#i struggled with not just. describing their characters in Simple Terms

[your-absent-father]

Children in writing: my personal pet peeves

Okay, some might know that I work as an elementary school aid, done it on and off since I was 19, so I have the credits lol. Last december I even got my trade school papers for it. I preface this this way bwcause I have worked with shitton of kids, and will in a future. My background also means that I am very quick to notice when people don't interact with kids that much.

Even the savant syndrome kid is still a kid

One thing that annoys the hell out of me is when the 8 year old smart kid character acts like a 32 year old with all the emotional cababilities it entails. Yes, some kids have an higher intelligence, emotional or otherwise, but in the core of them, they are a kid. They get temper tantrums, they are in awe of new discoveries, they love to play in their own way.

For example, the class I'm in now, we have a kid I will call James. James is raised by his grandparents and it shows in everything he does. He is an old soul, always getting striaght As and almost helping the adults in conflicts. James also giggles as I race with him during recess, he sulks like a kid after not getting what he wanted and laughs really hard at fart jokes. He is 8 even if he has an emotional intelligence of an older kid.

Children are sponges, in bad and good

Speaking of James, he is a great example of children being sponges. This 8 year old, he uses terms like "gosh darn it" or "welp, it is what it is", terms I could see his farmer grandpa using. When he is stressed, he poses like a 73 year old looking at a broken tracktor. You can see his grandpa in him clearly.

I want to say it because a lot of people only write like "I am bad because my dad was bad" characters, even though it isn't that simple moat of the time, and children being sponges could be used in so many different ways, and not just bad.

Kids knowing big words doesn't always mean they are smart

This adds into the "kids are sponges" segment. Lot of kids, especially now, pick up different words, some very difficult, but they themselves don't know what they mean. Just today I had to explain what a dictator meant to a kid talking about North Korea. (That is an other thing too I like to add: kids try to explain with their own understandkng of the world what things they don't understand are)

Children's are adults in progress

Thus is a thing that peeves me the most of all, because a lot of people think children are thing entire different entity than adults. I like to explain it in videogame logic, like as a kid you are doing the first levels and progressing trough. You still the same character at the core of it, you just leveled up and got new tricks up your sleeve. Children are humans, they aren't that difficult to comprehend.

kids with disabilities have presonalities

Omg I am such a passionate person towards this, especially because I am specialized in special ed. It annoys me in no end when a special ed kid's presonality is "ehh they are disabled?". Every single special ed kid I have been with have different personalities and likes and dislikes, if they can't show it to you themselves. I don't think I have met two disabled kids (nor adults) with same personalities, even if they have exact same disability.

In the class I am in now, James's best friend is this kid named Jackie. I don't know Jackie's diagnosis but she can't walk straight, and uses multiple walking aids when her legs hurt too bad. She can't talk very well, struggling with her speak. Still, those things weren't the first thing I'd use to describe her. I'd describe her as a dramaqueen, always ready to complain about something, i'd describe her as a sporty, always running after her friends, even if she is much slower than others. I'd describe her as kindhearted, and clingy as she is always ready for a hug. Her disability is n intergal part of her but not everything.

I could complain about this all day. I have worked with kids and adults with disabilities and they have all been do different from each other (like able bodied people). Maybe another post lol.

Okay rant over.

Tldr: Chldren are humans too. Lol

[room-surprise]

EXTERNAL INFLUENCES IN DUNGEON MESHI: INDIAN PHILOSOPHY

(SPOILERS FOR DUNGEON MESHI BELOW)

We know that Ryoko Kui spent considerable time at the beginning of working on Dungeon Meshi doing research and planning the series. Kui constantly references real world culture, history and mythology, but she also occasionally references real-world philosophy.

The story of Dungeon Meshi is full of philosophical questions about the joy and privilege of being alive, the inevitability of death and loss, the importance of taking care of yourself and your loved ones, and the purpose and true nature of desire. Kui explores these issues through the plot, the characters, and even the fundamental building blocks that make up her fictional fantasy world. Though it’s impossible to say without Kui making a statement on the issue, I believe Dungeon Meshi reflects many elements of ancient Indian philosophy and religion.

It’s possible that Kui just finds these ideas interesting to write about, but doesn’t have any personal affiliation with either religion, however I would not be at all surprised if I learned that Kui is a Buddhist, or has personal experience with Buddhism, since it’s one of the major religions in Japan.

I could write many essays trying to explain these extremely complex concepts, and I know that my understanding of them is imperfect, but I’ll do my best to explain them in as simple a way as possible to illustrate how these ideas may have influenced Kui’s work.

HINDUISM

Hinduism is the third-largest religion in the world and originates in India. The term Hinduism is a huge umbrella that encompasses many diverse systems of thought, but they have some shared theological elements, and share many ancient texts and myths.

According to Classical Hindu belief, there are four core goals in human life, and they are the pursuit of dharma, artha, kama, and moksha.

Dharma is the natural order of the universe, and also one’s obligation to carry out their part in it. It is the pursuit and execution of one’s inherent nature and true calling, playing one’s role in the cosmic order.

Artha is the resources needed for an individual’s material well-being. A central premise of Hindu philosophy is that every person should live a joyous, pleasurable and fulfilling life, where every person's needs are acknowledged and fulfilled. A person's needs can only be fulfilled when sufficient means are available.

Kama is sensory, emotional, and aesthetic pleasure. Often misinterpreted to only mean “sexual desire”, kama is any kind of enjoyment derived from one or more of the five senses, including things like having sex, eating, listening to music, or admiring a painting. The pursuit of kama is considered an essential part of healthy human life, as long as it is in balance with the pursuit of the three other goals.

Moksha is peace, release, nirvana, and ultimate enlightenment. Moksha is freedom from ignorance through self-knowledge and true understanding of the universe, and the end of the inevitable suffering caused by the struggle of being alive. When one has reached true enlightenment, has nothing more to learn or understand about the universe, and has let go of all earthly desires, they have attained moksha, and they will not be reborn again. In Hinduism’s ancient texts, moksha is seen as achievable through the same techniques used to practice dharma, for example self-reflection and self-control. Moksha is sometimes described as self-discipline that is so perfect that it becomes unconscious behavior.

The core conflict of Hinduism is the eternal struggle between the material and immaterial world. It is often said that all of the material world is “an illusion,” and what this means is that all good and bad things will inevitably end, because the material world is finite. On the one hand, this is sad, because everything good in life will one day cease to exist, but on the other hand, this is reassuring, because all of the bad things will eventually end as well, and if one can accept this, they will be at peace.

The central debate of Hinduism is, which is more important: Satisfying your needs as a living thing, having a good life as a productive member of society, serving yourself, your family, and the world by participating in it the way nature intended? Or is it rejecting desire and attachment, discovering the true nature of existence, realizing the impermanence of material things, and that one can only escape the suffering that comes from the struggle of life by accepting that death and loss are inevitable?

There is no set answer to this question, and most believers of Hinduism tend to strike a balance between the two extremes simply because that’s what happens when a person leads a normal, average life, however there are also those who believe that pursuing extremes will lead to ultimate enlightenment and final release as well.

BUDDHISM

Buddhism is an Indian religion and philosophical tradition that originated in the 5th century BCE, based on teachings attributed to religious teacher the Buddha. It is the world's fourth-largest religion and though it began in India, it has spread throughout all of Asia and has played a major role in Asian culture and spirituality, eventually spreading to the West beginning in the 20th century.

Buddhism is partially derived from the same worldview and philosophical belief system as Hinduism, and the main difference is that the Buddha taught that there is a “middle way” that all people should strive to attain, and that the excesses of asceticism (total self-denial) or hedonism (total self-indulgence) practiced by some Hindus could not lead a person to moksha/enlightenment/release from suffering.

Buddhism teaches that the primary source of suffering in life is caused by misperception or ignorance of two truths; nothing is permanent, and there is no individual self.

Buddhists believe that dukkha (suffering) is an innate characteristic of life, and it is manifested in trying to “have” or “keep” things, due to fear of loss and suffering. Dukkha is caused by desire. Dukkha can be ended by ceasing to feel desire through achieving enlightenment and understanding that everything is a temporary illusion.

There are many, many other differences between Hinduism and Buddhism, but these elements are the ones that I think are most relevant to Kui’s work.

Extreme hedonism involves seeking sensual pleasure without any limits. This could just be indulging in what people would consider “normal” pleasures, like food, sex, drugs and the arts, but it can also involve doing things which are considered socially repugnant, either literally or by taking part in symbolic rituals that represent these acts. Some examples are holding religious meetings in forbidden places, consuming forbidden substances (including human flesh), using human bones as tools, or engaging in sex with partners who are considered socially unacceptable (unclean, wrong gender, too young, too old, related to the practitioner). Again, these acts may be done literally or symbolically.

Extreme ascetic practices involve anything that torments the physical body, and some examples are meditation without breathing, the total suppression of bodily movement, refusing to lay down, tearing out the hair, going naked, wearing rough and painful clothing, laying on a mat of thorns, or starving oneself.

HOW THIS CONNECTS TO DUNGEON MESHI

Kui’s most emphasized message in Dungeon Meshi is that being alive is a fleeting, temporary experience that once lost, cannot truly be regained, and is therefore precious in its rarity. Kui also tells us that to be alive means to desire things, that one cannot exist without the other, that desire is essential for life. This reflects the four core goals of human life in Hinduism and Buddhism, but also could be a criticism of some aspects of these philosophies.

I think Kui’s story shows the logical functionality of the four core goals: only characters who properly take care of themselves, and who accept the risk of suffering are able to thrive and experience joy. I think Kui agrees with the Buddhist stance that neither extreme hedonism nor extreme self-denial can lead to enlightenment and ultimate bliss… But I also think that Kui may be saying that ultimate bliss is an illusion, and that the greatest bliss can only be found while a person is still alive, experiencing both loss and desire as a living being.

Kui tells us living things should strive to remain alive, no matter how difficult living may be sometimes, because taking part in life is inherently valuable. All joy and happiness comes from being alive and sharing that precious, limited life with the people around you, and knowing that happiness is finite and must be savored.

Dungeon Meshi tells us souls exist, but never tells us where they go or what happens after death. I think this is very intentional, because Kui doesn’t want readers to think that the characters can just give up and be happy in their next life, or in an afterlife.

There is resurrection in Dungeon Meshi, but thematically there are really no true “second chances.” Although in-universe society views revival as an unambiguous good and moral imperative, Kui repeatedly reminds us of its unnatural and dangerous nature. Although reviving Falin is a central goal of the story, it is only when Laios and Marcille are able to let go of her that the revival finally works… And after the manga’s ending, Kui tells us Falin leaves Laios and Marcille behind to travel the world alone, which essentially makes her dead to them anyway, since she is absent from their lives.

At the same time, Kui tells us that trying to prevent death, or avoid all suffering and loss is a foolish quest that will never end in happiness, because loss and suffering are inevitable and must someday be endured as part of the cycle of life. Happiness cannot exist without suffering, just like the joy of eating requires the existence of hunger, and even starvation.

