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algae-tm · 8 months ago

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PEOPLE, PLACES, THINGS

Max Verstappen x anthropologist! Reader

Author’s note : this smau has a special place in my heart, if you haven’t noticed I’m not Caucasian, but was born and raised in Nigeria and a lot of my university life has been centred around studies of the black diaspora. My masters research is on homosexuality and Afro-syncretic religions, so have been trying to figure out how to incorporate it so thought I’d go full send and thus this was borne.

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peopleplacesthings just posted

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peopleplacesthings: I spent three years (give or take) with the people of the Bahia state in Brasil, researching the afro-syncretic religion of Candomblé. My research paper on the gender roles within Candomblé (how men express masculinity, and the role of women as spiritual leaders) will be published online where everyone will be able to access it. Can’t wait to see where the world takes me next!! 🌎🇧🇷

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yourbsfuser: y/n baby I love you and your big brain, but please take a sabbatical 😭. stay in the UK for a while.

— peopleplacesthings: what’s in it for me? 🤨

— yourbsfuser: seeing your family and friends???

— peopleplacesthings: sorry gotta blast, the world is waiting 🏃🏿‍♀️

user10: your masters research on the linguistic appropriation of AAVE was vital for me completing my dissertation! Thank you so much

— peopleplacesthings: passing down knowledge is the key to preserving culture! I love when I get comments like this, well done my love.

lewishamilton: so you’re free now?

— peopleplacesthings: until my next adventure

— lewishamilton: good to know

— user10: not SIR LEWIS HAMILTON in my old TA’s comment section

— user7: IK 😭 she was a guest lecturer at my uni like one month ago! Really my two worlds colliding 😭😭

— user8: how do they know eachother???

— user9: I’m guessing they must have met one of the times Lewis was in Brazil??

— peopleplacesthings: he is my cousin! he’s much older and way less attractive than me so that’s probs why you couldn’t see the family resemblance🙂🙂

yoursisteruser: 2 back to back research papers… you could use a break from work

— peopleplacesthings: it’s not work if you love what you do 🤗🤗

— user17: 2 research papers??? How old is she?

— user19: she’s actually done 3! One for her masters which was only 15,000 words and then 2 more, her 2nd was for her PhD and she’s published her last two as books. She’s 28 if I’m not mistaken. I’m not a stalker just obsessed with her work!

— user17: oh so she’s SMART smart

— user19: bro she’s DOCTORATE OF ANTHROPOLOGY smart

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peopleplacesthings just posted

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peopleplacesthings: I can check getting papped reading in the park off my bucket list… maybe I should start a book club! Anyways everything is a learning opportunity so I am currently reading Nervous Conditions by Tsitsi Dangarembga. Don’t be so surprised that I read fiction! Nervous Conditions is a valuable case study in cultural anthropology due to its rich exploration of themes related to post-colonial identity, gender, and cultural conflict. If you take my post-colonial anthropology module in September, this will definitely be on the further reading list. Come read with me! 📚 📚

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user1: are we sure this is the woman max is dating…

— user3: I was just wondering that, so out of left field 😭 😭

— user4: I mean what do they even have to talk about? She just lectures him all day?

lewishamilton: how can I take your class if I’m not enrolled in the university?? 🤨🤨

— peopleplacesthings: you can’t! Hope this helps

— user5: jeez she’s so rude…

— user9: who does she think she is????

— peopleplacesthings: Dr. Y/n Y/ln that’s who I know I am

user11: so is anthropology all she talks about, or does she have hobbies…

— peopleplacesthings: I happen to think my field of anthropology; the study of societies, people and culture, is quite interesting. But no I am a person I contain multitudes anthropology is not all I talk about.

user6: not y’all invalidating a woman with a literal doctorate just because she MIGHT be dating your fav… pls touch grass

— user13: that’s what I’m saying! If anything she’s WAY out of Max’s league, hasn’t he only ever read like 2 books?? (liked by danielricciardo)

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peopleplacesthings just posted

liked by maxverstappen1, danielricciardo, lewishamilton and 100,00 others

peopleplacesthings: We DTR’ed!!

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lewishamilton: DTR?

— peopleplacesthings: Define the Relationship apparently

— lewishamilton: my how the tables have turned, miss I don’t date drivers.

— peopleplacesthings: DR* I don’t date drivers. And what can I say my commitment issues are no match for Max Verstappen

danielricciardo: you’re welcome!

— user4: what could you possible have done

— danielricciardo: I told max to grow some balls that’s what! I’m the architect of this relationship

— peopleplacesthings: you and Lewis can fight over that title

maxverstappen1: WE DTR’ED!!!!

— peopleplacesthings: hell yeah we did!

maxverstappen1: I love you schat ❤️💙

— peopleplacesthings: 🥹 I love you too

you doofus

maxverstappen1 just posted

liked by peopleplacesthings, lewishamilton, charles_leclerc and 3,456,234 others

maxverstappen1: Did it hurt when you fell from your culture’s dogmatic view of an afterlife?

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peopleplacesthings: I think that’s the sexiest thing anyone has ever said to me

— maxverstappen1: there’s more where that came from

— peopleplacesthings: oh shucks not in public maxie

— danielricciardo: this is the weirdest foreplay I’ve ever witnessed

user14: how did a man that drives in circles manage to bag my anthro professor??

— user16: shouldn’t that be the other way round???

— user14: if you ever attended one of her lectures and saw her in action you would know the answer to that question is absolutely not (liked by maxverstappen1)

••••••••••••••••••••••••••••••••••••••••••• TAGLIST

@forevercaffeinated-lee

@callsignwidow

@a-beaverhausen

@emryb

@c0deincrazy

@dontworryaboutitokie

@c-losur3

@chuxk-lerclerk

@silkenthusiasts

@ietss

@sp1rl

#f1 smau #formula 1 smau #f1 fanfic #f1 x reader #formula one smau #max verstappen x black!reader #max verstappen smau #max verstappen x you #max verstappen x reader #max verstappen fic #max verstappen x female reader

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literaryvein-reblogs · 22 days ago

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What are your thoughts on names in general? Be it names of a place, a character, a thing, etc....

How would you name a character?

How to Name Your Characters

Some authors have an easy time concocting a new character for their stories, but they have a harder time generating new names to give such a character. Here are some writing tips to get your creative juices flowing, help you source different names, and make sure each name fits with the character you’ve created:

Consult the phone book. Grab a random name from the phone book to get yourself started. Then feel free to tweak the real name you find to make it better match your character’s personality. Did you pull up the name Vickie Malone? If you’re developing a character proud of her social status, why not change the name to Vivien Malone?

Grab a baby name book. Baby name books can be found in bookstores, libraries, and online. If they’re good enough for naming a real-life family member, surely they can be good enough for fiction writers seeking the perfect male or female names.

Use a random name generator. The internet is full of character name generator websites. A simple search will bring up a slew of these and get you on your way to choosing a useful list of names to pick from. You can even use a specialized name generator, like a fantasy name generator, to help you pick a genre-appropriate unusual name.

