#do you want myth or science

[thewitchness]

To hell, you say? My friend, that is the realm of Hades!

The majority of Hades are the Elysian Fields. Where most of us human souls hang out after death, doing what we humans do. I hear the wine there is to die for.

Thanatos (that's death) usually brings you to the cave entrance of the underworld and tells you "hope you can pay the ferryman" as he aways to find another poor soul, say, choking on a doughnut.

Once you wander into the cave you'll find a Kerberos (the three-headed dogs who guard the underworld). Sometimes it's your dog who remembers itself upon seeing you.

You end up standing in front of Charon, the Ferryman once your designated goodboye leads you to the Styx. His normal toll is a gold coin found under the tongue. In the years since the creation of paper currency, however, he's been more willing to bargain. I've heard tell of quite a few people who've been given passage for a really good story.

When you stand at the bank, you'll see it's not too far across, but once you set sail, it feels like an eternity before you reach the other side. You're dead, and time no longer holds you. This is your first encounter with that. If you lose your will and yourself, you will jump out of the boat and join the rest of the souls in the Styx.

If you made it to shore, you have free reign to go anywhere in the Fields. Be a tourist. Learn a new (or old) language. Find your family. Don't find your family. Walk up to the citadel and fight God. The choice is yours.

You decide you're tired of the afterlife? Great! That's what the Acheron is for. Souls who grow tired of remembering themselves and the existence of eternity can find a final final resting place there.

Have a religion? Great 👍 Hades has a temple built to your god somewhere in the fields. Even Spiky Josh is there hanging out with his disciples. Reincarnation is your thing? Humans have been begging for that since death was invented. An eternity of begging the Big Man (with a little persuasion from Persephone (his wife) and Demeter (his Mother in Law)) has worn him down and he'll let you be reborn as whatever. Souls are souls after all.

So how's learning about the greek pantheon going?

*i walk out, covered in ash, various arrows to the head, sling over my shoulder, etc* it turns out you should NOT call Aphrodite the hot one. that gets you into trouble.

[timeisacephalopod]

You know as a horror fan "cultural Christianity" is such a useful term because as an atheist as well as a horror fan and a fan of haunted house stuff if it's done well I very, very quickly noticed how many horror movies are Christian propaganda. So few horror movies involving religion (which is a shocking amount of them btw) pick any religion that's not Christianity to center itself around and when they do that religion is bad and evil, not the cause of evil and the savior from it (because the demons may be Christian, but God and the bible are also the solutions in a way other religions aren't granted. Bonus points if it's an indigenous religion being portrayed as Evil and Bad).

Pretty much any exceptions I can think of to that rule use Judaism and the Holocaust as a backdrop and never in like a normal, the Holocaust is horrible way it's always playing on myths of Nazi Germany's experimentation on the Jewish population. Which I find highly troubling and disturbing, but regardless nothing like being a horror fan to convince you of cultural Christianity because no other genre leans on religion as a plot device so much unless it's straight up a Christian movie for a Christian audience using Christianity as it's main theme and through line.

[aethersea]

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

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

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

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

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

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

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

however.

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

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

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

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

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

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

[sobfultoast]

•~°◇ Just the Little Human Things ◇°~•

Prompt: Humans and demons are different, no duh. There are some things that we do naturally that shocked and freak out the brothers. Here are some random few (each linked to a specific brother, like 1 means Lucifer, etc).

Characters: Lucifer, Mammon, Leviathan, Satan, Asmodeus, Beelzebub, Belphegor.

• ~ ° ◇ ° ~ •

1. Cracking bones.

You spent a long day dealing with your studies. Your fingers cramped. So you cracked them. Lucifer was appalled. He thought you just broke yourself. Lucifer goes straight to you and asks if you just broke your finger or something along those lines. After calming him down and just explaining that you were popping the air bubbles in your joints because they ached, he was more appalled.

Humans can get air bubbles in between their bones?! That's so weird. Demons can't crack their joints. If they make any cracking noise, they probably cracked their bones.

At least you're not hurt. That is all that matters to him.

2. Adrenaline.

Demons have instincts like humans, but they don't have adrenaline. They have the same amount of strength and power, no matter the situation. No amount of tension will give them a random boost in a fight. Humans do. It's called adrenaline (SHOCKING). Boosting our stamina, pain tolerance, reaction time, and strength. It's like a superpower! A superpower that Mamon was unaware of at the time.

You both were running from trouble, as normal. Even though your body was in its flight or fight, no amount of adrenaline will make you run as fast as the fastest demon in hell! So how was he supposed to know! It was until there was a dead end. The door was locked. Mammon was about to use some magic to open it because the angry demons were very close behind you guys. before he could, BAM! You ram right into it and smash it open

What. The. Hell??? Are you on steroids or something?!

Once you escape, Mammon has so many questions. He now thinks adrenaline is so cool.

3. Being social animals.

Demons aren't necessarily social creatures. Some will go millennias without talking to anything, and they don't go insane. It's just a lot of demons like socialising. Levi is not one of those demons, though. Levi will go some months without speaking to anyone, even some days without speaking to his brothers. He thought humans were the same. He didn't know that it could cause mental issues like insanity or depression.

Levi only found out because he was watching a horror anime, where a human character was isolated for months and went insane. He thought it was fiction, but then he asked you. As soon as yes leaves your mouth, he is in utter disbelief.

Now he feels bad whenever he has you holed up in his room. Don't you want to socialise? He wouldn't mind if you went to party with Asmo and Mammon... At least he'd try not to mind. Are you sure you're okay with just him? Yeah? ... He thinks he is okay with just you, too.

4. Humans on the moon?

When you came to devildom, even though Satan wasn't that close to you, he did research about humans out of curiosity. Satan learnt about human history, myths & legends, science (a.k.a human magic), medicine, and even decided to research human technology.

The only thing he didn't know was that humans went to the moon. When he was doing human history, he was doing ancient human history. Being a demon who was immortal, Satan classed anything from the last 100 years as morden to him. He was alive during it. He should know when it happens. But somehow, no one talked about the humans landing on the moon.

You wanted to know if demons had also gone to space, and he answered with, "No. Some of angels have... What do you mean also?" Humans, flightless and magicless fleshbags, have gone to the stars?!

5. Baby teeth falling out.

Asmodeus wanted to see childhood pictures of you! He was going on about how cute you were until he saw that in one of your photos that you were missing a tooth?! Asmo didn't know you were missing a tooth! He immediately tried to look in your mouth for that missing tooth, but there was a tooth there?! What?! Did you get some sort of tooth surgery?

Demons and angels don't have baby teeth. They are made not to naturally lose any of their teeth, and if they lose a tooth, they have to get a surjery to get it back. So, this concept is crazy to them.

Asmo was thankful it was natural. You made him panic!

6. Stretch marks.

Demons have rapid regeneration, so they don't get stretch marks. The scars just heal immediately as it isn't a deep wound to them.

Beelzebub had no idea humans could get them. He thought some demon attacked or tried to put a hex on you, but once you explained it to him, it blew his mind. Losing or gaining weight causes these marks? Humans are stretchy??? That's cute.

Beelzebub likes running his hand over the marks. It's fascinating to him.

7. Modern medicine.

Belphegor knew a lot about humans due to his human phase when he was an angel. There isn't anything that you do that surprises him. Belphie even knows humans went to the moon because he is an astrology girlie. But he is clueless about morden medicine.

Belphie lost interest in humans when he fell, obviously. He didn't want to interact with humans after his hatred for them developed. So he has no idea about morden human medicine.

Humans don't use frog eggs anymore? They were unsafe? Really? Belphie thought they worked. He did not know humans were just as unknowledgable as he was back then. Belphie learnt after you accidentally got a paper cut, and Belphie said he'd go get the plasters and leeches.

You had to tell him that the leaches were outdated by a few decades.

•~°◇ Have a kind day! ◇°~•

[seeingivy]

casual

suguru geto x f!reader

**loosely based on casual by my beloved chappell roan

—

in the three months that you spend with suguru geto, he leaves a sour taste in your mouth and it’s not only because he tastes like black coffee. and in the two months that follow, before your deeply unfortunate circumstantial reunion, the last five words that you uttered to him, the sentiment behind them, only seems to grow. 

you can go to hell. 

and it’s all you can think when he shows up to the emergency room – a pinkish sunburn across his nose, his hair messily tied back – and eyes dripping in a concern that fills you with a rage. and it’s a deep sigh that he gives you, before reaching for your hand. 

“what happened to you, peach?” 

--

the general education class that you choose to satisfy your values and ethics inquiry is the sociology of religion. counting all the stakes – a stellar review on rate my professors, a night class at the start of the week, and minimal homework – it makes for the most ideal choice. 

“so what’s your major?” 

the downside? the midterm and final project are group assignments. and on any other occasion, you would have appreciated it – getting to split the work, taking some of the load off and sharing the work with someone, except for the fact that you didn’t know anyone in the class – and for the most part, you were expecting some half-brained idiot that would make you do all the work. 

you suppose it’s at least fair that he’s not horrible to look at. in the dimmed lights of your apartment, there’s something almost off putting about your partner, suguru geto. you count seven piercings across his ears – dangling silver pieces almost shining in the glint of the light – and the smallest rim of purple around his eyes. harsh cheekbones, a hard jaw, and wrinkles by his eyes. 

“educational studies. what’s yours?” you state. 

“computer science.” 

you hum in response, filling the two glasses with water and snatching one of the peaches from its container before taking your seat across from him, noting that he has a dimple on the left side when he smiles in response to your gesture. 

“did you want some?” you ask, holding the peach in between the two of you. 

he shakes his head, slumping against the counter in what seems an almost unnatural pose – his long limbs spreading into the space underneath your chair. you wonder if he always had an unusual way of taking up space. 

and it seems that as time goes on, he gets more and more unusual. quietly working through the portions that you split up, except for a few deep breaths here and there, though he would stop once in a while and would almost ask for approval of what he had written, waiting for some confirmation from you that it was okay with you. 

“you’re comparing adam and eve to…orpheus? i’m not really familiar with that.” you state. 

suguru nods, before turning towards you to explain. his eyes waver in the slightest as he turns over to you, his gaze flitting down to your lips, before looking back up at you. 

“you don’t have to be polite. you really can have some if you want, it’s really sweet.” you state. 

suguru smiles. 

