#he has a very distinct style of writing and humour

[kuroananosanji]

To me a good way of differentiating between canon and filler in one piece is how they treat Sanji’s chivalry. In filler his love for women is always very shallow, his primary motivator seems to be to impress women and go on dates with them. Like that Phoenix filler arc where he was dead serious trying to win a married woman over? While in canon his respect for women is completely separate from his attraction to them. Like, this is his moral compass, people. He doesn’t have to like a woman to not hurt her (e.g. Kalifa) or be attracted to a woman to protect her (Kokoro, Dr Kureha). And you can clearly tell when the gags are just gags.

[dykealloy]

Rec list please ✍️🏻

(with tropes and just a smidge of reason why the media is recommended <- both very optional of course)

oh boy. okay. Confession time, I've watched a ridiculous number of shows out of east Asia so this is a good opportunity to share some faves from recent memory. If there's going to be one running through-line with these recs it's that I love character-driven narratives which explore interesting interpersonal relationships (socio-cultural commentary is a plus).

In no ranked order, here's my top ten:

Hamster running the emotional gamut wheel (well-written stories about grief, closure and family)

Move to Heaven (2021) Korea, 10 episodes, Netflix Summary: Han Geu-ru is an autistic 20-year-old who works for his father’s business “Move To Heaven”, a company that specializes in crime scene cleanup, where they collect and arrange items left by the deceased and deliver them to the bereaved family. When Geu-ru's father dies, his guardianship passes to his uncle, ex-convict and underground MMA fighter Cho Sang-gu. Per the father's will, Sang-gu must care for and work with Geu-ru for three months to gain full guardianship and claim the inheritance. Eying money, Sang-gu agrees to the conditions and moves in.

This show knows exactly what it is and executes with excellent writing and characterisation. While it does have an overarching narrative, Move to Heaven is structured so that you're exploring a different person's story each episode, so it has a lot of flexibility to explore themes of grief and closure through different lives and relationships, and when I tell you this show can hit emotional beats... (<- may or may not have cried through most episodes on my first watch-through. Emotional terrorism). These stories are really beautifully portrayed and though there are effective comedic beats, there's this clear authenticity in not needing to undercut or distance oneself from the vulnerability of the subject matter.

Geu-ru and his uncle (Sang-gu) add a lot of needed levity, with Geu-ru's need for consistent, structured, methodical routines constantly clashing with Sang-gu's chaotic and combative approach to life. Sang-gu's character arc (though predictable) is just so satisfying. It's kinda hilarious seeing Geu-ru (and his father by extension) inadvertently poke more and more holes in Sang-gu's initial plan of "take the money and run" the deeper he incorporates himself into the space and purpose that his brother once took up, and it's very heartwarming to see these polar opposites slowly develop a respect and appreciation for one another.

Tropes: reluctant to responsible parental figure, tear-jerker

Oh No! Here Comes Trouble (2023) Taiwan, 12 episodes, GTV and iQIYI Summary: Pu Yi-yong was a typical 17-year-old student with a passion for drawing and a hereditary talent for calligraphy. After he wakes up from a bus accident that claimed his father's life and left him in a coma for two years, a 19-year-old Yi-yong must now find his place in the world again. This becomes more complicated when spirits begin approaching him and asking for his help.

This show actually has a lot of similarities to Move to Heaven e.g. exploring different side-stories each episode, focus on victims forgotten by society (the lonely, the homeless, the outcasts and the minorities), themes of grief and closure, polar opposite characters learning to work together, breaking me emotionally at some point. But Oh No! Here Comes Trouble differs in tone (distinct directing style), quirky humour (Taiwanese comedic style is just different and I love it in this show) and presentation (urban fantasy/mystery).

Yi-yong might be one of my all time favourite characters in media. From the outset he presents as this classic, one-dimensional, grumpy delinquent teen (e.g. resting-bitch-face syndrome, scrappy mullet, academically behind, no social grace and a tendency to accidentally hit people in the face with softballs). As fun as that is, the more you watch, the more this show challenges these assumptions. Yi-yong's mum (also an A+ character, god I love her) is a hairdresser, and often uses Yi-yong as her stylistic guinea pig. Yi-yong's not super intelligent, but he's compassionate (albeit at times reluctantly so). He really listens when people talk to him, whether they're trying to comfort him, give him advice, or asking him for assistance (though he often questions and expresses frustrations about his own ability to help other people). There's a humble gentleness to him.

Yi-yong was already struggling to juggle his dreams of becoming a comic artist with the practicalities of his life before he fell into a coma, then he woke up two years later, having completely missed the perceived "pivotal juncture" associated with the transition from youth to adulthood. Time moved on, and so have his peers, leaving an almost 20-year-old Yi-yong lost at sea with no paddle, no map and grieving the loss of his father. And now he has supernatural beings approaching him and insisting that he is the key to settling their unfinished business. To Yi-yong (and to popular east-asian social standards), Yi-yong is a loser. He's academically unintelligent, has no clear aspirations or discipline or future prospects, his family is far from wealthy, he's got zero social status, smarts or rank. Yi-yong is just as much of a forgotten outcast to society as these spirits are.

He does eventually get assistance in the form of Chen Chuying - a junior police officer (helping substantially with the mystery investigation side of things) and Cao Guangyan - former one-sided rival schoolmate and current med student who coincidentally moves next door (initially maintains the outsider perspective of Yi-yong as a hooligan until they get to know each other a little better, by which point Guangyan is already helping Yi-yong get back on his feet) who form a very well-rounded, loveable cast.

I wish I could talk more about this show, I am very fond of it. Please do watch it and if anyone wants to discuss it my dms are open.

Tropes: ragtag trio of idiots, urban fantasy, mystery, tear-jerker, reluctant hero

Get your pussy up get your money up (life is giving lemons and survival is the name of the game)

Honourable mentions here: Yeon Sang-ho popped off with Train to Busan in 2016 and South Korea has been throwing bangers into one of my favourite genre pools ever since. If you're interested in more zombie series I would strongly recommend checking out All of Us are Dead (2022), Happiness (2021), Sweet Home (2020) and Kingdom (2019).

A Shop for Killers (2024) Korea, 8 episodes, Netflix Summary: Jeong Ji-An tragically loses her parents as a young girl. Her reserved and mysterious estranged uncle, Jeong Jinman, acts as her sole guardian and care-taker, raising her with tough love and a survivalist mindset until she leaves for university. One day, Jung Ji-An hears that her uncle has suddenly passed away, and returns home, where she learns the truth behind her uncle's business and by extension, her past.

Ji-An is locked inside a building with no communication with the outside world, nowhere to go, and with assassins after her head (not ideal). Unbeknownst to Ji-An though, her late uncle Jinman prepared a thorough defense system for this very event, setting her up with home-terf advantage and a very dangerous fortress against this army.

Ji-An and Jinman's story is told mainly through flashbacks as Ji-An attempts to survive the raid on their home. Their dynamic is definitely a repeat of the stoic, initially cold father-figure type "I am neither your mum or your dad, and I can never be" to the orphan child that we've been seeing more recently of late. I'm not mad about it. It's a good formula. I won't go into the type of person Jinman is, or the nature of his work/business. Going in blind and slowly figuring this out with Ji-An was a big plus in terms of the viewing experience for me.

Tropes: reluctant parental figure, home alone antics

D.P. (2021) Korea, 12 episodes, Netflix Summary: Ahn Junho is enlisted to serve in the South Korean Army as part of his national service obligations. He eventually goes to the Army's Military Police. While getting used to life in the MP, Junho's street smarts lands him in the D.P. (Deserter Pursuit) unit. Junho is assigned with Corporeal Han Hoyeol to capture deserters, revealing the painful reality endured by each enlistee during their compulsory duty.

imo D.P.'s is at its most enjoyable when Junho and Hoyeol are working as detectives with limited time and resources. Hoyeol's presence especially adds needed levity. He's like the show's own eccentric little court jester (at least until season 2, where he becomes the show's own tortured little court jester). You don't know how much you're missing Hanyeol until he shows up and you're finally given some space to breathe.

This show's gotten a lot of praise for its realistic social commentary around the vicious cycle of bullying, hazing practices, corruption and abuse within the South Korean military. It's well written and fast-paced, and it definitely doesn't pull its punches. I probably wouldn't recommend this show were it not for the quality of its writing, its ability to balance the depressing subject matter with pockets of dark comedy and everyone's favourite dynamic duo Junho and Han Hoyeol. All the content warnings for this one.

Tropes: ptsd, abuse, brotherhood, idk man straight up not having a good time

Weak Hero Class (2022) Korea, 8 episodes, Viki Summary: Straight-A student and loner Yoon Sieun utilizes his wits and tools to defend himself from a boys school full of shit-heads. He slowly warms up to Ahn Sooho, the school's strongest fighter, and Oh Beomseuk, the new transfer Student.

Sieun is here to answer the age-old philosophical question: "Aren't you tired of being nice? Don't you just want to go apeshit?" Even though Sieun is physically lacking, he's very capable of baring his teeth and using his smarts to fight like hell. It's so cathartic to finally see a short, weak, bullied protagonist willing to go violently feral upon provocation.

This show's tone can get pretty dark and surprisingly violent. The true core behind why a lot of people love this show is Sieun and Sooho's friendship. Sieun starts off as a grumpy, glaring, withdrawn hermit with no interest in anything that isn't studying (honestly idk how Sieun keeps finding himself in these situations like. All the kid ever wanted was to hit the books). I won't spoil too much, but watching as Sooho slowly peels away that protective shell Sieun encases around himself is a thing of beauty. I strongly recommend you give the first episode a go (free on youtube).

Tropes: angst, bromance, badass bookworm, adults are useless, abusive parents

Detectives smashing you over the head repeatedly with gay subtext (not explicitly gay but if you have a brain and any semblance of a gaydar that thing is going to be going off like a geiger counter next to the elephant foot)

The Devil judge (2021) Korea, 16 episodes, Netflix and Viki Summary: Set in a dystopian version of present-day South Korea, the world is bereft of law and order and the court justice process has become like a reality tv show. Head Trial Judge Kang Yohan mercilessly punishes the guilty and corrupt, earning him the "Devil Judge" monicker. As bitter rivalry takes shape between Yohan and the highly ambitious Jung Sun-ah, who has risen from poverty to become a corporate social responsibility foundation director. Into this turbulent world enter two childhood friends on a mission for true justice and determined to discover the secret Yohan is hiding: rookie judge Kim Gaon and detective Yoon Su-hyun.

The Devil Judge tackles the concept of the anti-hero (battling evil with evil) and questions why these figures are idolized by the public. It also challenges the naive faith in the rule of law and whether or not the established systems should be upheld or not. The screenwriter has however made it very clear that he focused way more on the relationship between the characters than conveying his own message and boy oh boy is that reflected in whatever Yohan and Gaon have got going on (serious come-hither eyes, gratuitous physical touch, themes of power, justice and corruption, Yohan pressing Gaon up against the nearest hard surface on at least four separate occasions, etc.).

