#he was made for stuff like this

[ilovemesomevincentprice]

Vincent Price as Egghead - Batman (1966-67)

[hinamie]

I'll give them shelter like you've done for me

[ciderjacks]

dad issues

+

(I think they were all fundamentally affected by what they saw and just collectively decided not to share the upsetting details)

[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.

[fumifooms]

Omg guys he just genuinely likes bugs and mollusks and critters 😭💘💔 Forced to noble when he just wanna crouch and watch things skitter in the dirt…

[idiotsonlyevent]

i wonder where the idea of chilchuck being a deadbeat came from when theres like. no textual evidence for it ?

he knows what all of them are up to; he still writes to flertom and she sent him his neckwarmer, so that to me implies that they at least have a somewhat positive relationship?

its more ambiguous with meijack and puckpatti, but since meijack is also a picklock, i wouldn't be surprised if he taught her himself, considering how trades are often passed down through families, and because he talks about sending people to her if he dies.

also the way he talks about puckpatti is very like... it's obvious he wants her to take things more seriously, but he's accepting, and his tone here reads more fond to me than anything else.

like, he keeps his daughters' old toys under his desk? that doesn't scream 'deadbeat' at all, it screams 'empty nester' who doesn't know how to reach out or is scared to do so

EDIT: i know a lot of the 'deadbeat dad' stuff is jokes, but some people are Not joking and genuinely think chilchuck is a bad dad. this post is not saying that you cant joke about it; it is just outlining what canon shows regarding his (clearly positive) relationship with his kids.

[koipepo]

That omake of little Kabru not being able to show off his howetown sweets because of Misril gets to me a lot so...

Here's a happier Kabru (and Lairu)

[tornado1992]

A lot of Tails’ stuff being blue, most of Sonic’s belongings having a hint of yellow.

[cyandocs]

17th Century Gaydar

With @canisalbus's characters Vasco and his QPR wife Ludovica. Consider this a Headcanon but I imagined they were likely set up as like, teens- maybe not fully arranged marriage, but marriage was heavily implied with their courtship. So here I imagine them as like 15/16 which is why they're kind of smaller and scruffier, as well as having their outfit colors a little lightened. Also Ludovica in cute ear bows moment. I THINK this is my first more or less official online artist fan art??? I hope I did them justice.

*edit forgot to color in Vascos hands consistently my bad **EDIT I CANNOT BE TRUSTED TO POST ART WITHOUT FORGETTING SOMETHING

[theswedishpajas]

Just take it from me.

[time-woods]

EMOTIONAL WIN ! ! the bug lets his emotions make decisions for once !

[quirkle2]

a labor of love about milk. there are other things too i guess

[prisma-palace]

modern au where nobody can take photos of tango ever cause his eyes do that thing where they light up red in every single photo no matter what lighting

skizz has like 5 different photos of him where the only thing you can see is glowing red eyes at the end of a dark hallway

[somewhereincairparavel]

'i hate jason grace because he thought he was worthy enough to compete with percy' I'm sorry have y'all SEEN jason. this man defeated a TITAN without weapons and his bare hands to the point the titan wanted to rise from the UNDERWORLD with the help of a GODDESS to seek vengeance over him. I think we can cut him slack for having some well deserved self respect bc I'd brag too wtf

[un-pearable]

ngl one of the most useful things i’ve internalized from doing art online is never tell people what to criticize. don’t preemptively apologize for things or point out where you think you fumbled, it’s just priming people to notice minor issues that might not actually matter and hit you where you’re sensitive and throw you off your game. don’t tell people your weak points. if it’s a genuine problem they’ll point it out

[forgettable-au]

END OF CHAPTER ONE

FORGETTABLE-AU (Page 65-72)

* Time to put this puzzle together.

[BEGINNING] [PREVIOUS] [CONTINUE]