“maybe later.” 

you shrug. 

“so orpheus…” 

“it’s a really old greek myth. orpheus and eurydice. to kind boil it down, eurydice is in the underworld with hades. and orpheus is trying to convince hades to let her return to the mortal world, with him.” 

he scoots his chair a little bit closer to you and you’re able to note one thing – that there’s a resonance in his voice, that it hums in his chest when he talks. 

“hades tells him that he’ll let him take eurydice with him, but on one condition. she has to walk behind him.” 

“that’s not that hard.” 

suguru grins. 

“isn’t it?” he asks. 

you pause. 

“you’re being told by this big, all powerful god, that she’s walking behind you. but you can’t look. you wouldn’t even consider the fact that you were being fooled? that maybe she had decided not to follow?” 

“i mean, i guess. i don’t think it would really cross my mind, i…i think i’d just follow out all the way til the end because i’d kind of have faith if that’s what i was promised. and that she’d want to come with me too.”  

suguru pauses, like he’s almost taking in what you’ve said – like it’s the first time he’s heard it – and responds rather slowly. 

“you’re rather trusting, aren’t you?” 

you roll your eyes. 

“is that such a bad thing? what do you think about it?” 

suguru shrugs. 

“it was a worthless pursuit in the first place. there was no way that he wouldn’t have turned around and looked back.” 

“what do you mean?” 

“it’s simple. he loves her. if he hears something that deceives him – like the sound of her tripping over a rock – he doesn’t think. he looks back. if he thinks that she isn’t there, he won’t be able to get over it and he’ll turn around.”  

you pause, mulling the thought over. and you suppose it’s true – that if you really did love something, it would be almost impossible not to check for the promise of their presence. 

“i guess. so what? she goes back to the underworld?” 

“yeah. it’s one of the most tragic love stories.” 

“i guess it’s kind of romantic. that he loved her so much that he had to look back, like it was almost an instinct.” 

and in the split second that the two of you stare at each other, he leans forward, pressing his lips to yours, with the strong taste of coffee lingering on his lips. 

you’ve kissed three people before in your life – the boy you sat next to in the seventh grade, your date to the prom, and now suguru geto. 

the first was overwhelming. a quick locking of the lips, that at the time, made you nearly erupt into a puddle of butterflies. the second was lackluster. waxy from too much chapstick, abrupt from the fact that he was quick to shove his tongue in your mouth. 

and the third was indescribable. only because you could feel it – something lingering under his demeanor that you couldn’t exactly place. there wasn’t a word for the feeling it gave you – though there was one that was close enough. 

curiosity. about what that feeling is, about who suguru geto was, and why he felt so inclined to kiss you upon your third meeting. 

you wanted more of it. 

“you’re right, you know?” he murmurs, breath warm against your lips. 

“about being trusting?” 

he laughs. 

“no. about the peach. it really is sweet.” 

he leans back, eyes fixed on the reading in front of the two of you again, as you reach up to touch your lips, the sticky sweetness of the fruit gone from your skin. 

--

suguru comes around often after the fact. always here and there, an almost abrupt and concise text testing the waters. 

[suguru]: is your roommate home? 

[you]: nope. she’s at the district. 

[suguru]: can i keep you company?

[you]: okay! 

and he always arrives promptly twenty minutes after the fact, to the point where you wondered if he lingered around just to get there as fast as he could. and never empty handed – with dinner, dessert, or a flower that he plucked out of the cement in his hands. 

that was the thing that confused you about him. 

after the very first time you kissed, he had made one thing very clear. 

no attachments. you’re not together. 

but yet, he’d show up sometimes and do nothing but kiss your forehead and sleep in your bed next to you. or make you do something entirely mundane – like watch toy story three with a sheet of cookies in your oven – or watch you study. 

and in the two weeks you had known him, you knew better than to question. your curiosity never stopped you, but you found that you were always left with more questions than the vague answers that he gave you.  

“hey peach?” 

“yeah?” 

“your mom is calling.” 

you widen your eyes, immediately snatching the phone from him, and giving him a weary smile. and you side shuffle into the walkway between the laundry and your bedroom, pressing the phone to your ear and murmuring under your breath. 

“hi mom.” 

“hi doll. how are classes?” 

you pick at the loose thread of your sweater, nearly breaking the seams of the sleeve, noting suguru’s curious eyes – that he’s very poignantly trying to hide – from the kitchen. 

“they’re good, ma. what’s up?” 

“right. i’m so sorry to do this to you, my sweet, but i won’t be home when you get back.” 

“what?” 

“we’re going on a trip to see sheila in new york. and well, her vacation is only during those dates and we want to spend as much time with her as we can.” 

you sigh, the frustration tempering in yoru chest. 

“i already paid for the tickets. i saved up for a month trying to buy a flight back.” 

“darling, i know. i’m really sorry, but you know how it is. she just gets so stressed out that we just wanted to go out there and make her holiday nice.” 

“and what about my holiday? you don’t want me to have a nice christmas with my family?” 

you can feel it burning in your cheeks – that embarrassing feeling that’s been simmering in your chest since you were kid. a mix of an insurmountable amount of envy and dejection, from trying to vie for attention from the second that you realized you never had it. 

“don’t try to make me feel guilty.” she scolds 

“i’m not trying to make you feel guilty! i just wished you would have thought about me too.” 

you hear an irritated sigh on the end of the line, which is your first sign that you had made a mistake. because if there was one thing you knew how to do, it was push your mom’s buttons. 

you wonder if it’s because she sees herself in you – and that utter hatred that she has for herself was now placed on you instead. 

“do you always have to be so curt with me?” 

“i’m not being curt, i just…” 

“maybe when i die, you’ll think back and wished that you had appreciated me more. been more understanding that i’m not just your mother, i am someone’s friend too. that i have my own life. and that at the very least, my friends like to call me here and there. acknowledge me while you do god knows what wherever you are.” 

“okay, well, i –” 

“enjoy your christmas. we’ll see you in the spring.” she states. 

there’s a static on the other end of the line and you drop your phone, staring at the dark screen in your hands for the few seconds that follow. and you must have been standing there for too long, because a few minutes later quiet footsteps accompany you in the dimly lit hallway, suguru’s head obscuring the light from the bulb. 

“hi peach.” 

“did you hear all of that?” 

“no.” he responds. 

you look up at him and glare. and he reaches forward, hands soft on your cheek wiping away the wetness that you hadn’t noticed. you’re not sure when you started crying. 

he leans forward and presses a kiss to your cheek.

“you’re a liar. if you’re one thing, it’s nosy.” you respond. 

he smiles. 

“maybe when it comes to you. what happened, pretty girl?” 

you shake your head, his grabby hands coming around your waist as he presses you closer to his chest. you can hear his heart thumping against your ear, the metal of his necklace cold on your cheek, as you heave a sigh. 

“nothing.” 

“oh, come on, peach.” 

you look up at him, expectant and full brown eyes waiting for an answer, as you give in. 

“i just thought i would be going home next week for break. but i think i’m just going to stay here.” 

“because your parents are going to…” 

“see their friends in new york.” 

suguru frowns. you can’t tell if it’s pity in his eyes. 

“it’s not a big deal. i just was expecting to go home, that’s all. and it’s not that big of a deal that i’m going to stay here, the weather is nice and it’s probably frigid cold there.” 

suguru pauses. 

“you’re going to be here alone?” 

“yeah. my roommate is from the east coast.” 

“you should come home with me, for break.” 

you look up at him, eyes wide. 

“what?” 

“s’not that far from here, i usually just make the drive. there’s a nice coffee shop on the way that i always stop at for some energy. and my mom is really nice.” 

you shake your head, almost too violently. 

“i can’t just go home with you. i wouldn’t want to impose.” 

suguru pulls back, his fingers fast on the screen, as he murmurs under his breath, his voice uncharacteristically soft. 

“you’re not an imposition to me, peach. i can’t leave my baby here alone.” 

“sure. but to your parents, and…and staying rent free in your house.” 

suguru grins, handing over the phone to you, as you read the texts on the screen. 

[suguru]: can my friend come home with me for break? her name is y/n. 

[mom]: YES!!!!! 

[mom]: A GIRL! 

[suguru]: not like that

[suguru]: but she’s sweet 

[mom]: I’M GETTING EVERYTHING READY 

you look down at the phone, noting the sweet heart emoji that he has near her contact name, the contact photo a picture of the two of them when he was considerably younger, hugging cheek to cheek. 

“and i stay rent free in your apartment all the time.” 

“suguru, this is…weird. i can’t just come home with you, that’s…that’s too much.” 

he shakes his head. 

“it’s casual. we’re just friends, you’re just coming home with me for break so you won’t be here alone.” 

right. you’d almost be inclined to believe him – if it wasn’t for the fact that the time you spent around him, the more curious you got. 

the more that feeling festered in you, wanting to know anything and everything about him, wanting to crawl deep into his skin and memorize everything and make sense of why he was the way he was. 

“you promise?” 

“for sure.” 

--

“you’re a loser.” 

mei mei is never one to mince her words. and you’re grateful for it – because it’s something that you need when you return from your two weeks stay in long beach with suguru over the break. 

because despite the words that he told you, the ones that you didn’t really believe anyway, you come back in a worse state than you expected. 

you think you love him. 

because in the days of uninterrupted time that you spend together, you let your mind wander too far. because in the quiet moments that the two of you had – knee deep in the passenger seat outside the stupid coffee shop you stopped at, giggling in the bathroom when you went to dinner, and tangled in the bed sheets with him every night – you let yourself taste too much. 

let your mind run a little too wild. thinking about meeting his friends at the pier he showed you, of living together in an apartment in the following year. 

and the two of you teeter a dangerous line. putting each other as emergency contacts, swapping your wardrobe in between your flats, and showering together every morning – his soft hands massaging the shampoo into the roots of your hair.  

“don’t be mean.” you state. 

“i’m not being mean, i’m just saying that…” 

mei mei sighs, cheeks in her hand, with an almost irritating look in her eyes – wholeheartedly judgemental. she just didn’t get it. 

“look, he’s friends with todo. that guy i know from the finance club? and i asked around about him, apparently he loves to brag about how he gets girls off all the time. now either he’s talking about you – clearly not the way you talk about him – or he’s talking to someone else.” 

you sigh. because you can’t even put it past him. because in the months you had known him, he was impossible to understand. a futile effort to read. impossible to touch. 