Pay homage to famous names from a book or movie. Imitation is the most sincere form of flattery, so if you want to pay your respect to a bestselling author or screenwriter, find a way to incorporate part of one of their best character names into your own work. This particularly works if you’re writing in the same genre—such as science fiction or superhero comics—as the author to whom you’re paying homage. You can even name a character after an author.

Make use of root meanings. A name meaning can derive from its cultural roots—including Latin, Greek, Sanskrit, or any cultural background. If you research the ancient meanings of certain names, you might be able to seed ideas about your characters in readers’ heads. For instance, the Welsh god of the sea is named Dylan, so this might be a good character name for a mariner. The word linda means “beautiful” in Spanish, so it may be apt to name a gorgeous female character Linda.

Don’t get hung up on finding the perfect name. Ultimately, audiences care far more about a character’s arc and three-dimensionality than their specific name. If you audition different names but find you’re unable to find one you truly like, insert a placeholder and keep writing. You can come back later and brainstorm similar names, or you can just let the placeholder become the final name for your character. At the end of the day, that name choice will not save or sink your manuscript; it will be a small part of a cohesive whole product.

Characteristics of a Good Character Name

There is no fixed formula for giving your characters a great name, but a memorable and interesting name will tend to have the following qualities:

It makes sense in context. A good character name is appropriate for the location and time period of your novel, short story, play, movie, or TV show.

It fits with the genre of your piece. For instance, the name Darth Vader might be the perfect name for a sci-fi villain, but would not fit a real-life drama set in rural Nebraska.

It is unique. Try to avoid evoking popular names from other works of fiction. Note, however, that some authors select similar names for effect, the way that George R.R. Martin’s Samwell Tarley seems to intentionally evoke the fantasy name Samwise Gamgee from J.R.R. Tolkien’s Lord of the Rings. Even Martin’s own name, with its double initials, seems to pay homage to Tolkien.

It is appropriate for a character’s role in the narrative. The audience may be able to surmise a certain type of character by simply reading or hearing their name. Shakespeare was a master of this, assigning whimsical sounding names to jesters (i.e. Sir Toby Belch in Twelfth Night), unique singular names for a main character (i.e. Hamlet, Othello, and Prospero), and common names to common characters (i.e. John Bottom and Francis Flute in A Midsummer Night’s Dream).

It’s memorable without being distracting. Readers of Vladimir Nabakov’s Lolita could behold the unusual name of Humbert Humbert and know that they were dealing with a less-than-trustworthy character, yet Mr. Humbert’s odd name does not provide such distraction that a reader cannot focus on plot, backstory, and character development.

The Importance of Character Names

Character name meaning varies from text to text.

Some novelists imbue a name with symbolic meaning that indicates a particular type of character.

The 19th century American writer Nathaniel Hawthorne was known to use names to foreshadow character traits.

Examples: the foolish, hypocritical Reverend Arthur Dimmesdale in The Scarlet Letter and the titular character from the short story Young Goodman Brown, who represents a Puritanical mindset emblematic of a particular time period.

Other authors give less heed to symbolism when selecting the right name, but they nonetheless use names to offer clues about a character’s social status, nationality, and family heritage.

In his epic novel War and Peace, Leo Tolstoy used character naming to differentiate between different classes of people within Russia’s complicated semi-caste system, from simple peasants to the aristocracy to military leaders.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

Found this article that put it into words better than I can. Choosing the right names of places, characters, and even things in your story serve so many important purposes for worldbuilding, development of plot & characters... Ideally, we want something that would stick with the readers, and fits well with the story as a whole. You could look back on classic literature/films, or your favourite pieces of media, and you'll likely find that names of characters and places are well chosen, and usually are memorable or even "catchy". We could always learn a lot from the classics and our favourite authors. Also, some writers find using templates helpful, here's one you could try: Naming your Character Worksheet

#writing reference #character development #writeblr #dark academia #spilled ink #creative writing #fiction #literature #template #writing prompt #character building #character inspiration #writing advice #writing tips #writers on tumblr #light academia #writing inspiration #writing resources

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hayatheauthor · 1 day ago

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can you write some tips on writing amnesia for a character? <3

Note: thank you for your ask! I'm sorry for replying so late I took a break from Tumblr for a bit.

In this guide, I'll be covering a balance of information on amnesia and how to write it. Some topics I mention are the types of amnesia, how they impact characterization, and how to write a believable portrayal of memory loss. I hope this blog is to your liking anon.

Understanding Amnesia: Types & Realism

Amnesia is not a one-size-fits-all condition. There are many different types of amnesia and each has unique effects on a person’s ability to recall past events or form new memories. You should research the type of amnesia you're going to use in-depth before incorporating it into your writing, but here's a quick breakdown of the types:

Retrograde Amnesia – The inability to remember past events while still being able to form new memories. This is common after traumatic brain injuries.

Anterograde Amnesia – The inability to create new memories while retaining past ones. A well-known example is the film Memento, where the protagonist loses the ability to form new long-term memories.

Dissociative Amnesia – Memory loss resulting from psychological trauma rather than physical injury. In extreme cases, this can lead to fugue states, where a person travels or assumes a new identity with no memory of their past.

Selective Amnesia – The loss of specific memories, often linked to a traumatic event.

Transient Global Amnesia (TGA) – A rare, temporary condition where a person suddenly loses memory for a few hours or days before recovering.

Many fictional portrayals of amnesia tend to exaggerate its effects or resolve it in unrealistic ways. In real life, memory loss is rarely total, and individuals often retain habits, motor skills, and emotional reactions even if they don’t recall specific events.

Choosing the Right Type for Your Story

Amnesia can be used in various genres, from psychological thrillers to fantasy epics. It's often a plot device or opportunity for character development, so it's important you pick the right type of amnesia.

A thriller or mystery might use amnesia as a tool to conceal crucial information, allowing the protagonist to uncover the truth alongside the reader, in which case Selective Amnesia might be a good fit. A romance could explore the emotional toll of memory loss on relationships, where one partner remembers everything while the other has Retrograde Amnesia and forgets them.

If your story revolves around identity and self-discovery, dissociative amnesia or retrograde amnesia may serve the plot best. If you want to create suspense by limiting what the character can learn over time, anterograde amnesia can add significant tension.

Take some time to consider why your character needs to have amneisa, what you plan on achieving with it, and whether or not you want them to recall what they've forgotten.

Characterization & Emotional Impact

Amnesia isn’t just about forgetting—it fundamentally changes how a character interacts with the world. A character suffering from memory loss might experience:

Fear and paranoia – Who can they trust if they don’t even trust their own mind?

Grief and loss – The realization that they’ve forgotten people or parts of themselves can be devastating.

Frustration and helplessness – Simple tasks may feel overwhelming, and social interactions may be fraught with confusion.

A shift in personality – Without their past experiences shaping them, they might react to situations in unfamiliar ways.

Relationships also play a crucial role. Loved ones may struggle to reconnect, while old enemies may take advantage of gaps in memory. This emotional complexity adds depth to an amnesia storyline, making it more than just a convenient plot device.

Medical Insights on Amnesia

To write a realistic portrayal of amnesia, it’s essential to understand its medical and neurological foundations. Memory formation involves various brain structures, particularly the hippocampus, which plays a key role in storing long-term memories.

