as high as possible.

So then, some cheap / completely free easy to do ways to be powerful?

Articulation and eloquence. Jordan Peterson says the most dangerous thing a person can be is to be articulate and eloquent. Why? Because words are the most powerful weapon out there. Everything social happens through words , and it's a social species so do the math. Wars have been declared and ended over and through words. Relationships formed and destroyed. Governments created and disbanded- words. In my religion save for human beings Everything was created by words- its that powerful. The most powerful you can be is articulate. The way you speak- from your surface lexicon to your intonation to the speed you use to your accent- people judge you over this. It influences how people treat you and think of you. It's soft power that's also explosive. Increase your surface lexicon. Get rid of your original accent and get one that people either a) find superior or b) commonplace ie most people have it (fun fact before skin color and origin we assess each other on accent basis and subconsciously decode if we like you or not. Explanation: people in the same tribe have the same accent , so consider eo brothers and safe. Strangers, not so much). Learn to pace your words. Be straightforward and open. Which drives me to point two

Honesty and authenticity. Look , I think you should lie. Manipulate girl boss gatekeep - these require lying at some point- go for it. What's more powerful, though, is to learn to ger what you want by manipulating the truth. You know what they say- the truth will set you free. Here's the problem with lying- we can tell. There are tells and subconsciously cues that your body sends when you lie and we subconsciously detect them and when you're caught in one lie it destroys your credibility all round. It's like a castle of jenga falling apart, everything that was once in harmony just- trips over. Credibility is the backbone of all relationships- you lose that you get isolated. Honesty is such a powerful tool because a) its vulnerable b) it signals confidence c) it builds trust d) the gift of companionship- you meet people that can actually relate e) you don't need to remember too much or always hold up a facade, the truth will set you free f) it's such an idgaf move that makes you seem superior especially if it's something you'd get judged harshly on. Just- be truthful- I've given f ways in which it influences how people treat you. The trick here is to do the mystery thing- keep things to yourself, unlearn your need to overexplain or justify, learn to give vague, short and true answers and when in doubt, cry.

Knowledge is power- what more must I add. Read. Keep up with the economics and government politics. Learn personal finance and build a financial base. Read fiction. Listen to podcasts. Be informed. Know the things that matter, and no that isn't drake X Kendrick Lamar it's things that matter. Get good grades and hold, at the very least, a bachelor's. Watch movies and go to the opera. Subscribe to newsletter. Be informed. Know. Knowledge is power. Join training camps and whatnots. Be skilled and efficient.

Networks. Power is stored in webs and security is in numbers. Exhibit a) try attack someone with a strong fan base see how that goes for you. You want to be powerful? Have friends, and not just friends. Powerful friends. I don't mean a team of CEOs necessarily- loyalty at the top is tricky and unless you're also a CEO that might not be easy- I mean people that can influence the turn of events. Sometimes- like in fandoms- it's simply just, people. Who your networks are made up of is dependent on what you want- as long as you keep in mind security is in numbers. Run up your numbers, ma'am. Forget your introvercy and self isolation methods , leave your house and learn to talk to people and run up your numbers. The most powerful you can be, is to get to a point where a) you have numbers on every level b)you have a cult leader like presence- that people worship you and are willing to die for you. Like most celebrities do. That's security, that's power. If you have a Nicki Minaj level fan base people treat you well because if they don't your fans will tear them apart. & you can get away with anything because they will justify it for you.

Grooming and mannerisms. We- inclusive of you- judge our books by their covers. Before you speak your Grooming and your etiquette speak for you. That's, I'm not explaining this. I know you know.

START HERE

[summer-blues-stuff]

A culture post for the girlie pops (and non-girlie pops) looking to write Pavitr Prabhakar accurately.

(P.s- I’m Indian and live in India and have been to Mumbai multiple times so shhh- )

(P.s.s- all i know about the spider verse comes from the movies so I’ll be focusing more on the Indian aspect. )

So in honour of atsv coming on Netflix-

FOOD- Pavitr live in Mumbai (mumbattan) so he probability of him eating “butter chicken or naan” (traditionally north Indian dishes) on a daily basis is almost nonexistent. (This is not to say he won’t have them occasionally but much of what people think is indian food comes from stereotypical North Indian food, pavitr lives in South Indian)

Popular food of Mumbai includes- vada pav(street food), panipuri(another street food), pav bhaji (not a street food), bhelpuri and sevpuri( you guessed it a street food) and for more every-day food- we have dal-roti or dal-chawal etc

(Edit: I forgot to mention this but, a lot of people are vegetarian either by choice or by religion and don’t eat meat (eating beef is HEAVILY and i mean heavily frowned upon.)

SCHOOL- In india we don’t have middle school or high school, we have grades.

We also have public and private schools (and unlike the USA, private school is not for the uber rich, middle-class families typically send their kids to private school and government(or public) schools are basically free or really cheap). Thus, Pavitr probably studies at a private school.

Keeping that in mind, Students from grade 1-12 study in one building and students actually sit in the same class while the teachers move from class to class. There is also something called school boards but for all our sakes, he studies in a school that follows CBSE guidelines. Now according to google, he’s around 15-16 so he’s in 10th or 11th depending on the school he goes to.

We have these really important exams called the “board exams” ( we just call them ‘boards’) And they are given twice by the students once in the 10th grade and once in the 12th grade and these are like really really important, kinda think of them as psats or sats(lmk if anyone wants to know more about boards) and if he’s in 10th he’ll be giving the boards in May.

After which he’ll pick a stream (medical, non-medical, commerce or failure) that he’s gonna study in 11th. There is a lot of emphasis on studies in India ( if you get good marks in 10th it’s considered that you’re good or ‘set’ for life but thats kinda bs) and it’s really competitive, students often go to tuition (think of them as an after-school school) for hours after school. Maths and science tuitions are the most common.

Uniforms (a half-sleeve shirt with a tie and pants or knee length shorts for guys) are also mandatory and are strictly regulated along with hair and nails. (Two braid or plaits for girls with below the shoulder hair and typically short hair for guys that have to be oiled) so im assuming that he gets called out a lotttttt about his hair, and teachers are constantly on his ass about cutting it which I think is funny af. The school timings are typically from 8-3 and tuitions are typically from 4-7.

It would also be super-cute if his aunt massaged his hair with oil (it’s considered an act of service and something people do to show their love)

10th grade especially is really really stressful in india and if home-boy cries himself to sleep every night I wouldn’t be surprised. So make him supppeeerrrr strrreeeessssed.

Name- Pavitr “Prabhakar” is a Hindu( a religion of sorts) name.

It’s derived from the Sanskrit word “prabhākara” which means “light maker” (from prabhā 'light' + -kara 'causing'), an epithet of the sun. So to those saying he’s a sunshine boy, his surname means light maker (do with that what you will).

Now, for his first name “Pavitr” however there is no exact meaning as, the name is most probably derived from Pavit ; maybe Pavitra(a typical girl’s name) if you’re pushing it. The meaning of Pavit is Love or A lovely and pious individual.

Edit: apparently pavitr does have it’s own meaning and it means pure

So his name roughly translates to lovely (edit: pure) sunshine boy.

Transport- Now i know that he’s spider-man but when he’s not, the most common way to travel in Mumbai is by an automobile (also called auto or auto-riksha).

One of these things ^^ and these ‘go by the meter’ (you basically pay for the distance you have covered and a meter calculates this.) these things are everywhere. You call for one of these by raising your hand and an auto stops in front of you and you ask if they will take you to the place you wanna go to (“bhaiya, _____ lekar chalo ge?”)

There can only be 3 people max on one auto (not including children) as per local government policies.

Another common way to travel is by the subway or local trains. ( and contrary to popular beliefs they are not filled to the brim with people). Cars are not that common as there is a lot of traffic. Like a lot.

Language- Most indians speak at least 2-3 languages- English, Hindi and a local language or two. Since they’re in Mumbai Pavitr probably speaks Marathi. Some people also know Sanskrit (but that’s not that common nowadays).

(Edit: People typically don’t speak in just one language, they typically use a mix of atleast two or three languages which change according to the region they are in. For example- English and hindi is the most common but some may mix in their regional language or dialect)

Also spider in hindi is makri (makdhi?) so i think it would be super funny if people called him makri (makdhi?) man.

People in India also curse a lot (not in English though) (though not in front of parents obviously) and the more people get angry the stronger accent the becomes.

Housing- housing in Mumbai is super expensive, and most people live in flats or apartments rather than houses, Mumbai is considered to be one of the most expensive places to own a home in the world just because of the sheer number of people there.

All flats in mumbai have air- conditioning units in them because it. is. so. humid and winter lasts for a month or two in comparison.

Culture- Mumbai is kind of regarded as one of the culture hubs of India, a lot of up and coming artists along with famous superstars live in Mumbai. There are a lot of exhibitions, shows and whatnot happening all the time.

Mumbai is also more progressive then the rest of India and pride parades do happen here but there is still a lot of stigma around it

(Edit: PDA in public is almost taboo, doesn’t matter who anyone is—kissing in public might actually land you in jail)

Teens typically wear jeans, shorts and graphic tees rather than kurtas or salwar-kamez (traditional clothing) .

Traditional clothing is typically worn on festivals such as holi( the festival of colour( some people wear white suits and kurtas)) or Mumbai’s most celebrated festival- “Ganesh Chaturti” (which is a religious festival religious festival to honour the Lord Ganesha.

Sports- cricket is the most watched sport in India a lot of kids play it on the streets or in parks and gardens, and its an India vs Pakistan match is an event in which everyone in the family (some even invite friends over) sit together and yell at the tv.

Mumbai is a city in which time stops for no one, and people are super busy. This doesn’t mean that people there are rude in fact they are some of kindest and helpful ppl you’ll ever meet(not including the obligatory rude af asshole that are in every community) especially in a city that never stops.

India is also not a country that lives in rags we used to be called sone ki chidiya (or bird made of gold) before the British Invasion so please for the love of god don’t depict everyone living in slums and poverty. The national currency is rupees and again i cannot stress this enough even though there is poverty in india, that doesn’t mean there isn’t prosperity. India is a developing country so keep that in mind while you write.