“look, i’ll just ask him later.” 

and when he comes around your apartment, well after mei mei has left, he brings a slice of peach cobbler that his coworker insisted that he take home with him. 

“peach cobbler for my peach!” 

you wince. 

“that was corny. even for you.” 

“i saw an opportunity and i took it.” suguru responds, shrugging as he loops his arms around your waist, chin resting against the top of your head as he eyes the pot of boiling ramen on your stove. 

and you bite the bullet as fast as you can. 

“do you see other girls?” you ask. 

“huh?” 

you swallow hard, dry patch in your throat, as you feel the sweat tickling the top of your forehead. it’s from the heat of the stove. 

“do you see other girls? or guys?”

“no. do you?” 

you shake your head. and you’re unsure how to word the next question – because there was something humiliating, too bare about having to admit that you want more to him – when things were so sweet as they were. 

perhaps you should have known better. coffee was always bitter at the end. 

“why do you ask?”

you shrug. 

“dunno. was just thinking about us. and how we spent break together and all that.” 

suguru presses a kiss to your hairline. 

“yeah? did you have fun?” 

you hum in response. 

“yeah. i really liked the city. and your mom and your sister. it was really sweet of you to take me.” 

you pause, wincing as you decide to be as blunt as possible. 

“and i like you.” 

he laughs. 

“well, i like you too.” 

“no, no, i like you. well, i more than like you, but i…i can’t say those words.” 

there’s a silence. and his arms feel like loose limp noodles around you. and you realize now, that you made the wrong choice. you turn around, only to find hollow brown eyes staring at you, the makings of a frown on his face. 

“suguru?” 

he winces. 

“i can’t.” he whispers. 

“why not?” 

and you’re not sure what it is, but it throws him into a panic. with his facial features scrunched up, eyes hollow, and nervous hands running through his hair. 

“i just can’t.” 

you cross your hands over your chest, the bitter contempt of rejection blooming in your chest, as you look down, picking at the scab on the inside of your palms as you ask again. 

“i said i didn’t want any attachments.” he adds. 

“i know. but can you blame me for being confused? you took me home to see your family.” 

“as a friend.” 

“you didn’t act like my friend while we were there.” 

suguru groans. 

“and that’s my fault, i know that but –” 

that one stings. admitting that he regrets it. 

“okay, well. that’s alright. maybe you should leave now, then.” you state. 

“wait peach, no. i don’t want to leave, i just..” 

you scoff. 

“you don’t want to leave?” 

“no?” 

it comes out meek, almost timid when he utters it. a question. like he can’t even admit it fully – that he wants to stay. and it fills you with anger, searing red hot anger on the heels of being cast aside so nonchalantly, that it comes to a head then and there. 

“do you really think so little of me?” 

“what? 

“i’m not good enough to be your girlfriend. but whatever else you want, that’s fine. i…i thought you thought of me better than some girl you just fuck around with.” 

suguru sighs. 

“you’re not some girl i just fuck around with.” 

“am i not, though?” 

suguru shuts his eyes, the look on his face is so pained – so miserable – that it irritates you. 

“you’ve made it abundantly clear. that you like me a decent amount, but not enough to care about whether or not you’ll lose me.” 

you bite down so hard on your lip that the taste of metallic blood fills your mouth, coupled with warm tears in your eyes. 

“and for that, you can go to hell.” 

--

“what happened to you, peach?” 

you scoff, curling your nose at the old nickname, as he yanks the closest stool – his legs still too long to even be comfortable on the thing as he leans forward, noting the dried blood on your forehead. 

“a car accident. you can leave now.” 

suguru frowns, almost resembling a kicked dog, as he shakes his head. there’s something softer about his expressions now – something you’re sure is a byproduct of the time you spent apart or the fact that you have a broken rib – and you choose to ignore it for the time being. 

“i can’t just leave.” he whispers. 

“and why not?” 

suguru shakes his head. 

“you have a broken rib. and a deep cut on your forehead. forgive me if i’m concerned about you.” 

“i can’t. knowing you, you’ll casually linger around here for a few days, and when you figure it’s appropriate to leave, you’ll be gone with the wind.” 

the two of you sit there in silence, the harshness of the words hanging in the air between the two of you. 

and yet again, suguru geto leaves you with a never ending pit of curiosity. about what he was doing here, to ask how he is – to make it a note to him that his cheeks look fuller, that his eyes aren’t rimmed red anymore, and that he looks good. 

that you like the new hairstyle. that it killed you when he wasn’t around anymore. that you still want him to go to hell. 

suguru twists the silver ring on his pointer finger a few times – a fourth, a fifth, and a sixth – before you break the silence, your curiosity getting the best of you another time. 

“why are you here?” 

“they called me. i’m your emergency contact still.” 

“no, i gathered that. why are you here?” 

suguru pauses, swallowing hard before responding. 

“if orpheus hears something that deceives him – like the sound of eurydice tripping over a rock – he doesn’t think. he looks back.” suguru states. 

you scoff. vague again. 

“right.” 

“no, really. i got the call. and i didn’t think and just showed up. i just…just had to see you.” suguru states. 

he pauses. 

“it’s kind of romantic, don’t you think? that he loved her so much that he had to look back, like it was almost an instinct.”

you turn to glare at him, at the audacity of him repeating your own stupid words back to you. 

“is it? because his carelessness left her in hell with hades.” 

suguru scoffs. 

“i never did tell you the end of the story, did i?” 

you roll your eyes. 

“orpheus becomes so distraught that he uses his lyre to charm death – just so that he can return to the underworld to be with her. and people debate how it happens, him being ripped apart by irate women or getting killed by the menades, but it does happen. he dies and goes to the underworld. and in some versions, people think that he reunites with her in the underworld. and she forgives him.” 

“and why would she do that?” you ask. 

“because he tried his best to do right by her. he was asked to do one thing – to stay away. and that’s what he did, because…because i know you’re right. because you do deserve better, i do think the world of you and think you deserve to be with someone who wants to be with you, the way that you want.” 

suguru pauses. 

“it’s not my fault that i can’t help but look back. i can’t do anything about the fact that i love you.” 

you swallow hard, an embarrassing amount of regret – mixed in with that deep longing that he left in your chest – searing through you. 

“in the casual way, right?” you respond, sarcastically. 

he groans. 

“it’s not casual at all. it wasn’t casual when i leaned forward to taste the sweetness of the peach on your lips – especially when i fucking hate peaches. and it wasn’t casual when i took you home with me, it was…i just couldn’t stand the thought of you being alone. and it’s not fucking casual that i drove three hours when i was supposed to be home this weekend just because i the thought of you sitting in this room alone, in pain, was driving me crazy.” 

you wince, turning to look at him. and it seems that in the mere acknowledgement of his presence by locking his eyes, it seems to fill him with something – something that puts the whisper of a smile on his face. 

“what?” 

“i turned around for you. i didn’t know i would, but now that i have, i…i realize that i probably always would have.” 

“okay?” you whisper. 

“are you going to forgive me for it? not doing it earlier, for…for not getting it right the first time?” he asks. 

you pause, mulling the thought over. and the silence, he takes it as an invitation to plead his case. 

“i’ll beg. i’ll get on my hands and knees if that’ll do something to make it better.” 

you turn to look at him. 

“you…you’re special. i haven’t forgotten about you and…and i know we had something. just let me fix it? i’ll get you a hundred gifts, i’ll tell you a hundred times and i’ll - oh!’ 

he reaches into his bag, shoving his arms into the depths of the pockets, before yanking out a little napkin and reaching forward, opening your hand and placing it in your palm. 

“a tissue?”

“open it.” 

and you oblige, unfolding the tissue to see four little gummy peach rings in the napkin, before turning back to him. 

“peach rings?” 

“for my peach! i eat them all the time now, even though i fucking hate peaches. i only had a few left so i grabbed what i had left when i ran out. and i ate some on the way on accident because i was nervous, worried about you and all..” 

you look down, the sugary crystals on the candy almost sparking in the light, as you look back at him. and he's wholeheartedly different - not the cool, cold guy you left behind, but a weird mess of awkwardness and jitters, and maybe even the tiniest hint of desperation.

he seems wholeheartedly more touchable this way.

“you make no sense.” you state.

suguru frowns. 

“i know. but i’m trying.” he responds. 

and you sigh, wiping your hands at your side, before eating one of the candies. bitter at first, but sweet at the end. 

“suppose that’s my problem then. i’ll have to figure you out.” you respond. 

suguru’s face splits into a smile, his motions so eager as he leans over the railing of the bed, the angle entirely off as he leans forward to kiss you. and it’s entirely different from every other time you’ve kissed him – full and whole, a warm and tender promise behind it. 

“you’re wrong, you know?” you whisper. 

“about what?” he murmurs. 

“the peaches. they taste good.” 

he laughs. 

“is that right?” he whispers, his thumb tracing the outline of your lips, as he wavers his eyes up again, to the cut on your forehead. 

he leans forward, pressing a kiss to the bandages, before pulling back, lips lingering over yours. 

“i think i need one more to decide.”

--

an: idk.

taglist: @porridgesblog @k0z3me @sugu-love @yihona-san06 @bsenpai @sweetenertea  @skzismyhome @mykyoon @violetmatcha @rebeccawinters @shotenvinsoot @itzmeme @gojoswifeyyys-world @cutiejg @chilichopsticks @timmytimmytuckyy @dreamxiing @mamamamamarga @skunabby @meisque @hoseokslefteyebrow @yoontaedotin

[prokopetz]

One of the more frequent load-bearing coconuts* in video games is the player character themselves: some quirk or limitation of the game engine requires that the player character must always be on screen, or at least loaded into the current map.

Most of the time, this isn't a problem, because when would you ever not want the player character to be present? There's one specific scenario where it becomes an issue, though, and that's when all of the following are true:

Your game uses in-engine cutscenes

At least some of those cutscenes occur on a different map from wherever the player character is located at the time that they're triggered (and the player character is not present for them)

Some limitation (e.g., of the game engine, of your targeted minimum system requirements, etc.) precludes loading multiple maps at the same time

Together this creates a problem: you need to load a map on which the player character is not present in order to run the cutscene, but the player character is load-bearing.