Causes of Amnesia

Head trauma (e.g., concussions, strokes, aneurysms)

Psychological trauma (dissociation due to extreme stress or PTSD)

Infections affecting the brain (e.g., encephalitis, meningitis)

Substance abuse (alcohol-induced blackouts, drug-related memory loss)

Neurological disorders (e.g., Alzheimer’s, epilepsy, brain tumors)

Memory Recovery & Treatment

While some cases of amnesia are reversible, others can cause permanent memory loss. Treatments often include:

Cognitive therapy to help the brain form new associations.

Medication for cases linked to neurological disorders.

Hypnosis or psychotherapy for trauma-induced memory loss.

Fiction often portrays amnesia as something that can be instantly cured by another head injury or a dramatic emotional revelation, but in reality, recovery is often slow and uncertain.

Writing Realistic Amnesia Symptoms

When crafting an amnesiac character, it’s crucial to depict their symptoms accurately. Some of the most common effects include:

Confusion and disorientation, particularly in familiar settings.

Difficulty recognizing close friends and family members.

Emotional reactions to people or places they don’t consciously remember.

Trouble forming new memories (in cases of anterograde amnesia).

Physical symptoms such as headaches, dizziness, or fatigue.

By integrating these symptoms into your character’s behavior, you create a more immersive and believable narrative.

Unraveling Memories

Memory recovery should feel natural rather than forced. Instead of a sudden, convenient realization, consider gradual memory restoration through:

Sensory triggers (smells, sounds, touch that evoke forgotten memories)

Therapeutic methods (therapy sessions, hypnosis, journaling)

Unreliable memories (false memories, altered recollections)

Emotional breakthroughs (re-experiencing an intense emotion tied to a memory)

It’s also worth deciding whether your character will ever fully regain their memories. Some narratives work better when the character must move forward without ever reclaiming their past self.

Common Pitfalls & How to Avoid Them

While amnesia can be a powerful narrative tool, it’s easy to fall into unrealistic portrayals. Here’s what to avoid:

Instant cures – Memory loss doesn’t resolve itself with a single emotional moment or another head injury.

Overly selective memory gaps – Forgetting only plot-relevant details makes amnesia feel contrived.

Ignoring emotional consequences – Memory loss isn’t just about lost facts; it’s about lost identity and relationships.

Lack of research – A poorly researched amnesia storyline can feel lazy and inauthentic.

By steering clear of these clichés, you can create a well-rounded and compelling narrative.

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theplotmage · 5 months ago

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Hi, I was wondering if you could so some sort of rule set for time travel? I'm finding it hard to describe, and what rules there are on the subject.

Thanks!

Hello, I'm also writing a time traveling sci-fi fiction with a fantasy blend to it and here are some things that I find that could help us out!

Rule Set for Creating Believable Time-Traveling Fiction

1. Time Travel Mechanics

Mechanism Description

- Clearly explain how time travel works in your story. Is it a machine, a natural phenomenon, a magical object, or an innate ability?

Scientific Basis

- Incorporate real scientific theories, such as Einstein’s theory of relativity, wormholes, or quantum mechanics, to ground your story in plausible science.

Limitations and Costs

- Define the limitations of time travel, such as distance in time, frequency, energy requirements, or physical toll on the traveler.

2. World-Building

Historical Accuracy

- Research and accurately depict the time periods your characters travel to. Include cultural norms, language, technology, and major events of those eras.

Parallel Worlds and Timelines

- Decide if time travel in your story creates alternate timelines or if it follows a single, mutable timeline. Consistency is key.

Temporal Organization

- Consider the existence of a governing body or organization that regulates time travel. Define its structure, rules, and purpose.

3. Language and Communication

Temporal Dialects

- Characters from different time periods should speak differently. Use historical dialects, slang, and accents appropriate to each era.

Temporal Jargon

- Create specific terms and jargon for time travelers and the technology they use, such as “temporal jump,” “chrononaut,” or “time anchor.”

Code of Conduct

- Develop a code of conduct or set of guidelines that time travelers must follow, including how they communicate with each other and with people from different eras.

4. Character Development

Motivations and Goals

- Clearly define why characters want to time travel. Is it for adventure, to change a personal event, or for scientific exploration?

Personal Growth

- Show how time travel affects characters emotionally and psychologically. Do they struggle with the ethics of their actions or the loneliness of being out of their time?

Conflict and Tension

- Use the potential for paradoxes, rival time travelers, and moral dilemmas to create conflict and tension.

5. Ethical and Moral Implications

Paradox Prevention

- Address how your story handles paradoxes, such as the grandfather paradox. Use concepts like self-healing timelines or fixed points in time to explain inconsistencies.

Ethical Dilemmas

- Explore the moral implications of time travel. Should characters intervene in historical events? What are the consequences of changing the past Responsibility

- Emphasize the responsibility that comes with the power to alter time. Characters should consider the broader implications of their actions.

6. Plot Structure

Non-Linear Narrative

- Use non-linear storytelling techniques to enhance complexity and intrigue. Flashbacks, flash-forwards, and parallel timelines can create a rich narrative.

Foreshadowing and Payoff

- Plant clues and foreshadowing that pay off later in the story. Ensure that all plot threads are resolved by the end.

Multiple Perspectives

- Consider telling the story from multiple viewpoints to show the impact of time travel from different angles.

7. Integrating Science Fiction and Fantasy Elements

Scientific Plausibility

- Ground your time travel mechanics in plausible science, even if you incorporate fantastical elements. Use pseudo-scientific explanations to bridge the gap.

Imaginative Enhancements

- Blend scientific theories with imaginative elements, such as ancient artifacts, alien technology, or supernatural forces.

Explanatory Dialogue

- Use character dialogue to explain complex concepts in an accessible way without overwhelming the reader with technical details.

8. World-Building Consistency

Timeline Integrity

- Map out key events in your story’s timeline to avoid inconsistencies and plot holes.

Cultural and Societal Impact

- Consider how time travel affects society. Is it a well-known and regulated practice, or a secret known only to a few?

Technological and Historical Changes

- Explore how changes in the past affect technology and history in the present and future. Ensure these changes are logically consistent.

9. Avoiding Common Pitfalls

Avoid Overcomplication

- Keep the rules of time travel simple enough for readers to follow without getting bogged down in excessive technical detail.

Plot Holes

- Be vigilant about potential plot holes and inconsistencies that can arise from complex time travel mechanics.

Exposition Balance

- Balance the need to explain time travel mechanics with maintaining the story’s pace and engagement. Avoid info-dumping.

Rules for Time Traveling

1. One-Way Trips Only

Restriction

- Time travelers can only move forward or backward in time once without the possibility of a return journey.

Explanation

- This rule ensures that the timeline remains linear and prevents paradoxes caused by multiple interactions with the same time period.

Effect

- Limits interference with historical events and reduces the chance of creating alternate realities.

2. The Observer Effect

Restriction

- Time travelers cannot interact with their past selves or directly influence their previous actions.

Explanation

- Direct interaction with one’s past self could create paradoxes, such as the “grandfather paradox,” where altering past events prevents the traveler’s existence.