Kang Yohan, the titular anti-hero/main protagonist operates within a failed state and a corrupted judiciary. To a certain extent he knows the self-destructive path he walks is doomed to fail, but to right the system and take revenge, he's on the lookout for a someone that can out him as the Devil and become the messiah that Yohan himself cannot be. It does come off as very "anime" at times (theatrical presentation, tragic backstories, bad writing when it comes to women, naive characters and overly dramatic tone) but hey, if you have very few qualms with that, chances are you're going to have a blast.

Also the OST for this show absolutely fucks. It has no right being this good. Jung Se Rin really popped off. I have Enemy of Truth as a staple in a lot of my playlists.

Tropes: idealist vs jerkass pragmatist, anti-hero/vigilante, whump

The Worst of Evil (2023) Korea, 12 episodes Summary: Set in the 1990s, a former DJ starts selling a new powerful drug. Since the police know little about its origin, rural police officer Park Junmo is assigned to go undercover and infiltrate the criminal empire responsible for the drug trade between Korea, Japan, and China. Junmo later discovers that his wife, Yoo Euijung, also a detective, has volunteered to participate in this dangerous mission and seems to have a past with the underground drug king (and Junmo's boss), Jung Gicheul. The deeper Junmo entrenches himself as Gicheul's subordinate, the more unrecognisable he becomes to those closest to him.

Junmo could have let Gicheul die or slip away like several times in a row, indicates he has zero idea why he does this, then says the line verbatim "I look up to him and I like him and my body follows my heart". What am I supposed to take away from this. This show has everything. Early 90s homoerotic cigarette lighting, sodomy, incredible cinematography, betrayal, close-ups of Junmo's bloody face squished up against Gicheul's thigh. There's some scenes where Junmo is looking at both his wife and Gicheul framed in the same shot like the goddamn camera is daring you to question who he is more jealous of. My biggest complaint is that there was quite literally no need for a wife-stealing plot - the most compelling, messiest gay situationship was right there for the taking.

In episode 9 post-gang war hallway-slaughter, a blood-soaked Junmo hops up onto a table on all fours with a knife between his teeth, locks eyes with Gicheul then proceeds to slash a man's achilles tendon and if you listen closely enough you'll hear me in the background screaming YOU HAVE BECOME HIS DOG. 10/10 watch this show.

Tropes: mafia, undercover, bodyguard, make him worse, devotion and loyalty gone bad gone nuclear, maybe if they fucked nasty about it we wouldnt be in this mess

Beyond evil (2021) would also go here and has similar vibes to the above two, but I personally don't have much to say about it. Unhinged slutty old man, gay stuff going on over there, etc, etc. Citrinekay sums it up nicely here. Guardian (2018) would probably also go here. Definitely check these out if you enjoy/like the sound of these shows.

Lighthearted fun romance (I am not escaping the lesbian fujoshi accusations)

Cherry Magic (2020) Japan, 12 episodes Summary: Adachi is a salaryman with low confidence and a tendency for self-deprecation, resulting in him often acting awkward around others, not being sure how to assert himself in the workplace, and constantly comparing himself to the company's golden boy - Kurosawa. Things become further complicated when Adachi finds out after his thirtieth birthday that he has suddenly gained the magical power to hear people's thoughts if he touches them. Adachi struggles with his newfound touch telepathy when he accidentally discovers Kurosawa is in love with him.

Cherry Magic! Thirty Years of Virginity Can Make You a Wizard!? (Yes that is the full title, Japan you are killing me) is very sweet and wholesome and the humour hits and I believe in Kurosawa Yuichi supremacy. I know self-deprecating characters can be a downer for some people but Adachi comes off as very relatable and seeing him slowly gain more confidence in himself and his abilities is heartwarming. Great serotonin-booster. If you find this show's premise interesting there's a high likelihood you will enjoy it.

I didn't care so much for the second couple but if you're like me it's easy to skip through these scenes (you won't be missing anything).

Tropes: office romance, telepathy, pining

Semantic Error (2022) Korea, 8 episodes, Viki and Netflix (region-dependent) Summary: Cho Sangwoo is the epitome of an inflexible and strict rule-abiding person. When talented graphic design major Jaeyoung discovers Sangwoo is the cause for his delayed university graduation, he sets out to take revenge (by becoming Sangwoo's biggest, brightest daily annoyance). Jaeyoung finds himself in hot water when he inadvertently develops a crush, and junior computer science major Sangwoo is about to encounter some serious errors in his usual programming.

This is a classic polar opposites attract story, with Jaeyoung the loud, extroverted, brash foil to Sangwoo's reserved, withdrawn, morally black-and-white, logic-first persona. As much fun as it is to see Sangwoo's ordered world thrown into chaos, it's equally enjoyable to witness Jaeyoung jump from being obsessively committed to annoying Sangwoo, to being whipped for him (and the subsequent difficulties this causes for Jaeyoung - a popular, attractive, talented, bi artist used to getting his way - in trying to pursue a highly irritated and emotionally closed-off Sangwoo, who is being challenged with a side of himself he hasn't had to grapple with up until now). Also Jaeyoung has an incredibly hot lesbian best friend which was great. for me specifically.

An entertaining, cohesive story with great actors who have fantastic chemistry. What more can you ask for?

Tropes: enemies to lovers, opposites attract, university, pulling pigtails

Old Fashion Cupcake (2022) Japan, 5 episodes Summary: At the critical juncture of a mid-life crisis, Nozue, a 39-year-old office worker, is stuck in the dull, mundane grind of wake, work, sleep. But due to his age, he's convinced he's well past the point he can take risks by trying something new. As such, he continues to decline promotions at his job and romantic advances from potential partners. He confides one day in his 29-year-old subordinate, Togawa, making an off-hand comment about a desire to be like a young girl - capable of feeling excitement and joy in life again. In an attempt to inspire him to move forward, Togawa suggests an "anti-aging experiment" and the two of them go on a journey together to help Nozue feel young again.

First things first - a large portion of Togawa's proposed "ant-aging technique" involves frequenting dessert cafes and restaurants that are catered towards a younger female demographic and fuck me the food in this show always looks so goddamn good.

The boss/employee thing might turn people away from giving this a shot but what I really love about this show is that despite being Nozue's subordinate (and younger than him - which is a bigger deal in Japan), Togawa is extremely blunt and unafraid to tell Nozue exactly what he thinks (so long as Togawa believes it will ultimately benefit Nozue in the long run), and it's very clear that he does this because he has a strong sense of respect for Nozue (and because spoilers - Togawa is so down bad for his boss like okay boy DAMN. Go get your esoteric old man). This show is also great at conveying emotion and inner conflict without dialogue (I've enjoyed coming back for a re-watch and picking up on little nuisances in Togawa and Nozue's behaviour that I missed the first time around).

Overall this is a very cute, very wholesome coming of age/queerness story that reminds you that it's never too late to pursue what interests you, try something new, and enjoy life while you're at it.

Tropes: fingers in his mouth friday, pining, age gap, office romance, food as a love language

That's it! If you want more recs from a genre hit up my inbox, I had a fun time pulling this together and have many more in the chamber where that came from.

[thecrustiestpurp]

Genius writing of Pavitr Prabhakar

They made an ass of a spiderman in theory yet he's my favourite out of all of them and naturally I'm thinking why.

Ignoring the aesthetic aspects like his sick design and his distinctive web slinging style. I think it's most interesting how they do this through the writing, the way they tackle his fatal flaw, his fat ego and blind optimism by creating a really sharp interval logic and communicating this within the space of 15 minutes.

We understand that his big ego is all earnest and out of naivite rather than him putting down others. He just so happens to be the best and perfect, and therefore everything is great for him. He was given a blessing at a very young age to be a spider and he happens to be good at it of course he's going to be prideful how can it not be. And why would he not gloat, he's a perfect guy perfect grades perfect hair and he knows that makes him special. Especially considering the rest of the Spider-Verse, having a perfect one like Pavitr is unexpected so we're at least intrigued by him.

But why do we like him despite characters with perfect lives and a big ego typically being frustrated. Using his humour the writers made his introduction it as playful as possible so we laugh at how him you know. One of the first things he says is "being Spiderman is so easy" and knowing he's been at it for 6 months it's super funny. He's also relatable, the successes he points out, skipping working out because he has a perfect body, having a girlfriend her parents don't know about, doing well in school are all things that are relatable to us especially if you're Indian, it feels like a real student who's living their best like. Also playfulness is maintained when they go to unglitch spots thing the collider scene, he treating it with even less seriousness "just another easy day of being spiderman" he says and is subsequently blown up - it's funny. We also can't get annoyed during that scene really being invasive to Miles' attempts and channelling the electricity so he's not being frustrating to us or to Miles, just a little naive. We can get humour from it but we also understand this as a flaw too because of the dramatic irony, we're hinting that he's not supposed to think this way.

They also give him the nice internal logic making his mindset sympathetic by testing it within the movie. In the saving India scene, what's most notable is the line "I can do both" turning his idealism into tragedy when he's faced between saving his girlfriend and saving his girlfriends dad. The surrounding microelements and whatnot making the atmosphere feel dire which contributes to the tragedy. But it's that were seeing the life that he easily lives turning on its head. His mentality given definition as a this it will work out so long as I do it, a noble origin for his confidence. Though he knows he's special but he doesn't think he's any more valuable. "do both" showing no real bias towards to what directly affects him - he can empathise with his girlfriend and recognise loosing her and her dad would be devastating. He's not egotistical like thinking he's better than others, he's empathetic and values the people he saves as well as the people they value. The words "do both" colours his saving as this as being an overexertion, he's unaware of what he can't do solidifying his perspective of viewing this as easy coming from a place of naivite. Additionally he has to be the one to save people - "I can do both" - and this is why being Spider-Man is easy for him, it has to be. This all makes him more understandable and the fact this is clearly failing him and tragically makes him sympathetic. Moreover, we care about the love for his girlfriend and for his people because it was fun hearing him explain it earlier so its even more sympathetic that he's loosing what he loves. I think this also stops being a careful what you wish for where we could reproach him because of the scenery we understand him to have.

It seems more he does everything because he's so loving, and he just so happens to be blessed and stuff. Which is super enjoyable to watch! and this burst of characterisation happens in like 20 minutes so like wowowowoowwwowoowowowowow

Anyway, this isn't the greatest most insightful analysis but I just had to ramble about my favourite boy!!

[hualianisms]

Xie Lian "calling Xiao Ying ugly"

There is a common misinterpretation among international fans that Xie Lian was mean to Xiao Ying, calling her ugly, or that XL is very mean and sarcastic/critical in general. However, this is a misinterpretation for a few reasons, including mistaking the 3rd Person Narrator's voice for Xie Lian's voice.

1. 3rd Person Omniscient Narration in TGCF

The TGCF novel is written in the 3rd Person Omniscient Perspective, not the 3rd Person Limited Perspective. This means that some parts of the novel are a separate narrator speaking, not XL.

See this post by @baiwu-jinji about how MXTX often inserts her own thoughts & opinions into the narration, even sometimes in the middle of XL's POV, which gets mistaken for XL's own thoughts.

CN fans also do not perceive XL as mean at all, instead separating the narrator's opinions from XL's. See this tweet from a CN fan that I have translated:

Here is also a good thread by luoreos with examples of when it's the 3rd person narrator speaking, or other characters' thoughts, not XL.