Kui equates eating with desire itself, using it as a metaphor to describe anything a living creature might want, Kui also views the literal act of eating as the deepest, most fundamental desire of a living thing, the desire that all other desires are built on top of. If a living thing doesn’t eat, it will not have the energy necessary to engage with any other part of life. Toshiro, Mithrun, and Kabru are all examples of this in the story: They don’t take care of themselves and they actively avoid eating, and as a result they suffer from weakness, and struggle to realize their other desires.

Kui suggests that the key difference between being alive or dead is whether or not someone experiences desire. If you are alive, even if you feel empty and cannot identify your desires like Mithrun, you still have desires because you would be dead without them. The living body desires to breathe, to eat, to sleep, even if a person has become numb, or rejected those desires either to punish themselves, or out of a lack of self-love.

Sometimes, we have to do things which are painful and unpleasant, in order to enjoy the good things that make us happy. I believe Kui is telling us that giving up, falling into despair, and refusing to participate in life is not a viable solution either.

The demon only learns to experience desire by entering into and existing in the material, finite world. This experience intoxicates the demon, and it becomes addicted to feeling both the suffering of desire, and the satisfaction of having it fulfilled. This unnatural situation is what endangers the Dungeon Meshi world, and it’s only by purging the demon of this ability to desire that the world can be saved. The demon is like a corrupted Buddha that must give up its desires in order to return to the peaceful existence it had before it was corrupted.

The demon curses Laios to never achieve his greatest desires at the end of the manga, which manifests in several ways, such as losing his monstrous form, Falin choosing to leave after she’s revived, and being unable to get close to monsters because they are afraid of him. In some ways you could compare Laios to a Bodhisattva, a person who tries to aid others in finding nirvana/moksha, even if it prolongs their own suffering and prevents them from finding personal release. Laios gives the demon peace, but Laios himself will never be able to satisfy his desires, and must eventually come to accept his loss and move on with his life.

(This is an excerpt from Chapter 3 of my Real World Cultural and Linguistic influences in Dungeon Meshi essay.)

[1ightsen]

Maxie Infodump #1 - Little known character details from official media

I promised to post some of my maxie infodumps and headcannons, and I think I'll start it off with something simple. His official character bio that was hosted originally on the first release of ORAS (this will be ORAS Maxie focused)

here is a transcript for easy reading: "Maxie is the leader of Team Magma, the team seeking a world ideal for humanity. He pays attention to even the smallest of details, and is quite sensitive in some regards. He has a habit of describing situations in numerical terms. He possesses a cool-headed outlook, thinking that some sacrifices cannot be avoided if he is to achieve his goals." Okay, so first, after looking at the original japanese version of this page,

小さいことまで細かく気にする、神経質なところがあり、さまざまなことを数字を交えてあらわすのが口癖。 目的を果たすためなら、犠牲が出ても仕方ないと考える冷徹な思想の持ち主でもある。 The one word in here I wanted to be sure of was 'sensitive' since it can have many meanings, and the original japanese gives us some possibilities with:

Personally I think (being) highly strung is the most likely option here, but either way its an interesting character trait. And we all know he certainly builds up frustration and tension and explodes a bit like a volcano. Even if he does manage to correct himself afterwards.

~ ANYWAYS ~

Now that we have the bio, let's break it down a little and look at some fun examples of it in action! Maxie has a habit of describing situations in numerical terms. This typically comes out more when he is nervous or stressed. Here are some examples: Ill just take ORAS as an example here since this is already getting pretty long... In ORAS after fighting him at mt chimney, he lets you know in a specific numerical way, how much he fell behind:

And then again, when you battle with him and lose in the Battle Resort where he just has to let you know the situation in numerical terms by giving you the exact lose chance according to his own calculations of course:

"So the great Maxie has fallen, even when battling alongside your team... I shall commit this curious phenomenon to memory. It had less than a 1 percent probability of occurring, you know."

this culminates in a really interesting interaction between him and courtney after the delta episode. While It's pretty clear that Maxie cares for his team and especially his admins, he definitely struggles when faced with his crying admin, and being unsure of what to say, he settles with a numerical quantifier again.

He assesses the situation, and decides to comment on how MUCH courtney is crying. His "paying attention to even the smallest details" trait also ties into this habit of his, and is probably why he jumps to conclusions a little too early because of small things he's noticed. Accusing Tabitha of wanting his spot as leader, just because he disagreed with him is one of those situations.

Pokemon Masters EX has a lot of new scenes with Maxie, and I would love to talk all day about them, but I'll just pick out one here, and that's from the "A pasio Spectacle" event. In this event, Maxie overhears team break members simply say the word 'glasses' and instantly jumps to the conclusion that not only did they want to talk to him, but that they noticed his "magnificent mega glasses" and would like to hear a lecture on how they were scientifically made.

https://www.youtube.com/watch?v=rZmmaf9bhD8&t=144s here's a link to watch it, its worth it :D He certainly picks up on small details, but tends to miss the bigger picture sometimes, which is fun because I believe archie tends to do the opposite. Perhaps his mega glasses are actually designed to reflect this, because they work like horse blinders, and keep maxie looking straight ahead (trust me, I've made a pair of these, and you cannot see someone standing to your immediate side). Looking straight ahead is also relevant to his life goal, of ensuring the bright future of humanity, and as he says: "propel humanity to greater heights of progress and evolution." And that concludes my infodump regarding this one little bio that is no longer available without the wayback machine, and I just wanted to share it with any other Maxie fans out there :D Next I think I might tackle the bigger topic of how Archie and Maxie have so many fun contrasts in personality and more. and then maaayyybe I'll feel comfortable enough sharing my headcannons and theories. But only if people want more lol, I am not good at writing big posts :>

[raven-at-the-writing-desk]

Do you think Riddle is so short because of what his mom made him eat ?

Like only making him get the perfect amount of calories like in his overblot backstory

Maybe it is because his mom is also short? Anyways she doesn't seem tall, also where is his dad.

***PLEASE NOTE: I am NOT speaking as a dietician or a doctor; the information and interpretations presented here are based my own scientific knowledge and research, and apply ONLY to the analysis of a fictional character. This post is NOT meant to be taken as any sort of medical or dietary advice.*** Personally, I'm not of the belief that Riddle is short due to his controlled dietary intake. In very simple terms, calories can be thought of as the fuel you burn to get through activities. While a caloric deficit can contribute to stunting of growth, I don't think this applies to Riddle since he lives a relatively sedentary lifestyle (sitting and studying) and is provided an adequate amount of calories per meal. I want to take a quick moment to dispel the commonly held belief that Mrs. Rosehearts underfeeds Riddle. This seems to sprout from a misinterpretation of a line in 1-25 when she is serving Riddle a birthday meal. Here, she states the exact amount that Riddle must have in order to not overshoot 600 kilocalories. This is led some fans to think that Mrs. Rosehearts restricts Riddle to 600 kilocalories a day, which is just not true. From the dialogue, it is clear that Riddle is granted 600 kilocalories per meal. Assuming 3 meals a day, that means 1800 kilocalories per day, which is very close to the recommended 1745 kilocalories for the average 8-year old boy (not accounting for fluctuations from individual child to individual child). This is a perfectly normal intake, but is appears strange at first glance because very few parents actively calorie count what their child eats to this extent.

Back to the original topic, nutrient intake also contributes to height. (Think of nutrients as the building blocks to a building called your body, and the calories as workers or the 'energy' that assembles the building/your body.) However, that doesn't mean that I think Riddle didn't get enough nutrients; it is possible to have low calorie meals which are nutritious. (For example, athletes may have to follow specialized diets in order to attune their bodies to whatever sport or activity they do. Similarly, Vil crafts a diet for the VDC/SDC squad in book 5 which cuts out junk food, is overall lower in calories, and still provides the group with the energy they need for practice.) Mrs. Rosehearts has dialogue where she describes the nutritional content of the meals she has prepared, which seem to be tailored for brain function. I'm going to assume that those meals also adequately provided for Riddle's other nutritional needs. I don't have reason to believe Mrs. Rosehearts, a doctor and mother who is detail-oriented and hellbent on her child's success, would knowingly and intentionally sabotage his health.

It’s canon that maintaining physical wellbeing makes for a good mage (which is why NRC makes its students take P.E.). Additionally, eating well is said to be one way a mage can make a recovery from blot accumulation. If Riddle were eating poorly and/or was of poor health, that would only mean struggles with concentration and his magic suffering the consequences—and that’s very much counterintuitive to the success that Mrs. Rosehearts envisions for her son.

You don’t need an abundance of calories or nutrients for growth and development. The excess will get stored as adipose tissue/fat or (depending on the nutrient) exit the body as waste. It’s important for a child to be fed well in order to grow properly, but generally if they aren’t malnourished (ie getting less than what they need) then they wouldn’t be stunted.

By in large, genetics is the major deciding factor in height. I believe current studies suggest as much as 60-80% of one's height is predetermined by DNA sequences (although those DNA sequences can be altered by the environment and outside other factors). It could very well be that Riddle is just short because his ancestors had the "short" gene. Looking back at manga images of Riddle's mom from the manga, she doesn't seem that short to me. Even when Mrs. Clover is bowing her head to her, both moms appear to be about the same height (if Mrs. Clover were standing). Maybe Mrs. Clover is a little taller (it's hard to say just staring at the image), but not by a lot. If I had to guess, they seem to be about average height for women. That doesn't mean anything in terms of genetics though, you could be any height and still carry the "short" gene to pass onto your children (the shortness trait just isn't always expressed outwardly.)

If I had to guess, I’d say Riddle is just “naturally” short or drew a bad lot in terms of genetics (since his height seems to be a sore spot for him). He’s about that age where most men will stop growing too (although some do grow well into their late teens and even early twenties).

Regarding Mr. Rosehearts, we haven't seen him yet but he's definitely mentioned a few times! He is said to be a medical mage like his wife and is implied to not have a happy marriage with her (according to Riddle). That's about all we know of him now. Some parental figures just get less focus than the other, and that’s the case for Mr. Rosehearts as well as many others (Mrs. Trappola, Mr. Spade, Mrs. Asim, etc.).

It’s possible that the short gene came from Mr. Rosehearts, but we don’t know for sure since we’ve never gotten so much as a silhouette for him. Again though, he could be tall or average but have an unexpressed short gene. I believe many fans headcanon him as short though, as the King of Hearts in the source material is smaller and meeker than his wifez

[novlr]

Do you have any tips on how to improve on character beats, verbal cues and overall dialog descriptions? I struggle a LOT with those! Much appreciated!

One of the most overlooked ways to write interesting characters is through dialogue!

1. Start with the basics

Before you can write convincing dialogue, you need to thoroughly know your characters – their personality, backstories, motivations, and quirks.

Start with in-depth character development. Delve into their past, their relationships, the significant events that shaped them, and the dreams or fears that drive their actions. Your understanding of who your character fundamentally is will naturally guide their conversation style, topics they would discuss, and how they would react in dialogue, bringing authenticity to their interactions.