Effect

- Maintains the integrity of the timeline and ensures personal history remains consistent.

3. Fixed Points in Time

Restriction

- Certain historical events, known as fixed points, cannot be changed or altered in any way.

Explanation

- These events are crucial for the stability of the timeline and the universe’s structure.

Effect

- Prevents catastrophic changes to reality, ensuring key moments in history remain intact.

4. Memory Corruption

Restriction

- Excessive time travel can lead to memory corruption, where the traveler starts forgetting crucial details of their original timeline.

Explanation

- The brain struggles to handle multiple versions of events, leading to cognitive dissonance and memory loss.

Effect

- Ensures travelers use time travel sparingly and only when absolutely necessary.

5. Temporal Anchor

Restriction

- Time travelers must establish a temporal anchor, a fixed point in time to which they can return or stabilize themselves.

Explanation

- This anchor serves as a safeguard against getting lost in time or drifting uncontrollably through different periods.

Effect

- Provides a safety net for travelers, ensuring they have a way back to their original timeline or a stable reference point.

6. Butterfly Effect

Restriction

- Minor changes in the past can have significant, unforeseen consequences in the future.

Explanation

- The butterfly effect illustrates how small actions can ripple through time, drastically altering future events.

Effect

- Encourages travelers to be cautious and minimize their impact on past events to avoid unintended consequences.

7. Temporal Energy Consumption

Restriction

- Time travel requires a significant amount of energy, often depleting the traveler’s resources or affecting the environment.

Explanation

- The energy needed to manipulate time is immense, and its usage can lead to resource shortages or environmental damage.

Effect

- Ensures time travel is not undertaken lightly and that travelers consider the environmental and resource costs.

8. Chrono-Sickness

Restriction

- Prolonged exposure to different time periods can cause physical and mental ailments, known as chrono-sickness.

Explanation

- The human body and mind are not designed to handle the stress of moving through time, leading to disorientation, nausea, and psychological effects.

Effect

- Limits the duration and frequency of time travel, encouraging travelers to minimize their trips.

9. Temporal Interference

Restriction

- Time travelers must avoid interfering with major historical figures or events.

Explanation

- Interfering with significant events or individuals can drastically alter the course of history, leading to unpredictable outcomes.

Effect

- Preserves the natural flow of history and ensures major events occur as intended.

10. Temporal Paradoxes

Restriction

- Travelers must avoid creating paradoxes, situations where actions in the past contradict the present or future.

Explanation

- Paradoxes can destabilize the timeline, potentially leading to its collapse or the creation of alternate realities.

Effect

- Ensures travelers act responsibly and with caution, preventing actions that could lead to paradoxical situations.

***

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hutiapendra · 6 months ago

Text

Denizens of The Sunken: Type Wheel, KEMC Diamond, and Habitats

Some researchers have asked what all the graphic icons in our encyclopedia entries mean. The following document should explain them all.

PART 1: THE TYPE WHEEL

The creatures populating the Sunken Island can be classified under ten (eleven) different Types, and five (six) different Cores. This diagram illustrates the relationships between Types and Cores.

The inner wheel contains Cores, the intrinsic origins of a creature. The outer wheel contains Types, the modes of a creature’s existence. Cores have certain Types associated with them, though a creature may deviate from these common links entirely.

Cores:

MUTANT: Life as we know it, twisting and accelerating beyond explanation.

UNDEAD: That which is no longer alive, echoes clinging to this world.

EGREGORE: Collective concepts brought to life, human ideas.

CRAFTED: That which was deliberately built, taking on life of its own.

HAZARD: Life inimical to other life, parasites, forces of nature.

Types:

VERMIN: Beasts. That which scurries, scratches, consumes. The rage of a thousand cornered rats.

WEED: That for which growth and movement are one and the same. Plants. Fungi. Sessile animals.

SHELL: Corporeal undead. Cadavers. Dust. Fossils. Rot. Food.

SOUL: Incorporeal undead. Ghosts, grudges, hauntings. Aftershocks of history.

RUMOR: Beings born from whispers. Legends. Cryptids. Bogeymen. Fear. Uncertainty given flesh.

DOGMA: Beings born from rules. Philosophy. Religion. Information. Code. Conviction given flesh.

MECH: Automata. Mechanical monsters free to self-replicate, free from their origins in human factories.

CHEM: Homunculi. Chemical processes running rampant. Water, salts, fuel, coarse stone, refined crystals.

PHYSIC: Forces of nature. Extreme heat and cold. Storms. Blunt impact. Distant stars. Disasters passively harmful to life.

PLAGUE: Invaders. Parasites. Infections. Consumers from within. Pestilence actively harmful to life.

Blank:

A Type and a Core at the same time, Blank is defined by absence. Some would call this a 'normal' or 'neutral' attribute, but there is nothing normal about a creature devoid of an identity. What little unites these Denizens involves empty vacuums, blistering cold, and unfilled vessels. Blank creatures are rare, and they tend to behave oddly when exposed to other life forms.

-----

PART 2: THE KEMC DIAMOND

Damage varieties:

All Denizens have the ability to inflict harm on others. That includes you, reader. Please familiarize yourself with the risks inherent to field research before going outside to catalogue the wildlife.

KINETIC: Harm inflicted with physical means, such as claws, fists, fangs, or infection. By far the simplest form of danger to understand, but no less deadly.

ENERGY: Harm inflicted by emitting high levels of energy through comparatively small amounts of mass. This may take the form of fire, electricity, radiation, among others.

COGNITIVE: Harm inflicted by assaulting the mind and senses. Creating illusions, manipulating emotions, and altering memories all fall under this category.

METAPHYSICAL: Harm inflicted by locally rewriting the rules of reality. What was fiction a moment ago is now a fact of life, and yesterday's laws of physics are today's fairy tales.

-----

PART 3: HABITATS

The icons above represent the various environments a Denizen may call home. The Sunken Island is very humid and situated well within the tropics, so many habitats such as deserts and glaciers have never been present here. Other icons may be added to the Denizen Encyclopedia if those presented are insufficient.

-----

That should cover everything, for now. If you have any other questions, please direct them my way!

-Dr. Calypso Ceiba, Postdoctoral ecologist for the Denizen Project

#denizens of the sunken #fakemon #pokemon #type wheel #pokedex

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chaxan08 · 8 months ago

Text

British Titles

I usually don't share posts of this type, but I've taken the liberty of doing so because I've read several fanfics and seen too many posts both here and on TikTok, in which it's more than evident that many people don't know how British noble titles worked in the 18th and 19th century. This is something I've seen more in the Bridgerton fandom, but many content creators or writers from other fandoms have made the same mistakes when interpreting noble titles.

First of all, I would like to clarify something. English and British noble titles are not exactly the same, although they are related. The following explains the difference and the historical context:

Historical Context.

England:

Before the formation of the United Kingdom, England had its own system of noble titles.

Titles such as duke, marquess, earl, viscount, and baron were common.

2. Great Britain:

In 1707, with the Act of Union, England and Scotland united to form the Kingdom of Great Britain.