Religion and caste - This is a very touchy and sensitive subject in India and you should probably research a lot or stay clear of it in general ( especially the caste system its messed up and just stay clear of it) but Gayatri’s father is Sikh or at least punjabi so I’m assuming she is too. ( if she’s from Punjab or its surrounding area, then she probably speaks punjabi or her father most probably does).

(Edit: there are a lot of different religions in india —almost too many to count— and every single one has their own gods, prayers and rituals so please please please research before you write)

But something all Indian (boys) are taught to do is to touch their elders feet to show/ask for respect (and “ashirwad” I don’t know what this translate too directly in English but think of it as blessings)

Anyways here is a not very brief overview on mumbai and pavitr , let me know if you have any questions or if something isn’t really clear, English isn’t my first language so I apologise for the errors.

Please feel free to ask me anything ill do my best to answer back. : D

if you actually find this long ass post helpful and write a fic or something please tag me i would love to read it.

[writingwithcolor]

[Running Commentary] Zombies are Zombies: Cultural Relativism, Folklore, and Foreign Perspectives

She obviously started getting into media in Japan, and (from my research into Japanese media and culture), Japan’s movies about zombies are mostly comedic, since due to traditional funerary practices the idea of zombies bringing down society is ridiculous to a lot of Japanese people. 

Rina: OP, this you? https://www.tofugu.com/japan/japanese-zombies/

Marika: Counterpoint: Parasite Eve. Resident Evil. The Evil Within. 

Rina: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos” 

~ ~ ~

Based on the reception we received the last time we did one of these, the Japanese moderator team returns with another running commentary. (They’re easier to answer this way) (Several of Marika’s answers may be troll answers)

Our question today pertains to foreign perspectives on folklore—that is, how people view folklore and stories that aren’t a part of their culture. CW: for anything you’d associate with zombies and a zombie apocalypse, really.

Keep reading for necromancy, horror games, debunking the Sapir-Whorf hypothesis, Hong Kong jiangshi films, Japanese disaster prep videos, and Vietnamese idol pop...

Essentially, in my story there’s an organization who wants to end the world. They think this one woman in particular, a woman of mixed Vietnamese (irreligious, Kinh) and Japanese descent who spent her formative years in Japan, is the person to do it because she’s (for lack of a better term) a necromancer; powers are semi-normal in this world. She prefers not to use her powers overall, but when she does she mostly talks to ghosts and spirits that are giving people issues. She could technically reanimate a corpse but she wouldn’t because she feels that would be morally wrong, not to mention she couldn’t start a zombie apocalypse in the traditional sense (plague, virus, etc.) in the first place. 

(Marika (M): Your local public health officials would like to assure necromancers that reviving the dead will not provoke a zombie apocalypse. This is because necromancy is a reanimation technique, and not a pathogenic vector. Assuming that the technique does not release spores, airborne viruses, gasses, or other related physical matter that can affect neighboring corpses in a similar way, there should be no issue. However, necromancers should comply with local regulations w/r to permitting and only raise the dead with the approval of the local municipality and surviving family.)

M: I think it makes sense for most people of E. Asian descent, including Japanese and Vietnamese people, to find it culturally reprehensible to reanimate the dead. I imagine the religious background of your character matters as well. What religion(s) are her family members from? How do they each regard death and the treatment of human remains? Depending on where she grew up, I’m curious on how she got opportunities to practice outside specialized settings like morgues.

M: It’s true, space in Japan is at a premium, even for the dead. You note that most of Japan cremates, but, surely, it must have occurred to you that if there aren’t that many bodies in Japan to raise…she doesn’t exactly have much opportunity to practice with her powers, does she? I yield to our Vietnamese followers on funerary customs in Vietnam, but you may want to better flesh out your world-building logic on how necromancy operates in your story (And maybe distinguish between necromancy v. channeling v. summoning v. exorcisms). 

She obviously started getting into media in Japan, and (from my research into Japanese media and culture), Japan’s movies about zombies are mostly comedic, since due to traditional funerary practices the idea of zombies bringing down society is ridiculous to a lot of Japanese people. 

Rina (R): OP, this you? https://www.tofugu.com/japan/japanese-zombies/

M: Counterpoint: Parasite Eve. Resident Evil. The Evil Within. 

R: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos” 

R: And yes, the Tofugu article uses Resident Evil and those games to support its theory, with the reason that they are set in the West. But that only suggests that Japanese people consider zombies a Western thing, not that Japanese people consider zombies nonthreatening if they were to exist. 

M: Same with vampires - series like Castlevania also use Western/ European settings and not “Vampires in Japan '' because vampires just aren't part of our folklore.

(M: Also, realistically, these series deal with individuals who quickly perish after their bodies are used as hosts for the pathogen in question, rather than the pathogen reanimating a corpse. Although the victims are initially alive, they soon succumb to the pathogen/ parasite and their organic matter then becomes an infectious vector for the disease. It should be noted, infecting ordinary, living humans with viruses to grant them elevated powers, is not only a major violation of consent and defies all recommendations made by the Belmont Report (in addition to a number of articles in the Hague Convention w/r to the use of WMDs) and is unlikely to be approved by any reputable university’s IRB committee. This is why the Umbrella Corporation are naughty, naughty little children, and honestly, someone should have assassinated Wesker for the grant money.)

R: wwww

From what I know Vietnam didn’t have a zombie movie until 2022. 

R: Do you mean a domestically produced zombie movie? Because Vietnamese people have most certainly had access to zombie movies for a long time. The Hong Kong film Mr. Vampire (1985) was a gigantic hit in Southeast Asia; you can find a gazillion copies of this movie online with Viet subs, with people commenting on how nostalgic this movie is or how they loved it as a kid. 

M: “Didn’t have a [domestic] zombie movie” is not necessarily the same thing as “Would not have made one if the opportunity had arisen.” None of us here are personifications of the Vietnamese film industry, I think it’s safe to say we couldn’t know. Correlation is not causation. It’s important to do your research thoroughly, and not use minor facts to craft a narrative based on your own assumptions.

(R: …Also, I did find a 2017 music video for “Game Over” by the Vietnamese idol Thanh Duy which features… a zombie apocalypse.)

(R: The MV has a very campy horror aesthetic and zombie backup dancers (which I love, everyone please watch this lol). But the scenes at the beginning and end where people are biting their fingers watching a threatening news report clearly establish that the zombies are considered a threat.)

So at one point, she laughs about the idea and remarks how ridiculous it is to think zombies could end the world. What I’m struggling with are other ways to show her attitude on the issue because I’d assume most non-Japanese readers wouldn’t get why she thinks like that. Are there any other ways to show why she thinks this way, especially ones that might resonate more with a Japanese reader?

R: The problem is this does not resonate in the first place. Your line of thinking is too Sapir-Whorf-adjacent. The Sapir-Whorf hypothesis, otherwise known as linguistic relativity theory, claims that language shapes cognition—that you can’t conceive of something if you can’t express it in your language. This is a very weak theory that you can easily bring evidence against: think of the last time you felt an emotion you had a hard time putting into words; just because you didn’t have the language for it doesn’t mean that you didn’t feel it, nor does it mean that you won’t be able to understand or recognize it if you feel it again. Similarly, it’s not a sound assumption to say that if some kind of subject matter does not exist in a culture, then people of that culture couldn't possibly conceive of it. This excerpt from linguist Laura Bailey sums it up quite well. 

M: Just because ghosts may be more culturally relevant doesn’t mean that zombies (or vampires, or whatever) are nonexistent in a Japanese or Vietnamese person’s imagination when it comes to horror and disaster.

R: Really,  if anything, Japanese people are much more attuned to how easily a society’s infrastructure can be destroyed by a disruptive force without adequate preparation. Japan is natural disaster central. A Japanese person would know better than anyone that if you aren’t prepared for a zombie epidemic—yeah it’s gonna be bad. 

M: Earthquakes, tsunami, typhoon, floods: Japan has robust disaster infrastructure out of necessity. 防災 or bousai, meaning disaster preparedness is a common part of daily life, including drills at workplaces, schools, and community organizations. Local government and community agencies are always looking for ways to make disaster and pandemic preparedness relevant to the public.

M: Might “zombie apocalypse prep as a proxy for disaster prep” be humorous in an ironic, self-deprecating way? Sure, but it’s not like Japanese people are innately different from non-Japanese people. Rather, by being a relatively well-off country practiced at disaster preparation with more experience than most parts of the world with many different types of disasters (and the accompanying infrastructure), it likely would seem more odd to most Japanese people within Japan to not handle a zombie apocalypse rather like might one handle a combination of a WMD/ chemical disaster+pandemic+civil unrest (all of which at least some part of Japan has experienced). Enjoy this very long, slightly dry video on COVID-19 safety procedures and preparedness using the framing device of surviving a zombie apocalypse.

M: Living in Los Angeles, I’ve often experienced similar tactics. We do a fair amount of advance and rehearsed disaster prep here as well. In elementary school, the first and last days of class were always for packing and unpacking home-made disaster packs, and “zombie apocalypse” simulations have been around since I was in middle school for all kinds of drills, including active shooter drills, like the one shown in this LAT article. The line between “prepper” and “well prepared” really comes down to degree of anxiety and zeal. So, it wouldn’t be just Japanese people who might not be able to resonate with your scene. The same could be said for anyone who lives somewhere with a robust disaster prevention culture.

M: A zombie apocalypse is not “real” in the sense of being a tangible threat that the majority of the world lives in fear of waking up to (At least, for the mental health of most people, I hope so). Rather, zombie apocalypse narratives are compelling to people because of the feelings of vague, existential dread they provoke: of isolation, paranoia, dwindling resources, and a definite end to everything familiar. I encourage you to stop thinking of the way Japanese people and non-Japanese people think about vague, existential dread as incomprehensible to each other. What would you think about zombies if they actually had a chance of existing in your world? That’s probably how most Japanese people would feel about them, too.

[vamphorica]

♰ Religion in Death Note ♰

One of the most fascinating things about Death Note as a franchise is its exploration of faith and religion in the context of the world building, and how it compliments this using Christian motifs and imagery. The latter is often portrayed superficially, which I think is a shame given that there are many occasions throughout the series where relationships that some characters have with faith could be examined in accordance with the world Ohba has created.