There are a variety of ways to solve this, but the customary approach is to make a note of the player character's current position, teleport them to the map on which the cutscene occurs, lock out their controls, turn them invisible, run the cutscene, then teleport them back to their former location when it's done. The upshot is that in every cutscene in which the player character ostensibly is not present, they're actually lurking invisibly in the background.

All this leads to what is possibly my favourite load-bearing coconut bug ever: Final Fantasy VII's disc 2 Midgar skip.

Basically, after you defeat one particular disc 2 boss, there's a multi-part cutscene where the action cuts to a conference room overlooking the battle; one of the NPCs present then calls another NPC on their cell phone, and the viewpoint jumps to that NPC's location (a mad science lab). The conference room map is used only in cutcenes, but the latter map, the mad science lab, is one the player can visit later.

Now here's the trick: for unknown reasons, that mid-cutscene jump to a different map re-enables the player character's controls. You're still invisible, and none of the NPCs present can be interacted with (i.e., because they're totally scripted); however, since the map on which the back half of the cutscene takes place is one you can visit later in the game, a bunch of non-cutscene assets get loaded along with it, presumably because it never occurred to the developers to disable them – critically including a boss fight trigger zone. This trigger is unconditional, since the only time this map can be visited legitimately, the fight is meant to occur.

This means that if you know what you're doing, it's completely possible to walk the invisible player character into that boss fight trigger during the cutscene. In spite of its other limitations, the game engine handles this without complaint, and play continues exactly as though you'd reached that boss fight legitimately, thereby skipping half the disc. From the player's perspective, it appears as though holding the joystick in a specific direction causes the cutscene to be interrupted mid-sentence by an inexplicable, out-of-context boss fight.

All because Cloud Strife is a coconut.

* To anticipate the inevitable well-actually, yes, I'm aware that the Team Fortress 2 coconut is a myth; somebody took a real phenomenon and falsely attributed it to a popular game for clicks, and now we're stuck with the term. If you don't like it, complain to whoever is in charge of how language works!

[csuitebitches]

The Charisma Myth: things that I liked

Three quick tips to gain an instant charisma boost in conversation:

Lower the intonation of your voice at the end of your sentences. Reduce how quickly and how often you nod.

Pause for two full seconds before you speak.

The very next time you’re in a conversation, try to regularly check whether your mind is fully engaged or whether it is wandering elsewhere (including preparing your next sentence).

Expensive clothing leads us to assume wealth, friendly body language leads us to assume good intentions, a confident posture leads us to assume the person has something to be confident about. In essence, people will tend to accept whatever you project.

when you can project both power and warmth together, you really maximize your personal charisma potential.

charismatic behaviors must originate in your mind. Knowing how to skillfully handle mental discomfort is even more important than knowing how to handle physical discomfort. Anxiety is a serious drawback to charisma. First, it impacts our internal state: quite obviously, it’s hard to be fully present while you’re feeling anxious. Anxiety can also lower our confidence. Anxiety, low presence, and low confidence can show up directly in our body language, as well as reduce our ability to emanate warmth.

 The single most effective technique I’ve found to alleviate the discomfort of uncertainty is the responsibility transfer. Pick an entity—God, Fate, the Universe, whatever may best suit your beliefs—that you could imagine as benevolent. Imagine lifting the weight of everything you’re concerned about—this meeting, this interaction, this day—off your shoulders and placing it on the shoulders of whichever entity you’ve chosen. They’re in charge now. Visually lift everything off your shoulders and feel the difference as you are now no longer responsible for the outcome of any of these things. Everything is taken care of. You can sit back, relax, and enjoy whatever good you can find along the way.

Golfer Jack Nicklaus said that he never hit a shot, even during practice, without visualizing it first. For decades, professional athletes have considered visualization an essential tool, often spending hours visualizing their victory, telling their mind just what they want their body to achieve.

“There is good evidence that imagining oneself performing an activity activates parts of the brain that are used in actually performing the activity,” Professor Stephen Kosslyn, director of Stanford’s Center for Advanced Study in the Behavioral Sciences, wrote me. Visualization can even physically alter the brain structure: repeated experiments have shown that simply imagining yourself playing the piano with sufficient repetition leads to a detectable and measurable change in the motor cortex of the brain.

Silvia recently confided that visualization is one of the secrets to her success. Before key meetings, she’ll imagine “the smiles on their faces because they liked me and they are confident about the value I’m bringing them. I’ll imagine as much detail as I can, even seeing the wrinkles around their eyes as they’re smiling.” She visualizes the whole interaction, all the way through to the firm handshakes that close the meeting, sealing the deal.

A twenty-second hug is enough to send oxytocin coursing through your veins, and that you can achieve the same effect just by imagining the hug. So the next time you’re feeling anxious, you might want to imagine being wrapped up in a great big hug from someone you care about.

Self-confidence is our belief in our ability to do or to learn how to do something.

Self-esteem is how much we approve of or value ourselves. It’s often a comparison-based evaluation (whether measured against other people or against our own internal standards for approval).

Self-compassion is how much warmth we can have for ourselves, especially when we’re going through a difficult experience.

It’s quite possible for people to have high self-confidence but low self-esteem and very low self-compassion.

Types of charisma:

Focus: Focus charisma requires, of course, the ability to focus and be truly present. Good listening skills are nonnegotiable, as is a certain degree of patience. To develop focus charisma, cultivate your ability to be present.

Visionary charisma makes others feel inspired; it makes us believe. It can be remarkably effective even though it won’t necessarily make people like you. We assess visionary charisma primarily through demeanor, which includes body language and behavior. Due to the fact that people tend to accept whatever you project, if you seem inspired, they will assume you have something to be inspired about.

kindness charisma comes entirely from body language—specifically your face, and even more specifically your eyes. Kindness charisma is primarily based on warmth. It connects with people’s hearts, and makes them feel welcomed, cherished, embraced, and, most of all, completely accepted.

Authority charisma is primarily based on a perception of power: the belief that this person has the power to affect our world. We evaluate someone’s authority charisma through four indicators: body language, appearance, title, and the reactions of others. you’ll need to learn how to “take up space” with your posture, reduce nonverbal reassurances (such as excessive nodding), and avoid fidgeting. You may need to speak less, to speak more slowly, to know how and when to pause your sentences, or how to modulate your intonation. Look expensive. 

Avoid holding a drink in your right hand, especially if it’s a cold drink, as the condensation will make your hand feel cold and clammy. Before shaking someone’s hand, whether you are a man or a woman, rise if you’re seated. And keep your hands out of your pockets: visible hands make you look more open and honest. Make sure to use plenty of eye contact, and smile warmly but briefly: too much smiling could make you appear overeager. Keep your head straight, without tilting it in any way, and face the person.

Ask people open ended questions, focus on questions that will likely elicit positive emotions. With your questions, you have the power to lead the conversation in the direction you want. In fact, even when you’re speaking, the one word that should pop up most often in your conversation is not I but you. Instead of saying “I read a great article on that subject in the New York Times,” try “You might enjoy the recent New York Times article on the subject.” Or simply insert “You know...” before any sentence to make them instantly perk up and pay attention.

Another way to exit a conversation with grace is to offer something of value:

Information: an article, book, or Web site you think might be of use to them A connection: someone they ought to meet whom you know and can introduce them to

Visibility: an organization you belong to, where you could invite them to speak

Recognition: an award you think they should be nominated for

When someone has spoken, see if you can let your facial expression react first, showing that you’re absorbing what they’ve just said and giving their brilliant statement the consideration it deserves. Only then, after about two seconds, do you answer. The sequence goes like this:

They finish their sentence

Your face absorbs

Your face reacts

Then, and only then, you answer

The next time you’re given a compliment, the following steps will help you skillfully handle the moment:

1. Stop.

2. Absorb the compliment.

3. Let that second of absorption show on your face. Show the person that they’ve had an impact.

4. Thank them. Saying “Thank you very much” is enough, but you can take it a step further by thanking them for their thoughtfulness or telling them that they’ve made your day.

It’s not just metaphors that can paint the wrong picture. Some common phrases can have the same effect. When you tell someone, “No problem,” “Don’t worry,” or “Don’t hesitate to call,” for example, there’s a chance their brain will remember “problem,” “worry,” or “hesitate” instead of your desire to support them. To counter this negative effect, use phrases like “We’ll take care of it” or “Please feel free to call anytime.”

You can deliver value to others in multiple ways:

Entertainment: Make your e-mail or meeting enjoyable.

Information: Give interesting or informative content that they can use. 

Good feelings: Find ways to make them feel important or good about themselves. 

The longer you speak, the higher the price you’re making them pay, so the higher the value ought to be. 

If your goal is to communicate power, set the pitch, tone, volume, and tempo of your voice in the following ways:

Pitch and tone: The lower, more resonant, and more baritone your voice, the more impact it will have.

Volume: One of the first things an actor learns to do on stage is to project his voice, which means gaining the ability to modulate its volume and aim it in such a targeted way that specific portions of the audience can hear it, even from afar. One classic exercise to hone your projection skills is to imagine that your words are arrows. As you speak, aim them at different groups of listeners.

Tempo: A slow, measured tempo with frequent pauses conveys confidence.

To emanate vocal warmth, you need to do only one thing: smile, or even just imagine smiling.

Charismatic people are known to be more “contagious”; they have a strong ability to transmit their emotions to others.

The most effective and credible compliments are those that are both personal and specific. For instance, instead of “Great job,” you could say, “You did a great job,” or, better yet, “The way you kept your calm when that client became obnoxious was impressive.”

Here’s one specific—and surprisingly effective—recommendation for phone charisma, courtesy of author Leil Lowndes: Do not answer the phone in a warm or friendly manner. Instead, answer crisply and professionally. Then, only after you hear who is calling, let warmth or even enthusiasm pour forth in your voice. This simple technique is an easy and effective way to make people feel special. I recommend it to all my business clients whose companies have a strong customer service component. The gains in customer satisfaction are impressive.

Charisma takes practice. Steve Jobs, who appeared so masterful on stage, was known to rehearse important presentations relentlessly.

Retain at least a certain measure of equanimity. Most charismatic leaders are known for their ability to remain (or appear) calm even in the midst of turbulent circumstances.

