#he has his own story

[geikurre]

Smells like teen spirit 🎸

[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.

[ellenchain]

kissing the trauma away

[cheesenchalk]

i never know how to phrase it but something about the way beatles biographers and people in general view paul's reflexive placating persona and determination to smooth things over as manipulative or duplicitous and john's reflexive barbed persona and habit of lashing out as brave and subversive despite both being equally defensive mechanisms to shield themselves from the world that resulted in them saying things that weren't true says more about how we culturally view kindness or friendliness as inherently untrustworthy or flimsy and anger and carelessness as more believable as someone's true nature than it says about either of them in actuality

[alicornze7]

Silly guys goin' on silly adventures:]

@rorydrawsandwrites's puppeteer au but the only difference is that jax gives consent

My contribution to this wonderful au has been long overdue:')

Rambling in tags ehe (cw: ribbun:p)

Well maybe it's not the only difference

[aalghul]

"jason was better off dead and haunting the narrative" he was an afterthought brought up as nothing more than a cautionary tale for the vast majority of his appearances while he was dead. very rarely was he ever brought up with love or with the memory of he really was as a person at the forefront. you can just say you don't like jason instead of pretending jason was respected while he was dead

[curseofdelos]

mentally I'm still here:

Nico insisting that neither of them are going to be sacrificed/left behind to satisfy the prophecy is a perfect encapsulation of his growth over the series and it makes me SO soft to think about

Nico as a character - particularly in BoO - doesn't have a lot of self-preservation. He doesn't really care what happens to him as long as the mission gets done. We see this most explicitly after he almost fades into nothingness after the Bryce Lawrence incident:

And again when he considers shadow travelling into Octavian's tent to assassinate him:

(Nico himself notes here that it was unlikely he would survive another jump. If Will hadn't stopped him, he probably would have died.)

In both cases, Nico was willing to risk death for the sake of ending the war. He puts very little value on his own life, and repeatedly argues to Reyna, Hedge, and Will that the possibility of saving camp (a place he never felt welcome at, might I add) is worth the risk of losing his life.

Even before Nico went on the quest with Reyna and Hedge, the others were concerned about his safety. Percy tried to remind him how unpredictable his shadow travelling could be, and Hazel notes that he has been acting strangely lately:

It's not quite clear what Hazel is worried about here, but my interpretation of this scene is that she's concerned that Nico isn't thinking - or perhaps, isn't caring - about what effect the constant shadow travelling will have on his wellbeing. Between Tartarus, the jar, and the Cupid incident, Nico's mental state is at its worst at this point in the series, and I think Hazel is worried he'll do something reckless - something he can't come back from.

And so in TSATS, when Nico is told that he's going to have to leave something of equal value behind in order to save Bob, the old him would have had zero issue sacrificing himself if that's what it took to ensure Will and Bob's survival. This version of Nico, who's been going to therapy w/ Mr D and opening up more and built a little support system for himself, can't fathom it.

Nico in BoO did not have a future. He had fully convinced himself that nobody cared about him or would miss him if he was gone - not Percy who fought for him at every turn in PJO, not his sister Hazel, not his new friends Jason and Reyna. He was ready to leave both camps behind because he couldn't see himself ever being happy there. He couldn't see himself being happy at all.

But now, in TSATS, he has a boyfriend that he loves, he has friends that he loves, and he has a community in Camp Half-Blood. He has experienced so much loss that losing someone else is his worst fear. The old Nico would have considered sacrificing himself to protect Will and Bob. At the very least, he would have kept that option in his back pocket as a 'just in case'; he wouldn't have sworn on the Styx that he wouldn't stay behind.

This Nico, however, is doing much better - not perfect, but better. He loves Will, and he wants a life with him, and he's not willing to give that up for anything. Nico has hope for the future, and he's clinging to that hope with everything he has. He sees a light at the end of the tunnel, and he wants to reach it. He's not willing to sacrifice himself because it means losing that future.

Gone is the cynical pessimistic Nico who assumes the worst because the worst is all he thinks he can have. Here is the Nico who has had a taste of happiness and is willing to fight to keep it. He's not going to sacrifice himself because he wants to live. He's not just fighting for Will here; he's fighting for himself too.