2. MXTX's own style seeping through into the narration

As mentioned in baiwu-jinji's post, MXTX often inserts her own thoughts & opinions into the narration, even sometimes in the middle of XL's POV.

MXTX has a distinctive writing style that shines through in all her novels' narrations. This is distinct from XL's voice as a character. In SVSSS and MDZS too you can see how MXTX's writing can have an ironic/sarcastic sense of humor, sometimes exaggerated for comedic effect or coming off harsh in English, but it's not meant to be literal.

See also this post written by @baiwu-jinji about the "吐槽" style of humour that MXTX uses, which is exaggerated and not meant to be taken seriously as the protagonist's actual thoughts.

3. Xiao Ying's character arc

Although the donghua did not portray Xiao Ying as "ugly", in the novel it is clear even in the English translation that Xiao Ying's character was deliberately written by MXTX as objectively having facial features considered very unpleasant by many people, hence being unfairly bullied for it - which is meant to highlight certain themes of the novel regarding injustice & show that XL treats people with kindness instead of being judgmental.

(continued below)

Many characters had strong, extreme reactions to Xiao Ying upon seeing her face, which shows that the novel deliberately wanted to portray her as someone who happens to have facial features that people consider extremely off-putting. She is hence unfairly bullied & ostracized by others for this. (This is a common theme in the novel - being misjudged & mistreated by the masses, or being born into unlucky circumstances, causing one to endure unjust suffering.)

However, while the other characters call Xiao Ying "ugly freak" & ostracize her, XL, unlike them, treats her with kindness, sympathizes with her & considers her a strong, good-hearted person who did not deserve the bullying she got, nor to die. He even honours her dying wish (for Lang Ying to be taken care of), long after her death.

In fact, the first time XL ever saw Xiao Ying, he didn't even notice or care whether she was ugly or pretty, but instead was only concerned with how her skirt had been ripped and how he didn't want her to be humiliated by others for it, hence he covered the tear in her skirt with his own robes. (See this thread by luoreos about how XL actually treats Xiao Ying, VS how other characters treat Xiao Ying.)

XL treating Xiao Ying with kindness even though she was bullied for her appearance that was deemed hideous by others, is also a direct parallel to XL treating Hong Hong-er with kindness even though HHR was bullied and ostracized for his appearance by others. Hence, in the novel, Xiao Ying was deliberately written to have an appearance (that the narrator described harshly, not XL) that others ostracized her for, to highlight certain themes and characterization points.

[justleaveacommentfest]

all time favourite comment? i have a bunch which are dear to me but this one clears by a landslide, esp bc i was very insecure abt posting this fic and getting this comment really boosted how i felt abt it:

I LOVE THIS it’s so fun and just full of good vibes. I love your writing style so much? Like there’s a certain humour laced behind your sentences and I can definitely tell who’s POV it’s from since their voices are so distinct. I absolutely love all the banter/pranks that goes on. I love the brand of considerate asshole that Atsumu has, but he’s also a sneaky little bastard just waiting to get one over Omi’s yet again. The part with the egg was SO RANDOM but it was fucking hilarious, and I was caught off guard when he yeeted it?? 😭 I had the sneaking suspicion it may have been Kiyoomi but then again, maybe he was squinting at Atsumu like that because it was cold. Kiyoomi folding the dirty wipe before slapping Atsumu is so him and that’s honestly what I would do too.

I’M NOT LYING WHEN I SAY I LEGIT LAUGHED OUR LOUD FOR HALF THIS FIC bc every sentence was like an onslaught of another thing to laugh at, another strange yet completely understandable turn of events. The idea of Kiyoomi routinely going on rants about not supporting capitalism is so funny, and I would have never expected him to chomp on Atsumu’s finger in the end. I know it’s a genfic, but I also loved the subtle pre-slash undertones here.

Also, this line: “Bokkun, Omi won’t be able to sit for a week if ya forget his ass ain’t a volleyball. I need my spikers at peak condition an’ I’ve got the best control outta all of us.” SHHSHGSHGGHFHSHF

Amazing fic, 10/10 🫶😭 (I really wanted to get around reading your fics earlier and I’m so glad I found the time to today!!)

i read this damn near everyday for at least a week, it's truly so precious to me <3

OHHHH MAN WE LOVE COMMENTS LIKE THIS!!! INCREDIBLE!!!

[bluecichlid]

Fanfic ask game from the lovely and brilliant @ravencromwell! I am afraid I accidentally deleted

 5, 39, and 43

5. How many wips do you have?  What fandoms/pairings are they for?

If you mean vague ideas that will likely never see the light of day, an infinite number!  

Counting just things I have at least something written for, for Shades of Magic, after I finish Nothing Alike (which is proceeding at a glacial pace), I have a multichapter Kelillia fic planned (working title, A Midsummer Night’s Madness) which will have visits to all three worlds and pretty much the full cast of characters, including Holland and the Dane twins.  I also have a first draft of a one shot that is the origin of the Kell/Alucard feud (working title, A Five Lin Bet).

I’ve also got very rough drafts of a few fics for a “sliding-doors” AU series, of which Love and Loss is one. The one I've developed the most is pretty out there, but it is a retelling of DSOM where Kell is female (trans, but the distinction between trans and cis is meaningless for an Antari: she chooses to live as a woman).  She was adopted out to the Emerys and she's engaged to Rhy.  

Other than those ones for Shades of Magic, I do have my Game of Thrones fics, but that is a sad story.  Among other things, I found that as the show progressed, I discovered that neither the show nor the books were the story I had fallen in love with.  I keep thinking about finishing them off, but I just can’t muster the enthusiasm and by now I think I never will.  

39. What’s your most self-indulgent wip?

LOL - something that I’m not sure I can even explain, and have no intention of it seeing the light of day!  Basically a zany take off on a tolkien-style fantasy adventure with all the tropes, except my MC is just along for the ride and has no fucks to give.  She’s the old trope of the ageless immortal sorceress, except she’s fully occupied with building something called the worldshield (much more important).  She got dragged into this (dramatic music) epic war for a fate of a kingdom because she’s banging this (SUPER hot) guy who fell over on her doorstep, who turns out to be the prince, and since they don’t speak the same language, he thinks he’s protecting her by taking her along with him.  It’s all fine, she likes him, the sex is great, he means well, she can keep ‘working from home’ on the worldshield, and she has a strict policy of noninvolvement in the fantasy-trope plot.  (“You’re doing great, honey!”)  She drinks a lot of coffee. 

43. Is there a trope or idea that you’d really like to write but haven’t yet?

Probably true love/star-crossed lovers.  I don’t even know what’s holding me back.  Maybe I’m too cynical, or too into dark humour and quips, but I’ve never managed to write people who totally love each other and have a happy ending.  But someday!

[oscarjamesleigh]

The Parliament Fart of 1607, or Satire and Respectability

On the 4th March, 1607, just after being read a message from the Lords, one of the younger members of the English Parliament, Henry Ludlow, farted somewhat loudly, enough that everyone heard it. This event was noted enough that it is remembered even now as the Parliament Fart of 1607.

Farting was common in humour throughout the Medieval and Early Modern periods, as broad humour involving sexuality and scatology was quite widespread, however in-person farting was considered indiscreet for a gentleman. Cleanliness and control of one's bodily functions was associated with sophistication, and farting could be particularly awkward in a society that associated bad smells with infection (see miasma theory). So this was the kind of thing that might damage your reputation, even your career, particularly at a public event. But, in the end, Henry Ludlow escaped relatively unscathed, he had other scandals given his quarrelsome nature, so perhaps that distracted people.

What did emerge from this moment however was a series of manuscript poems satirising the event. Manuscript, hand-writing, was the standard form for controversial writings because it couldn't be traced back to a specific printing-press, as seen similarly in the "libels" of the time where people would mock recently-deceased political figures. This one was written many times in different ways, and continued to be reimagined as late as the 1660's early Restoration.

All versions start with the fart, often described him similar wordings, and then follow a format of rhyming couplets with various named members standing up to respond to the fart. There's a bit of mischief here in how the members, speaking largely like they would with any other parliamentary business, attempt to keep a sense of dignity in their responses.

One example has the first sentences as:

"Downe came grave auntient Sr John Crooke And redd his message in his booke. Fearie well, quoth Sr William Morris, Soe: But Henry Ludlowes Tayle cry’d Noe. Up starts one fuller of deuotion Then Eloquence; and said A very ill motion Not soe neither quoth Sr Henry Jenkin The Motion was good; but for the stincking Well quoth Sr Henry Poole it was a bold tricke To Fart in the nose of the bodie pollitique." (Bodleian Library manuscript, Malone 23)

You can get a sense of the style of these poems from that. At the time of the original incident, the parliament was debating the naturalisations of the Scots after the Union of the Crowns under James VI and I.

James was originally a Scottish king before English, somewhat subverting the original English desire to conquer Scotland, which unsurprisingly some people weren't very happy about, the Gunpowder Plotters themselves where partially motivated by anti-Scottish xenophobia. His mother was Mary Queen of Scots (of head-losing fame) but he was separated from her long before she died and raised by his Protestant relatives. Because of their descent from the line of Henry VII's eldest daughter Margaret, many considered James and his mother as the primary heirs to the throne, so his Protestantism cleared many of the barriers for his acceptance his mother had faced. Though it's unclear whether Elizabeth ever really accepted James as heir, he was increasingly treated as de-facto heir in the later years of her reign.

Because James inherited the English crown separately (and associated crown of Ireland, English dominion over Wales and not-yet-forgotten claim to the throne of France) it remained entirely independent from and distinct to his kingdom of Scotland. James disliked the idea of holding two crowns at the same time when the system were quite different, so he became the first person to propose the political idea of Great Britain, which would not become a reality until the reign of his great-grandaughter Anne in 1707. While he could only use the title Britain in prerogative matters, things the King could do unilaterally, since he could not convince parliament to accept it, James wanted parliament to at least recognise Scottish subjects born after the union, "post nati", to have natural rights at English subjects.

Naturally, this was one of the subjects referenced in the first Parliament Fart Poems, along with other contemporary topics like freedom of speech and royal finances. But the different versions changed significantly over time. They didn't just fiddle with wordings, they also adapted to reference different issues. Later in James' reign there was the Overbury Scandal, a political murder, and the 1624 Monopolies Bill, on a form of profiteering patenting, later versions written during the 1640's took on the context of the intense parliamentary debate at that time leading up to the civil war. And when it re-appeared in the Restoration, it was used to mock parliament from a Royalist perspective, despite most previous uses being more pro-parliament.

Of course, at the end of the day, the Parliament Fart Poem wasn't just about politics or any other serious topic, it was also play, it was funny, it was fun to write neat little rhyming couplets. It appealed to a taste for irreverent crude humour that was popular at the time even in higher circles. You can see a similar sense of humour in many of Shakespeare's play, so it was far from alone in mixing the high and the low, that was what made such pieces appealing to a relatively wide audience. They weren't too snobbish or narrowly airy. A lot of the classic literature from the Medieval and Early Modern periods had crude humourous moments, Chaucer's Canterbury Tales did too, and that was commonly reprinted in this period as a kind of vintage classic.