For the sake of simplicity, I'm going to consider two main religious influences in the world of Death Note:

The Canon Explanation (The Shinigami Realm, Rules of the Death Note, Mu as the Afterlife, etc.)

Christianity (specifically, the use of Catholic imagery in Ohba’s official art.)

Let's begin with Canon.

i. The Canon Explanation

Ohba is clearly partial to weaving a complex web of rules as a means to support the supernatural premises of his stories (see Platinum End). This makes The Canon Explanation so effective not only because it limits the behaviour of the characters throughout the text, but it is also very pertinent to religion conceptually. By listing out the apparent commandments of the Death Note, a set of religious principles have been established that the users of the Death Note must follow. While you are not technically committing a sin by, let's say, trying to kill someone over the age of 124 with the Death Note (x), it sets out a guide which is indicative of rules one might follow in a religious text. You could say that Light, Misa, Mikami, and Takada each had to have a level of faith in the Death Note in order to use it. They all followed the rules, even if they did so under Light's direction as their self-proclaimed God. Light’s familiarity with these rules and his confidence with manipulating them is what ultimately makes his reign as Kira so effective. I think the act of writing a name down in the notebook itself is a form of commitment to belief – as a concept, the Death Note seems too absurd to a sceptic.

When the Shinigami begin arriving in the human world, it is obvious that they are not divine beings in the perfect, omnipotent manner that humans may expect. If anything, they are curiously quite human themselves – forgetting rules and acting as a result of emotional impulses. It is indeed Ryuk's boredom that sets the story into motion – everyone who died as a result of the Death Note did so because of him. The Shinigami pose no actual threat to the humans they follow, often noting how humans appear more competent at being Death Gods than they themselves are. While this is subjective, depending on interpretations of faith, the typical Grim Reaper figure is seen as a serious, all-knowing figure that is to be feared, while the Shinigami of Death Note are far less intimidating. I think this delivers a decent proposal that religion in Canon is not a matter of worshipping the supernatural, or suggesting that they are better than us. By having the Shinigami presented as being similar to ourselves, human characters have the ability to use their power without the fear of divine retribution. Light’s extensive knowledge of the Death Note rules and how to work around them, along with his strict work ethic, only further demonstrates his commitment to carving out his position as God when compared to the Shinigami.

Mu is explained quite simply – there is no heaven or hell. There is a notable lack of elaboration here for a reason, but I do wonder if Light might have been more reluctant in his pursuits had traditional heaven and hell been at stake. Would he have become Kira if his act of justice would damn him to hell? Would he be concerned that his victims might end up going to heaven? Mu is the Canon version for what happens when one dies in this universe, so, beyond proposing speculative questions, there is little to analyse here.

Now, there is one character who I want to delve deeper in relation to The Canon Explanation: Mikami.

Mikami -> Mikami is deeply devout. Of all the named characters in the series, Mikami is the only one who is expressly religious, particularly regarding the Canon Explanation. While I think it is interesting to consider Light Yagami's relationship to Godhood, it is only through Mikami that we understand Kira’s societal impact. Mikami is also the only character in Death Note to be granted a rather comprehensive backstory, so we are given an insight into what led him to become such an ardent Kira supporter. Light chose Mikami not just for these strongly held opinions but also because of his devotion to him specifically. Mikami is ritualistic in the way he worships the idea of Kira through his dedication to writing one page of names in the Death Note daily, following Light’s commands without question. The only other occasion where we see a similar act of religiosity towards Kira is at the very end of the manga when a group of Kira supporters take a pilgrimage to pay their respects. Yet even this does not quite encapsulate Mikami's religious fanaticism. His strong conviction that Kira is God demonstrates the societal inclination to view Kira as a religious figure to be worshipped.

I think because Death Note relies so strongly on Light's internal psychology as he encounters various forms of opposition, the external impact of Kira on the world is only provided to us through passing mentions of political support. It is absolutely crucial to interpret Kira in a political context, but again, this is not really explored in too much detail. What we do know is that Kira supporters, including Misa, Mikami and Takada, may politically be in favour of Light's moral judgement, but because he poses himself as a God rather than a political leader, we must assume that he wants to play into a deific persona because it affords him far more unconditional power than he would have as a mere mortal.

From the beginning, Light is able to present his power as originating from a divine source, and it is only until Lind L. Tailor’s death that it becomes apparent what limitations Light is working within. Before then, criminals dying of heart attacks across the world could not be considered to be within human capability, let alone performed by a singular perpetrator, so Light maintained the illusion of omnipotence. Distancing himself from his humanity not only gave Light the benefit of being undetectable for some time, but also encouraged people to support Kira through the belief that he was inherently above them. It was only L who managed to shatter this façade early on in the Kira investigation.

I will now move onto something slightly more tangible, as it reflects our world within the text – Death Note's use of Catholic imagery.

ii. Christianity

As if to make up for the lack of exploration into Kira's religious influence, Death Note heavily relies upon Christian imagery to highlight its desire for religion to be seen as a core component of the franchise. Realistically, I am aware that a lot of manga and Japanese culture from the 2000s was heavily inspired by Catholic imagery and that there was certainly an aesthetic trend being taken advantage of here. However, I am still going to consider it specifically in relation to Death Note. It gives me an excuse to move on from Ohba to Obata anyhow, which I am more than willing to do.

Let's have a look at some official art.

There's a lot to be discussed about these specific pieces of art, and there are plenty more examples that I am sure can be found and analysed over, but we can recognise what their general theme is – kitschy Catholicism. This is not intended as criticism, I love Obata's art and as unsubtle as these official pieces may be, they reinforce Death Note's desire to incorporate religion into its series as a strong motif, if not an effectively developed theme. It also somewhat exposes its superficiality. The imagery is explicit, bold and bright, without doing much work in considering what the actual religious belief might be able to bring to the series beyond the visual components (according to this post -> x the Latin on the last image isn't rendered properly, which proves my point further). There are instances in the anime where there are Biblical references, such as frames that foreshadow L’s death, but the manga does not engage in these same parallels.

This leads me nicely onto talking about Misa.

Misa -> Misa is shown throughout the series to lean heavily into fashion and interior design that reflects a very Gothic Christian aesthetic, which is undeniably iconic and an important visual aspect to her character.  Mirroring the series more generally, it does appear that this is the extent to her relationship with the Christian faith. Misa’s allegiance to Kira could suggest that the trauma of her parents’ death came to some kind of resolution when their murderer was himself killed. Again, we have no idea if she actually was a religious character to begin with and I need to stress, it does not matter, but it is still worth considering given how a lot of the Christian imagery in the series is associated with her character specifically. I don't think this feeds into any flat character analysis that might suggest she doesn't know the potential significance of the crosses she wears or decorates her home with. We could just say she has an aesthetic that is very well composed but doesn't carry much weight beyond its stylistic merit.

Derailing slightly, but I do wish they had maintained this style throughout the entire series. Alas, as soon as she met Light, she lost this cool Goth look pretty quickly. Rem would never have let this happen. 💔

One more character analysis before we wrap this up. The quite honest reason as to why I decided to write up this essay was so that I could discuss Mello in relation to religion in Death Note.

Mello → Much of what I discussed about Misa's style could be applied to Mello, the only other character who visually demonstrates any religious tendency. However, I think there are some differences here that could suggest Mello is actually religious, which then allows us to consider his character in the context of the Canon Explanation. Firstly, one of the main signifiers Mello wears is his rosary, and while it is unlikely you will experience any adverse effects from wearing one as a non believer, I think those who wear a rosary are aware of the deeper connection to Catholicism than someone who wears a simple cross necklace (see Misa above, right). Secondly, narratively, I think there is more opportunity for Mello to be religious. Wammy's House, from their gates, actually appears to be a Christian organisation, and while I do not actually believe that they were, I find it interesting nonetheless. I also would be surprised if they were denominationally Catholic, if we are following this line of logic, presumably they would be CofE, but who knows. Regardless, even if Mello was not religious as a child, I think his arrival into the Mafia would certainly have introduced him to Catholicism. Of course it seems antithetical, but I would not be all that surprised if a teenage boy who is expected to do some horrendous things to rise to the top of a criminal organisation might turn to God in the process.

Following on from the prior point, Mello is a completely contradictory character, so I do not think it is all that necessary to consider his moral code from an entirely rational perspective. I think the fact his Beretta has a small cross charm on it in itself is very symbolic of the kind of character we are dealing with here (see below). Interestingly, it looks to be a Celtic cross, rather than a traditional crucifix.

What does this actually mean? Mello represents a good integration of the two religious influences I've discussed – he appears to have faith in a religion that we as readers contextually understand, and yet he interacts easily with Shinigami and the Death Note. While the two do not contradict one another exactly, I think The Canon Explanation certainly does not lend much credence to Catholic interpretations within the text. Like the others who have encountered a Death Note, Mello is initially shocked by the arrival of the Shinigami attached to his notebook, but quickly recovers. He interrogates Sidoh with such evident effectiveness that he ends up frightening him.

I think this is where I begin to get a little frustrated with the depiction of religion in Death Note because we have such a fascinating premise here. Does Mello's faith waver as his beliefs are evidently challenged by Sidoh? Does he consider Kira as a force of evil from a moral perspective informed by Wammy's, or his understanding of God? Does he believe in heaven and hell? None of these questions are answered, and I do appreciate I am being fussy because I am very fond of Mello, but I think there was a rather unique opportunity present in the series that was completely neglected. I have already explained how Death Note relies so heavily on Catholic imagery and clearly wishes to present itself as a series that deals with religious themes, so I think there is a failure here to consider the nuances that have already been set up.

How interesting do you suppose it would be to see how Kira's influence begins to impact the other established religions, as people see criminals dying en masse? Remember that ordinary people would be likely predisposed to consider this as an act of God. Society would certainly be more scared, especially as it would simply be inevitable that Kira killed innocent people who had been deemed criminals by their legal systems. There is a lot to go analyse about that topic alone, but another time!

I suppose with a lot of the questions I have posed, they could be answered through fanfiction or headcanons. I could decide that Misa believed in God until she met Light, or that Mello chose to ignore the implications of Mu given that he follows a religion that sets itself up on the premise of eternal reward or damnation. I just want to facilitate further conversation, because I do think this topic is fascinating.