And seeing him go from "if it kills me, it kills me" to "it's not going to be me" makes me so ASDFGHJKL

[rmbunnie]

It's most likely just Starlin trying to get to Jason dying faster because he did not like Robin, but the whole "Jason's spiraling because of his grief for his parents" thing they were trying to spin was honestly really weird, not supported by the rest of the run INCLUDING the parts Starlin wrote, and kinda reads like an unreliable narrator situation because all of the information supporting it is given through Bruce's narration, him speculating on Jason's thoughts and actions.

The plot thread of Jason's grief for his family affecting his behavior shows up like TWO issues after Jason first becomes Robin back when Collins was writing, and gets sorted out after one conversation where Jason gets to confront Bruce about hiding his father's death from him for 6 months. After that Jason is behaving normally until they encounter three predators in a row, and each time Bruce insists that they can't do anything because of The Rules and assorted red tape/diplomatic immunity plotlines. (The sister of a woman who got dismembered actually tricked the violent-misogynist killer who dismembered her sister (and then got his serial killings dismissed through a technicality) into attacking her, and ends up killing him in self-defense, and then Jason's like "seems fair" and Bruce is like "no. it's NOT. we need to follow laws and not take justice into our own hands. which like wtf Bruce! you are a vigilante who just used a custom tank to fight an evil televangelist! who then got ripped to shreds by his followers while you watched!)

Bruce kinda just decides with Alfred that it must be grief upsetting him and not the dozens of brutally killed women and their predatory killers who the law inexplicably protected, (all written by Starlin, so retconning it for DitF like five issues later would be an odd move) but the only text claiming that's why Jason was upset is from Bruce's POV and through Alfred's dialogue. Jason himself doesn't display any signs of grief in the story itself, or even act or speak in a way that alludes to Catherine and Willis beyond looking at a picture of them and smiling fondly while he sorts through their possessions. He kinda just happens upon the box with his mother's info by chance, and is like ok i guess we're doing mom searches now. He was only going for a walk through his old neighborhood, not actively searching out info on his family. When Jason is deciding whether or not to run off without telling Bruce, he considers telling him and then goes "no, all he cares about is being Batman, he wouldn't even understand why I want to see my mom." Which, I mean, "Bruce wouldn't get it" is a REALLY odd angle if the sole motivator for spiraling, then getting benched* and running away to search out his bio-mom, was because he was mourning his dead parents, a thing he notably has in common with Bruce. That statement only really makes sense if he's thinking about a different thing that was greatly upsetting to him that Bruce brushed past, like maybe a combo of hiding the murder of his dad for half a year and allowing several cases involving sexual violence to freely develop body counts in the name of the law.

Lots of people have written about how Jason's stay in the manor might have seemed dependent on being Robin with how he was kinda just scooped up, but (if we're including Detective Comics in our characterization,) Bruce had offered to let him resign from Robin and just live with him (a little late, but still. It's worth noting Batman proper shows Jason afraid and uncomfortable at the thought of Dick taking Robin back, which lends more merit to the housing-dependent-on-Robin-misunderstanding interpretation, but canon is pick and choose anyways.) The lack of trust involved in his choice to search out his mom kinda reads like it was bred by more than that alone, and Bruce's prioritization of the law over the protection of the people it ignores is notably upsetting to him in the prior issues. tbh I really do believe the outcomes of those cases could have informed Jason's stance that Bruce's method of justice is ineffective right alongside his own murder and his experiences in Lost Days.

It would make sense for Bruce to not consider his own actions while he's thinking through things that would upset Jason, because from his point of view the things there that were bothering Jason were the criminals alone, not the way that the methods with which they were approaching their crimes continually led to the perpetrators evading actual justice. During the point in DitF where he's thinking through motivations for Jason's running away because something isn't adding up for HIM, the idea doesn't so much as cross his mind. It would also add another layer to Jason's sulkiness upon Bruce's arrival if he held the belief that Bruce is ignoring the consequences his brand of justice has on victims (and the way it's affecting him to helplessly watch it play out), starts to hope that Bruce actually can understand his thought processes/relate to him when he shows up, only to be told to his face that Bruce is prioritizing his style of justice over Jason again. With the way everything that led Jason to his bio-mom was comically circumstantial and the context of the previous issues, it's kind of the ONLY way Death in the Family makes sense to me. Tldr: I feel like the grief claimed as reasoning for Jason's actions leading up to his death is mainly speculation from Bruce and Alfred and the more textually-supported reason for his erratic behavior and lack of trust in Bruce is the lack of intervention in several sensitive cases that led them to worsen unobstructed and eventually permitted them to escalate into casualties in 2 out of 3 cases.