Perhaps in the modern day we could also use a moment to laugh at a fart, we'd be in good company.

[soft--queen]

10 LGBT+ classic rock stars that aren't Freddie Mercury, David Bowie, or Elton John

Pete Townshend

Pete is best known as the tall, short tempered energetic guitarist and writer of almost all of the songs by The Who. He was the member who came up with their trademark move of smashing the instruments at the end of each show, and became a voice for youth at the time with one of their many hits 'Talkin 'Bout My Generation.' He came out in his memoir as well as an interview in 1989, saying he was bisexual, and also said he identified as both a woman and a man, saying: "I know how if feels to be a woman because I am a woman, and I won't be classified as just a man."

Debbie Harry

Lead singer and writer for the band Blondie, she's a bisexual woman well known for her colourful taste in fashion and unmistakable voice. Her musical career started out in the punk genre but she is best known for writing and singing some of the most popular new wave songs including Heart of Glass, Call Me, and One Way or Another.

Janis Joplin

Often cited as the face of American blues, folk, soul and rock, Janis Joplin is WLW and had numerous relationships with men and women in her life. She was famed for her distinctive husky voice and powerful and captivating stage presence that left audiences stunned.

Dave Davies

The guitarist in 60s British invasion group The Kinks revealed he was bisexual in his autobiography in 1997. The more outgoing of the Davies brothers in the band, of which he had a difficult and fiery relationship with, Dave also experimented with makeup and women's clothing in the 60s and 70s. Many people claim his riffs were the very earliest beginnings of heavy metal.

Sir Ray Davies

Ray Davies wrote and sung most of The Kink's songs, including their most successful song Lola, which is about a transgender woman. Although quieter and more laid back than his brother, he does not have a quiet tongue either. His endless brotherly quarrels with Dave continue to this day, although they live next door to one another. He is MLM.

Kim Deal

As well as playing Bass for the late 80s indie rock band The Pixies and fronting the 90s band The Breeders, Kim Deal has studied and worked in cellular biology. She has said that she is asexual and also identifies as a feminist. Kim Deal has a unique philosophy in recording music, in that she uses no modern means of production such as digital recording, computers, and auto tuning.

Sister Rosetta Tharpe

Recognised as the inventor of rock and roll, Tharpe was a pioneer for combining blues and gospel to create a unique sound partnered with her electric guitar as early as the late 30s. She is WLW. Her relationship with Marie Knight became a controversial topic when it was discovered by the public, especially from her religious background.

Rob Halford

Singer and songwriter of the popular heavy metal band Judas Priest, Rob was initially uneasy about coming out as gay due to heavy metal's often homophobic following, but was surprised when he was overwhelmingly supported. He now calls himself the 'stately homo of heavy metal' and speaks openly about the ongoing struggles that LGBT+ people face.

Marc Bolan

In 1971, a tiny 5"4 Marc Boland performed in his band T-Rex on Top Of The Pops wearing glitter under his eyes. This is widely recognised as the starting point of the glam rock movement. He had relationships with men and women in his life, and came out as bisexual in 1975. He was Jewish and he became a style icon of the 70s for his corkscrew hair, colourful fashion and whimsical happy-go-lucky attitude.

Lou Reed

Lou Reed's infamously dry humour and deadpan voice set him apart from other rock stars of his time. As a child his parents put him in a mental hospital and he was given electric shock therapy to try and 'cure' his interest in men. He grew in popularity in the 60s as The Velvet Underground's lead singer and guitarist and went on to have a successful solo career, where he frequently wrote and sung about LGBT people. Reed is MLM and also Jewish!

[sitp-recs]

Hidden Gems by @fw00shy

I’ll never stop screaming about the masterpiece that is Phoenix in the Fire - not on this list but one of my top five favourite short fics ever - but when it comes to Fwoosh, suddenly I can’t find the words to covey the way her writing cuts me raw and deep. She’s hands down one of the most talented, daring and resourceful writers I’ve ever seen, and I’ve been around for a very long time. A master of short form, her unique and bold style steal my attention right away, her sharp dialogue and unbeatable world building make me sit straighter and forget whatever’s going on around me, her impeccable prose with perfectly chosen and well-placed words takes my breath away, her tender angst makes my heart break for pining Harry, her deliciously explicit, self-indulgent smut make me sweat like a whore in the church 🥵

As if that wasn’t enough, fwooshy’s range is really impressive and she always manages to deliver a long-lasting blow with any genre, any rating and any length, but especially under 3k. Her creative mind, vibrant characters and powerful writing deserve way more recognition and that’s why everyone should go check her catalogue right now. I’ll help you out and share a short selection of goodies below - I could have chosen any 10 fics at random but I wanted to include a little bit of everything, even tropes that aren’t really my jam (hello MCD!)…. unless they’re written by her, lol 🤡 this is actually my second reclist for Fwooshy so I tried to diversify a bit, you can find the previous one here. Happy Monday with these delicious short treats!

Drarry:

Silence on the Seventh Floor (T, 970 words) - such a creative and heartbreaking drabble, love this pain-in-the-ass ghost!Draco and smitten Harry, my heart ached so much for them. Cw MCD

Draco haunted the seventh-floor corridor of Hogwarts. A Third Year found him up there one night, knocking the frames together as though trying to shake something out of them. She reported it straight to Headmaster Potter, who passed her a Cockroach Cluster and sent her off to bed with a promise to handle it.

Basement Level 9 (M, 2k) - poignant and disturbing short story with dark!Draco and a resigned Harry who loves him, plus excellent dialogue and a brilliant Ron puzzling the pieces together, ugh so good 😔🤌🏼

Draco was behind the bomb that blew up Level 10, though they didn't talk about it.

You Either Fuck or You Get Fucked (E, 2k) - the ultimate enemies to lovers PWP with scorching hate sex, crude dirty talk and top notch banter, sharp and witty! I’m obsessed with this confident Harry and their sexy push and pull, thought I’d combust on site 🔥

"That's not how fucking works. Fucking's…" Draco waved a hand in the air. "You either fuck or you get fucked." "Sure," Harry said. He took out a Sickle. "Toss for it?" Read my rec here.

10:47 am (T, 2.3k) - this series of short yet immersive slice-of-life vignettes are wonderfully original with vibrant multiple POV and such distinct character voices. One of the fics that best showcase Fwoosh’s genius writing

Scenes of lives lived out in front of an open balcony window.

Big Hands (E, 4.5k) - Victorian AU with pianist rivals, yes please!!!! Incredible world building, delightful and on point humour, unbelievable ust, that basic hand kink we all deserve AND a piano sex scene as a treat, this is rich and sexy and the atmosphere is irresistible

Draco Malfoy is a pianist who's just moved to Paris. Harry Potter, his new roommate, has the biggest hands he's ever seen. Draco is immediately obsessed. Read my rec here.

in a rambling way (T, 7.5k) - probably the softest Fwoosh fic I’ve read so far, a gorgeous and wistful break up make up with lots of pining Harry, camping shenanigans and peak road trip romance. A must read!

Ron knocked Hermione up, and now Harry's got to figure out how to clone himself so that his friends don't split up fighting over him. Falling for Draco again was never part of the plan.

Rare pairs:

In the Mood (E, 367 words) - the hottest 367 words you’ll read today, delicious established Dron feat. rough sex and feral possessive Ron hoho me gusta!

“I saw you with Harry today," Ron says. "In the Ministry cafeteria."

Money (M, 1k) - my favorite Ginsy treat out there, hot af and with an impressive amount of character and story for a short fic. Superb Pansy + superb Ginny POV, I want them both to ruin me (and then each other) pls and thank

Pansy looks like money. Ginny's letting her call the shots.

Laundry Day (E, 1.8k) - I’ve been in a Ginny/Hermione phase lately and this neighbours AU PWP is s total banger! Laundry room snogging, confident buff Gin and shy horny Hermione, excellent dynamics and really hot smut

Hermione was afraid of Ginny, because Ginny made her wet.

They Bought A Sports Bar (T, 2.2k) - another compelling femslash because yes, Fwoosh can write pretty much any ship. A fascinating take on Cho and amazing dialogue, love her subtle dynamics with this patient Ginny, and the idea of a sports bar is brilliant!

Ginny buys a sports bar (run-down biker pub, really) and ropes Cho into helping out. They're just business partners, so why does everyone else think they're more?

[quicksilverrwrites]

𝐏𝐀𝐈𝐑𝐈𝐍𝐆: peter maximoff x reader 𝐒𝐔𝐌𝐌𝐀𝐑𝐘: you can’t sleep and neither can peter, but at least you both know exactly how to comfort one another. 𝐖𝐎𝐑𝐃 𝐂𝐎𝐔𝐍𝐓: 2.4k 𝐖𝐀𝐑𝐍𝐈𝐍𝐆𝐒: 18+, fluff, peter and reader are early to mid twenties, british reader 𝐀𝐔𝐓𝐇𝐎𝐑'𝐒 𝐍𝐎𝐓𝐄𝐒: y/n is known by the mutant name “scribe” and is charles xavier’s niece.

It’s eleven-thirty, and you can’t sleep.

Your thoughts shift to your lessons in the morning; to how tired you’re going to be; to that iced coffee you’d had while getting your assignment done after class; about how that drink was definitely a bad idea considering how you’re lying awake now. It had tasted good then, and it had given you the energy you needed to fire out five thousand words in the span of a few hours… but now you regret it.

Sighing, you roll over. Your eyes glaze over the objects on the nightstand beside your bed. Your alarm clock, rectangular in size and wooden in material, glares at you. Eleven thirty six. Eleven thirty seven. The time seems to spiral, and you realise that you might as well do something with yourself if you’re awake.

You eye the books stacked on top of the alarm clock; you’d been reading one before and it had bored you half to death, so you can’t bring yourself to pick up any again. What else? What else?

Your gaze settles upon the picture frame on the dresser next to your nightstand, and you let out a sigh as you settle upon the silver-haired speedster within it. You’re next to him, a mere blur since he’d sneakily taken the camera from your hand and taken a picture with an expression that radiates cheekiness, but you’d liked the picture enough to keep it.

You’ve got a few more picture frames scattered around your room—photos of you with Scott, Jean, Jubilee and Kurt. Even some of Charles. You might not be close, but he is your uncle, after all. He’s still family.

And yet it’s Peter you keep your eyes on. It’s Peter's mischievous aura which calls to you across the room.

What would he be doing right now? He’s probably playing video games or practicing on one of his guitars. You’d been surprised to see him play well; you’d been surprised to see that he actually had the attention span it takes to successfully learn an instrument. You would know: your mother used to nag you about practicing the piano to perfection. Practice makes perfect, she’d always said, and yet she’d always left out how much energy it took to practice in the first place.

Is it too late to reach out to him? The two of you have a specific way of speaking to one another across distances by now, although even the thought of doing such a thing due to the time seems rude. Your mother had always told you that it was your duty to be polite, and your father had by example. You think you picked it up from him rather than her, but—

Don’t think of him right now. Don’t think of what happened. Don’t.