2. Know your character beats

Character beats form the backbone of a character’s development, marking transformative events, consequential actions, and insightful choices. Once you’ve developed your character’s personality, plot the key milestones that challenge and change them.

These milestones reveal how they react to their environment and to other characters, demonstrating their growth and change. Character beats are not merely plot developments; they encapsulate the internal evolution of your characters, paving the way for an authentic and compelling character voice.

3. Use verbal cues

Verbal cues serve as subtle indicators of a character’s underlying emotions and intentions, enhancing readers’ understanding of the character’s internal world. Voice modulation—from a soft whisper to a booming shout—can depict varying moods.

Unique speech patterns, like a nervous stutter or specialized jargon, differentiate characters and reveal aspects of their personality or background. Even the silence between words can be telling, with pauses and lapses in conversation often speaking volumes about a character’s emotional state.

Examples of verbal cues

Volume modulation: A character speaking softly when feeling vulnerable or shouting in anger.

Speed of speech: Fast-paced speech could indicate excitement or nervousness, while slow speech may show calmness or thoughtfulness.

Use of pauses: Strategic silence or pauses can suggest hesitation, contemplation, or underlying tension.

Stuttering: A character might stutter due to a speech disorder, nervousness, or anxiety.

Laughter: This can vary from sarcastic chuckles to uncontrollable laughter, indicating a range of emotions.

Specialized jargon: The use of profession-specific terms can give clues about a character’s background, knowledge, or occupation, just as colloquialism and local jargon can give examples of a character’s location, social status, background, and upbringing.

Choice of words: A character’s diction can reveal their education level, their cultural background, and their personality. Intentional choice can also indicate aspiration, an attempt to change, or an intentional misdirection.

Repetition: Repeating certain words or phrases could indicate a character’s preoccupation or fixation, or simply be a character quirk, like a catchphrase.

Tone: A sarcastic, cheery, or monotone voice can cue readers about a character’s current emotions.

4. Dialogue descriptions

The way you describe dialogue can significantly impact the reader’s perception of a character. Using descriptive adjectives in dialogue, like “he grumbled” versus “he exclaimed,” can drastically change the tone. Also, pay attention to sensory details – the sound, tone, pitch, and pace of a character’s voice can enhance reader understanding. Physical reactions and body language, like facial expressions, gestures, and posture, during the conversation further enrich the description, making the dialogue more engaging and revealing. Good dialogue varies description with dialogue tags, so mix and match the simple with the descriptive, and you’ll find a good rhythm.

See also: A Beginner’s Guide to Dialogue Tags and Vary Your Language With Synonyms To Use Instead Of “Said”

[heavens-roses]

To those saying they do not know how to write image descriptions for graphics here a small tutorial. keep in mind we can go into a large amount of detail with ID's because we are writers outside of tumblr. Please know you do not need to be elaborate with the details simply ID's are alright as well. I will start off with images, especially complex ones, because this is a huge one people struggle with. I will give an example with the graphic below

(all art is official from LoL, and the graphic was created by us)

First you are going to want to start off by understanding composition. What is the main focus in the image and from there what details are most important. in this image there are 4 main elements. I will start with the main focus of the image then go into the background doing my best to explain what we are looking at. Below is 2 examples of first is a longer more indepth example the second is a shorter one.

[Longer description ID]

Image ID: there is a pastel pink portrait photo with the text 'Yummi' in an off white colour with a bright pink border. Inside the image is a white cat with pink accents sitting on a book. The background of the photo is sky blue with clouds and pink effects. On the right of the image of a cat who is mostly white with pink accents, the cat is on top of a floating book and it has a slightly transparent shadow underneath it. behind the portrait is a bright pink curtain with 2 bows on either side of the image. behind both images is a light pink circle shaped lace texture.

[End of long ID]

[Shorter ID]

Image ID: A graphic with 2 photos of a white cat with pink accents. one is in a pastel pint portrait photo with text that says 'Yummi' in an whiteish colour with a bright pink outside. behind that is a bright pink curtain and a light pink circle lace.

[End of short ID]

Tips - do not use the characters name as a replacement for explaining the characters look as it does not help those who may not know that media. Avoid using hex code colours. Instead, use terms like dull / bright / soft / muted / dark / neon to describe colors. For those who are colourblind or may not know the colour, you can ask friends, ask in servers you might be in, or just try your best. Lastly, if you are someone like me who has a chronic illness and has days were trying is hard you can see if someone else can help you with the ID or keep it simple. Image IDs do not need to be complex, they can short as long as people can get a general idea of what the image is.

@/ing in order to get this post across

@herrscherofmemories @preydatory @fwus @gutsinabrainjar @whisfer

[justanotherhh]

@girlbossradiodemon: Queerness as an insight into humanity. I am curious what that means.

heya, hope it's ok to move your question to a new post, because it gave me an opportunity to ramble about something I've been thinking about -- so we'll call this post:

hazbin hotel, aroace alastor, and complicating redemption

cannot remember how i phrased it in the original post, but the main crux of the idea about queerness as humanising is "when does horror and villainy use queerness as a shorthand for Other/deviant and when are those thing subverted"

in terms of alastor specifically, aspec identity (especially the kind that is on the repulsed side of things) is often used -- without people knowing they're even describing real experiences and identities -- as a way of describing a lack of feeling, a lack of empathy, a lack of connection with other human beings, as a way of signposting "this is going to be a Bad Guy, look at this person who can't engage in the Universal Human Experience Of Love (sometimes with the prerequisite desire for sex, and sometimes it's the just-wanting-sex-but-not-love that's the Evil Code)"

note here, of course, that a lack of empathy also shouldn't be a shorthand for evil! the word "psychopath" generally needs to be put on a high shelf for anyone writing anything unless they can prove they know what in the world they're talking about!!

with alastor, when reading with the aroace hat on, we get an insight into how he does relate to other people. rather than going "he's so evil he can't love," it's opening up questions about what sort of connections he does form with people, and how those are complex, and possibly there's a lot of backstory there -- that's part of the whole story we're seeing with pretty much all the main characters: "misfits who have struggled to form connections because of their specific brands of Weirdness (and also they're in hell)"

now something im interested in with him being aspec, is how the show also to an extent deconstructs the ideas that being alloromantic and allosexual are necessarily indicators of goodness, and could go a lot further in future, if it wanted to -- this works better because almost all the characters in this show are queer (and tbh, until niffty is confirmed to be allorom, i am hc'ing her as aro), and so there's much less risk of falling into the trap of "deviant sexualities vs normal sexualities" that even some shows with queer characters fall for, because they still set up monogamous, allosexual relationships as More Correct vs Other Kinds Of Queerness That Is Bad

in the hellaverse, being kinky isn't semiotics for evil, being poly isn't semiotics for evil, being arocoded isn't semiotics for evil, etcetc.

being aspec is a difficult pill for a lot of people to swallow, including other queers, especially aromanticism, and so it's neat to consider the potential of portraying depictions of love and sex that are healthy (charlie and vaggie, pentious and cherri bomb, etc) next to depictions of love and sex that are unhealthy/toxic/abusive (valentino's and vox's ways of interacting with these things) next to depictions of not-love and not-sex that are complex and (i hope) indicators of how to get to know a character better, rather than villainising or simplifying a character. that maybe initially a character like charlie (amongst others) might not get it, but that's something she needs to sort out, not alastor

it's another way the show could go a step deeper into deconstructing how we take in ideas about "goodness" in narrative and in life based on simple clichés, for example the idea that "love redeems you" -- well, what if you don't love? and what if you do love, but that's not an indicator of goodness at all? is "love" in fact an all-encompassing positive force in the first place? why do we place it on this pedestal?

in many ways the potential of alastor through being aroace, reminds me a little of how we see angel in season 1. he's introduced a Certain way -- as shallow, as someone who doesn't put the work in, as someone who "doesn't care," -- and these narratives are enforced diagetically and non-diagetically by showing that he's an addict and a sex worker. a lot of the scenes related to drugs and sex work and kinky sex are funny (crack is expensive), and/or are met with disgust by the main characters (the sex dungeon), are considered things he needs to overcome in order to be worthy of redemption (the roleplay with sir pentious)...

and then those things are pulled apart, and both narrative and characters go: "what's wrong with being a sex-worker? what's wrong with being an addict? hell, what's wrong with liking sex???" and through that "why does he need to prove himself to be redeemed?" and i predict, eventually, already heading in that direction "why even need to be redeemed when the problem is the black-and-white morality of pure goodness/badness to begin with?????"

and i think alastor being aroace could play a cool part in that. it's not love that makes alastor human, and it's certainly not sex. it's how he interacts with not fitting into those normative boxes, and how other characters, hopefully, eventually, will learn to see things from his perspective (at least, in this case)

the whole the idea of "queerness as an insight into humanity" is something both hazbin and helluva do really well, because of their portraying queerness as a given, as the thing that it simply is how these characters interact with the world -- whether good or bad or somewhere in between, the characters' queerness invites us to ask questions about them, and i think some characters offer that opportunity even more starkly than others...

i mean alastor of course. keeper of the aroace Themes.

so yeah. aroace as humanising. love doesn't mean goodness. what even does redemption mean?

[foggyparadisecandy]

On the Dangers of B—-i Sleep

[NOTE: this is NOT an advertisement to search out the files described. Just don’t. Don’t. I’ve listened to hypno files for decades with minimal impact. These files have damaged me. Perhaps permanently.]

Please consider reblogging if you think this can help others facing similar struggles.

**TRIGGER WARNING**

True confession time: I have listened heavily to a series of hypnosis files called Bambi Sleep. Why? I’ll get into that in a future post.

For now I want to discuss the dangers and possible paths out for anyone struggling with the effects - as I very much have been over the last few days.

SAFEGUARDS FIRST

I’m using words which are triggers so let me provide some incredibly useful instructions to all the Bambis and old selfs reading this:

Bambi is always as smart as she needs to be.

Bambi is always just as smart as she needs to be.

Simple instructions that Bambi obeys because Bambi is obedient and takes instructions. Bambi does as she’s told so she now knows:

Bambi is always as smart as she needs to be.

Bambi is always just as smart as she needs to be.

With those instructions, Bambi knows when she’s in hot water with abusers who want to upend and likely ruin the life of her “old self”, the original listener.

And guess what?

THE ENDLESS LINE OF ABUSERS

In the online world or anonymous assholes, there are a TON of abusers looking to play with Bambis and the old self with absolutely zero regard for long-term damage.

In fact, I would say my Bambi found five asshole abusers for every decent human being who just wanted to have some consensual fun playing with Bambi’s powerful triggers.

I had one such “daddy” nearly convince my Bambi to leave my life and my wife and find some anonymous men to take me in, in exchange for living as their sex slave. Yeah. So that’s what we’re dealing with. Not a joke.

These abusers are quick to gaslight and twist logic and paint the picture that they are doing you a favor (“hey, you came to me. I’m just helping you be who you want to be.”) to further convince you to continue being endangered and abused and falling further down the hole.

