#he has his own problems

[aethersea]

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

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

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

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

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

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

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

however.

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

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

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

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

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

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

[radiance1]

Danny has been reincarnated.

Which was an odd thing to realize, it wasn't even a slow one he just... snapped into it one day. One moment he was staring at a wall out of boredom the next, well, he was staring for an entirely different reason.

It was a task for his now young -he thinks around three years old?- mind to work its way through the memories, but it wasn't like he had much else to do honestly. So, what does he know?

His name is Danny, like, his actual name and not just a moniker. He was once a halfa and he already knows he's going to be missing invisibility and intangibility. He, well, died. For like, a second time which actually makes sense because reincarnation-

Anyways.

He was a clone of two people from this thing called the Justice League which, weird name but probably some government or activist group. Wonder Woman and Superman. Which were pretty weird names to name your kids but eh.

He doesn't really remember much besides that from this life, or the one from before but he's an adult! He'll figure things out once he gets out of this containment tube thing.

Did he mention he was in a test tube? He's a tube baby now. He thinks? Or maybe it's more like he's being contained.

Whatever.

So he breaks out. Thank you apparent superstrength that he has no idea why he has but he's not going to complain! He then wandered around all of the other test tubes, able to remember just enough of English to see that yea, they're dead.

He probably was too, before he had memories zapped into him. Or a vegetable.

He then finds this really big container, checks it out, then opens it because the clone inside isn't dead!

'Project Match' it said. He'll just call him Match.

Was he thanked for helping him? Nope. You would think that he would be thanked or at least somewhat respected for saving this guy but nope!

He was, quite literally, held up by his leg and dangled in the air. Who dangles a three-year-old?! Well, he was technically and adult but still! The next few things were a blur but after pulling off the old Fenton charm he found him and Match outside as he tried to stop him from attacking random people.

Luckily the charms and privilege of the youngest (he's assuming he's the youngest, because he's physically three) was more than enough to get through to him. Sure, the guy couldn't form words, really aggressive for literally no reason, really weird but also absolutely cool looking eyes. But he worked around the first issue by developing their own personal language from like grunts and stuff, the second he once again used his youngest privilege to boss him around and the third a pair of sunglasses easily fixed.

He just had to steer Match clear of those random S crest mark thingies. Which was a weird thing to hate but hey, he's not there to judge.

[sunderwight]

Shen Qingqiu gets hit by a rare wife plot.

And it actually is a rare one because Airplane didn't even write this one down! He toyed with the idea before ultimately dismissing it as being too controversial for the tastes of his readers, and adapting only a few of the same elements for a subsequent chapter of PIDW.

But apparently the System can pull inspiration even from the author's thoughts, especially when there's nothing to contradict the concept and even a few threads of it still to be found in the original, and somehow Shen Qingqiu runs afoul of this previously-unwritten plot bunny.

The core concept was a cuck scenario, of all things. One of the Luo Binghe's wives gets afflicted by a poison that can only be cured by dual cultivation, but specifically can't be cured by by dual cultivation with anyone who has mastery over demonic qi. Something something conflicting energies, something bullshit something. Peerless Cucumber would have ripped the chapter to shreds if it had actually made it to publication, not just for the insult of implying that Luo Binghe should let one of his wives sleep with someone else, but also because why would Luo Binghe -- able to use both kinds of cultivation -- somehow not be able to keep his demonic energies from influencing the situation just in this one case?

Well it turns out that in his specific case it's because sex gets him too worked up to keep things strictly separate, and the degree of control required to treat the affliction whilst dual cultivating is extensive enough that even a little slip-up would be fatal.

Of course, in the actual chapter of PIDW, this same plot device was altered and used to create a harem orgy where Luo Binghe oversaw several of his wives "treating" one another's "afflictions", but Shen Qingqiu just had to go and get a fatal of dose of the more severe version (he didn't realize the risk, because again, this version didn't even make it into the novel).