As if in an effort to push the memory of that night from your head, you move. You pull the drawer attached to your nightstand open to reveal a mess of junk inside, but what you need—and what you spy—is a pen and paper. You pull it from the drawer and slam the nightstand drawer shut quietly, and after, you get to work writing:

Are you up? Can I come over?

Your fingers buzz with azure energy as you feel your mutation working in your favour. A tiny portal of blue opens before you, one you could make larger if you wished but one which you keep small for now. It’s no larger than a letterbox would be, and the faint sound of music from the other side tells you that Peter is very much awake.

You slip the note through the portal, and then you leave it open as you wait.

When you receive no response for a solid fifteen seconds but can hear movement on the other side, you wonder if this was a mistake after all. It’s too late, you scold yourself, mentally preparing for rejection. Oh, god, this is going to be awkward. What if he—

An empty Twinkie box falls at your feet.

You blink at it, momentarily confused, and then you pick it up. You glance about the dessert’s display as you begin to turn the box over in your hands. Nothing on the front, but on the back—

Scrawled in pink glitter pen—probably his sister’s—, the box reads on the back: Yeah. Come through.

You grin lazily as you set the box down on your bed and extend the portal with your fingers like you’re prying open a heavy door. The orange light from Peter’s basement slips through and becomes one with the light of your dorm, which is yellow and warm with your room’s wooden accented walls and flooring. And as you slip through the portal and your bare feet touch the soft tartan carpet of his room, you let the portal shut with a soft shum behind you—

But Peter Maximoff does not look his best. In fact, he looks downright miserable.

His eyes are red as if he’s been crying, his hair is messy—messier than usual, at least—and he’s wearing a band tee and some tartan pajama bottoms that look intended for comfort rather than style. You were about to say hey, but you stop in your tracks. You tilt your head as you look at him.

Peter is still. It’s strange, especially since he’s usually so eccentric. He blurts out, “What?”

You frown, momentarily stuck for what to say. “Nothing,” you respond, but it doesn’t seem right.

Peter stares at you. You stare at him. You’re both quite similar, so it strikes you then that you both know that you’re each not telling each other something.

“You okay?” You ask, suspicion clear in your tone.

Peter shrugs nonchalantly. It’s a rigid movement. “Yeah,” he says, far too confidently to be true. “Why wouldn’t I be?”

You narrow your eyes on him. His tone of voice has all but solidified your suspicions. “Okay, first of all,” you say, crossing the small space of the room between you and the sofa, “you use a very distinctive tone when you lie.” You settle down on the sofa as you cross your legs under you. “Second, your eyes are really red. Have you been—?”

“No.”

Crying, you were about to ask, but he cut you off. You narrow your eyes again.

Peter sighs and averts his gaze, running a hand through his hair. “Tonight’s just… not a good night.”

You press your lips together as sympathy wells in your eyes. “Why not?”

“Can’t sleep.”

“That makes two of us."

Peter inhales deeply, and before you know it, he’s sitting on the sofa next to you. You’re used to how fast he moves by now. Something warms your heart in the way he sits with his body angled towards you. Like he’s opening himself up to you.

“Wanna stay here tonight?” He asks.

You glance at the other end of the sofa and then back to him. You’re reminded of how he took the sofa to sleep on that night after you guys got caught in the rain. “Here?”

Peter’s brows rise. “Is my basement not fancy enough for you?”

You know he’s joking even despite the lack of humour in his tone, and you let out a small huff of laughter as you flash him a lazy smile. You sit back on the sofa, reaching out your hand to intertwine it with his. Things between you are still blooming after your first date, but you both feel comfortable enough to do this. Peter’s fingers wrap around yours as he starts drawing patterns on the back of your hand with his free one.

“I just mean,” you murmur, just loud enough to be heard over the backdrop of quiet music, “won’t your mom mind?”

“She didn’t mind when you stayed over last time.”

Your lips quirk upwards in gentle amusement. “That time you slept on the couch. This time I was thinking, I mean, if you want to, then maybe—”

“Oh,” Peter murmurs. His head lifts upwards in a sort of understanding motion. “Yeah, I mean… ah, I can deal with whatever safe sex talk she wants to give me in the morning.”

Your cheeks flush red. “I didn’t mean that. I just meant maybe we could…” Oh, god, embarrassment— “cuddle.”

Peter grins. “Cuddle, huh?” He pauses, until— “Okay,” he murmurs, reaching an arm around the back of the couch to wrap around you. “I guess I could be down for cuddling.”

You snicker softly as you lean into his touch, your head resting against his shoulder. “Do you want to tell me why you looked so upset when I arrived?”

Peter tenses. “It wasn’t because of you, if that’s what you were thinking.”

“Mm,” you murmur, “I think I’m confident enough in our relationship to know that your reaction when seeing me is generally excitement rather than the dread that accompanies sad under eyes and red markings around them.”

He pauses for a few seconds before he lets out a long breath of defeat. “That obvious, huh?”

“Mm,” you murmur, looking up at him. “A little.”

His lips twist to the side as he lowers his gaze. “I was thinking about my dad.”

It’s your turn to pause now, looking up at him in a way you didn’t before. You assess every detail of his body again: the way his shoulders slump, the way his head hangs low, the way his hair falls in the way of his view and his eyes are heavy with something you haven’t seen in him before. He’s usually so full of life.

Is this what he’s hiding deep down?

“Tell me about it,” you say softly.

Peter grimaces. “It’s a long story, and the stupid thing is it’s mostly my fault.”

Frowning, you sit up and face him. “I don’t believe that.”

Peter lets out a humourless laugh that might be bitter if he showed a hint of anger, but he doesn’t. “It’s true. The only time I’ve ever been too slow and it’s in finding the most…”

He trails off, pulling his arm away from around you so that they both now rest in his lap. He continues, “It’s a mess.”

“Start from the beginning."

So he explains, if not vaguely: about trying to find his father, about finding a house empty and police arriving on the scene. Peter had fled at the sight of them, and—

“His name’s Magneto,” he admits. “Erik Lehnsherr. You’ve probably… seen him on TV or something."

Suddenly, it all adds up. You weren’t at school to see what happened with Apocalypse, but you’ve heard about it from your friend group. Peter doesn’t talk about it very much, and now you know why; had he been part of that whole adventure because of his father? He hadn’t been involved with Xavier’s School before, that much you know.

You suck in a breath. Okay, Y/N, push the fact that his dad’s a known terrorist aside— “Does he know?”

Peter shakes his head. “Nah. I had the chance to tell him and I didn’t. I screwed it up. And now I’m right back where I was before all of it, because I have no clue where he is and no way of telling him the truth. I couldn’t even do it for Wanda.”

“Hey,” you murmur, your fingers moving to cup his cheeks. “Fight or flight, right? It’s normal. To see him right in front of you—to have to muster up the courage to tell him? Knowing what a change that would be for you? Peter, that’s normal.”

Peter’s eyes well with softness as he listens to you, gazes upon you, and you think you’ve never seen him look so vulnerable as he lowers his head to your shoulder. He takes in a shaky breath; wraps his arms around you; pulls you into his lap—

“Thanks,” he murmurs into your shirt. It’s not his shirt this time; you’re wearing a pyjama set that consists of blue silk shorts and a top. “Not sure I believe you, but thanks, Y/N.”

“Is there anything I can do to make you believe me?”

Peter takes a deep breath. “Aside from mind control? Not sure.”

You press your lips together and begin to stroke his hair. “To be honest,” you murmur, “I’m not sure I’d believe you if you tried to tell me something similar about my father, either.”

Peter lets out a choked laugh. “Maybe that’s why we work together.”

Your lips curve upwards, still stroking his hair. His face is still buried in your shoulder. “Maybe,” you whisper, pressing a soft kiss to his head.

Peter shifts so that he’s leaning against the back of the sofa and you’re in his lap again. You turn so that you’re straddling his waist, but your fingers find his jaw to cup the skin there. Your thumb brushes soothingly against his skin.

“You mean a lot to me,” Peter murmurs, staring up at you. It’s almost as if the music in the room has stopped; it’s almost as if the two of you are the only souls left in existence. His brows are slightly raised and there is awe in his voice as he says, “I don’t really believe you’re real half the time.”

You let out a soft laugh. “Definitely real, Peter. Definitely here.”

“Yeah,” he says, his tone riddled with amusement, “and here of all places. You could be anywhere. You’re like, perfect and—”

“Ssh,” you murmur, pressing a finger to his lips. “I don’t want to be anywhere but here with you.”

Peter tilts his head up towards you, a silent request for consent, and you kiss him in answer.

He wraps his arms around your waist as he deepens the kiss, your tongue slipping out to meet his own. He makes a low, guttural noise between pleasure and content at the feeling of it, and your free hand clutches at his shirt as your other hand remains at his jaw.

You spend the rest of the evening like that, whether it's on the sofa or in his bed, but in those moments together there’s nothing carnal about it. Your touches are soft and comforting rather than lustful and yearning, and as much as you’ve thought about him that way before, you know that now’s not the time.

Tonight, you both need this. Tonight, your sole purpose is to be there for one another.

“And for the record,” Peter murmurs between kisses, his words random and uncalculated, “I think your tragic backstory’s way worse than mine.”

[lize-the-prophet]

Okay so I'm curious, aside from Aurora's (attempts at) potion making, what are hers and Clem's hobbies and talents?

Aurora:

-She likes making potion or... Trying her best at least.

-Despite gender dysphoria, she still likes to swim with Clem and Astor, even though Astor stays on the shore because of... Gender dysphoria. (Trans cultists lore goes woooshhh)

-She really likes books, mostly tragedies and drama in general.

-She has a beautiful singing voice, but she’s really insecure about it.

-She is very good at drawing and has a very distinct artsyle (a bit like Tim Burton style)

-Likes making jokes but it often turns into some dark humour stuff halfway.

Clem:

-Aurora’s first victim when she makes elixirs. He now knows where and when to hide to escape. (it’s a talent in a way idk-)

-He‘s also a book nerd but prefers comedy over tragedy.

-Unlike Aurora, he has a TERRIBLE singing voice. He’s aware of that and sings to annoy people (Astor and Aurora included)

-He has a talent to tell stories. He can make the most boring and basic thing ever into an amazing and thrilling story, but also make a comedy out of a tragedy and vice-versa.

-He also really likes writing, but never shown it to anybody. Because it’s very personal.

-He tells and invent jokes ALL.THE.TIME. Which are actually funny ! One day, he made a joke about turning into a Malice blob... IT WASN’T GOOD FORESHAOWING CLEM (could elaborate)

[communistkenobi-archive]

Hi! Of course totally ignore this if you want to and I know it’s not Star Wars but I was wondering if you felt like sharing what your fav parts of ofmd are so far? I’ve enjoyed it as a a pretty lighthearted comedy so far but haven’t been drawn in the way I’ve seen a whole bunch of other people be, so I thought I would ask your thoughts as someone who seems like they’re on a similar page.