[communistkenobi]

like even just speaking in my own context as a social science PhD student in a canadian university, graduate students are required to apply for federal grants for their funding. this includes a detailed proposal about what you plan to research. the federal government lists what research projects they are interested in funding each year, and it’s understood that you need to pitch your research in such a way that you are appealing to those research aims, including what kinds of questions you want to ask and what you’re hoping to contribute to your field. the language you use must speak to furthering Canadian interests. this is not a neutral process! How critical do you think academic scholarship can be when their funding depends on flattering the policy and research aims of a settler colonial capitalist state? and many, many academics are fine with this, there is no secret hoard of marxists in universities chained to the whims of Big Government or whatever, but like even using this one singular example you can see how maybe the shit they teach you in universities is concerned with speaking to funding agencies before there is any consideration for discovering, like, capital T Truth about the world. nothing you read is produced out of nowhere, and if you’re reading academic scholarship that means that there is a titanic amount of financial and administrative infrastructure that that knowledge is produced in. If you believe you go to university to learn the truth about the world, that university is a progressive institution because they teach marx to undergrads, then I’m sorry but you’ve bought into both the liberal myth that universities are primarily concerned with teaching the truth and the conservative myth that universities are SJW hellholes

[orphicmusings]

this is so self indulgent but i love the idea of modern!viktor with reader who is more artistic/humanities inclined rather than stem…museum dates are a staple, obviously, whether they’re art or history, you walk hand in hand and sit on the little benches when you need a break and talk about your favorite parts (he loves seeing artifacts and antiques!!!) and he loves that he gets to hear you gush about each subject you come across and watch your eyes flicker with absolute light as you learn more and more, the passion for it being the best thing the two of you share other than your love for each other.

and then he’ll take you to one of those science discovery places, and he loves to freak you out with gnarly facts and will spend an hour in the planetarium with you if they let you, mapping out the constellations in the dim light in your own little journals, pretending you’re ancient astrologers. one time, on a particularly slow day, due to the relaxing music and general ambience, you both had fallen asleep in there— your head on his shoulder, his head on top of yours, and a staff member found you about a half hour before closing.

spoiling your partner with fine things such as designer clothes and jewelry is great, and he would if you wanted it, but to him? the most fun he’ll ever have spoiling you is watching you go absolutely ham in a bookstore. following behind you through the shelves with a basket to collect your pile, and you making sure you’re picking out a few you can read together (you reading aloud to him to get his mind to quiet down enough for him for fall asleep—he loves jane austen). seeing you geek out over limited edition covers of classics, dracula, frankenstein (which you affectionately call him, viktor frankenstein, when he is particularly too stubborn to leave his lab), greek myths, shakespeare, even if you already have a copy, he’ll buy you this one simply because it looks better on your joint bookshelf.

and if you ever doubt your intelligence in comparison to his? after trying to figure out something mathematical and handing it to him and him getting it done within seconds? even muttering a “right, sorry, i’m stupid” as a kneejerk reaction to existing in a lifetime of academic settings where stem is prioritized as The Smart People Subject and the humanities are only there as frivolous endeavors— will earn you the most disappointed look. “do not talk about yourself like that, my darling. i mean it.” he tells you firmly, getting more annoyed at you putting yourself down than he ever would with you asking him for help. oh, and if you were feeling particularly self deprecating and decided to go back at him?

god have mercy on you as he has you reading and retaining information from dense texts to him as he’s buried between your thighs, just to prove you can do what he couldn’t.

“mhm, and what have we learned?”

“that…” you caught your breath. “orpheus actually proved he loved eurydice by-“

“no.” he chided gently with a breathy smirk of his own. “that my love is entirely capable, and skilled, the most clever little darling i know…yes?”

you can’t stop the bashful smile that pulls at your lips and the heat that dusts your cheeks when you answer in affirmation.

[intermundia]

i think my biggest frustration with the way many fans discuss star wars is the disdain they have for the genre of the movies and the way they dismiss the context for why they are the way they are. there's almost a contempt for the stylistic choices made; they wish that the movies were more like action movies than heroic space fantasy.

i like that they are stylized. i like the genre. i do not wish they were different. it surprises people when talking to them about star wars when i'm not eager to rag on the movies for repetitive or silly dialogue or things like that. it's like a large part of star wars fans love to hate star wars for being star wars. i am not part of that group.

i think that the star wars: magic of myth exhibition book is a great read that provides much essential context. there's a quote in there from science fiction author brian aldiss who defined 'space opera' in 1974:

Ideally, the Earth must be in peril, there must be a quest and a man to meet the mighty hour. That man must confront aliens and exotic creatures. Space must flow past the ports like wine from a pitcher. Blood must run down the palace steps, and ships launch out into the louring dark. There must be a woman fairer than the skies and a villain darker than the Black Hole. And all must come right in the end.

lucas's project is not realism, he is not a character-driven director! he is concerened with cinema as the moving image, loves speed and visual impact, soaring music and clear archetypal action. his dialogue is not naturalistic patter, just as the costumes are not streetwear. it's a movie shaped by its references to flash gordon and buck rogers.

it's melodramatic and obvious in its narrative goals, there's no secret to whether or not darth vader or the emperor are bad guys, you know? it's not about parsing their intentions, it's about how their dark looming figures fills the screen and enters the public consciousness as avatars of evil. luke, leia, obi-wan, all wearing white, are heroes to inspire and emulate.

those who dislike an elevated artifical style, who only want andor rather than flash gordon, are engaging with the material in a way that's simply different from the way i am, so we just talk past each other lol

[queereads-bracket]

Queer Adult SFF Books Bracket: Round 1

Book summaries and submitted endorsements below:

A Psalm for the Wild-Built by Becky Chambers (Monk and Robot series)

Endorsement from submitter: "Soft hopepunk scifi novellas are just the best shit out there"

Centuries before, robots of Panga gained self-awareness, laid down their tools, wandered, en masse into the wilderness, never to be seen again. They faded into myth and urban legend.

Now the life of the tea monk who tells this story is upended by the arrival of a robot, there to honor the old promise of checking in. The robot cannot go back until the question of "what do people need?" is answered. But the answer to that question depends on who you ask, and how. They will need to ask it a lot. Chambers' series asks: in a world where people have what they want, does having more matter?

Science fiction, cozy scifi, science fantasy, philosophy, slice-of-life, novella, series, adult

The Spear Cuts Through Water by Simon Jimenez

The people suffer under the centuries-long rule of the Moon Throne. The royal family—the despotic emperor and his monstrous sons, the Three Terrors—hold the countryside in their choking grip. They bleed the land and oppress the citizens with the frightful powers they inherited from the god locked under their palace.

But that god cannot be contained forever.

With the aid of Jun, a guard broken by his guilt-stricken past, and Keema, an outcast fighting for his future, the god escapes from her royal captivity and flees from her own children, the triplet Terrors who would drag her back to her unholy prison. And so it is that she embarks with her young companions on a five-day pilgrimage in search of freedom—and a way to end the Moon Throne forever. The journey ahead will be more dangerous than any of them could have imagined.

Both a sweeping adventure story and an intimate exploration of identity, legacy, and belonging, The Spear Cuts Through Water is an ambitious and profound saga that will transport and transform you—and is like nothing you’ve ever read before.

Fantasy, epic fantasy, metanarrative, experimental, adult

[murphy-kitt]

Ectober Day 4 - Came Back Wrong

Word Count: 1,645

Tags: Angst, Character Death

AO3

—

Jazz didn’t hate the ghosts at first.

But now she loathes them.

Back when her parents research was merely myth, Jazz hadn’t bothered to focus on the theories or speculation they spurred out. Why would she?

Every waking minute at Fentonworks was spent talking about ghosts. Ghost this, ghost that. What new weapons they had conjured up (to her, it’d seemed stupid. Why did you need defence against things that weren’t real?).

Her own mind didn’t need plagued by ghosts all hours. But now, admittedly, it’s all she thinks about. She doesn’t think of them in the way her parents do.

The hatred may be the same, but the science—that doesn’t matter. She doesn’t want to cut them up or learn what a core is.

All she wants is revenge.

Because it was the ghosts that killed Danny, in the end. That stupid, stupid portal.

And in a right mindset, she’d blame her parents, their negligence. The practicality of it was, that it had been her parents fault. She was aware enough to know logically that Jack and Maddie Fenton had been the reason.

But the reason for their portal? Was their obsession with ghosts. And so it became deliberate ignorance.

Directly it might’ve been her parents, but if their obsession with ghosts hadn’t happened then portal would’ve never existed and her baby brother wouldn’t be dead.

The night is dark as Jazz sits by her desk, blinds open as she watches for any sightings of ghosts outside. Her eyes are heavy, a mix of academic drag and grief. Which one prevails, she doesn’t know.

She knows Danny would want her to keep going academically. And although Danny was never spiteful, merely witty, it feels important to do this. To..get justice…closure?

Jazz picks up the ghost scanner with a trembling hand. It constantly buzzes, a malfunction that her parents never fixed, but she doesn’t care. It’s the one bit of tech she trusts to be reliant.

A rare moment of determination, she’d stolen it from the lab when they weren’t looking. Her dad would probably think he’d misplaced it.

“Come on, come on.” She narrows her eyes, feeling as frustrated as she had on her last exam. Her mind doesn’t work the same way anymore.

Once studying was done with a breeze, but now this plagues her. Danny’s death. The emptiness. Her parents are constantly working.

Of course, she still gets good grades, despite being told she’s relieved of all assignments for the year. But it feels more like an obligation, than something she used to enjoy.

Perhaps this is what the burnout Danny used to describe is. Danny was never as academically competent, always slower but eventually getting there.

Now justice is all she lives for. Any will do. Any target.

She just needs…violence? To rant? Anger? She doesn’t know.

Just something.

Something to feel anything but the deep dread weighing down on her, tethering her to an endless cycle of grief.

And then the scanner starts wailing, making Jazz tense slightly. She relaxes, before checking the small screen.

“A loud noise, so a powerful ghost surely?”

And she’s right.

Ghost: Phantom.

Power Level: 7.8

Current Core Usage: 80%

Jazz interprets, given the ghosts core usage, that it’s currently in a fight with another one. Plays hero, of sorts.

Phantom’s the worst one for her. He’s never done anything to her—but she hates him.

He’d appeared a few weeks after the portal had opened, whilst everyone was still reeling over Danny’s death. Yet, at that time Amity couldn’t ever have expected the paradigm shift Phantom was about to throw them into.

Ghosts everywhere. Constant fights. Damage. Already grieving and to blame parents wearing themselves down even more to defend the town.