After this union, noble titles became titles of the Kingdom of Great Britain.

3. United Kingdom:

In 1801, with the incorporation of Ireland through the Act of Union, the Kingdom of Great Britain became the United Kingdom of Great Britain and Ireland.

This further expanded the scope of noble titles.

Noble Titles.

Despite these political changes, the titles themselves (duke, marquess, earl, viscount, baron) remained consistent in terms of hierarchy and honor. The main difference was the realm and origin of the title:

English Titles:

Referred specifically to those created in the Kingdom of England before 1707.

Examples: Duke of Norfolk, Marquess of Winchester, Earl of Derby.

2. British Titles:

Refers to those created after 1707 in the Kingdom of Great Britain and later in the United Kingdom.

Examples: Duke of Marlborough, Marquess of Rockingham, Earl of Chatham.

Differences and Similarities.

Similarities:

The hierarchy and responsibilities of the titles remained the same, regardless of the change in the kingdom's designation.

Titles granted by the British crown maintained the same forms of address and privileges.

2. Differences:

British titles cover a broader scope, including Scotland and Ireland (later Northern Ireland).

English titles were specific to the Kingdom of England before the formation of Great Britain.

In short, while English and British noble titles are part of the same hierarchy and nobility system, the main distinction lies in the political and historical context in which they were created. During the 18th and 19th centuries, this difference was based on whether the titles originated before or after the unions that first formed Great Britain and later the United Kingdom.

Now then, with that said, I want to mention that my main reference for this is the article 'ENGLISH TITLES IN THE 18TH AND 19TH CENTURIES' by Jo Beverley, who is a Member of the RWA Hall of Fame for Regency Romance. Here is the link if you want to read the original article: On Titles (jobev.com)

It is also important to mention that, as Jo Beverley said, this brief run-down of English titles is for use by fiction writers. It is by no means comprehensive, but covers the more common situations arising in novels set in the above periods.

Now, the peerage basically runs according to primogeniture, ie the eldest son gets nearly everything. If a peer has no eldest son, the title and possessions that belong to it go to the next male heir, probably a brother or nephew.

There are a very few titles that can pass to a female if there is no direct heir, but they will revert to the male line when the lady bears a son. (Such as the monarchy.) Some titles can automatically pass through a female heir (when there is no male heir) and most can be revived by subsequent generations by petitioning to the Crown. But that's getting into more complicated areas. If your plot depends on something unusual, please do research it thoroughly before going ahead.

As Beverley said, this is a bit more complicated and requires further research if it's something you wish to incorporate into your work, especially if it's set in the 18th or 19th centuries. In the 20th century, this was more common. A clear example would be Lord Mountbatten (1st Earl Mountbatten of Burma), who had no sons, only two daughters. Therefore, he passed his title to his firstborn, Patricia Knatchbull (née Mountbatten). Thanks to this title, the Countess was entitled to a seat in the House of Lords, where she remained until 1999, when a House of Lords Act removed most hereditary peers from the chamber.

But returning to the main topic, the eldest son is called the heir apparent, as he is undoubtedly the heir. If there is no such son, the next in line is called the heir presumptive because, however improbable (such as the duke being on his deathbed), there remains a possibility of a closer heir being born. Therefore, an heir presumptive does not hold the title of heir, if there is one. (See below about heir's titles.)

If a peer dies leaving a wife but no son, the heir inherits unless the widow says she might be with child. It is for her to do that. If she stays silent, it is assumed that she is not. If she's pregnant, everything waits until the child is born.

These last two paragraphs can be perfectly illustrated by an example that many know. In 'When he was wicked', after the death of John Sterling, Earl of Kilmartin, Michael Sterling is not immediately named as the new Earl upon his cousin's death, as Francesca announces her pregnancy. But since she had a miscarriage, there was no longer a possible heir to the late Earl of Kilmartin, and therefore, the title is immediately inherited by Michael.

Continuing with the main topic, an heir must be legitimate at birth to inherit a title, though that could mean a marriage ceremony performed while the mother is in labor. A peer may raise bastards with devotion and/or marry the mother later, but a bastard child can never be his legal heir.

It's also crucial to mention that peers automatically had seats in the House of Lords. Note, however, that courtesy titles (those held by heirs) do not give seats, or any of the other privileges of the peerage.

Something else that is highly important to clarify, as confusion is quite common, is that most peers do not use their surnames as their title. Thus, the usual pattern would be something like Sebastian Burgoyne, Earl of Malzard. He is Lord Malzard NEVER Lord Burgoyne. (Or, for that matter, Lord Sebastian.) As an author, you might like variety, but take as a general rule is that no one ever had two forms of address.

THE RANKS OF THE PEERAGE

Duke.

Leaving aside royalty, this is the highest rank. His wife is the Duchess. They will be duke and duchess of something.

If we use the famous main couple from Bridgerton Season 1, the example would be: Duke and Duchess of Hastings. Address is "Your Grace", though familiars may address them just as Duke and Duchess. Like, "Fine weather for shooting, eh, Duke?" or may address the duke by title. "Care for more port, Hastings?"

The duke will also have a family name, that is, a surname, but he will not use it in the normal course of events. And something crucial that is also commonly confused, the duchess does NOT use the surname at all. Continuing with the same example, if Daphne Bridgerton marries the Duke of Hastings (whose surname is Basset), she will be the Duchess of Hastings and will informally sign as Daphne Hastings, NEVER as Daphne Basset.

The duke's eldest son is his heir and will have his father's second-best title as his courtesy title. Nearly all peers have a number of titles marking their climb up the ranks. The heir to a duke is often the next lowest ranking peer, a marquess, but the title could, however, be an earldom, or even a viscountcy. For example, the eldest son of Daphne and Simon, the Duke and Duchess of Hastings, holds the courtesy title that his father had when the Late Duke of Hastings was still alive: Earl of Clyvedon.

Important note, a courtesy title does not give the holder a seat in the House of Lords or other privileges of the peerage.

If the heir has a son before the heir becomes duke, that son will take the next lowest title as a courtesy title. If the heir dies before his father, his eldest son becomes the heir apparent and takes his father's title.

Apart from the heir, a duke's sons are given the courtesy title Lord with their Christian name. (Lord + firstname + surname). Continuing with the example of the Duke and Duchess of Hastings, assuming that like in the book, they also have David and Edward in the series, their courtesy titles would be: Lord David Basset and Lord Edward Basset. They are NEVER Lord Basset or Lord David Hastings and Lord Edward Hastings.

All duke's daughters are given the courtesy title (Lady + firstname + surname). And continuing with the same example, the daughters of the Duke and Duchess of Hastings, Belinda and Caroline, would be: Lady Belinda Basset and Lady Caroline Basset. Also, they are NEVER Lady Basset or Lady Belinda Hastings and Lady Caroline Hastings.

And also, if they marry a commoner, they retain the title. Let's say Lady Belinda marries Mr. Sticklethwait, she becomes Lady Belinda Sticklethwait. But if she marries a peer, she adopts his title. If Lady Belinda marries the Earl of Herrick, she becomes Countess of Herrick, Lady Herrick. And if she marries the holder of a courtesy title, then she may use his title or her birth title as she wishes.