Disclaimer that i haven’t finished it yet so my opinion might change (I’ve seen the first 7 episodes). In general I think it’s a fun show and I generally enjoy taika waititi’s style of humour. He’s very good at like, writing general buffoonery and incompetency, especially with a big cast where a lot of people are interacting with each other. However I notice with projects where he’s heavily involved, the characters’ comedic line delivery and manner of speaking tend to homogenise and that flattens the humour for me. Like a lot of the characters sound similar, especially in their joke delivery. Idk how he is to work with or his directorial style so I won’t speculate on that, but from the perspective of a lay audience member who’s consumed a decent amount of his work, it can feel repetitive. Which is why characters like Izzy and Oluwande and Jim and Lucius are the ones I ended up enjoying the most, because their roles are more to act as straight men/voices of reason to an otherwise deranged cast of weirdos, and I feel like they gave much more unique performances as a consequence. I’m not saying the other actors are bad or anything, everyone does a really great job, but I think a show like wwdits is a useful comparison point. It has a very similar style of humour, but the performances feel more unique and distinct imo.

(I’m looking through IMDb / Wikipedia and ofmd also had a decent amount of writers and directors in addition to Taika, so maybe I’m off base with this idk. I’m having a hard time describing exactly what I mean. I would have to probably rewatch it again to fully flesh out my thoughts but I have to finish it first lol)

I’m also just not particularly persuaded by the romance, it feels strangely paced and a little bit like forcing the end. And I genuinely enjoy romance in most shows and usually don’t need a lot of convincing to buy into romance plots, so I was sorta disappointed. Like overall the show is enjoyable and I like it, it’s fun and goofy, it just isn’t clicking for me the way it clearly is for a lot of other people. Which is fine! It doesn’t need to be for everyone.

[idanit]

possibly underappreciated Good Omens fics I enjoyed once upon a time

Indirectly inspired by a video series about fanfiction I watched, I decided to pull together a list of Good Omens fics I have bookmarked as stories I enjoyed, but which have less than 250-300 kudos at the time I’m writing this. No particular order. They’re accompanied by short excerpts from my private fic reading notes (not originally intended to be read by anyone but me, mind), sometimes slightly edited for clarity—and, sometimes, the comments I left on the fics.

This list sat in my drafts for a long time and the recent S2 announcement reminded me of it. I’d love it if it inspired you to do something similar! Spread the love.

And mind the tags, please.

△ = general and teen ▲ = mature and explicit 

thermodynamic equilibrium ▲ 7K the author has such an ear for dialogue and is unapologetic about what they want to write the characters like. They think of the characters as a mix of TV and book canon, but they feel like a homemade blend to me. (...) It’s very funny.

such dear follies ▲ 6K I can really picture this Aziraphale—Crowley as well, but her especially. She’s rather distinct. (...) Nice writing.

The Words Were With - △ 1.2K post-Blitz vignette, Aziraphale realizes what he feels and wonders if they're human enough for this. I liked it, and I liked the tag "transhumanism, but in reverse?", too—what an interesting idea. I'd say it's a vignette in a dire need of a follow-up, but, well, there's the show. The show is the follow-up. It fits very nicely within the canon and I totally believe it could have happened, like a deleted scene.

Gossip and Good Counsel △ 19K/? I love their companionship and how they're set up to be opposites by the management even though they get on pretty well. It feels very in keeping with the canon, but I feel like the fact that it's an F/F set in this particular time period adds a meaningful layer to the situation. It's women supporting each other in the world of men, working with the personas that are created for them, but, privately, being normal, well-rounded people. (...) and of course your writing is always a pleasure to read. (...) SDHDGDHDHDG Maisie is truly an Aziraphale.

Crowley Went Down to Georgia (he was looking for a soul to steal) △ 6K This was nice. Based on a song I didn’t know. Crowley goes to a funeral in the USA, one of a fiddler he knew and lost a bet to once. (...) The fic has not one but two songs composed for it and embedded inside it and that makes it even better. I really enjoyed the experience.

The Thing With Feathers △ 18K WARLOCK you'rE HORRIBLE AND I LOVE IT I would read an entire novel-length fic just of Crowley fighting his battles with Warlock. Written like this? It would be a blast. (...) The OCs are believably characterized and well-loved by the story. (...) Everyone seems to need a friend in this house. (...) This was so fun, and at the same time, their mission has weight here (...) We wonder about what the future holds even though we know it.

Here Quiet Find △ 11K This fic aimed for my head and the aim was sure precise. It was a story of Crowley sensing Aziraphale's distress and finding him in a self-quarantined English village in the seventeenth century, tired and anxious. It's hurt/comfort, so there was washing and bedsharing and I had to love it, so I did.

outside of time △ 2K Post-Almostgeddon, (...) nicely-written, short, but strung with a soft kind of tension and unspoken words. There's no drama, just "can we really", and "do you really" of sudden freedom. They fall into being inseparable. Book canon, which I like for this story (sitting on a tarmac). I liked the footnotes. There's a mention of Eliot. All in all, very much yes.

She'asani Yisrael △ 2K It’s Crowley going through a two-hour service and drinking blessed wine. He also keeps an eye on a boy he was asked to. It’s 1946. It was pretty good, so far the best Jewish GO fic, I think, from the ones I’ve read.

To Guard The Eastern Gate △ 11K  I loved it. You really made Sodom feel lived-in; the description of Keret, Hurriya and Yassib's house and relationship were great. I got attached to both them and the city (...) Aziraphale and Crawley’s interactions were generally very entertaining. I laughed (...) Your rendering of their voices just lands so well (...) But then oh, the entire ending (...) hurt, hurt a lot, and your descriptions are so vivid.

If you’ve been waiting (for falling in love) △ 14K AAAAA a good ending line. The whole paragraph, in fact. I love a good smattering of philosophy in my fics, and this was really nice. I can get behind Thomas Aequinus's and Crowley's view on eternity. It's (...) a pretty simple fic (...) - the courage to express yourself and take a risk is awarded with winning what was at stake by the virtue of reciprocity - but the way it was intertwined with a study of how they would experience a forever was done well. 

Holy unnecessary ▲ 2.2K It's well-written. (...) this is my type of sexual humour if I have any. So subtle. Blink and you'll miss it. Lovely.

The Parting Glass △ 17K Through the ages, they're dancing around their relationship until after the Armageddoff. (...) Wow, this was really, really nice. Very simple in its concept and nothing I haven't read before, but very well-executed. (...) AAAAH I LOVED the first chapter. I always like abbeys as settings, that's a given, but the banter, the good writing, the moral ambiguity!

Name The Sky △ 33K This Crowley is different, but very intriguing. Without his sarcastic talk, and much more animalistic. (...) I love how expressive Crowley is. (...) This fic has a very nice balance of drama and levity. I don't love Crowley-before-the-Fall stories very much, but with this execution I can read about it. (...) Okay I've read Crowley offering fruits, and even Aziraphale biting fruits, but the two of them sharing the apple? Outstanding. Ingenious. What a take.

A Flame in Your Heart △ 5K post-Blitz (why are so many dance fics post-Blitz?), they go to the bookshop and have an actually believable conversation. Then they dance the gavotte. It was really nice! Believable writing, emotions, the dancing! (...) Of course it's too early for them, (...) but the author's note? yeah.

Put down the apple, Adam, and come away with me ▲ 32K At this point it's just reading original stories with characters with names and some personality traits that I recognize. (...) I really enjoy this, the careful dance, the opposition between their views. (...) This is well-written, wow. (...) it's not an easy read (...) this story feels very believably 50s, but also reaches out to the present time. 

Liebestraum ▲ 10K/? It really is like music. I'm enjoying the writing a lot. (...) oh my actual god. This, this? Wow, uh. This came for my throat. (...) THE MUSICAL COMPOSITION, THE MOTIF RETURNING, THE AUTHOR KNOWS WHERE IT'S AT (...) Excellent. This hits the right beats so precisely, (...) and with feeling, too.

Down Comforter △ 2.4K and they lay down in angeldown, a soft rug ‘neath their heads– alright. Well, Crowley lies under Aziraphale's wing on a Persian rug after the Apocalypse, and they talk (...). It was sweet.

The Corsair of Carcosa △ 5K Crowley wakes up from a nap, visits Aziraphale for some drinking, and they read The King in Yellow that he happens to own. Good writing, so I'm bought. Aziraphale mentions Beardsley, so I'm bought twice over. My god, a discussion of etheral/occult madness? Caused by some wrong/true reading? Yes.

Very Good, Omens! △ 6K It's rather well-written, well-pastiched. People don't do that too often, nowadays - try to write in the style of a particular writer. (...) I love wordplay like this.

Reviving Robin Hood: The Complicated Process of Crème Brûlée △ 30K it's well-written (...), has a rhythm to it, and quiet humour. (...) Finally some nice, good, light writing. The attention to detail! (...) I'm still reading most of it aloud, the rhythm of it compels me to. (...) okay this does sound like Pratchett&Gaiman, the Good Omens itself (...) The fic is meandering, hilarious, sensitive in all the right places, and overall lovely.

my dear acquaintance △ 1K Oh. Oh. Yes, yes! Aziraphale in Russia, Russia I've never been in, but I can feel the snow and the evening of. Very real, and the bar, too. Attention to detail - vodka flavoured with dill, what on earth? Yes. He would totally have a distinct taste in operas and he would totally complain about a subpar one. I'm glad Tchaikovsky's there.

there is a crack in everything △ 1.8K This was good! Ah. Inspired by a comment (...), I went looking for Mr. Harrison and Mr. Cortese fics—really, what a big brain moment someone had and why have I never thought to look for them? This is Crowley getting suddenly anxious and Aziraphale going out of his way, through all his layers of not-thinking and denial, to console him. I also really liked how the Arrangement is a carefully unacknowledged partnership-marriage.

Scales And Gold And Wings And Scars △ 6K  No conflict, no plot, one tiny arc like a ripple on the surface of water on a calm sunny day - of Aziraphale discovering Crowley’s scars. It's the South Downs and it's early summer. They bask and swim in a spring. Non-sexual nudity, love in the air like a scent. Nice.

Nineteen Footnotes In Search Of A Story △ 0.4K This is a Good Omens story told only through footnotes. Your mind can fill in the gaps. Fascinating (...). Also, it’s an experiment so apt for this particular fandom.

Hell on Earth △ 6.5K Oh, I loved it! How could I not love it: it's Beelzebub-centric, it's historical, it has classical painting, and even a hilarious scene with a cuneiform phrase, as if I didn't enjoy this story enough already. There are so few Beelzebub fics out there and I find searching for them very difficult (I accept recs if anyone has any), and it's such a shame, so this was really like a gift to the fandom. I absolutely adore the way you portrayed them, small, frightening, powerful, and confident. Also, it was super fun to see how different Crowley seems when we're not in his POV or in a story about him and Aziraphale. (...)

Go Up to Ramoth-Gilead and Triumph △ 24K Daegaer is... pure class. (...) hdhdhdh what pfttt why you so funny (...) I love this Crowley. (...) This got unexpectedly intense. (...) I love the little nods to the fact that Israelites, especially the poorer ones, still believe in other gods. I also really like that they sleep on roofs. It's just the kind of detail that grounds the story and shows that the author is, in fact, a historian. 

[theoutcastrogue]

“The Song of the Young Prig”, a broadside ballad in thieves' cant

“Frisk the cly, and fork the rag, Draw the fogies plummy, Speak to the rattles, bag the swag, And finely hunt the dummy.”