Yes. I’m a grown adult. I made choices to listen to the files. And yes, I - or my Bambi persona more likely - reached out to a “daddy” to have fun.

Or maybe your Bambi, like mine did, will start dropping messages on social for daddies to come find her and trigger her.

Social media is littered with regretful “old self”s who had to delete their accounts because their Bambis had done just that.

CONSENSUAL PLAY IS SEXY PLAY

The ultimate problem with Bambi is she is designed and trained to be a real dummy who just sits back and waits for orders to follow.

Many of the files are about becoming stupid as a rock and blanking away your old personality and memories and identity and name and replacing it with this new empty shell who just wants to obey and suck cock.

And trust me, I get the appeal of “getting dumb” in trance.

I *soooooooo* get it. The idea of just giving over and submitting to another and letting them take the wheel.

And after connecting with so many peeps here on tumblr, I know I’m not the only one looking to dumb down, turn off my brain, submit, and just follow orders blindly.

Life can be hard and stressful. Blanking out is such a seductive concept.

But here’s the thing:

You can’t have consent with a dumb object that is programmed to blindly accept orders, obey orders, and then forget those new orders were orders at all.

By definition, there cannot be consent with Bambi. There is only abuse.

“BRAINWASHING DOESN’T CHANGE ANYONE AND HEY, *YOU* REACHED OUT TO *ME*”

It’s debatable about the effect brainwashing has on people. I have listened to hypno files for years and never had anything other than short-term effects. No big deal.

But Bambi is something on a different level. It’s pervasive and seductive and is a form of conditioning that erodes your core character.

If you ever have had a friend or relative get addicted to nonsense conspiracy theories, it’s kind of like that. Did they always believe the aliens are controlling the liberal plot to introduce tracking chips by starting a global pandemic? Maybe? But probably, no.

And yeah … maybe I did reach out to you.

Maybe it wasn’t my Bambi and I was in charge.

Did we discuss limits? Did we get a safeword established? Are you there to fucking take care of me as a good dominant should take care of their submissive?

Or did you think it was going to be fun to ruin someone else’s life by twisting them up … just because you had some levers to do so?

BRINGING IT HOME

I reached out to a few folks during my recent difficulties and want to confirm that, yes, by god, thank god, there are some really decent folks out there willing to help a total stranger who got into a nasty jam.

Thank you. Thank you. Thank you all. And thank you for your articles on safe ethical hypnosis. Keep it up. The subjects and submissives lining up for fun play need to read those articles and need to play safe or not play at all. Bambi is not safe.

If you are reading this thinking, “oh it can’t be that bad, it sounds fun, where can I find these files,” you have not read a single thing I wrote. I’ve talked with dozens of other Bambis and only found one who had avoided the nasty pitfalls (she is amazing and literally unique).

Those are not good odds. Don’t think you are going to beat them.

If you yourself are struggling with Bambi, feel free to hit my DMs or my Asks and I will support you in finding a path out as best as I can.

But in the meantime, the best thing to remember, the best thing to do is for Bambi to accept and obey these instructions:

Bambi is always as smart as she needs to be.

Bambi is always just as smart as she needs to be.

Bambi loves fun and a good time.

Bambi can smell predatory assholes.

Bambi can run from predatory assholes.

And Bambi can come to me for help.

[forgottenfinn]

hii so i’m crazy so here’s will wood songs as taz characters cause i have basically only listened to will wood for the past two months and i can make anything whatever i want forever

also. i am a taako guy at my core so i can relate anything to him so sorry it’s taako all the way down

its like. a lot of taako and lucretia.

ww is just so taako coded idk what you want

this is so nothing

________________

tomcat disposables:

the twins -

the whole food imagery and the hope for peace and stability

“One night one flung light through this place

So I run for cover, over, under, left the rind out on the plate

Little heart racing and praying, "Something, keep me safe"

I think it saw my face

Okay, one hungry day”

being about the light of creation / the hunger during the stolen century

“i’ll make it through again, i have before, come on now, what’s one more?”

which is lup dying and being used to it after so many years dying

“Just like I'd always imagined it

More than I could eat

My dreams were finally reality

My struggles had a happy ending

They must want to be friends

My stomach starts to turn

With thirst, why does it hurt?

My just dessert is served, dig in”

taako realizing that lucretia was behind it all, the place where he found a home was lying to him. also idk something glamour springs

also lup dying just as she was about to successfully secure her relic

“I held on so tight

For so long, it's just not right

Let a sigh out as I close my eyes

Was that all there was to this?

What's for the best?”

lup dying after they Finally got to stay in a world, also her skeleton being described as just resting against the wall like it was relaxed

________________

becoming the lastnames:

i can and will make becoming the last names about whoever the fuck i want, however,

taako (& kravitz) -

“I'm not sure yet myself, but I learned from a good father

Yeah, I mean, sure, they messed me up, but I think that's just the gig”

being about davenport

“And marriage always scared me, but I'd like to have a last love

And love can last a pretty good long while, yeah, I've seen it around”

duh, barry and lup OBVIOUSLY

something something taako seeing lup fall in love after everything they went through together and that’s great but him never seeing that for himself

“But what do I know 'bout forever when so far I've been so fleeting?”

everyone was just talking dust, etc etc

“Babe, my frontal lobe's done growing, this might just be how I'm wired

But now we're kissing before brushing, smile with our whole faces

If you want a hyphen last name, I guess I don't mind the cadence”

it’s just. hold my hand. trust.

��Cause I've made more mistakes than simple empty moments

Whoa-oh, each one as out of character as you know I tend to be”

you’re gonna look me in the eyes and say that is not a taako thing. come on.

“If we grow old together, will you talk to my headstone?

That is, assuming that I die first (which is fair) and assuming I don't leave”

kravitz already being dead and taako having a habit of running away

________________

cicada days:

taako and lucretia -

“She said, "It just feels inhumane to lose this much"

"'Cause when you leave you know you takе more than your love"

lucretia losing her family, also her making taako forget lup

“Let all my red flags fade to white, yeah, I give up

Don't let me leave, I'll only take more than I gave

Okay, I'll pack my stuff

Here at the end of days, my god, what have I done?

Christ, now it feels damn inhumane to get all I've dreamed of”

lucretia after the day of story and song, feeling like none of them care about her anymore because of what she did. but ultimately, the world was safe, her family was safe, even tho the way she wanted to go about it was wrong and would have killed them all, and her having to come to terms with what she did to everyone, taako and davenport especially

taako after glamour springs, seeing the people he thought he killed after achieving his dream of being famous. something something sazed letting taako believe it was his fault

________________

euthanasia:

lucretia -

i actually think about this a lot LMAO

“I was right there

While you fought tooth and nail

Gasping in the gas mask thrashing till you disappeared

Say you're not scared, that you know it's cause I cared and

Say you know I love you, and that hope was just not there”

magnus walking in while she’s feeding the story to the void fish, her saying she loves all of them, and she’s gonna fix everything

“Over the rainbow, can I stop by and say hello and

Sorry I would take it back if I could but I know

To love one from too far to call

Is not to love at all, to whom is it I talk?”

her visiting them in their respective areas, just to make sure they were okay

________________

that’s enough, let get you home:

barry bluejeans -

“Haunt my bedroom at night and say "Let's get you home"

liches <3

“They say "Grow up, be a man, 'cause until then

You're nothing but a short-haired girl"

sorry trans barry will always be real to me

“So come on, William, grow up, be a man

'Cause until then they're gonna treat you

Like you're just a little girl

But come and Braille-palm-read, hold my hands and you'll see that

It's me who cries mercy while your fingers curl

And, oh, are you at all like me?

Do you know what I mean?

Or am I too close to see?

Someone, anyone?”

DO YOU GET IT.

________________

um, it’s kind of a lot:

taako -

“But I never been afraid of no one breaking my heart

It's not like I'm 'bout to fall and cut my throat on the shards”

taako not really. seeing falling in love as an option for him

“Hold me like a tourniquet, and I'll you, like an iron maiden

I've grown used to fear

But no, not to you yet, my dear”

something about kravitz being so just. sweet and endearing and that just scaring the shit out of taako. kravitz will hold him gently and help him, he’ll hold kravtiz like he will leave him

taako is always very much the quote of, everything i let go of has claw marks on it

“Oh, I love you so much it scares me half to death

I'm not used to this

How did it happen, baby?”

my taakitz :(

“And I'm afraid you'll notice all my flaws

I'm afraid you already have, obviously

And I'm afraid I'll come on too strong

Hold you too tight and scare you too”

post wonderland.

“I'll twist my words: a clever turn of phrase

Sorry, darling, please excuse my

Constant need to self-aggrandize

Coddling my narcissism

M.A.D. come ride my A-bomb

While I beg you to say I'm okay

So here's one last lyric to sum up these

Thoughts I struggled to come up with

To make me sound deep and smart and

Then I promise I'll shut up

Wait, let me think

Hold on, I got this

Anything but "I'm in love with you"

ARE WE KIDDING.

________________

half decade hangover:

taako and lucretia -

“Wonder how I didn't die

This is not my life. I'm no survivor, I only happened to survive”

taako post glamour springs after he got some reason didn’t test the food first

lucretia being alone after she erases their memories, technically alive but. why

“Cause I was drunk when I made my bed

Now with a half-decade hangover I lay down in it

What have I done? Don't know what I've said

It's a half-decade hangover, either this, in jail, or dead

It's a half-decade hangover, Jesus Christ my aching head”

taako having to deal with the aftermath of glamour springs. specifically “either this (adventuring with thb), in jail (cause of glamour springs), or dead (yeah.)”

also him with angus after being a dick to him or any other person he lashed out at

lucretia having to deal with what she had done, watching her family be a shell of themselves and then once they’re back, dealing with the backlash from it

“Sober, but so much still hangs over

Please believe me when I say I poured my whole past down the drain

Say that a second chance is a chance I can take

But I can't make amends for things I don't remember

I can only say I'm sorry and occasionally pray

Guess you'll just have to take my word that I've changed

After one thousand eight hundred twenty five days”

then not being able to remember half of the shit that they did, lucretia not being able to ask for forgiveness till so so much later. also she can’t fix what she did

________________

vampire reference in a minor key:

kravitz -

i mean, duh. the whole vibe of the song is so kravitz

“If you need me, I'll be in my coffin

You could come knocking, and I'll raise hell for you”

this man arguing with his literal GODDESS cause the guy he likes has a fucking weird family

“Hold my hands, we'll dance the 12-step on my grave

I'd kill the man I am for one more chance to be yours, babe

No, I ain't begging, I'm just saying, it's an option

Don't let the latest be the last nail in my coffin”

TRUSTTTT

________________

the main character:

taako -

i mean. come on. you saw that coming

“So, God forbid I'm seen just as an average human being

I mean, imagine if protagonists just died in the first scene

I'm the gap between a tragedy and comedy

Don't come at me

I'm the main character, and you have to like me”

i think justin listened to this song and went. yk what. i can work with that. (ik taz came out before incase i make it, hush)

“you’re about to kill americas favorite wizard.”