Thank you @saturniiids, @vengeflies and @stylooooo for giving this a read for me! ♡

[topazadine]

Okay, okay, here's perhaps my spiciest and most controversial take yet.

Now, before I even say anything, please note that I am talking specifically about fantasy. Not retellings of myths, not historical fiction set in different countries, nothing like that. This is for second-world fantasy, where you're creating a whole different world.

Ready?

Stop making everything so damn complicated!

This is not to say that you can't have a rich and exciting world filled with lore, religion, different societies, traditions, unique geographies. Not that. Of course we want that: it's the whole reason we read fantasy. I'm talking about something else.

This is my simple takedown, and you can read the rest to better understand what I mean:

Stop jamming your story with five billion weird words.

Don't use super complicated nouns.

Keep the characters to a minimum so we can know and like them.

Don't yammer on about all the backstory.

Stop making readers do homework just to understand things.

Focus on the feeling a story gives instead of the intricate worldbuilding.

And lastly, a pre-emptive note to those who are putting their hackles up and telling me why they are an exception.

Why is it important to keep things simple?

A lot of people shy away from fantasy because they assume that every fantasy story is going to be so complicated that their head will hurt. Not in terms of plot - many people like complicated plots - but in terms of terminology and history. Things that ultimately don't really matter to the plot.

We as writers often assume that everyone cares about our story as much as we do and is equally captivated by every detail. This is simply not true.

To your reader, your story is not their life's work: it is entertainment that they want to be able to enjoy at their leisure. It's a distraction from their difficult lives and all their real-world frustrations. If they get really into it and, say, write fanfic or whatever, that's amazing! But they're not likely to do that if they feel like they'll be jumped on for doing something wrong or that they have to include every single little detail.

For example, I wrote over 1 million words of Touken Ranbu fanfic. Touken Ranbu, at its heart, has a very simple premise: you've got a bunch of legendary swords that were turned into hot men and fight evil time-traveling monsters. You can understand it with just that. There are layers to it, though, that you can slowly untangle. That makes for good writing because it works on multiple levels depending on how much you care about it.

I would have given up on the story if I felt like I needed a dictionary just to understand the plot. Most people would. Language needs to be accessible and premises need to be clear, or no one is going to want to go deeper.

Subtle little details that people can pick up are way more enjoyable than tossing every single factoid at people so that they feel overwhelmed and can't think. It's wonderful to have rich layers of symbolism, mythology, etc. That's excellent. But you can only get people to care about those things if they can actually comprehend your damn story.

A lot of the things that turn people off from fantasy are all about a writer's ego, and it oozes through the work. People can tell that you're wanting them to pat you on the back for putting so much shit in your story. It's annoying and a total turn-off when you make readers work so hard to comprehend what you're saying.

So what exactly am I talking about? This.

Using made-up terms for everything that could easily be explained with a normal English word

When I am writing fantasy, I imagine myself as a translator. After all, my made-up societies have their own made-up language (Seinish) that is referenced a few times.

However, I'm not using Seinish words all the time. I'm writing in English. I didn't write out a Seinish dictionary or even come up with most of the terms because, honestly? Most readers don't care. They want to understand what's going on in as simple of terms as possible, with only a few specific terms that remind us that we're somewhere different.

I may use some specialized terminology, but it's always couched in context clues that make us aware of what it is without actually having to just say "sdlkjfslkdjf, also known as a marketplace."

For example, in The Eirenic Verses, the High Poet Society has religious centers called meronyms. (Which actually isn't a made-up word.) We know they're religious centers because we see all the religious leaders living there. Someone sees the term "meronym" and goes "oh yeah, that's the religious place" and moves on.

It's one of the only confusing, specialized terms in the book other than place names, which people expect whenever they're reading fantasy. Because of that, it stands out and is easy to remember. It's not one of 1029310283012830132 different terms someone has to remember in order to follow along.

Even Tolkien, famed for literally writing an entire extra book full of lore for his stories, doesn't really use that much specialized terminology except for place names. My favorite author, China Mieville, only uses specialized terminology for things that have absolutely no basis in our reality and that can't be explained otherwise. And he's an extremely eloquent guy who uses the weirdest words possible whenever he can. If he can write a book that's mostly comprehensible without a cheat sheet, you can too.

If there is an English term for what you are trying to explain, just use that, for the love of god. The point of writing a story is not to show how smart and special you are: it is to tell a story. You need to remove as many barriers to access as possible.

Things that get a pass and can be made up most, if not all, of the time:

Place names (as in specific places, not categories of things)

Peoples' names

Languages

Species that don't exist in our world

Modes of transportation that don't exist in our world

Magic that can't be explained in any other way

Technology that can't be defined by our language

Look, if you have an animal that is basically a dragon, just call it a dragon. If you've got a wheeled carriage, call it a carriage. Call earth magic something based in earth terms, like "terravitae" or something, idk. There should be some connection to our world in your terminology because you are writing this in English for an English-speaking audience.

It doesn't make you a lazy writer, it makes you one that wants people to understand what you're talking about. Again, imagining yourself as a translator is a good way to keep yourself from going ham on the nouns.

Proper nouns that are way too complicated

Let's look at some well-known proper nouns from fantasy.

Middle Earth

Narnia

Earthsea

Discworld

Westeros

Ankh-Morpork

Bas-Lag

Wonderland

They're all ... simple. They're not a million syllables with weird intonations and accents and all that. If you showed this to a medieval peasant, they'd probably be able to pronounce them and would likely understand that they were place names.

Unless there's a good reason to have a weird name, don't use one. Come up with something simpler.

All of these I mentioned are three syllables or less, making them easier to remember. In fact, I'd argue that nearly every proper noun in your book should be no more than three syllables. Maybe one or two four-syllable ones.

Any very weird name should be balanced out by several easier ones so that it stands out.

40 million characters

Younger writers often want their world to feel very lived in, so they introduce dozens of characters with their own names, descriptions, backstories, etc etc etc. The problem is that this is a huge mental load on your reader, especially if a lot of the characters have very similar names. It makes reading your stuff into a chore rather than an enjoyable experience.

Now, some literary greats do have a lot of characters. But they get away with it because they're great.

I'm not great, so I don't do that.

I'd also suggest that you don't do that, regardless of how good you think you are.

To see if you have too many chracters, write out a dramatis personnae and rank it in terms of importance. Does your top tier have like 15 characters? Cut some. Figure out where they are in the story and if they don't exist for more than a few pages, delete them. Absorb them into someone else.

If a character is only in one scene, don't bother naming them. They don't matter enough. This reduces the cognitive load for your reader because they can see that character for what they are: a background person who exists only briefly.

Any time you name a character, they need to have deep plot relevance. The more unusual your character's name, the more important they should be. And they should have some sort of relationship to another character, preferably the main character. Otherwise, why are they there? Why do we care? Go away!

Way too much backstory

I am an adult and my brain is filled with 50 million other things. I have to remember stuff for my job, I have a to-do list, I have family I care about who needs me.

Your story is not the end-all be-all of my existence. Hell, my story is not the end-all be-all of my existence either. I want to be able to pick up your book, understand what's going on, and then delve a bit deeper or even make up my own headcanons.

I do not need the entirety of your story's world thrown at me right off the bat. It is overwhelming and tiring. Imagine if you visited a different country and someone immediately came up to you and started spewing the whole history of the country right after you stepped off the plane. That's what you're doing to your readers!

Think also about how you approach your everyday world. Do you reel off a million facts about your personal history the instant you meet someone? No, of course not. It'd be weird and creepy.

Are you constantly recalling facts about your city while walking down the street? Do you even know any major facts about your city? You probably know a few little trivia points and that's it. Because it's not relevant to you, and it's not relevant to your readers, either. I can't recall off the top of my head when Cleveland was settled, but I can tell you that we have the world's first Dunkleosteus fossil in our museum, because that is interesting to me. That's the kind of thing that makes a place feel lived-in, not four hundred thousand pages of exposition about the place's history.

Give your readers time to settle in, and reveal things slowly as they make sense. Maybe we hear a little bit about the country's government as they pass a parliament house, or because they have to visit the city center for a different reason. If it's not pertinent to the current scene, then don't put it there.

I've got tons of lore for my world. Some of it may be referenced one singular time, and some of it may be never referenced at all. That's okay, because it's just for me to get a better sense of the place I created. If a reader doesn't need it, then I don't bother putting it in, because it might detract from their enjoyment.

Overall: stop making your readers do homework!

We do not want our readers to feel like they are working when they are reading our stuff. Excellent writers can infuse deep themes and symbology into their stories without making it feel like work. These are the writers who are remembered forever, because not only have they made a good story that you can enjoy at a surface level, but they have also twined in deeper themes that you can dive into after you've digested the story.

I did my undergrad in British literature, so I read a lot of Shakespeare and contemporaneous authors. Shakespeare is considered complicated by modern standards because of the Elizabethan language, but if you translated it into modern terms, his stories are simple. People betray each other and stab each other, or fuck each other, or get transported to weird magical worlds.

You could watch a Shakespeare play and think absolutely nothing of the themes, but still enjoy the story. You could know absolutely nothing about Greek history and still get the gist.

This is because Shakespeare specifically wrote his plays to appeal to a mass audience. He was a god-tier author when it came to balancing symbology and plot. To be like Shakespeare, be simple. Remember that your reader does. not. really. care. all that much. They don't.

It's very unlikely that your writing is going to become someone's life's work and they're going to spend their whole existence studying. Cool if true, but unlikely.

Your job is to make a story that people like and want to read. Only when you've gotten people liking and reading do you get permission to go ham with the backstory and the characterization and the weird names, because they trust you to create a story that they will like. Otherwise, your primary objective is making people feel things so they want to feel more things and read more stories.

People care more about how a story makes them feel than the specifics

Yes, of course there are outliers to this who really want every single detail of the world, but those are few and far between. You should not tailor your story to these exceptions. Think about the average everyday person.

I have many books that I love, but I can't tell you everything about them now. I can, however, tell you how I felt when I was reading them: the plot twists that made me gasp, the thing that made me cry. I can give you a general, sweeping impression of whether I liked or disliked the story and what made me feel something. This is what people recommend books based on: how they felt.