Anyway, of course this ends up with Shen Qingqiu trying to figure out another way to cheat death, while Luo Binghe goes through the five stages of grief before accepting that he's just going to have to let someone else fuck his husband. This leads to an argument because of course Shen Qingqiu's not going to cheat on Luo Binghe, and he's especially not going to force one of his martial siblings to sleep with him, come on now, and Luo Binghe trying not to cry tears of blood while bringing himself to explain that a fair few of Shen Qingqiu's sect siblings would be happy volunteers for this task.

Shen Qingqiu's just like, well of course you think that, for some bizarre reason you think everyone wants to sleep with me. Bias is what it is. Really it's flattering Binghe but obviously every other person we know is straight, that's just statistics, and everyone in the entire cultivation world knows that Qi Qingqi would sooner chew glass than have sex with a man!

Luo Binghe, weeping now: Shizun please. This is serious. I need you speak words that make sense in the order you're saying them.

They argue, they reach an impasse, the clock is ticking. So Luo Binghe reluctantly turns to the most reliable source of information (outside of himself) on Manipulating Shen Qingqiu to Do Things That Are in His Own Best Interests -- Shang Qinghua.

At first Shang Qinghua is like, well I'm flattered Junshang but I don't think I could shoulder the baggage of fucking Cucumber-bro for you. But then Luo Binghe is like no I need someone who is way hotter and more capable than you, if Shizun is going to fuck someone else at my behest they're going to be TOP TIER so that when I fuck him better afterwards he's really impressed with me. Liu Qingge, obviously.

Not Yue Qingyuan, Shang Qinghua asks? (He'd take the insult a little more personally but honestly he's just relieved that he's not being asked to navigate this social minefield.)

No, Luo Binghe says. He's not 100% sure he could beat Yue Qingyuan in a fight even to this day, which in his mind also translates to not being 100% sure he could do sex better than him either, so Yue Qingyuan is an emergency last resort. He's way more likely to cry on Shizun too and Shen Qingqiu is into that shit, it's too risky.

Alright, says Shang Qinghua, and he thinks about it, and then he comes up with the beautifully simple solution:

Luo Binghe has to fuck Liu Qingge first.

Because of course the crux of the issue is that even with permission, Shen Qingqiu doesn't want to cheat on Luo Binghe. But in the twisted annals of his mind, Luo Binghe himself is still entitled to a harem, even if Luo Binghe is also happily monogamous in this life. So if he shacks up with Liu Qingge first then Liu Qingge essentially joins Luo Binghe's harem, at which point if Shen Qingqiu sleeps with him it's not an affair, it's the gay version of those fanservice-y 3P scenes that the wives in PIDW did. Shang Qinghua translates the concept as best as he can to Luo Binghe, who -- though slightly dubious -- must accept that so far Shang Qinghua's wisdom hasn't steered him wrong with regards to his shizun's eccentricities.

Luo Binghe's mission: seduce Liu Qingge, or at least convince him to have sex, or possibly to lie and (convincingly!) tell Shen Qingqiu that they had sex. That last one is the longest shot so he's probably going to have to just fuck him (Luo Binghe still underestimates how willing his husband is to believe that just about anyone would have sex with him).

Shang Qinghua's mission: convince Shen Qingqiu that he owes his husband steamy threeway gay sex or something so that this plan he pulled out of his ass doesn't backfire and get him killed.

[poorly-drawn-mdzs]

Bonus 13: Beware the Grapes of Wrath.

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[the-barefoot-hatter]

pediatricians are hard to find.

you aren't broken and other important things a triangle needs to hear

[sincerely-sofie]

Lamb: Hurry and get dressed, I scheduled a talk therapy session for you and the other Bishops and it’s starting in ten minutes.