This ballad was printed c.1819-1828, and collected in Musa pedestris, three centuries of canting songs and slang rhymes (1536-1896). Among the many ballads of that period which “engage juvenile convicts as their narrative voice”, this is an example of the satirical type (the other types being valedictory, betrayal, and confessional ballads):

In order to create a satirical representation, ‘The Song of the Young Prig’ is written entirely in ‘flash’: a form of argot or cant supposedly used by the beggars and thieves. The idea that a criminal class had its own unique sublanguage was often cited as evidence that they existed as a subclass to the rest of society. The exhaustive list of definitions at the bottom of the broadsheet, however, invites the reader to share in the humour of the language rather than be excluded from it. The list of crimes in which he jubilantly proclaims his skill, is mostly the writer’s attempt to demonstrate the humorous breadth of cant. [i]

V. A. C. Gatrell assumes it was reprinted from an earlier broadside, because it has "antique references to Tyburn and to transportation to Virginia". However, its language combines early thieves' cant with contemporaneous slang: prig is cant for "thief", dating from 1566 and the very dawn of English rogue literature, but rumbler meaning a carriage of some sort is strictly 19th century. So I think this version of the ballad is indeed from the 1820s, though of course it could be inspired or adapted from older material.

Gatrell also writes:

Although the highwayman and Tyburn tradition in balladry became attenuated or romanticized in time, reflections of its subversive postures survived in crowd behaviour right to the abolition of public execution in 1868. In blackguard ballads [...] we find a refusal to be defeated, a compulsive cockiness, a vaunting celebration of cleverness. To triumph over affliction, to refuse surrender, to reject mediocrity, and still to mock and laugh was to achieve the main distinction plebeian life could offer. [ii]

"The Song of the Young Prig" is indeed very cocky, and rather cheerful. It doesn't bite, like others of its kind, it remains happy to the end. And in the prospect of the gallows, which never fails to make an appearance in these ballads at least as a possibility, it simply shrugs: there's no queering fate, sirs (what a phrase!). Which means, you can't cheat fate, lads. So eh. Que sera sera.

Reading today a ballad written wholly in thieves' cant is a bit of a hassle, since going back and forth from text to definitions kinda spoils the rhythm, but if you stick with it, you'll be rewarded. The lyrics have an incredible swing to them. Enjoy.

The Song of the Young Prig

I [1]

My mother she dwelt in Dyot's Isle, [2]  One of the canting crew, sirs; [3] And if you'd know my father's style,  He was the Lord-knows-who, sirs! I first held horses in the street,  But being found defaulter, Turned rumbler's flunkey for my meat, [4]  So was brought up to the halter. [5]

                         Chorus:         Frisk the cly, and fork the rag, [6]            Draw the fogies plummy, [7]         Speak to the rattles, bag the swag, [8]            And finely hunt the dummy.  [9]

II

My name they say is young Birdlime, [10]  My fingers are fish-hooks, sirs; And I my reading learnt betime, [11]  From studying pocket-books, sirs; I have a sweet eye for a plant, [12]   And graceful as I amble,  Finedraw a coat-tail sure I can't   So kiddy is my famble. [13]

III

 A night bird oft I'm in the cage, [14]    But my rum-chants ne'er fail, sirs; [15]  The dubsman's senses to engage,  [16]    While I tip him leg-bail, sirs; [17]  There's not, for picking, to be had,    A lad so light and larky,   [18]  The cleanest angler on the pad   [19]    In daylight or the darkey.  [20]

IV

 And though I don't work capital,  [21]    And do not weigh my weight, sirs; [22]  Who knows but that in time I shall,    For there's no queering fate, sirs.  [23]  If I'm not lagged to Virgin-nee,  [24]    I may a Tyburn show be,  [25]  Perhaps a tip-top cracksman be,  [26]    Or go on the high toby.  [27]

Notes

Notes in italics are mine, I’m mostly drawing from the invaluable Green’s Dictionary of Slang. The others come with the broadside or were written by the compiler. [iii]

Said to have been written by Little Arthur Chambers, the Prince of Prigs, who was one of the most expert thieves of his time. He began to steal when he was in petticoats, and died a short time before Jack Sheppard came into notice. Internal evidence, however, renders this attributed authorship very improbable.

Dyots Isle, i.e., Dyot St., St. Giles, afterwards called George St. Bloomsbury, was a well-known rookery where thieves and their associates congregated.

beggars | canting crew = the underworld of professional thieves and beggars

hackney-coach | rumbler's flunkey = a footman who runs for four-wheeled cabs (rumblers) in return for tips 

halter: the noose used in a judicial hanging

pick a pocket; lay hold of notes or money

steal handkerchiefs dextrously

steal a watch, pocket the plunder

steal pocket-books

Birdlime = thief or thievish, equivalent to the metaphorical “sticky fingers”. In the Newgate Calendar we read that birdlime could also be a literal thieves' tool: “While a merchant in King Street was counting some money and bank-notes on a counter, a staff or small rod, overlaid with birdlime, was suddenly thrust in at the door, which having touched the notes, two of them were thereby carried off; and, before the merchant could pursue, the ingenious actor had made his escape.“ and "Again, he was very expert at the "whalebone lay," which is having a thin piece of whalebone daubed at the end with bird lime, and going into a shop with a pretence to buy something, make the shopkeeper, by wanting this and that thing, turn his back often; and then take the opportunity of putting the whalebone, so daubed with bird lime, into the till of the counter, which brings up any single piece of money that sticks to it. After which, to give no mistrust, they buy some small matter, and pay the man with a pig of his own sow.“

"Pocket-book" = reader.

an intended robbery

skilful is my hand

lock-up

gaoler

rum-chant = a song

run away

 frolicsome

expert pickpocket

night

To work capital = to commit a crime punishable with death. Previous to 1829 many offences, now thought comparatively trivial, were deemed to merit the extreme penalty of the law.

weigh one’s weight = to commit a capital offence [under an act of William and Mary the reward for the capture of a highwayman or coiner had been set at £40]

getting the better of

 transported [to Virginia; this couldn’t happen after 1776, however there’s another version of the ballad that goes “lagged to Botany B.”, i.e. Botany Bay. Penal transportation to Australia started in 1787 and went on for almost 70 years.]

be hanged

housebreaker

become a highwayman

Sources

i. Cameron Nunn (2015) ‘Come all you Wild and Wicked Youths’: Representations of Young Male Convicts in Nineteenth-Century English Broadsides, Journal of Victorian Culture, 20:4, 453-470

ii. V. A. C. Gatrell (1994) The Hanging Tree: Execution and the English People 1770-1868, p.144, Oxford University Press

iii. John Stephen Farmer (1896) Musa pedestris, three centuries of canting songs and slang rhymes (1536-1896)

[thanks-mike-stamford]

Fics that inspire my writing - Part II

This is Part II. Read Part I or Part III

Continuing the discussion, I grouped these fics together for something they have in common: author style! It was actually a bit hard choosing them because they are all written by authors who have a distinct style. Something in them that makes you recognise the author right away, that makes you think - oh yes, definitely is a story from this person. When you have a bunch of stories with the same kind of feel, it's hard to choose one to illustrate my point. Tip is: binge read the authors below!

Part II

I Used to Live Alone Before I Knew You by etothepii Back when there wasn't even s2 yet I was already reading stuff from this author. I absolutely love their fics. This one is super interesting, a Good Omens fusion book version - beyond numerous screaming posts on the internet I'm not really familiar with this universe.

Something I like in all their fics and it's worked beautifully in this one is that there's more than it seems under the surface. The characters are not an open book even to the reader, and the narrator (close Sherlock POV) doesn't give all the information. The narrator sometimes doesn't even explain the information we are given. The facts are presented piece by piece, building the layers of a character, making it clear that even if right now, for this story, it's not relevant, this person is a complex human being (or angel. Or demon) that doesn't exist solely for the purpose of the plot. Two factors help with this: the non-linear narrative, that permits we only know a part of someone when it becomes relevant; and the sort of omniscience of Sherlock. I say sort of because yes, he's a demon and he has access to the core of someone. He's able to fish for stuff that happened in someone's life and how they feel about that as a way to build their vulnerability to sin. However, this is not necessarily mind-reading or future prediction. He makes deductions based on the soul, let's put this way. But because he can't use it to predict exactly what is going to happen, he still gets surprised. Because the characters are layered, they are able to be consistent with what we know and yet unexpected, up until the end.

The combination of giving powers to the narrator and using non-linearity is brilliant, working to enhance the themes behind the plot, which are about the complexity of the human soul. I'm working on a WIP that has similar themes and I try to play with these aspects to make it smooth like this story, instead of a philosophical essay using voices of characters. I've tried the non-linear narrative in a published fic, but it didn't have the same level of success in serving the story. Let's see if it goes better when I try again.

What It Is by toyhto This author has two main things going on in their fics: the type of angst that makes you question yourself, and the type of humour that is not really about trying to make you laugh, it's a very weird type of humour. I love weird stuff.

This fic is not Toyhto's best angsty one or best humourous one, but it's one that creates a good mix of both, like a tragicomedy (but without a tragic ending). You have John not knowing how to feel about Sherlock, and Sherlock gambling possibilities on how to fix the situation. It's the narrative that fascinates me. The story keeps its cards close, the reader is often a bit uncomfortable, a bit wrong-footed. You don't know where the story is going (hell, sometimes you don't even know where a scene is going), so you keep hanging up until the end. There's an underlying panic in how characters interact, but it's never hysterical, it's never loud or obnoxious. And then you find yourself snorting in situations that shouldn't have been funny. Life is usually not one genre or the other, so why literature should be? I love that the story never tries to be something (sad, funny, intriguing), and yet it is. It's not easy to pull something like this.

I have a WIP currently on my drive folder where I try to play with this tragicomedy narrative thing. This fic inspires me in trying to keep the reader on their toes all while looking effortless.

Borrowed Ghosts by DiscordantWords DiscordantWords has been out there since 2016 showing how there's more than a way to fix canon. In fact there are multiple ways. This is the author you want to go if you watch the show and think eeh this should have gone a different way. There's probably a story in here which takes the same premise you thought about.

This one is just too incredible. Because it picks up right from a crucial point in canon and said - ok, what if everything still happened, but they actually make sense? For this story consistency is key, and if canon gave us a John Watson making bad decisions while nursing an unreliable brain work, that's what you get. But make it make sense! This is what happens when you are on a roll of bad decisions, this story tells me. This is what happens when you're isolated from what before kept you on track. This is what happens when on top of everything your mind is playing you tricks: they don't just stop because you decided to. That's not how it works. This story acknowledges the bad stuff, but to fix them it doesn't propose miracles, and it definitely doesn't ignore them. We get the consequences but we also get the process of change that is necessary for things to be good once again. Like John says: there's a difference between wishing something happened differently and wishing it hadn't happened at all. But it did happen, so now what?

Make it canon divergence but character consistency and twist it to fix it, it's what inspires me in this fic.