I make this clarification because it's the most common mistake in these types of novels. Note that in all cases, titles like Lord or Lady with both first and surname (eg. Lady Anne Middleton) and Lord or Lady "last name" or "title" (Lady Middleton) are exclusive. No one can be both at the same time. Moreover, Lord or Lady "firstname" is a title conferred at birth. It CANNOT be gained later in life except when the father accedes to a title and thus raises his family.

So, Lady Mary Smith is not Lady Smith and vice versa. Lord John Brown in not Lord Brown and vice versa. If Mary Smith marries Lord Brown she becomes Lady Brown, NOT Lady Mary. (If she marries Lord John Brown, she becomes Lady John Brown. Yes, it may sound odd to modern ears, but the past is, as they say, a different country. That's the charm of historical fiction.)

Marquess.

This is the next rank. (As above, it can be spelled marquis or marquess, but in either case is pronounced markwess.)

Similar to the duke, he will be the Marquess of something, for example: He is Richard Byron, the Marquess of Salisbury, or Lord Salisbury, or simply Salisbury to his family. His wife is the Marchioness of Salisbury or Lady Salisbury. She would sign with her firstname and title, for example: Diana Salisbury, NEVER Diana Byron.

His heir apparent takes his next highest title as a courtesy title (eg. Earl of Cranborne). All other sons have the title of Lord with their first and surname (eg. Lord Arthur Byron and Lord Albert Byron, NEVER Lord Byron or Lord Arthur Salisbury and Lord Albert Salisbury). All daughters have the title of Lady with their first and surname (eg. Lady Alexandra Byron and Lady Amelia Byron, NEVER Lady Byron or Lady Alexandra Salisbury and Lady Amelia Salisbury).

Earl.

He will nearly always be earl of something. His wife is the Countess. If we take another famous couple from Bridgerton, they would refer to him as "the Earl of Kilmartin" or "Lord Kilmartin," or simply "Kilmartin" among family. His wife will be the Countess of Kilmartin or Lady Kilmartin, and she will sign as Francesca Kilmartin. In the same way as with the wife of a duke or marquess, considering that the Earl of Kilmartin is named John Stirling, Francesca will NEVER be called Francesca Stirling. That's why in the series, when she introduces herself to Michaela, she says that her name is now Kilmartin and NOT Stirling.

It's important to mention that some Earls do not use 'of' like Earl Spencer, and in that case, the family surname is the same as the title (following the previous example, the surname would be Spencer), but this is quite unusual and I think it should be avoided in fiction unless it's a crucial plot point.

As with a duke or marquess, the earl's heir will take the next lowest title as a courtesy title, and the heir's son, the next again. Continuing with the example of the Kilmartins, it's not very clear what the courtesy title for John Sterling II (son of Francesca and Michael in the books) is, but if Michael Sterling is the Earl of Kilmartin and has a subsidiary title of Viscount, then their eldest son, John Sterling II, would use the courtesy title of Viscount Glenmore or Lord Glenmore. If there is no specific subsidiary title, then the eldest son would simply be known as Lord John Stirling.

All the daughters of an earl are given the courtesy title: Lady + their first name. Again, using the Kilmartins as an example: Lady Janet Stirling and NEVER Lady Janet Kilmartin. Younger sons of an earl, however, are merely "The Honorable" which is not used in casual speech. So, assuming in the books Michael and Francesca had another son, for example, Michael Stirling II, he would simply be The Honorable Michael Stirling, but in casual speech, he would simply be referred to as Mr. Michael Stirling or just Mr. Stirling.

Viscount.

His wife is a Viscountess. He will not use 'of'. He will be, for example, Viscount Bridgerton, usually known as Lord Bridgerton, or just Bridgerton. His wife will be known as Lady Bridgerton and will sign herself Kathani Bridgerton.

His heir has no special title. All children are known as "The Honorable". Continuing with the example of the Viscount and Viscountess Bridgerton, their children would be called:

*The Honorable Edmund Bridgerton, and simply be referred to as Mr. Edmund Bridgerton.

*The Honorable Miles Bridgerton, and simply be referred to as Mr. Miles Bridgerton.

*The Honorable Charlotte Bridgerton, and simply be referred to as Miss Charlotte Bridgerton.

*The Honorable Mary Bridgerton, and simply be referred to as Miss Mary Bridgerton.

Baron.

This is the lowest rank in the peerage. His wife is a Baroness. NOTE that the terms baron and baroness are only used in the most formal documents, or when the distinction has to be made elsewhere. General usage is simply to call them Lord and Lady.

She will sign with her name and title. The children are known as "The Honorable".

Using another character from Bridgerton, if we assume that Colin and Penelope Bridgerton's son is named Elliot, then Elliot Bridgerton, the new Lord Featherington, would sign as Lord Featherington and NEVER as Lord Bridgerton. Therefore, his wife would also sign with his title, that is, Featherington. For example, if the wife's name is Elizabeth, then she would be Lady Featherington and would sign as Elizabeth Featherington, and NEVER as Elizabeth Bridgerton or Lady Bridgerton.

Baronet.

The next in the ranking—and not of the nobility—is Baronet. A baronet is addressed as Sir + first name + surname. For example, using another couple from the Bridgerton universe, Sir Phillip Crane. His wife would be called Lady + surname. For example, Lady Crane and not Lady Eloise Crane unless she is the daughter of a duke, marquess, or earl (which is not the case). She would sign with her full name, as Eloise Crane.

His children have no special distinction. However, the title is inheritable. So, continuing to use Sir Phillip as a reference, when he dies, his baronetcy will pass to his eldest son Oliver, who will then be called Sir Oliver.

It's worth mention that although in the series Oliver is NOT Sir Phillip's biological son, he still married Marina before the birth of the twins and acknowledged them both as his own, so the baronetcy title will pass without any issue to Oliver. In the event that he did not acknowledge them as his children or that Sir Phillip and Marina married after the birth of the twins, then the title of Sir Phillip would pass to his next legitimate son, Frederick (son of Sir Phillip and Eloise in the books).

Knight.

A knight is essentially treated the same as a baronet, but with the difference that it is a lifetime title only. His wife will be Lady + surname.

OTHER MATTERS

Dowagers

When a titled lady is widowed she becomes a dowager, but the practice has generally been not to use that title until the heir takes a wife, since there can be confusion about who the true Lady Bridgerton is, for example.

And even if she has a daughter-in-law, in general usage she would still be referred to by the simple title unless there was likely to be confusion. So, if the Dowager Viscountess Bridgerton was at a house party while her daughter-in-law was in London, people would not be constantly referring to her as the Dowager Viscountess.

Female titles in their own right

There are a few, very few, titles that can pass to a daughter if there is no son, as in the Royal Family, for example. In this case, the usage is the same as if they were the wife of a peer of that rank, but their husband gains NO title from the marriage, just as the Duke of Edinburgh was not king.