Narinder: IT IS THREE IN THE MORNING—

[sexygayvampire]

hey does anyone else ever think about archon!dorian and lose their minds

[nomlioart]

yeah, here's the comic from december 31st that i mentioned, a little angst/comfort to make your day, enjoy <3

[rafesbbyy]

Thinking about the fact that in s1ep6 when Barry burns Rafe's arm, poor baby probably had to bandage himself up all by himself. It just makes me so sad for no reason because Rafe's always alone and he literally has zero support system. And, his hands were shaking when he attempted to steal from his dad's office and when Ward catches him, he doesn't even look concerned or notice the burnt arm of his son??? Something about that just makes me so mad and sad like wtf. Rafe needs a big hug, man. I soo wanna be his stress reliever, his balm that calms him and more. I am literally not normal about this man. Like imagine someone burning ur arm on a fucking motorbike and having no one to turn to but yourself :(

[s0fter-sin]

soap's whole deal being sniper and demolitions gets me going bc on the surface they sound so different but when you get into it, you realise it's bc soap's smart

sniping is all math; calculating distances and wind interference and bullet drop. something i think people overlook is he was listed as a sniper first so it can be implied that he's better at it than demolitions. he does more sniping in both campaigns than demolitions work; in capture or kill, ghost specifically calls on him to take down the aq snipers

and demolitions is math with a hit of chemistry; knowing what mixes with what, knowing how much to use, recognising environmental factors and adjusting accordingly. it's not just about the boom; so much work goes into contained/ planned explosions. especially when having enough power for a breacher charge and not bringing down the whole building is the difference between mission success and failure

the chemical bombs he makes in alone can't just be any old cleaners, they have to have the correct reaction to each other; he just knew off the top of his head what would mix with what to create what reaction. he would also potentially have to recognise them by sight/smell bc they would’ve been written in spanish

soap would also have to know architecture; recognising structural integrity and weak points so he knows exactly where to plant a charge to bring it down and how it'll come down

he has an incredible soldier's mind people just forget that bc he's sociable which itself is a skill

we know he tends to buck against orders he doesn't agree with like when he pushes back against ghost in capture or kill and shepherd when he tells them to release hassan

he gets closer to people and sees if he can trust them and that's when he follows them without question. really think about how he talks to alejandro and rudy; he asks about their home and alejandro's family and rudy's relationship with him. those aren't questions you ask a stranger after a few hours of knowing them. that's not even touching on his relationship with ghost

he also deliberately brings people of higher ranks down to his level; talking informally with ghost and giving him a shoulder punch, addressing alejandro (a colonel!!) by his first name and rudy by his nickname despite literally just meeting them. he personalises all of them and it’s in direct opposition to the reason most characters do that; it’s not due to insubordination or lack of respect, the more he respects and trusts someone, the more casual he is with them

he digs into people; he wants to know what makes them tick and that determines if he can one, trust them and two, follow their orders. once he decides that, he's the ultimate soldier; he bleeds loyalty which makes him vicious when that loyalty is taken for granted

he isn't naive or bubbly or insecure; he's an incredibly smart and aware soldier. he's aggressive and bloodthirsty and loyal and intuitive and i love him so much

[scruncheduppaper]

drew this bc because i hate sitting thru chapel

[franstastic-ideas]

Every single time someone refers to Volo as a sadist or a cult leader, they owe me fifty dollars.

Every single time someone attempts to claim Volo having a Togekiss and Lucario on his team doesn't hold any significance, it's simply because Cynthia does as well, they owe me five hundred dollars.

I've never actually seen anything quite like how the western side of the fanbase treats him... Usually, you have to be a female character "in the way" of the popular yaoi pairing to receive this level of mischaracterization.