Albeit, not very well, but she didn't dare say that. They’d already lost Danny, they didn’t need to lose the ghost hunting too.

Without another word, Jazz slips on her winter jacket, slipping open the door and down the stairs. Scanner in one hand, compact ectogun tucked into her belt.

She can hear her parents' snores echo from upstairs. Good. They won’t miss her for a while.

Cold air freezes her to her bones as she steps out into the street, instantly looking up at the sky. Dark blue and empty, only a few stars twinkling.

She’s sure if Danny was here he'd tell her what constellations they were.

“Where are you?” she grits out, watching as the small screen on the scanner shows a bright green dot, about two blocks ahead. There’s another dot too, smaller and weaker, before it disappears off the map. Jazz presumes Phantom has captured or weakened the ghost, whatever he does.

So she needs to be fast.

Within less than a minute, Jazz makes it to the street where the scanner showed, then shoves the scanner into her pocket. She doesn’t need to alert her presence.

And there he is.

Phantom is smaller up close than she’d initially thought, although no one at Amity has ever got a good glance. His back is facing towards her, the black of his jumpsuit glistening under a street lamp.

Something cylindrical in his hands has captured his attention, probably why he’s not noticed her yet. Jazz strains her neck to look, but can’t see.

Phantom. The ghost that’s put her parents through so much hell.

The ghost that’s, whilst Amity was still reeling from Danny, racked up the problems on their list by causing destruction to infrastructure and pointless money. All with a side of witty banter.

“You.” Jazz tries to steady her voice, feeling the grief trickle through. All this, for her brother.

She never got to grieve properly. No one did. How were they supposed too, with ghost fights all around?

Phantom’s reaction is immediate. His back stiffens and he swivels around.

The eyes. They’re a piercing lime green, just like the portal. The portal that killed Danny.

“What do you want?” Phantom’s asks, tone initially surprised but flattening. He’s younger than Jazz expected. Fifteen, at most.

Near the same age as Danny.

“What do you think?” Her eyes narrow, reaching for the ectogun attached to her belt. She doesn’t expect a logical answer.

Of course Phantom won’t know why she’s here, or what she’s after. He’s just a ghost with an obsession of being some copy-paste comic hero.

“I—I don’t know.” The ghost mumbles, eyes now averted down to his left hand. He tucks the cylindrical device under his shoulder before tracing a round shape on his left palm.

That’s…strange. Jazz thinks. Not the answer, but his behaviour. Is he thinking of something in the past? Better yet, he’s still here. Usually Phantom, at least to news reports, is enigmatic, and never likes being filmed.

So the fact he even turned in the first place is perplexing.

But then she thinks of Danny. Buried in the cemetery, grave stricken of flowers due to the quickness of their grief. Amity bombarded with attacks on the constant, never any peace.

All Phantom’s fault. At first, perhaps (the attacks) not. But over the months, he’s gotten quite a reputation. She’s sure he has some sort of control over Amity. That ghosts come to Amity now just for the sake of fighting him.

When he’s really just a five-foot nothing skinny teenager like her brother.

If Phantom is gone, she’ll finally get a break. Get to grieve for Danny. Danny can get the justice and tribute he deserves.

The ectogun is sleek in her hand, tucked under her coat. She knows what she’s doing, having received multiple lessons from her parents after Danny’s death. They didn’t want to lose her too.

Unlatch the safety trigger, quickly aim, shoot.

It’s that simple. She points.

”Please! Please—don’t do that!” Phantom pleads, “You don’t know what you’re doing—please, put it down!”

—

“Please, Danny! I need you!” She cries out. She’s in Danny’s room, the bed still unmade, clothes still strewn about.

Untouched from when Danny had last left it. He’d gone into the lab, and that was it. Electrocution, they told her.

He’d been barely hanging on at the hospital. And then his body couldn’t take it any longer.

Her brother is gone.

—

The next thing Jazz knows is the cold pavement underneath her body, sitting with her knees drawn up to her chest on the curb. The ectogun is a few feet away, glittering in the lamplight.

”I can’t—“ she sniffles, not even realising it. Her cheeks are damp, eyes stinging.

”What’s wrong?” An echoey voice besides her. Phantom. His eyes are narrows in concern. He sits near her, but leaves a gap.

Why’s he still here? He should’ve gone long ago.

“What’s wrong? My brother is dead and his body was barely cold before you waltzed in with your stupid puns and caused damage everywhere!” The anger radiates through Jazz’s body as she scowls at him, “My brother’s death was cast aside because of you. My parents never got time to grieve, none of us did. Too busy expecting another ghost attack or repairing damages.”

“Your brother?” Is all Phantom responds. Wiping her eyes, Jazz takes a glance at him. He’s hunched over, grimacing with an expression she can’t quite read.

”I just want Danny back.” She chokes out, wiping her eyes again, feeling the tears fall.

He’s gone. Only fourteen. What sort of age is that to die? Killed at the invention of their own parents. She’ll never hear his (admittedly annoying) chatter about space, nor have their petty arguments again.

Even the times he got on her nerves meant something.

”Jazz, I—“ Phantom starts to say, but freezes.

As does Jazz.

”How do you know my name?” She tilts her head, voice sharp.

She wipes her eyes, again, blinking back the bleary vision.

Then looks right into Danny’s green eyes.

[elbiotipo]

Worldbuilding in Flat Worlds

Oh, so you think I can't do worldbuilding on flat worlds?

So, you might or might not have run into my rather hyperbolic advice that the first rule of worldbuilding is placing your equator. I still stand for it, and one of these days I would like to expand on that… But many on the notes have asked, and this is fair since it's worldbuilding: what about if my world is flat? Or a cylinder, or a ring, or other such shapes? While I can't cover every shape here (though I would like to try, eventually) I can tell you one thing or two about Flat Earths, Flat Worlds, Disc Worlds, however you would like to call them, and how you can do worldbuilding on them. You will be surprised at how much myth, fantasy and science fiction can mesh here. I apologize in advance for the lack of hard numbers in such things like gravity and orbits, but I can expand if you'd like.

This is going to be a LONG post, so more, way more, under the cut:

First of all, of course many cultures have thought of the Earth as flat, it makes intiutive sense. But this idea wasn't only about a flat Earth as a disc in the middle of nothing. This belief was also accompanied by many other beliefs about the sky, and what's under the earth (while I don't want to generalize, you see this sky-earth-underground motif in most cultures) and how the gods or God shaped it; so, not only the shape of the Earth, but the entire universe, a cosmology. While I could go into much depth on various cosmologies around the world (though I suggest you do!), I will explain the two "flat earths" that are more familiar to us in the Western world; the Hebrew and the Greek cosmology.

They usually don't teach you the cool lore in Sunday school.

So, what we see in the Hebrew cosmology is a flat earth, yes, but with a firmament that, unlike some might think, does not separate the heavens (as in sky) from the Earth, but rather creates a "vault" with Earth inside from the primeval ocean, as the firmament IS the sky. As you can read in Genesis 1:6-8, in the second day of creation, God divides the waters "under" and "above" the firmament. This idea of a primeval, chaotic ocean from where the creator God(s) create the world is a feature of Mesopotamian mythology (as well as many other unrelated mythologies), and I would love to expand on it, but let's focus on what the "flat" Earth looked like to the ancient Hebrews. You have a flat earth with the foundations on an endless abyss of water, which goes all around the firmament, an inmovable (the Bible mentions this several times) sky where God placed the Sun and Moon and stars to illuminate the Earth, and floodgates where the water for rain, hail and snow (and also the Great Flood) came from. And also Sheol, and the abyss of water, which along with the "heavens" in or beyond the firmament, take into more spiritual characteristics. I could go on, but as you can already see, this is a very complex cosmology, far from a single flat disc floating on nothingness.

The world according to Homer (the other one)

Let's move on to the Greeks. Now, the ancient Greeks, like Homer, initially seemed to believe in a flat earth, with many parallels to the Mesopotamian (and Hebrew) conception of the world, with a firmament and a landmass surrounded by (or floating on, as per Thales who believed EVERYTHING WAS WATER) an ocean with Greece as the center (see below). However, this conception evolved over time. Anaximander imagined the Earth at the top of a cylindrical, inmovable pillar, but more interestingly, attempted to explain the movement of the Sun and the Moon, believing them to be, to quote Wikipedia, "circular open vents in tubular rings of fire enclosed in tubes of condensed air" surrounding Earth. This idea was later refined by Plato and Aristotle as 'celestial spheres' as paths for the planets (this included the Sun and the Moon) to wander. This concept was further explored by Plato, Aristotle, and many more, to extend to the rest of the planets (which also included the Sun and the Moon), as objects moving across "celestial spheres" inside an sphererical firmament. At this point, Greek philosophers were already thinking the Earth was some sort of sphere, even if only because a sphere was considered the 'ideal' shape, but also because they had started to notice that the Moon was also spherical, boats went under the horizon, and the shadow of Earth during eclipses was round, among many other things that current Flat Earthers don't care about. Eratosthenes was the first to calculate the sphere of the Earth with remarkable precision (you probably know this story if you've watched the old Cosmos with Carl Sagan), and from there, it was mostly accepted in the Hellenistic world that the Earth was in fact round. It was finally Ptolemy by his incredibly detailed astronomical work for the time who finally cemented this system of a round (NOT FLAT!) and unmoving Earth as the center of the universe and the celestial spheres.

The Ptolemaic Universe. Not flat! Notice that the sphere right above Earth is on fire. This is because Earth was believed to be composed of the most base classical elements (Earth and Water), surrounded by a sphere of Air, and then later the sphere of Fire where the Sun orbited. The rest of the spheres were often associated with "Aether" or "crystal", but that's for another time.

As a note, as the Hebrews entered in contact with Hellenistic and later Roman civilization, they also adopted the concepts of the round earth and the "celestial spheres", which meshed really well with the concept of "the heavens" and the "circle of the Earth" mentioned in the Bible. With the rise of Christianity, this fusion of biblical and hellenistic cosmology endured for a long time. It's a myth that medieval Europe thought the Earth was flat, they all knew and teached the Earth was round… and fixed as the center of an universe made up of celestial spheres inside an spherical firmament of fixed stars. That concept endured much longer in Western thought, but that's for another time.