“I loot plot armor from NPCs

Well, they are to me

Trite, tropes, traits, traumas, trinkets, and treats, it's all XP”

taako stealing from Literally everyone all of the time

________________

against the kitchen floor:

taako -

it’s literally called against the Kitchen floor. what do you want from me.

“I don't owe you my heart

And I don't owe you my body

But you should know that I'm sorry

For being careless with you”

listen. me and mars love to play little barbie’s with these characters but like. do you understand. do you see the vision. taako being someone who has a lot of casual sex and is like no yeah i’m so cool and normal about this and he’s Not cause he’s a Liar but like.

the wanted to be wanted thing even if it’s not. good.

something soemthing sazed etc etc

“I swear, I'm really trying

Get it together, Will, know and do better

It just don't come natural to me to think that you'd want me for mе

I swear, I'm really trying

Oh, I'm sorry, I promise, I'm doing my best

I just haven't learned how to be human as you are yet”

him having to learn what a normal and healthy relationship looks like with kravitz and being kind of off put when kravitz actually likes him for real

“I've lived more lives than enough, I haven't died quite as much

But I'm not a real person, just the shit you can't make up, and”

stolen century, duh

“I swear, I'm really trying

I'm just as exposed if I take off my clothes

When we make the closest thing to love that I'm capable of

And I don't know why you would care

But I'm really trying”

something about his glamour thing after wonderland

“I'm catatonic in your arms

Crying, "How did I cause so much harm?"

I'm down pounding my head against the kitchen floor

Apologizing for my life and ever entering yours

Don't say "I'm sorry, but this can't go on"

I know you've got scars of your own

But hide my knives before you go

I'll either live or die alone”

him with sazed after glamour springs

“ promise, I honestly wanna prove improvement's possible

I swear, I'm so fucking sorry

I'm not a good person, I'm barely a person at all

But someday I'll be perfect, and I'll make up for it all”

“taakos not a hero.” yeah.

________________

sex, drugs, rock’n’roll:

taako -

“So this is what I choose to do

With my redeeming quality

That thing that came from the same place as my

Instability”

i know it means mental instability, and like yeah that too, but his home/money instability. learning how to be a wizard and how to cook so that he would have somewhere to stay

“It's not a gift if you pay for it

And I don't want no charity

I spent all my years to end up right here, and now

I really think I'd rather leave”

post glamour springs

“And I hate proving that

I'm still human after all”

“i’m a fully realized creation! fuck!” etc etc

________________

white noise:

lucretia -

“But If you listen closely I swear, to God I swear

You can hear the ocean if you hold it up to your ear, here:

White noise

If you listen close between the waves

White noise

You can hear the ocean through your wake

White noise

If you listen close between the waves

White noise

You can hear the ocean through your wake”

just this whole songs meaning is very lucretia to me. the quiet isn’t boring. there’s more to lucretia than even she sees if you care to notice

[agent-of-sam]

My Big Rambling List of Perrin Thoughts

@toastandjamie asked for thoughts on Perrin's arc and the subsequent essay felt too big to be a comment so I made my own post.

Note it's not really an essay and more just a jumbled list of impressions from someone who tried and failed to complete a re read of the series.

The Gentle Giant thing is technically true but I think it's a misleading place to start with Perrin. The term feels more accurate for Loial who is both physically larger and less inclined to violence. And I do think there's some deliberate paralleling between the two as Loial spends a fair amount of time in Perrin's storyline. As an Ogier Loial is Pure Nature and Pure Creation, while Perrin's Wolfbrother connection is…something something, Primal Man, domestication of wolves as the man's first step towards civilization, something something idk.

In terms of personality, Perrin is deliberate and pragmatic. He's a good problem-solver, able to break things down into logical steps and can often surprise people by seeing to the core of an issue or by approaching it from an unexpected direction. But like all the Emond's Fielders this comes with a unique set of blind spots, biases, and hypocrisies. Perrin, in particular, feels like a very linear thinker who thus struggles with problems that don't have clear answers. (waves vaguely at his entire relationship with Faile). Thematically, as other people have said, I think Perrin's "arc" isn't a distinct line. It's a journey towards acceptance both about himself and about how the world works. Am I a Wolf or Man? Both. Am I Peaceful or Violent? Both. Is it Wrong to Kill? Yes but sometimes you have to do it anyway. How will I know when it's Right? You won't but you'll have to make a decision and follow through. How will I know when to Stop? When it feels right.

He's a character who fundamentally wants clear rules and structured morality and demonstrable cause and effect and the world won't line up the way he wants.

I think he's the character who holds on longest to his old life and his old identity, at least among the guys. Like, Rand is never "happy" about being the Dragon Reborn but once it's proven he commits to it, hell or high water. Mat is famous for loudly proclaiming he's something other than what he clearly is. Perrin choosing to leave Rand in Tear and go back to the Two Rivers is described as a physical tearing as he resists the pull of Ta'veren. He insists he's a simple blacksmith even as people are calling him Lord Goldeneyes and waving his banner and the Two Rivers is literally changing and modernizing around him. -I think there's something about acceptance as a theme in all the characters. Pushing against Fate and the Pattern and the world telling them who they are, trying to change them. Except, the Pattern didn't change them. They were always who they were, they just didn't know it until the journey revealed it to them. Whether they like the revelation or not is irrelevant. Rand was always going to channel eventually. So were Egwene and Nynaeve, probably. The Wolves were always going to find Perrin. Most of them eventually come to a sort of subconscious realization that they, ironically, have the most agency when they choose to go with the flow instead of trying to swim upstream. I think Perrin, with his specific brand of quit stubbornness, takes the longest to actually reach that turning point.

This next part might all be projection but In terms of writing style, I think there's something to the idea the Perrin operates with a certain separation from his own emotions. Rand angsts, he pushes down his feelings but he stills feels them. Mat's got his whole comedic irony thing going on. I think Perrin straight-up doesn't register his emotions 90% of the time. Which doesn't mean they aren't there, he's just kind of blind to them until something big happens and then suddenly it's a tidal wave. It tracks for someone who's like, "To figure out this situation I must be direct and logical. First step is to put my personal feeling into a box because they aren't relevant right now." And it works so you do that for every problem. And over a lifetime you kind of just…lose the ability to regulate. Your emotional responses become Nothing or Way Too Much. Everything in the box gets mushed together into a big soup.

I think he's got anger issues, but in that specific way where he's an exploder. "I'm fine. Everything's fine. No big deal. I'm fine. I'm fine. I'm fine. It's fine. Oh, look an Aiel Man in a cage. I don't like that." Then things get a bit blurry and suddenly he's got a bloody axe and there's a bunch of dead White Cloaks all around.

And for that kind of person the sort of primal, instinctual sensations he gets from the wolves is euphoric and terrifying.

For Perrin emotions literally become sensations at some point? The wolves communicate by psychically bombarding each other with images and scents and emotions. Then he gets his scent powers and Faile's jealousy is a hot spiky feeling that stabs at his nose and Aram's growing resentment and fanaticism is this itchy, alien smell that Perrin finds literally repulsive. But he can't smell himself so it's always this intrusive, upsetting sensory overload?

Anyway, it's a writing approach that I think fundamentally doesn't appeal to some people because there's less to grab onto and also what's there is simultaneously very big but also very direct and kind of "exactly what it says on the tin". Because Jordan can be a very subtle writer when he wants to be but, conversely, he can also be incredibly blunt sometimes. And I think he's at his most blunt when writing Perrin. Probably because that's just who Perrin is. Perrin's not a metaphor guy and he's not a philosophy guy. For Perrin a thing is a thing or it's not and if it's not then it's not worth thinking about. Or so he tells himself.

It also falls into Jordan's gender stuff where it's leans into a very Plain-Spoken Salt-of-the-Earth Man Does not Understand Complicated Thing Like Women or Human Emotions. I think, like a lot of Jordan's Gender and specifically Masculinity stuff, if you look at the series as a whole it's a functional critique showing the pitfalls and drawbacks of those kinds of mentalities both on a societal level and on a personal level. But it also takes 12 books to get there and, while it's hard to say exactly how various character arcs would have ended if Jordan had lived to finish the series himself, I think as a writer he favored slowly sliding people into place rather than big epiphany moments. And there is a large modern audience that either doesn't have the patience or just fundamentally isn't interested in that kind of story. Which is fair, I guess.

But I love Perrin. He's my guy. That's it, that's my essay.

[fuckyeahgoodomensfanfic]

Good Omens Fic Rec: Closer to You

Since his wife divorced him, A.J. Crowley makes good money writing romance novels. Having his characters fall in love is far less risk than doing it himself, especially while he takes the time to explore exactly who he is and what he likes in the bedroom. Sexual psychology student and cam worker Aziraphale enjoys understanding pleasure. But only from a safe distance. He's too busy working on his PhD to fall in love. The idea of making himself so vulnerable to rejection again is, quite frankly, terrifying. It seems a simple enough arrangement to help each other out, and lend a hand when needed. They are such big fans of each others' *work*, after all.

Length: 44,049 words

AO3 Rating: Explicit / Spice Level 🔥🔥🔥🔥🔥

Best for: At Home, After Dark, Human AU, Comedy

Triggers: None

Read it here, fic by TawnyOwl95

*Minor Spoilers* How the hell do you guys keep coming up with the most devilishly good stories?? Here we have Crowley as a romance writer, who is just coming to terms with his queerness and lack of sex life. Aziraphale is a sex researcher who struggles with relationships and lets out steam by performing on cam. This premise really intrigued me because you’d expect the roles to be reversed. Usually Crowley is depicted as the sexual one, and Aziraphale the bookish professor. This story said nah flip the script.

This was absolutely delightful. The chemistry was off the charts, they can’t handle even 5 minutes in each other’s presence without wanting to devour each other. They are exactly what each other needs and wants sexually, but they'll come to find out it's more than just that. They compliment each other so perfectly intellectually and that's what I love in every iteration! How they can volley ideas back and forth and keep up with each other's wit. Their relationship has great ups and downs, and I was engaged the entire time. The only thing that took me getting used to was Aziraphale as a youngish student. It's in character definitely, but he's not tickety-boo grandpa here and at first it felt strange. The author has a handle on it though, and I bought into this younger Aziraphale fairly quick.

That’s not all there is to this story though. We have excellent side characters with Gabriel, Nina, Maggie, and Warlock all used to wonderful effect. I particularly loved Gabriel, who was so funny in every scene leaning into his Jimbriel side. Warlocks addition proved to be a great plot line too.

The other amazing thing about this story is that it works as a meta commentary on smut that felt like a mini therapy session for the reader. A big part of Aziraphale’s work, and their discussions, revolve around why people read smut. How it soothes anxiety by redirecting negative thoughts into pleasurable ones. The safety and comfort that smut brings due to the lack of visuals and real world hang-ups. The way it’s cathartic for both writer and reader. It sees us and says, we both know why we’re here let’s make the most of it shall we? Not only was it fun to read in that meta way, it was a genuinely insightful conversation.