[moonsnqil]

aftg au where bee adopted andrew and later aaron when they were teens. she owns an apple orchard that the twins and occasionally a few of the foxes help run but it's almost harvest season and she needs help prepping everything for the town's fall festivals so she decided to put up a help wanted ad. neil, tired, alone, and running out of options, decides to apply. bee let's him use the renovated barn loft as residence when she learns he's homeless. andrew is wary, his family means everything to him and neil is a flightly little thing that could only bring bad news, but something about neil is familiar. maybe it's how he checks all his exits or how he flinches when people touch him or how he cradles the key bee gave him in his palm like it was a treasure instead of a piece of metal. he asks neil for truths and it's like bleeding a rock but he finds neil is more willing when truth is reciprocated. they spend their days walking down the lines of apple trees, harvesting and talking, and andrew is only a little mesmerized with the way neil's auburn curls blend with the red of the apples and his eyes match the sky like something deliberate, like he was meant to be here. andrew thinks that maybe he doesn't hate how neil looks at him like he's worth something. andrew thinks that maybe he doesn't want to lose this. he's still learning how to accept that not everything is transactional, he doesn't need to make deals to keep people close, hes still figuring out how to want things without the fear of them being snatched away. his mind screams at him to turn away and push any feeling aside but then neil is handing him an apple and smiling and telling him stories he says he's never told anyone else and andrew doesn't think he deserves this but he wants it

[poorly-drawn-mdzs]

Introvert adoption

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[turtleblogatlast]

[ cw: death mention / strangulation mention / stabbing mention / blood mention / self-sacrifice / codependency mention in tags / ]

I think a lot about how common it is for Raph to be the one to have direct focus put on him when Leo gets into all his near death experiences.

Like, when Leo is thrown off a building, it’s Raph who’s right there jumping after him, not even thinking about the consequences to himself when he does. When Leo almost gets skewered by the Krang, Raph’s right there to take the blow and send Leo to safety without a second thought. When Leo’s being strangled to near death, it’s a Krangified Raph doing the job, doing exactly what Raph would never, ever want to do. When Leo is telling Casey Jr to close the portal, it’s Raph who tries desperately to convince Leo otherwise.

Likewise, Leo is consistently very single minded when Raph gets forcibly separated from them. Both when in the sewers and by the Krang, Leo is dead set on finding Raph first and foremost.

I also think it’s interesting that during each of Leo’s near death experiences, the lightheartedness of his words during them goes directly hand in hand with both how close Raph is to him physically and how much danger Raph is also in in that moment. From a literal “I told you so” as Leo’s falling away from Raph to a soft joke about how “hero moves” are Raph’s style - both of these are on the more morbidly carefree side and both of these notably take Leo farther away from Raph and, in turn, have Raph not in immediate danger.

On the other side of things is the apology from Leo, heedless of the danger he himself is in as he seriously and genuinely speaks to a Krangified Raph face to face. Then there’s Leo’s freezing and desperation as Raph takes a hit meant for him and sends just Leo to safety, leaving Raph himself behind. Both of these involve much closer proximity and Raph being directly harmed - these together make Leo much more vulnerable in his words and actions, something not even the threat of death can make him.

These two care about each other so much, and they’re way too much alike for their own good.

[starcurtain]

I don't have the time at the moment to write a full essay but someone should definitely remind me to write a post later on the phenomenon that is Ratio's assholery being sanded away by well-meaning fans.

In a quest to fight against the "Ratio is a condescending jerk" stereotype from Ratio haters, pro-Ratio fans have now swung too far the other way, making him into a saint who loves everyone, isn't disdainful of failure, and believes every single person can equally pull themselves up out of mediocrity.

None of those things are actually true based on the game itself, where Ratio is, in fact, a judgmental person who struggles to accept the mundanity of those around him, believes in an educational elite, and can be exceptionally condescending, whether he means it or not.

He's a flawed character. His own flaws are absolutely central to his character, in fact. And yet none of his flaws preclude him from being meaningful, nuanced, and likeable.

It's okay that he's not actually that nice.

In defending a character from one extreme ("he's a bad person"), we don't have to jump all the way to the other side ("he's an angel").

He can be a little bit of a dick and still be a great character, promise.