A Peeress in her Own Right retains her title after marriage, and if her husband's rank is the superior one, she is designated by the two titles jointly, the inferior one last. Or she can say what form she wants to use. (eg The Marchioness of Rothgar is also the Countess of Arradale by right. She chooses to be Lady Rothgar and Arradale in the most formal situations, Lady Rothgar in general, but Lady Arradale in private, especially when attending to her duties as Countess of Arradale. Unusual situations do tend to get complicated.) Her hereditary claim to her title holds good in spite of any marriage, and will be passed on.

Since the husband gains no title from such a marriage, it's possible to have the Countess of Arbuthnot married to Mr. Smith.

Her eldest son will be her heir and take her next lowest title. If she has no son, her eldest daughter will be her heir, but until she becomes the peer she will hold only the title that comes from her birth — eg. Lady Anne — if any, because an eldest daughter is always an heir presumptive. There might still be a boy.

The most common errors observed in novels:

Interchanging courtesy titles like Lady Mary Smith and Lady Smith.

Interchanging peerage titles, as when Michael Downs, Earl of Rosebury is variously known as Lord Rosebury, Lord Downs, and Lord Michael Downs.

Applying titles that don't belong, as when Jane Potts marries Viscount Twistleton and erroneously becomes Lady Jane, a title form that can only come by birth.

Having the widow of just about anyone, but especially a peer, remarry before time has elapsed to be sure she is not bearing a child. Or rather, whose child it is that she bears!

Having the heir presumptive assume the title and powers before the widow has made it clear that she's not going to produce an heir.

Having an adopted son inherit a title. Legal adoption was not possible in England until the twentieth century, and even now an adopted son cannot inherit a title. Even if the son is clearly the father's offspring, if he wasn't born after a legal marriage, he cannot inherit the father's title. However, since they didn't have DNA testing, a child was assumed to be legitimate unless the father denied it from the first. Even if the son turns out to look suspiciously like the vicar, the father cannot deny him later. This, I assume was to avoid the chaos of peers coming up with all sorts of excuses to switch heirs on a whim.

Having a title left in a will, which follows from the above. A title cannot be willed to whomever the peer in question chooses. It goes according to the original letters patent, which almost always say that it will go to the oldest legitimate male in direct descent. The property can be left elsewhere, unless it is entailed, but the title goes by legitimate blood.

Having an heiress (ie a daughter without brothers) inherit a title and convey it to her husband. It could be done — anything could — by special decree of the Crown, but it was not at all normal.

Now, when you've arrived at the title you want to give your character, perform an internet search to see if it exists. You can also check The Peerage or do an advanced search on Google Books. You wouldn't want to give your fictional character a title that was already in use at that time. Additionally, some readers will be knowledgeable about the real nobility and it could disrupt the fictional reality you're trying to create.

If you really like the title but it already exists or existed, you can modify it while still retaining its appeal. For example, if Lord Amesbury exists, you could create Lord Aymesbury or Lord Embury. If your character's family has been in Suffolk for generations, names of places in Suffolk can provide ideas for names.

I hope this helps, although I'm sure it can be subject to debate and improvement.

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sysmedsaresexist · 2 months ago

Note

what are your thoughts on the community theory that autism may cause more fictives?

I come to you, anon, a broken man. I am in shambles. My life has been ripped apart.

I just spent a straight hour writing a response. It was a beautiful response, with sources, and pretty colors, and oh, about 2k words.

And it's all gone.

BUT!!! I, Quill, am not one to be discouraged. I'm going to redo this. FROM THE TOP!!!! (and now saving draft every 5 seconds istg-)

TL;DR: I really genuinely love the theory and think it has a lot of merit. However, I also really disagree with how some parts of the community handle this theory, and the stereotypes of autistic systems that come from it.

Alright. Mod Quill here, yes, I am an autistic system, currently a bit itchy inside because I should've been almost done this post and nearly into my latest fixation (don't starve together), and instead I'm rewriting this all and delaying my gratification. I am being so strong and brave right now.

[EDIT, before I actually get started, now that I'm done my ramble: in the following essay, I discuss introjection as a whole, rather than just fictives. I personally only have fictional introjects, but we all absolutely despise the term fictive being used on our system, so we avoided the term.]

Let's start with the fact that introjection is incredibly normal. My GOAT, Piaget, discusses at length how schema develops, and that's based a lot in introjection. Introjection, as a concept, is the idea that we, as people, unconsciously take on the beliefs, personality traits, sometimes even emotions of those around us. This can be for a lot of reasons.

Introjection (Defense Mechanism) was an interesting article I found discussing this idea, especially as it discusses introjection VS internalization, identification, and incorporation. Basically, when y'all try to find good articles online about introjection, those other words are usually fair game as well. This article is largely setting out to define various types of introjection. It describes normal introjection (bringing up Piaget, love that guy, he's my main man as a teacher) and brings up how introjects (i.e. the emotions/traits/beliefs/etc) can be distorted via fantasy. When that happens, it's considered secondary identification, and (she cites Freud here but I am not going digging more for MORE research atm), "Such secondary identification aims to reduce feelings of separation and hostility, and increase feelings of closeness, between the self and the external object, and thus it is regarded as a defense mechanism." So, in basic terms, introjection as a coping mechanism is often meant to reduce separation and increase closeness between an individual and the object of their introjection.

This can be seen very readily in CDDs. For instance, a hypothetical child is seeking more secure attachment with an abusive parental figure; they then form a dissociative part that is literally that abusive parental figure, making that person a part of them. This is a highly pathological defense mechanism.

So where does autism come in? Well... It's a disorder featuring:

A constant feeling of loneliness or ostracization for many individuals (discussed here)

A feeling of requirement for masking or mimicry of others in order to fit in (discussed here)

Diagnostic criteria that clearly show an inability to connect with others, rigid thinking patterns (akin to a fixed-mindset, just musing here), and an inability to maintain healthy relationships.

So... autistic CDD systems would then be individuals with a dissociative disorder, who (due to their autism) often report feeling more disconnected with themselves than their peers, who already rely on imitation as a conscious form of survival in an attempt to achieve closeness...

So you mean to say, Autistic CDD Systems Introject More???? HUH.

It's spelled out right there. It's fairly blatantly obvious. And genuinely, I don't think anyone was really doubting this. I don't think anyone is really out here saying that autistic people don't experience significant dissociation/introjection.

However, there's a lot of people recently shouting to the hilltops that there's no proof that autistic systems experience higher amounts of introject alters. And...

Duh? Obviously? There's already a significant lack of research into introjects in CDD systems. Why on earth would they then skip forward to research into introjects in autistic CDD systems? The medical world isn't going to skip around like that -- particularly, well... because why would they even research this to begin with?

Genuinely, I think that's my frustration with the recent discourse about this topic. There really is no reason, in my eyes, why the medical world should focus on this topic. What benefit would it have for patients? Introjects are simply another form of alter, same as any other. I suppose, potentially, it could lead to more ideas on how to help autistic CDD systems with their introjects in particular, but... is it that much different than just treating autistic CDD systems as a whole?

There's really no reason to be so up in arms about this idea. You're not going to be getting proof that this theorized correlation is actually scientifically valid; that's just not going to be happening anytime soon, unless someone has a really invested interest in autistic CDD introjects.

However...

HOWEVER!!!!!