One interesting thing about flat earths in ancient cosomologies is that they often took the form of a circle, and that circle had a center. The center of the world. For the Greeks, it was the Omphalos stone in Delphi (this is where the expression 'navel of the world' comes from). For the Hebrews, it was the Temple at Jerusalem, and later medieval Christian maps (the T-O maps) set Jerusalem as the center of the world. This concept of a 'center of the world' in comparative mythology is called 'axis mundi', and as you can see, it takes particular importance in a world that is believed to REALLY have a center.

So, why the history lesson? It's fun, it might give you some ideas, but mostly it's to show you that the concept of a flat earth does not only imply a flat planet (indeed, the vision of Earth as just another planet took long to arise), but also a whole cosmovision of the world around it. To be fair, our current understanding of the universe, with round planets orbiting stars and galaxies and the Big Bang IS also a cosmovision. One based on scientific observation and understanding, but cosmovision nevertheless.

But perhaps what you wanted with a worldbuilding post is a world that is flat. Like a regular planet, just shaped as a disc. Let's discuss that. First of all, is such a thing possible to arise naturally? Most probably not. While I'm sure there might be at least one exception by some freak accident in the universe, maybe more, as a rule gravity tends to compress large objects into spherical shapes. A disc would eventually break up and become an asteroid field, or it would spin and bulge into a 'pancake shape' and eventually an oblate spheroid object, with a big equatorial bulge (yes, I'm going to use the word bulge a lot here). This shape might actually be common in many fast-spinning objects (that don't break apart) across the universe, and in fact you can find it in stars such as Achernar. Earth itself is a geoid, flattened at the poles and with an equatorial bulge (told you).

However, this does not mean that flat worlds are impossible. You could assume that the gods, or an ancient alien civilization (there's a lot of overlap here) made this disc of an indestructible material. How would such the dynamics of the world work then? Finally, here, is where our worldbuilding gets interesting…

Gravity:

Gravity on a disc would be very peculiar. To make a long story short, it would be stronger at the center and weaker at the edges, with the gravity pulling towards the center, which technically is the pole (I'm going to say South Pole because I'm from the Southern Hemisphere). So, if you threw a ball, it would be pulled towards the center/pole rather than the edges, and this pull would be in a perpendicular way, decreasing the farther you go from the center:

A very ugly drawing of an speculative flat world, with a core made of ~magical~ indistructible material, covered by earth, water and air. Note the direction of gravity and how water flows into a bulge on the center.

This would make for some curious effects; water and air would inevitably flood all the way to the center of the disc, where it would make a bulge, the sea level raising in a notable way there. One way to avoid this is to make the disc spin on its center, like a roulette, the centrifugal force of such a spin would make the gravity spread to the edges. Unfortunately, it's hard to calculate how fast would it be needed for it to 'even out' gravity in the whole disc. I can be sure it would be enough to tear normal worlds made of rock and metal apart, so this flat disc would have to be made of a strong, magical material (which really works well with the mythical 'God set the foundations of the Earth' motif)… or a complex structure of orbital rings inside (ultra-advanced tech artificial structures that transport matter in an opposite way to the spin, generating enough momentum so it doesn't pull apart), or some other kind of exotic matter. The spin would probably would not be noticeable to the inhabitants of the disc in their day to day lives, though, as the 'fixed' stars would move, I'm sure the inhabitants would incorporate in their calendars.

One important thing to remember about gravity is that it's not based in the size of an object, it's based on mass. You could have a (regular) planet smaller than Earth, but with the same gravity, so long as the mass was denser. Similarily you could have huge planets with Earth-like gravity as long as the inside is less dense (bubbleworlds, another thing I'm dying to talk about). So you could have, for example, a disc the size of Earth made of a magical or ultra-tech material (let's call it Newtonlith) where certain places inside the disc would be dense to create gravity fields inside the disc. In a normal setting, this would break it apart, but perhaps, if it's in a form of a spread out gradient, it wouldn't. This would have some very odd effects, which I leave to the reader to imagine.

(I'm of course, dismissing stupid concepts from modern flat earthers such as "Earth perpetually falling down" or "gravity doesn't exist", but I have to say, they do have some wacky worldbuilding)

The Edge and The Other Side:

So, if you get to the edge, gravity would feel strange, making it harder to you to keep going since it's pushing you perpendicularily to the center, until you actuall walk into The Edge, and gravity would feel level. It would be like walking on the oustide of a wheel. However, it's hard for me to imagine what this "edge" would look like. Assuming the disc spins, I would expect the edge to get thinner and thinner, smoothing out rather than being like a sharp "coin-like" edge… or, if it spins fast enough, in fact, more of a sharp cliff or, how could I define this? "Horizontal mountain chain". However, again, we're also assuming this whole thing is made of some magical or ultra-tech material, so the edge might as well be a flat expanse imposible to erode, like a coin edge, which might let you, quite literally, walk around the circle of the Earth. In fact, some enterprising civilizations might make a railroad or transport system all around the circle. Another thing about the Edge is that, because all the water would go to the centers of the disc, it would be very dry, and it also would have winds constantly circulating in the direction of the spin. No wall of ice, at least not as I imagine it; as we'll see later, the temperature on a flat Earth would be rather uniform unless there are other conditions affecting it.

One important thing is that, assuming this is a disc *floating* in space (no elephants or turtles…), is that the other side would be as habitable too. Remember, this case is actually one where the centers of the disc are two poles, and the edge is actually the equator! (HAHAHAHA, TOLD YOU THE EQUATOR WAS IMPORTANT, EVEN IN FLAT WORLDS) So yes, you could, in a way or another, cross over the edge (the equator!) to another whole new world, cross over to The Other Side. Assuming, of course, they get light and such, which is the next point…

Before that, though: regarding horizons; no, there wouldn't be a horizon in a flat world. You could see pretty much all the way until something like mountains block your sight. It's hard to find good estimates on exactly how far though, but humans can make out faint details up to 3km away in good conditions (coincidentially, that's around where the 'horizon' is in our Earth) and lights up to 48km away. Insert your joke about Legolas here.

Orbits, Day, Night and the Sky:

How would day and night work? There are Options.

Again, assuming our magical/ultratech indestructible disc, it could spin on an axis so that each side faces the star it orbits, like a spinning coin. This would be a weird thing, especially if the planet already spins on its edge/equator, but not physically impossible. The orbit of Uranus is similar, with one pole facing the sun during summer and the other during winter, but that means an almost century long day in its case (a year in Uranus is 84 Earth years) and a similar long "day" in an Earth-like orbit. But if this world was created to spin much like Earth, there won't be that much difference between our day and night. You could even tilt it to simulate seasons.

An example of the movements of a flat world given the above; rotation on its axis (that is, the center of the disk, rotation in another axis "like a coin" to give night and day, and revolution around a star. I also went the extra mile and gave it a climate like I will discuss later: a parched edge without water, with increasingly rainy desert, savanna and rainforest as you get to the center, and at last the central sea with a perpetual storm.

But I digress. You probably aren't here for a boring normal planet that orbits a star, no, no. You want the full mythical world experience, you want a world where the Sun and the Moon spin around the circle of the Earth, and fuck Copernicus. Let's leave aside what those 'luminaries' actually ARE for now, they can be some sort of magical tech objects or literal gods. How would that work?

You could have two kinds of luminaries here. The clever folks at the Flat Earth Society imagine a sun and a moon hovering over the Earth, spinning in a circular orbit about what we call the equator (in our round Earth, of course) as some sort of giant spotlight 32 miles across and a few thousand kms away, jumping and falling out of view, as I understand it. Same with the Moon. For a more classical approach, you could also have a sun and a moon orbiting your disc, which would be interesting, as the other side of the disc would also be illuminated while the other one is dark (in many ancient myths, the sun went into the underworld at night)

The two ways you could have mini-suns: either hovering above your disk or orbiting it. I was too lazy to make a graphic, so thanks to the Flat Earth Society I guess.

Like I said in the beginning, I haven't done the calculations on how such orbits would work, other that they would be complex, and not natural or stable at all. But after all, suns 32km across that hover over a flat world aren't exactly natural. If there is a place to insert gods and magic shit, this is one, though a fusion or black-hole powered spotlight that completes a very complicated orbit following ancient programming is also an option depending on what kind of setting are you doing. You could watch some videos of people debunking actual flat earthers to get a few ideas on how they explain the whole sun thing (spoilers: they just don't believe in eclipses, which indeed would be impossible here, unless magic is involved).

Both options have VERY important implications on the climate. The first one, with a disc orbiting a star and spinning to get day and night, would mean that the disc would get the same amount of light all over it, thus having the same overall temperature, without any latitudes. The second one(s), depending on the orbits of the suns, means you could have "tropical" areas and cold areas depending on where the sun's "spotlight's" points, either as a regular orbit over an equator, or a more complicated one that might not correspond to what we would expect. Funnily enough, Terry Pratchet's Discworld's sun has such a complicated orbit it's never really explained, it even crosses the legs of the elephants upholding the Discworld sometimes.

Speaking of which, THE Discworld of course moves across space on the back of 4 elephants standing on the shell of Great A'tuin (awesome name for your Torterra in Pokémon btw), and its movement is apparently so significant that the astrologers have to regularly change their zodiacs. And indeed, a flat world would also move around its galaxy if it existed, and carrying its own fantasy sun, it wouldn't need to orbit any star to be habitable. Our own Sun is moving with our entire solar system on tow (or rather orbit) at a speed of, holy shit I had to look this up, 828,000 km/hr. However, even at this speed, the stars seem fixed to us, a whole spin around the center of galaxy (a galactic year) takes 225 million years. Still, the stars are moving like us, in fact, some constellations are in slightly different positions from ancient times, just not at the pace in Discworld.