Your story should focus on the plot and the emotion. People watch movies, listen to music, read books, or look at art to feel something, not to memorize factoids for later usage. Even if they do want to memorize factoids, they won't do that if they haven't built an emotional connection to the story.

While in life, we want facts over feelings, it's opposite in creative writing. We want feelings over facts. The emotional resonance, the mood, the characters, the plot: that is what is important, not showing off how smart you are and how much you have thought about your story.

"But Topazadine, I am special and different! I'm not going to follow your advice."

Sure. Go ahead. I can't stop you. If you want to have a million characters and an entire dictionary to explain everything, that is your choice.

No one can tell you how to write; my advice is just advice.

If you don't like what I have said here, then feel free to ignore it. You don't need to justify it to me or anyone else.

However, you must recognize that this may not resonate with readers. It will turn people off.

I'm not a completionist, and neither are many others; they'll roll their eyes and click out when they are faced with ten pages of character names upfront.

Of course you should always write for yourself first, but if you are planning to write fiction for any level of commercial appeal and you intend to make any amount of money on your work, then audience does matter. If you want kudos or comments on your AU, audience matters. You won't get engagement if you are alienating people.

Your writing decisions are always your own and no one can demand you do something different. You just need to decide whether your personal satisfaction in writing your story in a certain way outweighs your desire for validation, and, perhaps, money. I can't tell you the answer for that; it's up to you.

If you enjoyed this, maybe you'll consider reading my fantasy book, 9 Years Yearning, which does not have 121238103 characters and 3230123 strange words. It does, however, have double-tsundere-mutual-pining-gay-boy-awakening. And horses. It's also just $3.

[creatingblackcharacters]

Hey! Thank you for all of your work with this blog. I have a Black character who wears his hair in long, thick twists. He also spends long amounts of time on the road, and some time as effectively an outlaw while he fights the evil government. This is all a pseudo-medieval fantasy setting. A few questions I had about hair maintenance on the road:

I understand that wash day is usually a big deal once a week, but how would he care for his twists quickly while he's got bigger stuff on his plate and next to no resources save the occasional stream?

The twists reach about the center of his back when let down. When wearing a durag would he tuck this long hair up into it? How does it feel to sleep without a silk cap? How does it affect your hair the next morning?

How would his hair degrade over time on this reduced schedule? I'd like to show him progressively losing more and more focus on himself and his wellbeing as he puts all of his energy into saving the world, and think this would be a good point to hit.

There's a turning point where he loses a lot of confidence in himself and writes off the need to care for himself. I'd like to represent that by him getting fed up with needing to care for his hair and roughly cutting off his twists. this last one is just to make sure I haven't missed some cultural context that makes that super offensive. It grows back magically later lol. bc my baby deserves to take care of himself etc etc.

Thank you so much! Sorry for the long ask, he's my baby and I want to use his hair to help represent his emotional journey through the story. Have a great day!

I'm gonna answer these in sections.

1) if he doesn't have the time, he wouldn't. Twists might not be feasible if he cannot maintenance them as necessary. They'd start to tangle after a while, and grow out of the style.

2) 🤣 this one offended me a little bit, I won't lie. durags are not for twists. Durags are scarves, meant to keep things flat. He'd need a bonnet if he wanted to keep his hair covered at night at all. The feeling is subjective; I would be uncomfortable without a cap, but some people wouldn't care. The twists would be frizzier the next day. It just feels like sleeping regularly, with something covering your head. No hair in your face because it's in the bonnet.

3) depends on the life he's living. It would do what any type of hair would do, which is show signs of lack of care like dirt, tangling, maybe matting if it's been that long. But it'd just grow back into an afro.

4) cutting off your hair because you can't maintenance it is regular. If his hair matters a lot to him, which is a human experience, he will of course express that in the writing. If he is a part of a culture or religion where hair length is important and hair should not be cut, then it will really show just how low and sad the situation is for him.

[cmrosens]

Creating fantasy religions: something I'm doing now so thought I would post about my process.

The mistake a lot of writers make is developing a religion from a singular event, and piling a ton of stuff on top of it that makes logical sense. Whereas, in reality, religions are self propelling systems that travel under their own steam and if there is an event that catalyses them, it is never in a socio-cultural or political and economic vacuum.

You also end up with an apparently totally random set of things attached to one figure which does make sense if you know the origins, but otherwise is just accepted even if the meaning is lost.

It is the difference between "the god of Midwinter and festivals around this originated because a cult of necromancers were banished into the frozen wastes and this <event> became the Origin Story for how we got to a midwinter festival with creepy bone puppets in my fantasy world" and a religion that feels ... Real.

Ok so firstly, this is a bit too neat. (This was my original reasoning for a midwinter god called Yarash and I changed it because it wasn't very realistic or interesting for my world.)

Why, let's say, is the god whose feast is at midwinter also the patron of puppet makers and osteopaths?

Well, we could say that this makes a lot of sense because the god's festival was originally to do with remembering the dead, and puppets were used in the festival to represent the dead, as necromancy should have been part of it but people didn't actually know how to raise the dead properly. Then as magic evolved people could actually raise the dead for short periods to deliver messages in these festivals, but this drew internal debate from the conservative priests who thought puppets were the original form and so should be maintained, and necromancy was an aberration, vs the progressives who saw necromancy as the original INTENTION and so the natural and correct progression from the puppets. The debate might rage on for years creating splinters, sects, differing traditions that sit uneasily together but find middle ground in other less controversial topics and practices, and even cults.

At some point, the secular authorities get involved for their own reasons. Maybe some rulers are pro-"The Old Bones" or anti-, or they want to outlaw necromancy or benefit from it for various political reasons, socio-cultural reasons, economic reasons, military intelligence reasons, etc. Whatever happens, happens. Times change. Official attitudes swing back and forth, while internally the religious debates continue, now informed by and perhaps as counters to, this secular intervention.

Then we end up in modern times, the times of the story. Nobody really believes in gods anymore. They do remember the old gods of the seasons and at the secular festival in winter, there are a lot of traditional puppet shows that have a whole history and life of their own. The puppets are called "the old bones" and nobody really remembers why. Osteopaths have the puppets and symbols relating to the midwinter festival on their certificates and college heraldry and nobody really remembers why, but the information is there to look up and is a fun thing to know for trivia nights.

And necromancy... is a controversial branch of science, divorced from its original religious significance for many but not for all, and more integrated as an art or practice in the public consciousness (positively or negatively depending on perspective and propaganda and actual usage).

And now, you have a ton of depth and meat to it without having to flesh out the arguments and debates themselves unless that is plot relevant.

There is a lot you can do with this society now, and by tweaking one thing you can create completely different societies and ideologies. The depth is now there to set your story at any point during this history and to develop numerous ideas. So much stuff can happen.

With the singular event version, and a static fact of a necromancy cult in the frozen wastes, things are much more limited and linear, with less depth to play with.

Also remember that your characters will not be expected to know everything about your world unless they are experts in religion and/or history, and also the 2 subjects are not mutually inclusive so a historian is not an expert theologian and vice versa. How much the average person on the street knows depends on levels of formal education, accessible knowledge beyond formal education, which may include religious instruction and folklore, and propaganda. But it means you can build in some subtle things - like the puppet symbols on the door of an osteopath or bone doctor - that never need to be explained, but have a logical in-world explanation below the surface.

Try taking a static idea and work it into a system and see where it leads!

EDIT: I'm doing a workshop on Build A Hellscape at the Devils and Justified Sinners online conference, Saturday 24th Aug 2024, 9AM UK Time. Sign up below:

[mysticstarlightduck]

Late Writeblr Intro!

Hello, friends!

I figured it was about time I made an actual blog intro of my own since I forgot to make one when I started this blog last year. Better late than never, lmao!

Pls, reblog, like, and/or reply to help boost the blog! 💕

Let's get started:

Personal Stuff! 💜🩶🖤

My name is Anna/Anya but you can call me Mystic, Ducky, or just Anya on this blog! My personal nickname is Ani and I adore it (:

I am an Asexual woman (my pronouns are she/her!) and I'm also personally an atheist who puts my faith in the spirits of Mother Nature, though I respect all other religions equally!

I'm Gen Z and Latina (Brazilian). I was raised bilingual (Brazilian Portuguese + English) and I love learning languages - currently, I'm working on learning French and Spanish! Career-wise I am studying in college to become a character designer and hopefully animator, as I want to pursue a career as an artist and writer! I also wish to have my WIPs published in the near future (:

Some fun facts about me!

My favorite shows are Critical Role, Game of Thrones, Castlevania, The Legend of Vox Machina (animated series), Star Wars, Voltron, The Dragon Prince, Avatar the Last Airbender, Legend of Korra, and DC Comics content, as well as many more lmao. I love watching movies and series!

My favorite Vox Machina characters are Vax'ildan and Percy (:

I am a younger sister 💖

My hair is short and curly (pixie style, similar to the haircut Rapunzel has at the end of the Tangled movie!)

I adore listening to music, especially songs that can inspire me to write my WIPs! Playlists are a huge part of my writing process and something I really enjoy making.

I'm currently rereading Shadow and Bone (+ Six of Crows) and I am always looking for more good dark fantasy/historical fantasy books to read so book recs are always welcome! I also am a huge fan of the Percy Jackson series and Trials of Apollo (by Rick Riordan), though I'm usually more of a gritty/dark fantasy fan (like Game of Thrones)!

I have three dogs and two cats!😺🐶

I know how to play the piano, though I haven't done that in a while because things have been chaotic for me, but I'd like to start playing regularly again in my winter vacation.

I have worn glasses since I was 5 years old and have terrible eyesight without them (and some days with them, lol, so bear with me).

My friends and I are doing a DnD campaign every Sunday, where I play as a half-elf rogue named Aeryn (he/him). I'm adoring this adventure so far, it's so fun!!!

I love to bake and am rather good at it, but am a painfully average cook lmao (some specific recipes I make are actually rlly good, but it depends a lot on my mood and the 'alignment of the stars' lol)

I want to learn how to knit/crochet! 🧶

I'm a theater nerd and love musicals (:

About my Writing!🏹⌛

I write fictional works mostly in the genre of fantasy (high fantasy/epic fantasy/dark fantasy/historical fantasy/urban fantasy, etc. You name it!) and science fiction (space opera/cyberpunk/superhero, etc).