*Also, side note, but the idea that Jason got benched for the Filipe situation, while perfectly reasonable, is not quite spot on. The Filipe situation escalated into the fight in the junkyard where his dad is crushed by a car and Bruce is all "everything you do has consequences" which is kinda big words for a guy whose lack of action indirectly lead to a girls death earlier in the storyline, but true. Jason actally gets benched because he jumps directly into gunfire while fighting the third set of predators and Bruce starts to worry he's getting a little suicidal with it. He baits a guy into shooting at him on purpose again trying to protect mom prospect number 1 later on in DitF, so Bruce might have had a point with that one.

[gummi-ships]

Kingdom Hearts 3 - The Caribbean

[poorly-drawn-mdzs]

Market based mistakes.

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[terrorgirls]

Armand + "Bad Faith"

Sartre explained: From bad faith to authenticity, David Detmer // Interview with the Vampire // Being and Nothingness, Jean-Paul Sartre

[part one]

[mohntilyet]

they hated illario because he was a d1 yapper who was bad at assassinating people and was so annoyingly drunk and grief stricken at his cousin’s wake that viago had to drug him to shut him up (so what if he was also the guy who set his cousin up to die/disappear) . and also for working with the venatori and selling out the antivan crows i guess.

[starry-bi-sky]

yall ever think Shen Yuan went through like, internet withdrawal after being transmigrated into Shen Qingqiu? Like, he's canonically a NEET shut-in who did nothing but spend his time online, you can't tell me that for the first week or first few weeks of being SQQ he wasn't twitchy.

Like, reaching instinctively to his pockets for a phone that wasn't there, having an obsessive itch in the back of his mind that he should check and see if X or Y novel or webcomic has updated -- only to realize he can't anymore and being irritated by it. Wanting to go and see if there's new posts about this or that, but again realizing that he can't.

When he's bored or uncomfortable or just feels like wanting to escape he tries to go for his phone to distract himself, but oops! Not there anymore, and now he has to find a new and different way to distract himself from his feelings. And going through system notifications, quests, etc only does so much.

And there's that Tetris Effect too. SQQ makes a mistake while writing and instinctively goes to backspace on it except hey-ho that's not a keyboard and now he just dipped his pinkie into a bottle of ink or on a still-drying letter.

With him scrambling to fix his reputation and learn how to be a peak lord, I think his abrupt cold-turkey from all things internet would just be another straw on the camel's back that he promptly Ignores until it goes away on its own after he acclimates to his new surroundings.

[a2zillustration]

Part 2 of 2

Thanks for tossing me the ball on this one Larian I am now running with it at mach speeds.

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[[ All Croissant Adventures (chronological, desktop) ]]

[[ All Croissant Adventures (app) ]]

[phoenixkaptain]

A story like Thousand Autumns is very subtle in its romance.

Shen Qiao has only ever known his sect. He knows it very well, because of this fact. He knows the people, he knows the rules, he knows the daily doings and who is doing them. He knows every blade of grass and every stone. He’s like a lonely mountain flower, on the highest peak, unseen by any but a few birds and unknowing that there’s more it might never know.

When he finds himself away from his sect for the first time, he’s confused. At most, he’s gone to the base of the mountain, maybe the fields surrounding that, but no further. The flower was plucked and tossed aside.

For a man stumbling blindly in the world, literally and figuratively, there really isn’t a better guide than one that knows just about everything. And that’s, without a doubt, Yan Wushi.

Yan Wushi has lived longer than Shen Qiao, has been more places than Shen Qiao, and has fought more battles than Shen Qiao. Yan Wushi is the perfect example of something out of reach even for someone out of reach. He’s the only one who could answer any questions asked of him, but especially the questions that Shen Qiao would want to ask him.

And there’s no question in my mind that Yan Wushi doesn’t fall for Shen Qiao at first sight, but he’s certainly attracted to him. Not in an overtly sexual or emotional way, but Yan Wushi, the way his character is set up? It’s impossible for him not to be fascinated by Shen Qiao.

He knows Shen Qiao is the very picture of a peerless immortal. He’s well aware that Shen Qiao is considered untouchable by even the people closest to Shen Qiao. He’s most aware that Shen Qiao is Qi Fengge’s (coughhndisputedcough) favourite disciple, and honestly that’s enough for him to overwhemingly want to mess with Shen Qiao.