Some more word salad to describe this one: bold, mature, thoughtful, hot as fuck, funny, engaging, and did I mention hot as fuck? At home after dark read. I binged this one, you’re going to get sucked into this plot so I’d carve out some time for a single sitting.

Read it here, fic by TawnyOwl95

[shadowqnights]

hello there! i’m perpetually in awe of the scope of what you attempt w your mcd fics!!! i’m not sure if you’ve answered this already, but do you have any advice for writing Diaries fic? most writing advice is the same, but have you found anything particularly helpful to keep in mind when writing fanfic for MCD specifically???

hiii this has been sitting in my inbox for like a month and i could Not figure out how to answer this i am soo sorry. mostly because i get what you mean about most writing advice being the same and i've been struggling to think of how i would differentiate writing for mcd. sorry in advance since i know i yap a lot here and i'm not sure if this is specifically what you were looking for but ummm i'm just gonna list all of the things i keep in mind/like doing and if any of that resonates with you then its a win. i'm also really tired its like 2am but i felt like doing this Right Now for some reason.

[also i may be the wrong person to ask this because i'm a little bit insane and my mcd rewrite worldbuilding is about 10k in my notion now and i'm barely 1/4 of the way through so i don't really know when to Stop with my mcd scope HAHA. plus loverman alone being 500k. i tend to go all-in when it comes to the scope of my fics you mentioned haha so i'm wondering like. what specific parts of the scope you're interested in. if i answer this all wrong by all means please send another ask correcting me and i can try again!!!]

honestly i think my first thing does blend with generic writing advice I'M SORRYYYY. but truly it is just to read more. i was writing fantasy books before mcd fanfiction + i was reading a lot of fantasy books during my mcd fixation [yeah i know its lasted since 2016 shut up]. i really do think that reading and writing go hand in hand, whether fantasy novels or just browsing ao3, reading other people's work is an important part of my writing process. not only is reading a learning opportunity to get to know your own tastes and wants [and the things you might want to avoid in your own writing] but at least for me i get suuuper inspired reading other mcd fics. i may be picky with my tastes but also when i get inspired i get inspired HARD. too tired to link my fav mcd fics just pretend they're here and ask me later for them. when we're writing for mcd we already have to take a bunch of creative liberty and put the work in to fill in the gaps that minecraft can't offer, and the combination of mcd + fantasy world tends to have a lot of gaps. so reading more might give you some inspiration on how to fill those gaps.

-> by gaps, i personally like to think about things that couldn't be communicated as well in minecraft media but you now get to elaborate on in writing! your hands have this awesome gift of being able to fix the stuff you don't like about mcd and elaborate on the stuff you do like. you get to extend what mcd established in cool words and longer words! mcd fanfiction to me is a really [figuratively] sexy pitch of a show that you might struggle to otherwise recommend to someone in its original form, but trust me its good and the fic makes it sound good. so i guess this list is going to be things that i like to think about that make mcd sound good and appealing that flesh it out compared to writing something like mystreet. all of this depends on how far you are willing to stray from canon, whether you're diving into rewrite or just writing canon-adjacent fic, but in terms of fantasy worldbuilding to chuck into mcd, you can think about:

environment, how you would describe the landscape + even things as simple as weather patterns from region to region. get immersed in the world and use it to affect the characters. everyone's got different preferences when it comes to setting / environment description, and since i prefer character driven writing i do personally find it hard to talk about environment but that's definitely something that reading has helped. i'm also throwing generic worldbuilding in here ermmm fantasy novels love worldbuilding. you will love worldbuilding just like me [hypnotising you]. reading fantasy and getting immersed in Other worlds and taking note of the things you like about them might help you. we are going back to english class and we are going to figure out what the author is telling us here and maybe as a fellow author you like it and go hmmm i want to tell my readers something like that too. there are soooo many ways to get immersed into worldbuilding that like i would want to make an entire other post but errmmmm off the top of my head i like thinking about...

architecture! what does each town look like! whats its design and colour palette and how can you incorporate that into your descriptions [since colour will help you set a mood, establish time and just be a general vibe checker]. food! what are these guys eating in a fantasy world! and if you wanna go deeper every character is going to have a personal taste and even if that's not relevant for the fic you're writing right now the little things are still fun to think about because you can always bring it back around to character building. garroth's plain food tastes and total inability to cook for himself come from his upbringing in o'khasis vs laurance's love of food rich with spice and flavour because of joh's home cooking. dante spent a lot of time without a stable home and thus had to become opportunistic and abandon his previous pickiness. etc. etc. there are soo many ways to differentiate fantasy worldbuilding for a mcd fic to make it feel more well-rounded. also things like clothing choices, accessories/bags/inventory [think about if you could see every character's minecraft inventory - what are they carrying around?]. even just simply what the land looks like from place to place? what is the terrain? what minecraft biome are we in right now and how does that affect things like temperature/weather/appearance? is garroth ro'meave pissed because its hot as fuck climbing this mountain on the journey to find aph? you bet ur ass he is. make him suffer. umm you can also think about small-scale threats like minecraft monsters. you gotta have your small guys. highly recommend worldbuilding the nether too because like. the shadow knights are so cool. ermm. ok sorry i talk too much on with more stuff.

weapons, you're in a fantasy world and you can throw in some variety in weaponry that goes beyond basic sword and also bow and arrow if ur vylad. and also giant broadsword if ur aaron. also a good way to get into characterisation from character to character: thinking about how they fight. what kind of weapon do they have? what's their fighting style? you don't Have to give everyone just a plain old sword if you don't really want to. i'm guilty of not doing enough research on swordfighting before i write fight scenes but i also do looove to make fight scenes messy. some of these characters are trained to fight in a certain way and i hate writing their fancy feet but also some characters will not automatically know how to fight and if they get into a scuffle it might be a bit of a panicked mess! i think (hope) that my writing style tends to help with the frenzied kind of brawls that some characters might get into and how when some characters are threatened they might just blindly kick and claw and struggle. and others might just freeze up and some fights might just involve blind punching and clawing and rolling around because [i like it] i like the idea that even in mcd not everyone is cool and collected when confronted with physical altercation. even trained characters might panic a little and get a little bit sloppy and messy with their technique. others might lock tf in. i promise sometimes i just make things up and also i encourage making shit up sometimes when it comes to stuff like that. because there will be a point where you drive yourself insane trying to research a certain fighting style and if its draining your joy and whimsy and passion for the thing you want to write then take a step back. for things like that you can spare yourself some pain. on the opposite end of the spectrum some things Will require putting in the appropriate effort to research and learn about before you write & put your listening learning ears on if you're approached and told that you've written something harmful.

time, time passes a lot faster in minecraft but in fics you can afford to write time going slower and use it to your advantage. i'm trying to think of examples ummm making travelling seem more exhausting, injuries healing realistically, even mentioning things like seasons and weather and time of day to show the passage of time as a tangible thing rather than the fic being a tiny little character-driven bubble. mcd has a lot of stuff to do with time, eg. the irene dimension skip, but you can also think about character ages and how time passes through each season. minecraft logic has babies grow up in like 5 episodes and speeds things up for the sake of plot but when you're writing you can afford to be more grounded. if you want to apply exact logic levin would be at least around 3+ by the time aph and the gang enter the irene dimension. characters feel way more relatable when you think about mcd taking place over years + the 15 year time skip, even if you don't write that Directly into a fic, its a helpful gap to fill. i like to mention certain events happening over a matter of weeks or months to keep the reader aware of the passage of time and also put certain things into perspective.

injuries, things are gonna hurt. a lot. these guys are fighting insane style with insane weapons. obviously this one isn't for everyone, but i personally do like battering the mcd characters around a lot more because they're fighting with big boy weapons and, if its your thing, a fic can turn a minecraft slapfight real serious and mature real quick. i like writing gore and angst and that's not going to be everyone's cup of tea, but if its yours you can definitely think about injuries. put some research into how those injuries actually occur and how they work in the body + healing times! research how scars look and how they heal as well as long-term injuries. my mcd fics tend to play with body horror and gore and those help add to stuff like shadow knight freakiness and up the stakes when it comes to fight scenes and weapons because it feels like there is a real threat. that's an entirely personal thing for me because that looming major character death tag is Right There and i do kind of enjoy keeping up a constant state of fear. its good to feel like the world has stakes and consequences. and also i like making mcd bloody and a leetle bit darker which does kind of come into play with my worldbuilding so i thought id mention it.

ummm and finally speech/dialogue i think is the biggest one i keep in mind and its a big difference between my mcd and mys fics. i tend to write a lot more flowery (i don't know the right word) for mcd . mcd leans more into the fantasy genre and so i write mcd with a greater focus on world rather than character [i know i said that i prefer character writing before so just hear me out here]. when writing mcd i am far more aware of the greater world that surrounds the characters and even when its not explicitly mentioned i am Thinking about that worldbuilding. whereas when i write mystreet i am in a very character-driven hole and the greater world is not quite as on my mind. even canon mcd assists with this because the world is far more expansive and involves the divine warriors + mystreet doesn't incorporate that world until far later in the seasons and only really vaguely refers to irene as a swear rather than the distinct religious practices present in mcd. comparatively irene has a very constant presence throughout the mcd narrative from season 1 even when her lore was being retconned all over the place. beyond that Awareness of the expansive mcd world, i mention environment far more in mcd fics compared to mys fics. i set scenes way more slowly and take the time to ground the characters in the world and talk about the landscapes/weather/sky a lot oops and it really is because mcd has more of the natural world involved as well as very different architecture. i always like having the environment in mind when i write mcd. and dialogue i write very specifically far more old fashioned and lately i've been trying to make my mcd dialogue feel a lot more traditional. characters obviously are going to speak a lot formally and less casually than their mys counterparts, but i play that up for characters like garroth and zane [zane hasn't been back in a hot minute but when he is back this will come into effect] who don't tend to use contractions as much as ones like laur, for example. i've started drawing out their sentences a bit more, and i also tend to read dialogue aloud to myself a lot to sound it out, see how it feels. even in a fantasy world, realistically characters are going to have vocal quirks, going to stammer on certain words or stumble over their sentences sometimes. i find it adds a sort of realism to their speech to sound out dialogue to yourself to feel how it sounds to say. that's something relevant for mystreet too but still. [and you might have noticed already that my casual typing style tries to mimic where i would usually stumble my words irl or pause for breath or to think HAHA i'm trying to stop it to make my sentences clearer and far more readable since not everyone reads the way that i interpret my own speech into text].

ok sorry i talked so much its 2am here and im literally about to crash so if something in here doesn't make sense its definitely because i'm tired as fuck and about to pass out. that last paragraph was nonsensical im so aware but i hoped at least a little bit of this answered your question. just yell in my asks if i didn't fully answer the question or if you want me to elaborate on anything okay thank youuuu yippeee yipeyipye sorry for yapping bai

[chronicas]

I've been following you for so long but I know nothing about your OCs (how? Idk.) so how about a basic rundown or something? Who's on the roster.