My works usually revolve around themes such as epic quests, secrets, adventure, rebels fighting an oppressive system, sibling bonds, acceptance/respect, outcasts, and much, much more! I love fluff and whump equally, and though my stories tend to focus on serious topics (or at least darker/heavier themes) within a fantasy/sci-fi setting, I like to have a good bit of humor, lighthearted fun, and comedy to my stories to lighten up the mood!

My main WIPs:

Song of Thorns

🌹WIP Intro: (here)🌹

Genre: dark fantasy, medieval fantasy, adventure/mystery, dark fairytale, eldritch horror (mild)

Style: Standalone (possible Trilogy)

Tags: #wip song of thorns #song of thorns

Short Summary/About: "A peasant girl moves with her siblings from her struggling seaside village to the kingdom's glittering floating capital, but after her older brother is kidnapped, she ends up discovering the dark, bloody secrets hiding behind the long-lasting royal family of the town and must team up with a young dhampir thief, the exiled prince, and a lonely druid girl to save the dying kingdom from this web of lies".

Supernova Initiative

🎇WIP Intro: (here) 🎇

Genre: space opera, adventure, exploration, laboratory whump, heist, thriller/mystery

Style: Episodic book series with an overarching plot (each chapter/group of chapters equivalent to an episode in a TV series)

Tags: #wip supernova initiative #supernova initiative

Short Summary/About: "A young intergalactic thief and his crew are captured after a heist gone wrong and forced to accept a strange deal - complete a mission for the Junction, retrieve important missing files, and get their freedom back. All the while that is happening, Jack Tithus, the protagonist, finds himself trapped as a test subject to an immoral, and elusive, man known as the Director."

Enchanted Illusions

💀 WIP Intro: (here)💀

Genre: Victorian fantasy, adventure, mystery, gothic fantasy, dark fantasy, crime-solving

Style: Possibly a trilogy

Tags: #wip enchanted illusions, #enchanted illusions

Short Summary/About: "On a magical setting inspired by Victorian times, a group of strangers and outcasts must work together to thwart a powerful secret organization and stop a murder spree that could lead to another civil war between myths and humans."

Of Starlight and Beasts

✨⚔️WIP Intro: (here)⚔️✨

Genre: medieval fantasy, epic fantasy, adventure/quest, dark fairytale, sword and sorcery, prophecies

Style: Book Series

Tags: #wip of starlight and beasts, #enchanted illusions

Short Summary/About: "A young knight in training and an amnesiac star mage embark on a quest to prevent an ancient prophecy from coming to fruition as a vengeful sorceress queen's army marches relentlessly onto their land with the intent to destroy all their kingdom has built."

The Last Wrath

🔥⚔️WIP Intro: to be made...⚔️🔥

Genre: dark fantasy, warfare, political intrigue, espionage, adventure/quest, medieval fantasy, whump

Style: Book Series (currently on hiatus)

Tags: #wip the last wrath, #the last wrath

Short Summary/About: "In a land torn by an ancient war between two sides of a continent, a mageborn girl finds herself trapped amid the bloodshed after her past comes back to haunt her and her family. Now, stopping the war may be the only chance she still has to survive."

Tales of Wilted Flowers

🥀WIP Intro: to be made...🪻

Genre: RPG-inspired fantasy, high fantasy, adventure, fairytale, epic quest, heist story, whump, light fantasy

Style: Trilogy (currently on hiatus)

Tags: #wip tales of wilted flowers #tales of wilted flowers

Short Summary/About - "A group of youths rejected and betrayed by society in many different ways come together due to unexpected circumstances and must rely on each other to prevent the kingdom's corrupt Head Sorcerer and the King from reviving an ancient evil."

Realms of Loss

🍂WIP Intro: (here)🍂

Genre: dark fantasy, warfare, medieval fantasy, high fantasy, ancient times fantasy, Viking-inspired, prophecies & curses

Style: Book Series (currently on hiatus)

Tags: #wip realms of loss #realms of loss

Short Summary/About - "In a continent destroyed by the fall of the Old Gods, and trapped in an endless toil for survival, a cocky young prince discovers his role in an ancient prophecy after his brother, the King, is murdered and assassins come for him too. Running away into the forsaken land beyond the walls of his kingdom, he'll have to learn to be a leader and save his people as a dead, murderous God awakens."

Mutant Inquiries/Open Secret Files

🤖 WIP Intro: to be made..🤖

Genre: superhero, cyberpunk, futuristic, dystopian, science fiction, urban fantasy

Style: Episodic Series, still in development

Tags: #wip mutant inquiries #wip open secret files #mutant inquiries #open secret files

Short Summary/About: "In a dystopian, high-tech future, a group of mutant teenagers become vigilantes and crime fighters to rebel against the oppressive government regime and survive their crime-ridden city."

I have a few other smaller-scale WIPs I occasionally, less frequently work on, such as Lies Untold and Jade Ruins, but those up above are the main ones that I wish to publish. I've also got a big, secret extra WIP I'm working on for fun and will share it with you guys soon!

[bouquetface]

Gemini Risings

accuracy influenced by ENTIRE chart.

Appearance

Appearance is influenced by so much more than just the rising sign. For some gemini risings I’ve met, they do fit the tall & thin, fairy & elf like appearance. And I’ve met some who are the opposite, small & curvy.

Mutable rising signs in specific are more difficult to identify. They’re adaptable and tend to change based on their moods & environment. Appearance and style can drastically change throughout their lives.

A few things the gemini asc that I know have in common are:

🧩 Youthful appearance. This doesn’t mean they stay looking 20 throughout their entire life. I know a gemini rising (with saturn trine asc) who was often assumed to be much older in her youth. She doesn’t see it but now that she is 40, I believe she physically hasn’t changed much from when she was 30.

🧩 Tend to have higher foreheads. Narrow or long face shape. Smaller facial features - ex. many have small eyes or eyes that are close set.

🧩 Due to their mutable nature, they can change hair or clothing style often. They may have many tattoos. These individuals tend to be very expressive with their body. May even make a lot of facial expression and body movement when talking (if they are interested in the conversation).

Personality

The curse of having an air sign placement - People assume you are an airhead. You can have a head in the clouds vibe. Due to your detached (sometimes reclusive) behaviours. Cool & aloof.

On the bright side, air signs are intellectual. They’re curious. They enjoy reflecting and analyzing situations. Problem solvers. & good communicators.

The above is heavily influenced by mercury placement.

For ex. Gemini rising with a fire sign mercury. This person may be very quick in action and thought. They could be very clever and witty. Or blurt things out, as a result they misrepresent themselves.

Ex.2: A gemini rising with a water mercury, may be more reserved with their words. Similar to if natal mercury is in retrograde. They are reflective and less inclined to share their thoughts.

Generally, gemini risings are social people. Their wit and curiosity takes them far in life. They can be very popular and very difficult to get a hold of. Always on the move. Short attention span. However, some gemini risings may be less social - preference for conversations with only those close to them. Either way, they enjoy good conversation. It is a mental stimulation they need to feel satisfied in life.

If you can keep these individuals attention, they can ask a ton of questions. Similar to scorpio moon, you can feel like you’re being interrogated. For gemini risings, it comes from their curiosity and their desire to understand/learn more.

Their 7th sag house leads them to find relationships with people who equally enjoy debate and conversation. However, depending on entire chart, a gemini rising can be annoyed with sag placements. To them, the sag may overlook crucial details. Sag placements are more likely to be philosophical in their thinking. Sag is ruled by jupiter, they can be rely on faith over facts.

Yet, for some this can be a good balance. Often they have similar humours. Sag rules by Jupiter can be a mentor/teacher type. Gemini loves to learn and may appreciate being introduced to new topics. Together, these two can love to travel/explore and learn/grow.

Gemini risings often end up with partners who are like a teacher to them. Sometimes this can manifest as a partner from a different background (ethnicity, religion, country, etc).

Other times, I’ve seen this manifest as gemini risings having many partners. No fixed type.

And I know one who isn��t interested in “the one and only” type of love. They’re interested in too many different types of people. They wouldn’t feel satisfied in staying with one person their entire life. This is a manifestation of their Jupiter rules 7th H - an abundance of relationships.

[ink-flavored]

50 Question Multigender OC Ask Game

Does your OC have multiple genders? Are you desperate to talk about them? Look no further for an excuse than this game! Fifty unique questions that encourage you to get to the root of your multigender character’s relationship with their gender, their society, and more! Remember to send an ask to the person you reblog it from to make sure everyone gets to play!

Which multigender identity is your OC? Do they have more than one? Nothing specific?

Which genders does your OC have? Do they label them all?

How would they personally describe each of their genders?

How many pronouns sets does your OC use? Do they correspond to a specific gender?

If they have multiple pronouns sets, do they like all of them to be used, or are they okay with people picking one?

Do they have multiple names? Do they correspond to a specific gender?

Do their genders fluctuate, or are they all their genders all the time?

How did they discover their multigender identity?

What was their first “hint” that they were multigender? Was it only obvious in retrospect?

Did they ever officially “come out” as multigender? To everyone at once, or a few people at a time?

Did it take them a long time to pick through which genders they resonated with?

Do they still identify with their assigned sex and/or gender at birth? How strongly versus their other genders?

How does their multigender identity impact their sexuality? Do they use multiple labels for it?

Do they prefer masculine (man, male, boy), feminine (woman, female, girl), or neutral (enby, enban, kid, person) terms to be referred to with? A combination? Something else entirely?

Do they use any “conflicting” or “contradictory” labels (cistrans, manwoman, girlboy, fagdyke, lesboy, turigirl, etc.)?

Which honorifics or polite titles do they prefer to be called (Mr./Sir, Ms./Ma’am, Mx., etc.)? None at all?

Do they plan to transition socially? In which ways?

Do they plan to transition medically? In which ways?

What’s their realistic “transition goal”?

If anything was possible, what would their ultimate transition goal be?

Do they present differently depending on which gender they’d like to be perceived as? Do they not care, and wear whatever they want?

Do they have genders that they identify with more than the others?

What do they want strangers to think about their gender? Do they care?

Is their society welcoming to multigender people?

Do they know many other multigender people?

Do they have a community that supports multigender people?