There are a lot of reasons for Yan Wushi to fall for Shen Qiao. Most of the people in the novel fall for Shen Qiao, after all, there is a precedent.

But the one I’ve seen questioned is Shen Qiao’s affection for Yan Wushi. Where does it come from? When did it start? Does Shen Qiao even fucking like that asshole?

The easy answer is: yes, he does. The novel tells us that. Shen Qiao, despite everything, does fall for Yan Wushi’s, um, “charms” in the end. This is made clear.

But why? A thousand voices cry out. Why the fuck would any reasonable person like Yan goddamn Wushi in any capacity?

Well, there’s your first mistake. Shen Qiao is not a reasonable person.

Shen Qiao as a character is absolutely terrifying. He could absolutely destroy the world given half the inclination, but he just doesn’t want to. He’s already considered unmatched before he’s pushed unceremoniously off of a mountain, and his journey only increases his strength. He isn’t quite equal to Yan Wushi, but he’s the only person Yan Wushi ever sees as equal to himself.

Shen Qiao’s best and worst trait is his patience. He’s unwavering. He really just embodies taoism, especially as it’s presented in the novels. He is the picture of a river that doesn’t stray from its path.

Which is why it’s hard for him to reconcile his own attraction to Yan Wushi, but let’s all be clear here. Yan Wushi absolutely starts seducing Shen Qiao on day fucking one. If he could’ve (if Qi Fengge hadn’t been there) he would’ve tried to eat that cabbage when it was just a little sprout. Shen Qiao is unpracticed in most social interactions, to be frank, but he’s especially unused to romance and Yan Wushi really is his first introduction to being hit on.

Yan Wushi is far from good, at really any point, to anybody but especially to Shen Qiao. But that doesn’t particularly matter because Shen Qiao chooses to forgive him, again and again. And I really think, after giving Shen Qiao to a confirmed terrible, awful person who has already promised to do terrible thing to Shen Qiao, that Shen Qiao himself wouldn’t forgive literally anyone else for doing that. And he shouldn’t, because it was really fucked up, but that still doesn’t matter because Shen Qiao ultimately DOES forgive Yan Wushi.

What am I saying? I’m saying that Shen Qiao fell for Yan Wushi first. It is the only way the story makes any sense. Shen Qiao is annoyed at him, he’s furious at him, he’s so fucking pissed he could kill that man, but he likes him. He likes Yan Wushi’s company. He likes that Yan Wushi gives him a challenge. He’s exasperated, but he likes it.

Shen Qiao forgives Yan Wushi SO MANY TIMES. Yan Wushi humiliates him and mocks him and is the absolute worst, but Shen Qiao forgives him and more than that, Shen Qiao always is waiting for Yan Wushi to come back to bother him more.

Is there more to Shen Qiao’s attraction? Probably. Is it a daddy kink? It could be. But I honestly can’t help but read it as Shen Qiao falling for the absolute pits of a man that is Yan Wushi. Shen Qiao likes that old bastard and decides to spend the rest of his life with the fucker and he is just too much of a block of ice to show it.

[iguessthisisanewobsession]

Tim was four days into a sleep deficit so he felt that to say that this predicament was his fault was a bit of a reach.

For it to be his fault he would have had to cognizant of the last 16 hours.

All he wanted to do was take a power nap in the nearest closest durring the Waynetech gala but nooo Bruce had to be taken hostage by the Joker.

So he did what he thought would work best and shoved uncle Clark into the nearest emergency bat storage and told him to suit up.

Maybe he looked a bit more confused than normal but they didn’t need a reporter they needed Batman!

That being said wasn’t uncle Clark supposed to be off-world?

Oh no.

———————

Jack honestly had no clue what was happening for the last six months so when he was told to be Batman he merely just shrugged as the frankly exhausted teen left him to his own.

With his son turning out to be part ghost to the government hunting down his said son and having to move shop halfway across the continent.

This might as well happen.

Grinning like a kid on Christmas, Jack plopped on the finishing touch.

“Oh Danno is not going to believe this!”

Raising a cloaked arm with a flourish Jack struck a pose.

“Alrighty Jack enough messing around! Time to save the party, Fenton style!

Shifting his feet, Jack took a deep breath before smoothing his face the best he could. After all, couldn’t have a smiling Batman! Before walking out the room and taking running leap through the wall to the streets of Gotham before grappling to the nearest building.