Ooooh man we've got a menagerie of guys over here in the Noxsylvaniaverse. Sorry I went overboard.

WELCOME TO THE NEW REQUIRED READING (joking)

ARRAY OF CICADAS Akira Akamatsu -> Devan Ranim -> Karma Gjalleon

Genre: Fantasy, Sci-fi Core themes: Comradery, grief, and redemption

Array of Cicadas is about a girl struggling with grief and the adventure that helps her come to terms with it. Akira is the protagonist (but not the main character) of AoC. Growing up in the magical realm of Genesis, Akira was raised as a Fire Mage, hiding from her family and everyone she knew that in reality she's an extremely rare Elemental Mage. She hid her power solely because she REALLY didn't like the son of the dragons (Ryuji, he's on this list in spirit) who would've become her teachers had she revealed herself. She moved from her magical homeworld to live on Earth and go to college after her sister's death. Family drama gets her thrown into Hveske where she meets her soon-to-be best friend, Devan! Devan is best described as Positive Change Personified. As the true main character of the story, there are very few people who's lives aren't improved by having this little guy in it. He meets Akira in the middle of his own personal quest to help his friends take down the Izebellian Empire, that's currently threatening to take over his home realm Hveske. Devan might still be just a kid, but he's always coming up with bright ideas that've gotten him and his friends out of dozens of scraps. Karma Gjalleon is the main antagonist of AoC. An unknown threat looms far greater and more powerful than that of the Izebellian Empire, that is the Regicidal Regent, Karma Gjalleon! She was once ruling regent of Hveske a few thousand years ago, but decided to broaden her horizons and now plans to conquer the entire universe! Her desire is to eradicate all tyranny by becoming the ultimate tyrant, once she has successfully done this, she wishes to be taken down herself by a righteous hero.

Array of Cicadas: Cryptadia Serendipity Grace Vulcan -> Salem Graves -> Qwynn Vandale

Genre: Urban Fantasy, Mystery Core themes: Identity, love (DIFFERENT from romance), stress/pressure

Array of Cicadas: Cryptadia is the second installment of AoC, taking place at the same time as the first. Akira disappears from the small Coloradian town of Adderdeen, kicking off a series of events that binds three of the town's most extraordinary people together to solve an interdimensional mystery. Serendipity is a teenage vampire who's adoptive family sent her to Adderdeen to study under the renowned Master Alchemist James Emperor. Serendipity lives with a poorly understood condition that makes it difficult for her to use her own magic, therefore she had to give up the family trade of witchcraft to learn about a more external magic like Alchemy. She struggles best she can to keep up with her magical studies as well as her high school studies as a foreign exchange student at Adderdeen High School. After she's found out as a vampire by her classmate Qwynn, she gets roped into a whole new world of mystery. She just hope her grades don't suffer too much as a result. Salem is a local celebrity in Adderdeen as host of a popular local radio show he titled The Nightwatch, a show cracking down on local supernatural sightings. He also balances his job as a mortician on top of it as well as raising his teenage sister single-handedly.. all while not letting it slip he's West Virginia's Very Own Mothman! After an encounter with an old moth-like spirit and a chaotic interdimensional entity at 13, Salem has to deal with being a towering moth monster when he's not in his glamored human form. He also takes on the daunting task of keeping the supernatural hotspot of Adderdeen a simple tourist town without letting the truth of the supernatural slip up. Qwynn is a simple teenage girl with simple aspirations. She wants to keep up her honor student status, get a good scholarship, get into a good, local, college, and also help her parents with their Monster Hunting Gig. Daughter of a human mother and a werewolf father, Qwynn is the only of her three siblings to not inherit lycanthropy from her father, much to her annoyance. Without claws or fangs to take down some of Adderdeens more unnatural inhabitants, Qwynn has to improvise with quick and flashy magic and even faster blades. All for the good of a town that will ideally never know the service her family provides. She makes it a point to investigate any strange happenings in Adderdeen, so it doesn't take long for her to figure out her new classmate is secretly a vampire or that the mortician who works with her mom is Mothman.

Array of Cicadas: [REDACTED] Penumbra -> Aranea Weltgeist -> Izebel Lucifer Walpurgis

Genre: Fantasy, Sci-fi Core themes: Knowledge, war, hope

Not much I can say about this installment as it would spoil the mysteries I'm setting up for AoC and AoC:C. But I CAN say this third and final installment of this story sets up the final confrontation and brings all our previously introduced characters together. Penumbra is a force by which many things have come to an end. Two thousand years ago she was merely a scientist who aspired to know more about the world around her. Her drive to learn more was inevitably her downfall. Her lover and enemy, Kirke, would later go on to use her findings to create a curse meant to Destroy the Universe. Aranea is a teenage visionary Created by her Father Out of Love using Alchemy. Her father, Issac Weltgeist, was found and murdered by the Izebellian Empire for his reasearch as a Master Alchemist. As a homunculus herself, Aranea was kidnapped in case she hid any secrets of her fathers research. Quickly dismissed by Kirke as useless to the empire's research on homunculi, Aranea was told to watch after the child Empress Izebel, who was only a few years younger than Aranea herself. Aranea spent the next two years searching for a way to escape the empire. Her plans where put into motion early when she found they had acquired the legendary sword Excalibur. Stealing the sword, Aranea made her escape. Izebel is a bit more of a figurehead as Empress of the Izebellian Empire. She was created by the sorceress Kirke to be the vessel for her curse. While she is a living source of destruction, Izebel is treated with respect by her underlings. However, the only person to truly show her kindness, was Aranea. Izebel quickly took to viewing Aranea as an older sister, and demanded she be treated with the respect an Empress' sister deserved. She did her best to give Aranea everything she wanted to make her happy, but refused to let her leave. When Aranea finally escaped, she left Izebel confused, heartbroken, and enraged.

Mother of the Apocalypse Alexios -> Asterius Polaris -> Armageddon

Genre: Cyberpunk, Fantasy, Tragedy Core themes: Family, lies, perseverance

MotA has nothing to do with AoC, and is instead it's own independent world. It's a story about a prophecy told by the Goddess of Fate to her oracles. That entails the end of the world at the hands of the Mother of the Apocalypse, only able to be stopped by the Savior of the Rim. How this prophecy ends, is up to Fate. Alexios is the son of Kepus, the Goddess of Life and Death, and himself, the Savior of the Rim. He much despises his own title. All he did to earn it was stop a Colossus that was bent on the destruction of a Spire. Now he's wrapped up in probably the dozenth prophecy in a life that's lasted over a millennia. Problem with this prophecy is that it wants him to kill someone to save the world, and he put such violence behind him centuries ago. With his newly adopted child to take care of, Alexios can't think much on how he'll save the world while sparring it's vessel of destruction. Asterius is the son of Taphion, the God of the Crypt, and Septentria, the Northern Star. However he spent the first 13 years of his live believing himself a demigod who had a human mother he never hat the opportunity to meet. Once his true identity was revealed to him, as well as his role in the prophecy as the Beast of the Crypt, a monster born to stand as the guardian of the Mother of the Apocalypse, he ran. He landed in the care of a hero, who he would later discover was the very man destined to kill him, the Savior of the Rim. After Alexios became determined to find a way to break the "curse" on Asterius (a clever lie the kid fabricated so he didn't have to reveal to his would-be murderer who he really was), the man came to see Asterius as his own child. As much as Asterius loves his new father, he can never bring himself to tell him the truth. Armageddon is the titular Mother of the Apocalypse. Daughter of Ignarus, the God of Destruction, she is destined to raze civilization to the ground. Unfortunately for Ignarus, she would rather die than have any part in the Apocalypse he curated for her. When the Savior of the Rim does finally come for her, she and Alexios' mutual interest in stopping the Apocalypse though means different than Fate has offered draws them closer together. Armageddon comes to believe that maybe their love will prove stronger than Fate herself.

LIZ and the Biohazards Logan Griffiths -> Samantha Griffiths -> Miriam Riveria

Genre: Horror, Sci-fi Core themes: Rebellion, survival, girlhood

Oh man I would love to tell y'all ALLLL about this comic, but as I am literally working on the script rn, you'll have to wait and see for most of it. But MAINLY, it's a story about a teenage science experiment who grew up in a lab and decides to break free and experience all the world has to offer. (Previously titled Unchained Phenomena) Logan Griffiths is labeled by most of the people who know him as a crazy conspiracy theorist, but Logan knows what he's seen and what he's heard. His son was sent to war almost 18 years ago and never came back. The last letter he received from his son detailed the horrors he had seen on the front lines, saying he fought beside people who "weren't people anymore". Ever since Logan has worked to crack down on the government's experiments on humans, and expose what decades of propaganda and coverups have worked so hard to hide. One disaster strikes the government base he's spent a decade studying, and his answers are delivered right to him with one phone call from some friends. He just didn't expect them to come in the form of a young girl. S-072, or Sam, as she prefers to call herself now, was created in a government lab after the Bio War ended in an attempt to bolster Texas' defenses as it stands on the brink of independence. S-072 was designed for espionage, with the original intent being to create a human who could alter their physiology to mimic anyone. However, while she can indeed alter her physiology, the raw-looking flesh and bone she is able to warp and change isn't going to pass as anyone alive. After the initial failure, they found that S-072 was better suited for just slaughtering things. She could withstand bullet wounds after training, she could warp herself into her own weapons, and was overall the perfect killing machine. Too bad someone started putting ideas in her head. Miriam is a survivor of war. She wasn't a soldier, but she was a sister, and a daughter. Her hometown was hit with a biological weapon and she lost her family and was left sick, disabled, disfigured, and traumatized. She did her best to survive, but unable to work, living on fixed income wasn't cutting it. When the government offered her an experimental cure for her illness, she took it without reading the fine print. Subjected to many experiments, but never a real cure, Miriam plotted a way out.

THE MIXED BAG OF RANDOM GUYS! "Charlie" -> Caelum Ketch - Jinlong

Dream Journal: The Central Mind

Genre: Horror, Sci-fi Core themes: The unknown, death, grief

This story is from a dream I had that I've reworked to make a story that I'd love to make into a short comic someday. The basic idea of the dream (maybe nightmare) was there was a family that lived on an island who were studying an interdimensional entity. Shortly after they moved to this island, their daughter died. Something, someone else.. came back. "Charlie" is the name of the person who is distinctly NOT Charlotte to anyone who looks close enough. A fragmented piece of a much larger entity with the mind and memories of the late Charlotte, Charlie is just trying to solve the mystery of why her family keeps acting so strange around her.