The Ancillus's Tale by Chryse I reiterate that everything by Chryse is a must, but everyone that follows me on twitter had to deal with me constantly gushing about their most recent work for months, so it will be this one here. I just have a lot of feelings about this fic. Oh, yes, omegaverse again, inspired by The Handmaid's Tale.

The one aspect that comes to my mind when I think about Chryse's works is dark themes. If I want to read about fucked up stuff happening, I will go to them. And this particular fix has fucked up stuff from the first to the last chapter. And it's very immersive: you get inside the head of whoever is POV at the moment, Sherlock or John. You get their physical reactions, their thoughts, you know what they know. And the world building is on point: detailed enough that is totally credible, you can see reality becoming that way, but it's not described to exhaustion. We are presented the info about what we need to know, and rest is there, somewhere at your peripheral vision where you know it exists but it doesn't become a nuisance to the plot. But more important than that, it's how the dark themes are treated. It's never on black or white situations, surprisingly, despite the universe setting. The characters especially - they are allowed to have conflicted feelings, they are allowed to misbehave even if they are supposed to be on the good side, they have nuance and complexity. And the cherry on top: just because it has a dark premise, it doesn't mean it can't have a super satisfying happy ending that even brings comfort to the soul after letting it being hurt. We get snippets of comfort, the promise it's going to happen all along the fic, to compensate the extreme suffering the characters are going through. It's glorious.

I have been toying with the idea of writing something on the dark side. In fact my next multi chapter is super fucked up (but as always, with the certainty of a happy ending), and I hope it can see the world soon. I'm writing with this premise in mind: characters are allowed to have conflicted feelings, and they are allowed to misbehave, that won't make them the bad guys.

This was part II! If you missed part I, just click here. Part III is up!

[coldtomyflash]

I've seen your speech pattern analysis on Flash characters. I was wondering if you had any advice on how to create speech patterns for OC characters?

oh heck this is one of the coolest questions i’ve ever received.

i’m gonna try not to go overboard/overwhelming and just give a bit of advice, and then if you want more details please come back and follow up!

There’s a few things to think about up front with character voices / speech patterns. The biggest and most obvious is language and cultural background. The second is personality. The third is personal history. Fourth, briefly, is gender. And the final one I’d say is idiosyncrasies to avoid ‘same voice’.

Culture and Group Dynamics

Depending on the setting, there’s a decent chance you’ll be writing characters from different cultural backgrounds. Even if you’re focusing on a single culture, there will be subcultures. Even if you’re focusing on a single narrow group of people, there will be age and generational differences.

Think about where your character is from. If it’s a fantasy world, that’s still (and even more, in some ways) important. What country, what ethnicity, what mother tongue? Did they grow up urban or rural? High socio-economic status or working class? What sort of educational background and peer group did they have growing up (and presently) and how does that factor into their vocabulary and mannerisms, if at all.

All of these can influence how people talk. There are regional accents and different modes of speaking to signal your group membership. There is code-switching across groups, for those who have had to learn multiple linguistics codes to survive and thrive in society. 

How much slang does this group and therefor this character use? What references (modern, outddated, topical, etc) do the rely on? What kind of references (pop culture, music, academic, etc)? What colloquialisms and proverbs do they say? Are these the same or different to their characters, even within the same culture, subculture, or group, and is it because they’re from a different place/sub-group or because of their idiosyncrasies?

You can use these to help your reader get to know more about your character’s background without having to spell it all out directly. Speech patterns and style are a great way to show instead of tell when it comes to details that are hard to drop in organically in other ways.

An important caveat: don’t write a bilingual character who switches languages in speech unless you’re ready to do a bit of research on that. In AATJS I did an absolutely horrific job of this because I was thinking more about fronting the fact that character was Italian rather than thinking through how people actually talk, and it came out exotifying and embarrassing. It’s important to make sure that the way you use language to bring in a character’s cultural and/or ethnic background feels authentic and manifests is a way that respects that language and its users. You can write a character with a complex cultural history without using multiple languages if you’re unprepared to do research and talk to bilingual speakers.

Personality

Probably the most salient thing in a writer’s mind when they’re trying to write character voices: is this the funny character? the serious one? the brainy one? etc.

Don’t overuse stereotypes and archetypes for creating speech patterns (or characters in general) if you’re trying to make a rounded, 3-dimensional character. Instead, go about three levels deeper.

Think about whether they’re introverted or extraverted, whether they are neurotypical or neurodivergent, whether they are introspective enough to express their own emotions clearly or whether they stumble when asked why they did a particular thing or feel a particular way (most people don’t or can’t clearly articulate exactly why they did something or how they feel, and come at things a bit sideways to circle around their motives and interior realities when pressed to make them external and concretely verbal).

Is this character calm, is their voice soothing, do they speak slowly? Are they excitable and loud and is their speech free-flowing? Are they angry? Do they swear? Do they use references for humour or are they more into puns? Do they laugh at their own jokes? Do they talk with their hands?

This character has social anxiety: how does that manifest in her speech? Does she clam up and get very quiet when she gets nervous, or does she go rapidfire and a little too loud (does she process by turning in or by distracting herself by turning outward)? Does she get very careful and deliberate in choosing her words (is she a bit high-strung?)? Ask yourself which fits best with the other elements of her personality and what you want the reader to know/interpret about her. 

This character is incredibly smart and a bit awkward: how does that manifest in their speech? Do they tend to use 5-dollar words, or do they expend a lot of energy choosing their words more carefully (how considerate are they to their audience when speaking and does that influence their speech)? Do they stumble over their words and explaining things, or are they good at making points with clear language learned from a lifetime of tutoring and helping others?

This character is the bff, who tries hard to make sure everyone else is happy first: how does that manifest in his speech? How does he switch between his happy-mask versus his more authentic self, and what changes in tone, word-choice, and inflection come in when he does?

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Personal History

I’m only drawing a distinction between this and personality (archetype, really) so that I can draw attention to ways to add simultaneously unique and shared layers to characters that are distinct but related to group dynamics.

Here’s sort of what I mean: the level of education of a mother (or primary caregiver) of an infant can determine that infant’s vocabulary size. While we can break down all the ‘why is that’ layers to this, the one I want to point is to the simple truth that the more education a person does, the more specialized language they end up learning over time. This doesn’t have to be formal education though -- the more you learn about something and the more you read and access new knowledges and perspective, the more and more words you learn, and then if you start using those words, they trickle down to those close to you.

So.

What’s your character’s educational background? Is it the same as their friends who you are also writing? Is the same as their family’s? How does this character’s family influence their speech? Are they formal, informal, warm, authoritative? 

If you’re writing siblings, they’ll have some shared things! But also some very different ones! Me and my sister talk nothing alike in terms of vocabulary, but a lot alike in terms of mannerisms whenever we spend a bit of time together!

If your characters grew up around each other, they’ll have a lot of the same references. People from the same cities or regions will have things specific to that region, either due to sub-culture effects or because of local references. 

The city of Calgary, Canada for instance has the Plus15 which are a connected pedway system between the buildings in downtown, so named because they are 15feet above the ground. Drive 3 hours north to the city of Edmonton, and you have an underground pedway just called the pedways, no special name. Go a few provinces east to Toronto and their underground pedway system downtown is called PATH. These are all known to locals and part of the vernacular, but are opaque to people outside those cities. And the whole idea of them is probably opaque to people who aren’t from super cold cities that don’t require building-connecting pedway systems for pedestrians to get around high-density areas like downtown (or university campuses) without going out into the cold. 

Friends, families, and groups are like that too. In-jokes, shared histories, speaking in references. What are your characters’ relationships to each other and how does that history influence the way they approach talking to each other?

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Gender

I don’t want to spend too much time on this one because ugh, gender. What even is it?

But like it or not, it has an impact on our speech patterns. There are cultural and societal norms in how men and women are likely to speak, and breaking those norms will be noticed regardless of whether you’re trans, enby, queer, or not. There are norms that people who are queer may fall into as well, sometimes without even noticing at first. A lot of these aren’t about word choice per se but instead about mannerisms and tone and body language, but some overlap or are specific to language.

Speaking in broad generalizations here, women use more emotional language and tend to speak with more hesitancies/qualifications. So more “i think, i feel” and less “it is”. More conversations that front emotions and dig deeper into those, with longer sentences to explain in detail. The obvious caveat is that personality matters more (i.e., is this a person who likes to talk about their emotions in detail or not) but it is something to consider because there will be general but subtle differences that you can use to help further distinguish your characters’ voices. 

Sidenote: this can also be exacerbated by different cultural backgrounds and languages (a simple example is Japanese which has different words for “I” depending on your gender as well as your personality, familiarity with the other persons in the conversation, and situational appropriateness, so interesting ways that gender and social expectations intersect in language).

Anyway this isn’t typically a huge problem except that I’ve found that a lot of writers have a tendency to overgeneralize the speech patterns that fit with their ascribed gender due to early-life socialization, or conversely to overgeneralize patterns that fit with their gender identity (when not cis) either due to heavily identifying with their gender identity’s speech model (or sometimes possibly due to a knee-jerk sort of backlash). I say this as an enby who both struggles with it and notices it and tries to edit and correct for it. 

I could get into all sorts of examples of ways this can lead to voice issues, but in general i think the point here is to make sure you’re writing any given character in view of that character’s personality and history, with gender only as a modifier for how some of these might come out in subtle ways but which can be important to help tell us about your character (and if you’re writing queer characters, it’s all the more important to consider how their relationship with gender and socialization might impact which speech models and styles they identify more with).

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Idiosyncrasies

So, you’ve got a character. You’ve got their personality and history down. You know how they manifest in their speech. And you’re still getting some ‘same voice’ issues.

People really are unique snowflakes. Let that be reflected in their speech.

This person uses contractions differently than that one. This one says “ain’t” and that one says “isn’t.”

This person makes Simpsons references and that one doesn’t like Simpsons, and makes Brooklyn Nine Nine references instead. That other one doesn’t use referential humour much at all. This one loves old movies and hasn’t seen any of the new stuff so they make references all the time but no one ever notices.

This one loves the word “excoriate” and that one doesn’t even know what it means because what the hell, who uses the word excoriate?

This one talks about food a lot, it overlaps with their interests. This one uses metaphors. This one grunts in response. This one exclaims. This one says “like” and that one hates it. That one refers to themselves in third person. This other one uses reflective language an usual amount (e.g., “love me some candy”). This other one keeps misusing the word inconceivable and that one speaks almost without contractions but still comes off as more charming and humorous while correcting him.

I have an aunt who says “girl” or “girlfriend” a fuck-ton and she has been my whole life and I don’t know why because none of her sisters do, but she does and it annoys me so much the way she says it. I swear a lot when I’m feeling casual despite never ever doing it in a professional or even slightly-less-than-relaxed space, so the idiosyncrasy of comfort levels has a massive impact on my vocabulary in ways which, I promise, almost no one who meets me first in a professional space expect.

Let your characters be individuals and try to make them as unique as possible without overdoing it, or over-relying on a single verbal tendency or habit. 

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And ... that’s all I’ve got for now. Completely failed at being concise. I meant to give like 2-3 bullet points or examples for each, not paragraphs, but here we are. That’s one of my verbal tendencies: long flowing verbosity :)

Hope this helps!