How has their culture influenced how they experience each of their genders?

Does their culture enforce a gender binary? How does that impact them as a multigender person?

Does their culture impose strict gender roles on people? How does that impact them as a multigender person?

Do they have genders that aren’t recognized at all by their society?

Do they often have to explain what being multigender means, or particular genders they have?

Are they often frustrated with how multigender people are perceived in their society?

How does being multigender impact their sex life?

How does being multigender impact their romantic or intimate relationships?

How does being multigender impact their professional life or career?

How has being multigender impacted their relationships with their family?

How has being multigender impacted their relationships with their friends?

Does their religion or other spiritual beliefs impact their multigender identity?

If they’re a system, how does that interact with their multigender identity?

If they’re intersex, how does that interact with their multigender identity?

If they’re neurodivergent in some way, how does that interact with their multigender identity?

What do they love most about being multigender?

What’s the most difficult part about being multigender for them?

Have they experienced transmultiphobia? (read about transmultiphobia, and its similarities to biphobia)

Have they internalized any transmultiphobia and/or transphobia that made it difficult for them to discover themself?

Are they determined to remain in the closet about their multigender identity?

Do they fear discrimination or rejection if they were to come out?

Are they not ready to accept their multigender identity yet? What’s keeping them from accepting it?

How long were they/have they been in denial about their multigender identity?

Wild card! Mention anything else you want!

[dropoutconfessions]

So, I like Brennan as a DM, etc. etc.

But his main themes, are a bit.... overused at this point?

Like in at least half (if not more) of the campaigns he runs the bad guy will be some form of: Religion, Captalism, the Government, or some combination thereof.

(Much more than half for the full campaigns, less for the shorter ones)

I get it, but.... man it would be refreshing for one of the 20 episode seasons if the powers-that-be were more or less *good*, and the entrenched organised religion was made primarily of decent people doing good things (incluiding whoever is at top).

If for no other reason than *all* the players would be trying to root out the corruption/think something is up/etc. for most of the season, while everything is just fine.

It'd be pretty funny to watch them lose their shit over that tbh.

yeah but like, what would the actual villain be? cause the whole season can't exactly just be a subversion with no actual story behind it. cause that's heavily dependent on them not figuring it out til the end, and also dependent on you having time for a satisfying real villain. on a set filming schedule

[spookygibberish]

Hiii! I REALLY love your Thrones and I'd like to ask if I could make one as a oc?

I'm not sure if I've shared enough information about their cultural context publicly for people to do this well, but I have helped my friends workshop Throne OCs before.

Some important stuff to know:

There are two broad classes that most Thrones fall into, private and imperial. Thrones which are private citizens can technically be found all over the empire, on account of the fact they're wealthy enough to go and live wherever the hell they want, but you're going to find the greatest number of them in Godtomb and other densely urbanized areas of the Imperial core. All thrones belong to the aristocracy by nature, as they're directly a product of wealth and privilege. If a Throne is not currently wealthy, they are inevitably descended from wealth. They were also a huge huge fad before the creation of new thrones was clamped down on, and nearly every old money merchant empire is a Throne family. Godtomb (the imperial capital) has the highest number of Thrones which are not associated with the government, as it was the birthplace of the literary movement which first spawned them (longish story). It is tempting to say that private citizen thrones are more diverse than governmental ones, but it's more accurate to say they are more diverse than thrones belonging to the tricolor court, which has fairly strict expectations for the appearances of Headless (quadrupedal; preferences for lions, lizards (varanid), oxen, eagles; a set color palette (gold, azure, white); the inevitable 'mantle' of 'petals', etc....)

Imperial Thrones can be divided along the lines of whether or not they are associated with the Tricolor court, A government body made up of regional power centers (Greathouses) which communicate directly with and contribute to the government in Godtomb. Each Tricolor Greathouse has houses under it which may or may not be aesthetically aligned with the tricolor court, if not directly members, depending on how culturally similar they are to the Hegemony. The further you get from the Bitano, the more likely these Provincial Houses are to differ and be more influenced by non-hegemonic local culture.

By necessity, all Thrones, governmental or not, are inexorably associated with the Empire and their existence functions first and foremost to legitimize its authority. Even in the cases of provinces like Lujnola and Sevab, which are each heavily tied to indigenous cultures (and therefor divergent from Tricolor Court aesthetics), they belong to ruling houses modeled on the Hegemonic standard, and are all vassals of the emperor in Godtomb.

Slightly finer categories:

There are Throne Houses which are not themselves Imperial houses, but are in the employ of Imperial houses. Many of the Thrones produced by these families are more or less born and bred for the military. Prominent members of such Houses (need to come up with a name for these...) often marry into Ruling Houses, although rarely TRICOLOR Houses, since they lack the clout to be competitive in that marriage arena.

There are Sansin Thrones. Sansin are an all-male order of magnyd (essentially the same type of being as Unbodied) that staff the Bibat Temples (of the Jacantese State Religion, they make and manage other sorts of Dangyds.) I will elaborate on Sansin later this post has gotten long but theyre just monks. Its an all-male social caste of monks that grow new members in little jars and sometimes they make their own versions of Headless and assemble their own version of Thrones. These Thrones are smaller, usually bipedal, and always sexless.

Other things to know:

Due to the biological reality of thrones there are headless which are born outside of major Houses. The vast majority of Throne-children are Unbodied (the sort which more or less exactly resemble ordinary humans), and those Unbodied inevitably leak out into the general populous. All Unbodied are capable of parenting a child which is Headless (the lower half of the throne). Headless born outside of major Houses will inevitably be snapped up when discovered. Even prior to the existence of Thrones, Houses can be propagated just as well by apprenticeship.

Not all imperial Thrones are lazy figureheads! Just the majority of them. Some Thrones belong to a guild which is basically Throne Interpol, going around and keeping despotism in check. What happens when one of those guys is corrupt? Don't be silly that doesn't happen and isn't a problem (it is.)

It's more common for Thrones to be generals when in military positions. Thrones tend to be high ranking wherever in whatever employ, not really because they're uniquely qualified, simply because they're Thrones. Many of them have fairly insufferable personalities on account of being treated like they shit gold their entire lives. They're not inherently *bad people*, but they're almost exclusively coddled, spoiled, deeply entitled, and profoundly disconnected people. This is isn't true for every single throne, just like, a solid 99% of them.

[coldresolve]

How to Write a Schizoid Character

Schizoid Personality Disorder (SzPD) affects an estimated 1% of the population, similar to rates of autism, but is widely overlooked both in real life and in fiction - to the point where it is often colloquially labelled "the silent disorder". This is a somewhat comprehensive guide in how to write a character with SzPD, from someone who has it.

Quick research guide

I'm writing this guide with the underlying assumption that you've already done some cursory reading into the basics of SzPD. At this point, you need to understand two things: One is that this disorder is incredibly poorly researched, due to schizoids often not seeking treatment for the disorder itself (they sometimes seek treatment for comorbidities like depression or anxiety); and two, as a result of this, there is a lot of over-simplified misinformation out there about SzPD. This disorder often gets boiled down, even by mental health professionals, to the DSM-V or IDC-10 diagnostic criteria, which are criticised widely in the schizoid community for being incredibly superficial descriptions of overt SzPD. This is the kind of case where you need to seek out the SzPD specialists or the schizoids themselves for information about the disorder.

Akhtar's profile is a good overview. Psychologist Elinor Greenberg has a quora where she answers all sorts of questions about SzPD, and she typically hits the nail on the head. Other resources include Schizoid Angst, a youtube channel run by a man who has SzPD (this convo in particular is really good). If you're interested in a deep dive, I recommend reading The Divided Self by R.D. Laing for a deeper understanding of the inner workings of schizoids, as well as the relationship between SzPD and the rest of the schizophrenia spectrum.

Understand the "root" of SzPD

SzPD typically forms as the result abuse, neglect or abandonment in childhood. Schizoids have learned through trauma that emotional intimacy, vulnerability, and dependence on other people all have the potential to harm them badly, and as a result, they tend to avoid those things. In that sense, schizoids don't have a problem with other people, per se. Understanding this fact can help you write your schizoid character with more realism and nuance.

For example, it's a common misconception that all schizoids are averse to having sex. Many schizoids are, to be fair - but plenty of schizoids also frequently engage in hook-up culture, or form other sexual relationships. Physical intimacy can be entirely seperate from emotional intimacy, and thus pose no real risk to a person with SzPD. It's also possible for schizoids to form good relationships with other people, if those relationships are based on non-emotional grounds, such as recreational interests, work, religion, etc.

You can show this in your schizoid character by thinking about which of your other characters your schizoid might gravitate towards. In general, they will feel safest with characters who place few (or no) emotional demands on them, don't place high value on phatic gestures, don't pry into their emotional state or background, respect their need for independence and agency, and so on.

Overt or Covert?

Once you've researched the disorder a bit, you need to decide whether your schizoid character is overt or covert. The overt/covert split is about 50%/50%, so neither is more likely than the other.

Overt schizoids tend to be a lot more blunt about their indifference, visibly detached and aloof, and are typically way less likely to engage in social settings (or be in social settings at all). These are the characters who have blunt affect, ie. won't have much of an emotional reaction to their surroundings, even if it directly involves them (ex. getting praised/criticised). They may have odd speaking patterns, such as stilted or vague speech, and can sometimes come across as cold and uncaring. Overt schizoids are noticably reluctant to reveal what's going on in their internal world, so they might also come across as enigmatic, secretive, or mistrustful.

If your character is an overt schizoid, think about how their behavior and personality are percieved by other characters, what kind of reactions might arise. Think about how your schizoid character might navigate these reactions - after all, they're probably used to getting comments. How do they react if someone comments on how disinterested/moody they seem? Do they tell the person to fuck off? Do they raise an eyebrow, and that's that?

Covert schizoids, or "secret" schizoids, experience the exact same symptoms as overt SzPD, but they hide it behind what's called a false-self system. You can think of it as a form of compulsive masking. Apart from perhaps vaguely eccentric behavior, you typically won't be able to tell that a secret schizoid has SzPD unless you know what you're looking for. If your character is a secret schizoid, they will behave in a way that seems socially engaged and interested, maybe even extroverted, but they will be emotionally withdrawn and safe within an internal world.