Cache of Sybaris

Genre: Sci-fi Core themes: Idk man it's just fun Space Pirates babeyyyyyy

The Sybaris Galaxy celebrates the many rich cultures that exist within it, art and culture is a top priority of the Galactic Union! So when the entirety of the latest Trivlexian exhibit on the planet Nik is stolen by Captain Wretch and her band of pirates, it becomes a Galaxy wide chase to steal it back! Especially to other pirate crews who might never have the chance to catch a better score. Ketch is one of such pirates who's crew is after Captain Wretch and her recently stolen goods. While most are after the art that was in the exhibit, the crew of the Red Death is much more interested in the Trivlexian technological artifacts. Namely because Ketch, the crew's finest mechanic, is Trivlex himself. Ketch knows well enough that anyone who isn't rich enough to be able to conveniently ignore is knows all Trivlexian artifacts are stolen, but he has no noble ambitions for his people's artifacts. He just wants to make better weapons and improve his crew's ships. Regardless of how many bounties it gets on his head in the process.

Shifting Stars and Moving Mountains

Genre: Fantasy Core themes: Grief, change, culture

SS+MM is a story that takes place in the same universe as Array of Cicadas, but remains mostly disconnected from the main story. It follows the dragons of Genesis, their politics, culture, and how they influence the rest of the realm. Jinlong is a young dragon, just a few decades over 500, who grew up during the Great Dragon Hunts. Jinlong lost both of his parents in the hunts, he survived the only way he could in such a time of hostility towards dragons, he lived as a human. A human family took him in and treated him as their own. Jinlong spent so long as a human he slowly lost touch of what it meant to be a dragon. After his youngest human sister died at the EXTREMELY impressive age of 200, Jinlong was taken in by Sage Ragnormr, an ancient dragon who advised him to rest. And rest he did, for 2000 years, Jinlong slept, regaining the strength he expended from holding his body in human form for so long. He awakes in the modern era, things have changed drastically, and this little dragon needs to learn what it really means to be a dragon again.

AAAAAAAAAAAAAAAND I have 400+ other ocs that I won't cover on this post, but if anyone is ever curious about my silly little guys, there's nothing in the WORLD that brings me more joy than getting to talk about them with other people :)

[coraniaid]

Literally the whole point of Buffy's arc in Season 6 is that she didn't come back wrong -- her depression, her inability to connect with her friends the way she wants to, her attraction to vampires in general and Spike in particular, the way she focuses on Slaying because it's something simple that she can excel at when she's struggling with the quotidian and unromantic aspects of her normal life, how hard she finds existing in the world now that her mother's gone and she and Dawn are alone -- these are all things that were true of Buffy before she died in The Gift. They are all things that we have seen from Buffy before, some of them going back all the way to the first season.

Spike tells Buffy that she must have "come back wrong" in Smashed because he wants to believe it -- as much as he wants her to believe it -- because it makes her more like him (and like all vampires, who really have come back wrong, "a little less human than you were"). And equally Buffy wants to believe that she "came back wrong" because it means it's not her fault she feels the way she does now. It means the emotions she's been struggling with all season are something that's been done to her by outside forces and not who she "really" is. But the show explicitly tells us (via Tara in Dead Things, who is clearly more informed than Spike here and actually does the research) that they are both incorrect: Buffy did not come back wrong in any way beyond "surfacy physical stuff". The Buffy of Season 6 is the same Buffy we've seen in the previous seasons; just cast in a new light by new circumstances and new experiences.

The Buffy of Season 5 would have struggled to cope with the reality of life after her mother's death just as much as the Buffy of Season 6. In fact, she does struggle just as much -- it's just that there's a whole world-saving Slayer mission to focus on as well, which she can use to distract herself from the sense of purposelessness she now admits to feeling ("I don't know how to live in this world if [...] everything just gets stripped away. I don't see the point") . But S6 Buffy doesn't get to have that sort of grand adventure to distract herself from the mundane. S5 Buffy gets to battle sword-wielding knights in shining armour and to fight a literal god and to make a big heroic sacrficice to save the world; S6 Buffy has to deal with the squalid reality of the Trio and paying bills and working in the Doublemeat Palace. But, underneath, she's the same person she always was. Again, that's the whole point of the story this season's telling.

We see Buffy struggle to come to terms with this in the second half of the season (including her retreat into fantasy in Normal Again) but it is something she ultimately does accept about herself. It is the entire subtext of her final speech to Dawn in Grave. Buffy admits that things have "really sucked lately" but promises Dawn that that will change; she admits to having gotten things "so wrong" and that instead of trying to protect Dawn (that is, to protect her memory of her pre-S6 self) she should be encouraging her to live and grow (to live in the world, which Buffy described in The Gift as "the hardest thing in the world"). And Dawn is explicitly a part of Buffy (the part of Buffy that exists outside of being a Slayer), so any time Buffy has this sort of conversation with her sister it is really a conversation she is having with herself. It is deliberate choice that the season ends with Buffy and Dawn climbing out of a grave together -- reenacting the events of Bargaining -- with Buffy having come to peace who with she is and her own resurrrection and seeing now how beautiful the world is.

There are a lot of characters in Buffy who come back wrong, but Buffy Summers is simply not one of them. However much she might wish that she were.

[anbaisai]

hi hi!! i meant to send this earlier hfdhnf but 1, 3, 8 for the ask game? :0

1. When did you start creating art?

For as long as I can remember! I think I was scribbling stuff since I was as young as 3, I remember my parents putting my Sailor Moon fanart (if you could even call it that) up on the wall LOL. I have memories of sitting on the floor in the living room and drawing while the adults talked. Though later on I took many long breaks because life happened, sometimes as long as months to years. Thankfully I'm regaining my love & motivation for it this year so I'm hoping to keep it up! (Thank you Jamil Viper 😌)

3. What are your favorite subjects to draw? (OCs, your fan faves, etc.)

I love drawing OCs! Not just my own but other people's as well because I love the creativity & heart that goes into them. Fanart was actually a difficult thing to bring myself to draw for a long time, because I struggled with feeling like I could never capture my faves' properly (basically placing too many expectations on myself OTL). In general I really enjoy drawing faces/expressions for any character I get my hands on www

8. How would you describe your art style?

In terms of vibes I think mine's like... soft and gentle, I've had friends describe it to taste like cake or like soda. I'd also consider it "deceptively simple" because I have a simple colouring style, but I invest a lot of effort into studying the character down to the smallest detail, making sure the anatomy is correct, redrawing things until I'm satisfied, etc. which is why I'm so horribly slow to make anything 💀. It's the curse of being a perfectionist but I.. I think it pays off...? 😭

[variousqueerthings]

also interesting because I just watched a video doing a rundown on the history of queerness in doctor who, which naturally had a lot dedicated to aro and/or ace reads of the doctor, which at one point discussed that ofc reading the alien character specifically as such can be alienating (not... that as an aroace person my own reads would be attempting to alienate... myself... although also here insert other discussion about how the aliens often are just the blank slate upon which non-normative behaviours are placed, so it makes sense to see the neurodivergent/disabled/queer/otherwise othered body reflected from them, while also understanding that this means the world views you as inherently alien, while also being like "sure, yeah, I always have done," while also knowing that's dehumanisation, while also...)

but, when it's consciously done, when does this alien being (whatever narrative we're looking at) resonate through the lens of xyz because we're interested in how social structures built Not on today's earth human constructs could end up in wildly interesting different spaces in which what is non-normative to us is presented as normative to them (thus making an argument of stop being such freaks against trans kids, for example), and also when do we read those characters as incongruent with their own societies (I think also here of star trek's the outcast and rejoined, which blend queerness as we recognise it in our societies with characters who break alien normative structures as expressions of an alien queerness, and then there's ofc left hand of darkness in which gender-and-sexuality is at the centre of the political narrative and it's queer on multiple in-universe and out-of-universe levels)

for example, the doctor isn't really an outsider timelord if we look at them through the lens of genderbending regeneration -- that's normalised in that society in canon, and the interesting thing there is usually how that interacts with human social constructs and politics of gender and as a scifi way of deconstructing and dissembling real life consturcts... but they are clearly an outsider in terms of many other things they do, for example seeming neurodivergent if looked at through a human lens and a timelord lens

so where do aromantic and asexual reads fit in there?

well to start with aro!doctor -- I am into the science-fiction ability to create societies with completely different expressions of "connection" that eschew simple human monogamous ideas and histories, but if we were to take that second lens as well of "what if the doctor is aromantic as an identity and not simply as an alien," the doctor continuously (with the exception of romana and the master) creates deep connections with beings that don't have a particularly long lifespan/aren't timelords, especially considering they're near-immortal. and with romana and the master there seems to be a different set of rules happening there than anything one might describe as uncomplicatedly romantic, bitter exes vibe of the doctor/the master acknowledged

the doctor interests me from the lens of "aromantic as non-normative/queer from the pov from both our and timelord society" because they seem to continuously struggle with people not accepting the connections that they're offering them. the doctor's way of having a relationship is often not "enough", isn't easy to describe/vague, and people get jealous or angry or feel betrayed for reasons that isn't the doctor's fault, because there simply seems to be a lack of language to properly describe it in easy digestible terms

that is... a very aromantic experience

and then sometimes the doctor will just have little non-romantic connections that work, like donna -- and, despite not being my favourite seasons, the bits where the doctor simply lives with/drops in on the ponds is very sweet. and the tardis of course. am a "doctor-and-the-tardis are a matching pair and one without the other is wrong, but it's not romantic" person at heart, beyond anything else

(I am interested in how this will play once my rewatch gets me back to 13 and I can watch until the end, because I know yaz confesses that she's in love with the doctor near the end, and the doctor has an interesting reaction from what I understand)

(I guess at this point asexuality is another post)

but yeah. I think I'm not saying anything new with regards to the writing of aliens (and android and otherwise non-human characters), in that obviously one would like to imagine some interest in exploring these forms of non-normativity outside of "well that's an alien" (she's an alien and he's gay) but also there's reasons we're all so into aliens

genderbending genderfluid regenerating aliens is all well and good, but it only becomes really interesting in this case when we see trans/non-binary/genderfluid/genderbending humans (as is coming up soon! and I hope we see many more actors of the trans and gender non-conforming persuasion on this show!) similarly -- while I do think we have had more than a taste (donna my heart and soul honestly) of that non-alloromantic queerplatonic vibes doctor-companion dynamic -- I'd be fascinated in what a consciously aro (and maybe ace also) companion opposite the doctor would be like, how that would restructure their relationship with the doctor, compared to others who had expectations that the doctor couldn't ever hope to fulfill, like rose, martha (although they did let down martha in many ways that had nothing to do with romance), amy, possibly yaz, (here the confession that I never did get much of what was going on with clara but maybe this watch will clarify for me), possibly sarah-jane, possibly river song although she seems to have just kind of gone with it I guess, possibly romana... heck, possibly the master (I guess possibly that american woman from the movie, I forget her name... I cannot remember rn if other companions ever expressed an interest like that in them, but if so, then them too)

also I just want to rub moffat's face in it if I'm being honest. writing snide commentary about what was described as "asexual" doctor pre-nu!who, in a way that very much encompassed aroness (because romance-and-sex has so often been and still is put under one header), and totally misunderstanding why fans were into it or why it's interesting, and then being obsessed ever since with his weird little crusade of making doctor who "sexier" and alloromantic and imo utterly failing, despite it all