As a final note, I believe a moon with enough gravitational pull would cause tides as it orbits the flat disc much like on Earth. Would be funny if an actual normal moon like ours orbited a flat world, with a small sun on inside its orbit (not too far from the Ptolemaic universe, actually)

Geology and Climate:

Like I said, we're assuming this flat world is made of either some sort of ultra-tech exotic matter, or was just straight created with magical material. So you would think geology would be pointless to discuss, right? Not so fast. There's some assumptions we can make. First of all, there would be no plate tectonics. Plate tectonics, of course, need an active mantle and core, which a flat world just cannot have at least on the size of Earth. So no earthquakes or volcanoes, unless there's magic involved (Terry's Discworld, which is based on Hindu mythology, played with this by having the elephants holding it up move ocassionally, causing earthquakes) So, a world with less natural disasters, wonderful, right? Sure, but in the long run (millions of years), it's tectonic activity that keeps the Earth alive, replenishing CO2, moving the continents around stimulating evolution and changes in climate and the water cycle. This can be replaced by some magical means, though that means that Something Magical is doing Stuff in your world, (you know, besides the whole flat world thing) and you better contemplate what does it mean for your setting/story. Similarily, one strange thing about geology in flat worlds is that, as mentioned, assuming gravity points to the center(s)/poles, there would be a pull towards there, so mountain peaks would be taller and pointing towards the edge of the disc, and as we will see below, also face greater erosion from there, as the winds and water would also move towards the center/pole.

What about climate? That one depends on how your light sources work. But in general, without poles or equator (well, they exist, but you know), the whole disk surface(s) would recieve equal light all year. Which means no seasons and not climate variation. Seasons are possible by tilting the disc, but overall, the climate in a disc world would be stable. Or would it? By the sheer morphology of a disc, not only water would flow into the center, but also air, and in the case of a spinning disc, it would spin into it. Air would flow into the center into powerful winds: how powerful? Difficult to say, but perhaps geography like mountains and hills could moderate them. If there was no spin, I imagine both water and air would accumulate in a large inner sea (as water would, in one way or the other, flow towards it, and water cannot be denied) and high pressure which could be an odd bulged sea with surprsingly calm weather. However, there's another option. Astronomers have studied tidally locked worlds, worlds where one side faces their star all the time. In this case, the convection currents flows from the light side flow to the dark side, creating strong winds and perhaps, assuming there is water, a perpetual storm in the light side. This has a parallel in our case, as the air in a flat world will all spin around the center, with no other way to go, and with it, it will be where all the heat and energy of the atmosphere (atmodisc?) accumulates. In this world, the center of the world (or at least, this side of it…), the axis mundi, would be the eye of a gigantic eternal typhoon.

OOOH DISCWORLD I'M HOWLING TO THE MOON

What would geography, life and culture be like in such a world, given all the things I've told you? Well, that's the most fun part. It's up to you to imagine it. I personally don't find flat worlds all that engaging (sorry, Terry), I feel more comfortable with my good old spherical worlds with tropical latitudes and all that, or other more futuristic stuff things like ringworlds or Dyson spheres (which I hope to cover in another post). But I hope I gave you enough information and ideas so that the ones you might create are both original and believable.

Thank you for reading this, I hope you enjoyed it and it inspired you to do some worldbuilding! If you would like to see more, I would be VERY grateful if you gave me a tip and some suggestions in my ko-fi below, especially as my country here in the other side of the disc is under the rule of a libertarian fascist idiot, so every little help does indeed help a lot! Follow me and stay tuned for some more wacky worldbuilding and rants about the Southern Hemisphere.

[useless-prophet]

How do you. How do you NOT expect a wizard to want to become immortal??? Like hi person with an unquenchable thirst for knowledge and wonder for the world and burning desire to know how everything works and recreate it. You only get max 100 years to experience it all. Sorry.

So OF COURSE wizards pursue immortality. It’s in their nature. It’s what makes them wizards. Sure, you can talk about the loneliness of living forever and the boredom of not having an end but guess what else doesn’t have an end. Science. I’ll be very content travelling the world, helping people, and publishing my 39th paper on the solvent properties of moonflowers in potions while you’ve been lying in a grave for 200 years, thanks.

The problem is societal stigma against research into necromancy, which pushes young wizards away from studying ethical and safe methods of immortality and forces them to rely on untested, volatile myths about lichdom, inevitably creating yet another “evil necromancy wizard”. You think they would turn to such means if they had proper support? Proper resources?? You branded them as heretical and insane first! Why are you surprised that desperate, isolated, and stigmatized individuals become what you make them?

Wizards believe that life has more to offer than unfulfilled dreams and a sudden end. And the wizard is RIGHT.

[gunsandspaceships]

Tony Stark - Prometheus

This is the final part of the series, which unites all the separate, thematic parts (links are highlighted in blue) with evidence of the conclusion that you will find at the end of this post.

Introduction

Prophet

God of Forethought: the name Prometheus means "forethinker", "foreseer", "prophet".

Creator of intelligent life

In Greek myths, Prometheus is the creator of an artificial form of life - the humankind. "He created them looking up to the sky like gods."

"Here I will sit, forming men after my own image. It will be a race like me, to suffer, to weep, to enjoy and to rejoice" (Goethe)

Earth's Best Defender

Prometheus takes on the protection of mortals from tyrant gods who want to enslave or destroy them.

"Cover your heavens, Zeus, with gauzy clouds, and practice, like a boy who beheads thistles, on the oaks and peaks of mountains; but you must allow my world to stand, and my hut, which you did not build, and my hearth, whose glow you envy me." (Goethe)

"Beautiful is the tradition Of that flight through heavenly portals" (Longfellow)

God of Fire

He stole the fire from gods to give it to humans to protect them, keep them warm and give them light in the form of science and technology.

"All the soul in rapt suspension, All the quivering, palpitating Chords of life in utmost tension, With the fervor of invention, With the rapture of creating" (Longfellow)

The Mountains

For that, Zeus ordered Prometheus to be chained to a rock in a cave and sentenced him to eternal suffering.

"First the deed of noble daring, Born of heavenward aspiration, Then the fire with mortals sharing, Then the vulture,--the despairing Cry of pain on crags Caucasian." (Longfellow)

Heart

Every day an eagle flew to Prometheus and pecked at the center of his life.

"Who helped me against the pride of the titans? Who rescued me from death - from slavery? Did you not accomplish it all yourself, my sacred, glowing heart?" (Goethe)

The Torture

For the sake of humans, Prometheus voluntarily accepted eternal pain and chose to suffer in silence.

"A silent suffering, and intense; The rock, the vulture, and the chain, All that the proud can feel of pain, The agony they do not show, The suffocating sense of woe, Which speaks but in its loneliness, And then is jealous lest the sky Should have a listener, nor will sigh Until its voice is echoless." (Lord Byron)

Chiron

Ancient Greeks had another myth - about the father of surgery, centaur Chiron, who once saved a hero betrayed and ambushed in the mountains.

Chiron was also the one who took on Prometheus' suffering and died in his place. He was shot by an arrow and to end his own pain exchanged his life for life and freedom of Prometheus.

The Sun

For humankind, Prometheus became the image of a noble fighter against oppression, and a symbol of human progress and creative freedom.

"When I was a child I did not know in from out; I turned my confused eyes to the sun, as if above it there were an ear to hear my laments - a heart like mine that would pity the oppressed." (Goethe)

Conclusion:

Taking all of this into account, I believe that Tony was not only inspired by the myth, but he himself is Marvel's Prometheus, at least in the MCU.

Excerpts from poems used: - "Prometheus, or the Poet's Forethought" by Henry Wadsworth Longfellow; - "Prometheus" by Lord Byron; - "Prometheus" by Johann Wolfgang von Goethe.

Bonus:

Kaos

"Prometheus brings Fire to the Cavemen"

Familiar names

Marvel and their love for Greek mythology

Prometheus, Goethe, Schubert, and RDJ

Thanatos

Life and Death

Comics

[genericpuff]

oh boy it's that time again

when rachel posts 'video progress' of her work and we proceed to dissect it like a frog in 9th grade science class

like ok first the caption of "is persephone the chicken and hades the egg" makes no fucking sense except to anyone who overthinks it and goes "wait is that a reference to the popularly-perpetuated version of the myth where persephone went down to the underworld willingly and hades didn't actually exist???" because if it is ima scream lmao

but MORE IMPORTANTLY-

Here's the transcript of what she's saying in the video:

"I think I've always wanted to write Hades' and Persephone's story because obviously I really like them. It's like very much a chicken and egg situation because I think in the beginning I thought that I was going to use a very abstract black and white style, and I realized it wasn't very enticing or fun for me, um... and I started drawing these very like vibrant characters and as I drew them I understood more about the story the more that I explored the art style, um and I guess an example of that is, y'know, Persephone is like a very bright color um, and the Underworld, is a very dark dark blue, and so when she says she really sticks out so it's just environmental uh processes like that that really helped inspire the direction of the story."

(despite her expanding on the "chicken and the egg" bit it still doesn't make sense imo lmao)

But what we're seeing isn't S1 LO, it's actually from S3 of LO:

But um... you notice anything interesting about the screenshot I just showed you?

That literally looks NOTHING like what we see in the final panel. At the VERY least I think this goes to show how overcooked it becomes in post-production, when they add the canvas layer and hypersaturate the shit out of the colors, but even the blending technique just isn't matching up?

A lot of what she's doing in this video also feels very... non-existent, like she's brushing her pen around but very little is happening so it feels more like her just putting down random brush strokes to try and make it seem put-together but really she's just kind of pushing colors around and/or doing nothing. Especially when, again, what she's painting here looks nothing like the final picture (so at best it's a lot of wasted work??)

And knowing what we know about the assistants drawing the characters separately so that Rachel can rearrange them in the final episode layout... I don't wanna call foul play here, but this feels like yet another attempt on Rachel's behalf to make her process seem more involved than it is by simply redrawing a scene for the performative aspect of it all. It's like the "sketches" in the books looking way too 'clean' for the final product and giving the impression that she just sketched over the final panels to make them look pretty enough for print.

I also wanna mention that for some reason she's drawing this on her iPad when she owns a Cintiq. It could be because she was drawing this while abroad in the US for her conventions last fall, but despite clearly being ahead of schedule, she still wound up drawing the final episode the night of-

Oh yeah and btw there are like a million clipping layers for what looks like just a simple drawing of Demeter. And this lines up with our previous theories about her using like 128549021809 layers for literally one character.

And aside from all that her commentary, as always, is very nothingburger, just a bunch of word salad. Like she's literally trying to explain LO's color theory as "well Persephone is bright pink and the Underworld is dark blue so she sticks out! That's all you need to know!"

IDK, I'm not coming to any sort of ironclad conclusion based off this one video, but it does feel like yet another desperate attempt to prove that she does work on LO and doesn't just leave it all to her assistants to do at the last minute. But like... she's kind of screwed in that argument either way, because even if she draws the majority of panels in LO, that just further proves the argument that she's stopped trying.