If your character is a covert schizoid, your other characters might not notice that anything is out of the ordinary with them at all - until they learn more about your character's lifestyle. Secret schizoids are not as used to being confronted about their odd behavior as overt schizoids are, and, depending on the character overall, might respond to these confrontations with awkwardness, defensiveness or confusion. Many secret schizoids are also unaware that they have SzPD, but are instead just vaguely aware that their behavior and preferences seem strange and different to other people.

Figure out the internals

An intricate internal fantasy life makes for a well-thought-out, sharply self-aware character. Schizoids spend most of their time in their own heads, so you need to have a good understanding of your character's internal world, fantasies and reflections, and how these things affect their behavior, priorities and decisions.

For many schizoids, their fantasy life is rooted in their own lives, either their past, present, or future - what-ifs, what-if-nots and could've-beens. They'll have internal "interactions" with other people they know, play out entire conversations and scenarios, and respond and react much more vividly than they tend to in real life. For other schizoids, their fantasies exist in a world entirely seperate to our own, with its own rules and structure, which they can explore to their own liking. For others yet, they think up fictional stories, sometimes inspired by real life, sometimes not.

Themes in the internal world often reflect the schizoid's own struggle with independence and intimacy. A lot of schizoids use their fantasies as a safe and sufficient way to feel "connected" to others. Others have violent, vengeful fantasies, which often juxtapose the indifferent demeanor - these fantasies tie in to the need for independence and emotional control, sometimes referred to as schizoid omnipotence.

Beyond the intricate fantasies, consider your character's moral beliefs. Schizoids tend toward idiosyncasy - we're in the "odd and eccentric" cluster for a reason. Akhtar described this quality as "occasionally strikingly amoral, at other times altruistically self-sacrificing." Take some time to figure out how this might express itself in your character, and how it is percieved by the characters around them.

Schizoids and relationships

You know how borderlines have their favorite person, and narcissists have their chosen person? A schizoid might just stumble upon someone who will become their interest person, or IP.

An IP is someone outside their immediate close family who the schizoid feels safe enough to be vulnerable with, are genuinely interested in, and who the schizoid forms an honest-to-god emotional connection to. This relationship can be either romantic or platonic in nature. If you choose to give your schizoid character an IP, make sure to emphasize how much this relationship stands out as uniquely meaningful to the schizoid - this is the one person they are even capable of having a genuine bond with, and that bond alone can keep them grounded against feelings of cosmic isolation. Your schizoid isn't likely to take this for granted.

An interesting tidbit of information is that schizoids paradoxically tend to gravitate towards relationships with highly extroverted, emotional people, to the point where the schizoid-hysteric relationships are an entire category of psychological research. Here's a really good snippet that describes how that dynamic tends to play out.

(Also keep in mind that just because a schizoid doesn't have an IP does not necessarily mean they are miserable. A lot of schizoids are capable of finding their own peace with whatever tools they have available.)

Another notable term for schizoid relationships is the controversial stock friend. A stock friend is a person who considers themself friends with the (typically covert) schizoid, and who thinks they have an emotional connection with them, but who the schizoid feels no emotional connection to, has no real interest in, and only interacts with out of convenience or happenstance. Is this immoral? Are schizoids leading people on, or are we justified in masking to avoid a constant stream of awkward confrontations, that have the potential to hurt other people's feelings? Who knows.

Splitting

You might have heard of idealization/devaluation-splitting as it pertains to borderline PD (bad/good) or narcissistic PD (worthy/unworthy). Splitting happens in SzPD as well, along the axis of safe/unsafe.

Schizoids will occasionally cut other people out of their lives, and this usually happens when they get overwhelmed with another person's attempts at emotional intimacy, or their boundaries have been deliberately or repeatedly crossed. They will often view the person as relentlessly prying, controlling, demanding, or dangerous, and will desperately seperate themself from that person as a way to avoid being consumed, or "smothered". At this point, if the other person doesn't let the schizoid get away, the schizoid might become overtly hostile. This is a fear response.

If you want to write a schizoid splitting, be aware that a split with a schizoid usually marks the end of the relationship altogether - especially if the relationship hasn't lasted for very long, and double especially if the person isn't the schizoid's IP. Once a schizoid has lost trust in someone, that trust is very, very difficult to build back up, even if both parties agree to try. Your schizoid character is going to be incredibly wary of the other person, and the relationship is probably never going to feel like it did before.

Beware of stereotypes

Every once in a while I'll encounter a story that features a character who has very obvious schizoid traits, and almost every single time, their arc leaves me disappointed and frustrated. Here are some tropes I would personally avoid writing for a schizoid character.

"He just needed love all along." Kill this trope, no exceptions. Strong emotional intimacy can erode or overpower a schizoid's sense of self, and usually leads to feelings of smothering, being trapped/crushed by the other, and losing autonomy and independence. A schizoid is capable of love on their own specific terms, but if it's on the terms of other people, they will strongly feel like it's something being forced on them against their will. They might still outwardly "accept it" as a form submission or compliance, but it will not be out of love. This trope gives me psychic damage.

"He sacrificed his life for others, which proves that he cared all along." This trope isn't necessarily bad, it just always leaves me with this impression that neurotypicals can only interpret caring when it happens in the extremes. And while it's true that schizoids can sometimes be altruistically self-sacrificing, it's kinda depressing to see schizoid-like characters die all the time. There are other ways you could show schizoid altruism that would also leave the door open for more closure for the character themself.

"He turned evil and violent." While this trope isn't quite as common as it is with other disorders, notably those from cluster B, it does still exist. So here's your friendly reminder that mentally ill and neurodivergent people are more likely to be the victims of violence than to be perpetrators, by far. I'm not saying you should never write a schizoid bad guy, you certainly can - I'm just telling you to be very careful about how you go about it, so you don't end up sending the wrong kind of message.

Conclusion

Schizoid characters are cool, and I wish there were more well-written canonically schizoid characters out there. But I'm also clearly biased, so what do I know

[inthestarsme]

Astro Notes pt. 7

These pictures are not mine! I have taken them from pinterest, the second one seems to be from "Rachel Home and Life" on Pinterest.

‼️Don't repost my Observations without consent and mentioning my page‼️

I very much respect non-binary or trans people. If i'm talking about man or woman, i'm talking about cis-men or woman i know, because often, due to societal coding/standards, there can be differences depending on the gender. But it could very much apply to you if you are non-binary or trans. Just take what resonates and leave what doesn't, as spiritual people like to say.🫶🏻

If you don't agree with my observations, please don't send any hate. They're only my personal observations that i'm posting just for fun. Especialy the specific ones can only apply to certain people. So don't take anything you read too seriously. It's not a science, just pop-astrology!😎

I'm back again! Hope y'all had a great start into the year and some beautiful or at least peaceful holidays. I'm not going to explain to much about my absence (i feel like me not posting regularely or as it works is just a thing now) and just jump right into it.

So, here we go! Ready.... Set..... Okay i'm kidding. But yes, let's go!

Moon in the 3rd house: I always need to talk to a friend about my feelings when i feel overwhelmed, sad, angry, etc. If i try dealing with it just in my head, it feels like a hurricane up there. Sometimes i like writing things down too, but i prefer talking it through and getting a second, reflective opinion and reaction. This kind of fits this placement, so maybe this could help you, if you haven't figured this out about yourself yet.

Chiron in the Solar Return-Chart: I feel like Chiron here shows you a wound that developes over the year, that you might only start seeing at the very end or in the next year.

Leo Risings: You guys really are these confident, radiant, extroverted, even loud types of people. Very social and outgoing. You "shine" and are quite populare. As i am an Aquarius rising (so my rising falls into their 7th house) i tend to attract these kinds of people (as friends and also partners/ love interests, but love interests more so sun in leo as the sun is the heart) even though you wouldn't think so because i tend to be more shy and reserved. But it really doesn't mean that is how you truly feel inside. It is one of the most prominent parts of your personality and how people know you, but you can still hold a lot of insecurities inside yourself. Also: blond hair tends to be typical for these people, also the darker blond shades. But it isn't a must, i've just noticed this. Maybe also just hair that "shines" or somehow stands out.

North Node in the 12th house: Learning how to deal with addictions and any kind of mental health problems, that could've or did get you into any kind of facility (prison, etc.) is a big and important part of your life and souls journey. You need to learn how to take care of your physical health and get a healthy routine and sorted out everyday life, so you can deal with your mental health problems, and not use drugs etc. as a way to deal with your every day life/ to run away from your everyday life/ to make your addiction, mental health struggles, etc. your everyday life and make it mess up your health. You may naturally have always been so focused on work, routines and everyday life, etc., that you always have tended to forget about your mental health and anything to do with that.

Jupiter in the 9th house: Things like religion, philosophy, higher (college) education and traveling can be a source of great happiness and success in your life. In which way really depends on other placements and if you are religious or not, etc.

Moon in the 9th house: You might really need religion or certain philosophical theories placed in your life to feel emptionaly secure and stable. They don't need to necessarily be a typical kind of religion or a academicaly accepted philosophy, but just something that exists inside yourself that fits into these categories.

Empty houses: I think a house being empty just means that in this life there isn't really a focus on this area in your life, or it tends to sort itself out naturaly through other areas in your life that are more in focus. As you have your ruling planet of the house sitting in another house and do not have anything putting more of an emphasis on this house, i think the energy of the house plays itself out through other areas in your life or are influenced by other areas. It still exists in your life, but it isn't in focuse just for itself (i know this isn't necessarily how this is interpreted in general, this is just how i see it).

Scorpio MC: I feel like, as Scorpio and Pluto have a lot to do with ego deaths, a lot of people tend to see me in a bad light and as problematic because i kind of go against their ego, because i trigger something in them they don't want to face and they are hiding with their ego. Also, I'm not necessairly the secretive type of person, but if i stay more secretive, people tend to be more interested and intrigued by me. I also get peoples attention if i present in a "shocking" way (as would many), but i like it honestly (my aquarius rising just loved being weird), and i feel like often people just silently watch me and even admire (or at least noone has ever complained or said anything negative).

I hope you enjoyed this one again. Please leave certain aspects you want me to get into in another post in the comments or just any kind of post you would like to see from me.

I wish you a wonderful year! Byee🫶🏻