That also does not mean I necessarily agree that every autistic system is like this. Because, for instance, I am not like this.

If you don't know, hi, I'm Quill, a mixed-origin CDD system featuring 15 parts. The origins aren't really important to this conversation, but we like to use accurate labels. We have 4 introjects, all of whom are fictional in nature. One is very close to source, one is so separated we forget she's an introject, and the other two are somewhere in the middle. And, despite what most people would assume, as I am a level 2 autistic individual as well as a system...

Only one of those introjects is from a hyperfixation of ours -- one that was brief, lasting only about 2 days, and that has never caught me up again -- and she's the one who immediately source separated.

Now, I am someone who struggles with hyperfixations. I scream internally while I autistically click the next 5 hour FNAF marathon when I'm supposed to be grading. I know so much lore. But yet, despite the sheer number -- undertale, MLP, FNAF, Petscop, most recently DST -- I haven't split introjects from any of those fixations.

And, well, that makes sense. Because introjection isn't just about attachment to an object. It's about taking something you need from that object. And it's unconscious in most cases.

(Semantically, I suppose that means that introject isn't really the best term for created parts who are fictional in nature, but I do not care about semantics all that much when it comes to people's self-identified labels in a minority group).

So, in the cases of my introjects:

At a time when we felt incapable, angry, and confused, we split a confident, strong, and (healthily) angry part.

At a time when we felt we were at risk of losing everyone and everything because we couldn't keep them happy, we split a character who found her lost loved ones and kept everyone happy.

At a time when we felt we needed distance from our conflicting emotions, we split someone who canonically has never been conflicted.

At a time when we were in desperate need of love, we split someone we knew would seek that love out without fail.

It wasn't based on our hyperfixations; it was based on our needs.

I think that large swaths of the system community online forgets that CDDs are borne of childhood trauma. Splits in CDD systems are caused by trauma-responses* -- you're stressed out, so your brain puts what you need to handle that stress (such as the memory of the event, the feelings you need to handle it, the personality traits that would be helpful) into a new part. In the case of introjection, a CDD brain is still doing that -- it just relies on a blueprint provided by the world around them. In the cause of autistic systems, I think they find it especially easy to rely on those blueprints.

I mean, autism comes with its own difficulties with personhood, dissociation, and lack of feeling like oneself. There's evidence to indicate that, rather than an autobiographical sense of self based on seamless memories, autistic individuals lean toward a patchwork sense of self. Extend that to CDD systemhood, an inherently dissociative, traumatic experience that comes with memory problems that further prevent autobiographical self memory, and you've got a compelling reason why introjecting whole characters (with themes and narratives that fit the experiences trying to be integrated) might be more common in autistic systems.

And... all of that -- all of the nuance, all of the discussion of trauma and the inherent struggles of being autistic -- somehow has been boiled down repeatedly, on both sides of the argument, to "Autistic systems split more introjects because they hyperfixate."

This idea led to me feeling completely isolated in system communities. I found myself in groups with the following (incredibly limited) views on autism and systemhood:

Introjects are not more common with autism at all, and anyone saying so is spreading misinformation.

Introjects only split due to traumatic experiences, and autistic people experience more trauma than others, so they split more introjects.

Introjects split more frequently in autistic systems due to hyperfixations, so if you're really autistic, you have more introjects.

And... none of these are right. All of them lack nuance, and all of them patently ignore the facts about trauma and how it impacts the brain in CDDs.

Based on the community experiences I've seen, there is a blatant correlation between autism and introjects. To ignore that correlation is to be blind to the community entirely. However, to say the correlation is only due to hyperfixation is to ignore many, many other possible reasons why autistic systems split more introjects -- of which my post only addressed some potential reasons -- and, in doing so, isolates many systems. It also stereotypes autism to hyperfixation, which is only one of the thousands of potential sprinkles on someones autism sundae, and leaves some individuals (such as myself) feeling even further isolated.

(And to suggest that it is because autistic people experience "more trauma" than others is to begin the 2025 Trauma Olypmics, and I refuse to entertain a torch bearer for those particular games.)

I understand where many individuals are coming from when they express frustration over the theory; I've been in that exact position myself, demanding proof of the correlation due to my own isolation from the community. And, with a disorder that already, inherently, feels so isolating already, on top of another disorder with its own share of isolating feelings...

I just desperately hope that people can be open to others experiences. I think it's entirely possible that someone attaches so firmly to a hyperfixation that they split a new part from it. I also think the theory I presented here -- that autistic individuals introject more readily due to a propensity for introjection in part borne of trauma -- is also entirely possible. I think there's thousands of possible explanations, and I think there's thousands of "right answers."

And I also think that none of this matters beyond a simple intellectual curiosity, and coming to understand myself more. I wrote all of this up due to my passion for the subject. I am autistic, and I want to be seen, and heard, and I want people to understand it more. I want people to broaden their perspectives and maybe see someone else's shoes, even if they aren't comfortable wearing them yet.

If another system is like mine, yay! If another system is unlike mine, yay! Regardless, every system is unique -- just like how every representation of autism is unique. And I think we should find beauty in the theories that present themselves, and enjoy the ideas more than the outcomes.

Fun additional reading that came up in the process of my buzzing about this for multiple hours:

Experiencing Self and Others: Contributions From Studies of Autism to The Psychoanalytic Theory of Social Development -> According to a friend (paraphrasing a tiny bit), "the abstract, in my reading, is basically saying that comparing autistic and non-autistic kids can help us understand more about how theory of mind and mental modeling of others can develop, particularly in relevancy to concepts of internalization/introjection." They did read through the whole article (while also warning me to never use scihub) and indicated for me that this really doesn't discuss autism in correlation to introjection, and even seems to suggest that autistic people can't introject (in the non-pathological sense) due to their inability to connect to others. (I genuinely think this is in direct opposition to the first study I mentioned, about how introjection is a defense mechanism, especially as autistic people experience significant amounts of trauma due to their disorder anyways.)

Making the thought thinkable: On introjection and projection -> Can only access the first page, which discusses a bit about echlalia and inner worlds. However, the title makes me curious about what this could offer in terms of the Autistic System Introjects Debate(tm). I want to go digging a bit more to see if I can get around the paywalls on this. This is a complete wild card to me.

Whose memories are they and where do they go? Problems surrounding internalization in children on the autistic spectrum -> A very interesting article that came up while my friend was reading the Experiencing Self article. Again, I cannot access anything but the abstract myself (fucking pAYWALLS) but it's promising. Here's a quote: "The author suggests that, instead of internalizing shared experiences leading to growth, children with autism can feel that they add to themselves by taking over the qualities of others through the ‘annexation’ of physical properties that leads to a damaged object and can trigger a particular sort of negative therapeutic reaction." (Emphasis mine) Friend suggests full article is a goldmine. I'll leave that for you all to go digging for, if you'd like to know more.

(*Footnote: I mean splitting in the most basic, CDD medical understanding of the disorder way possible. Obviously, as a mixed-origin system, I understand there's more than one way to split a part than simply through traumatic/stressful experiences.)

#autism #did #dissociative identity disorder #complex dissociative disorder #cdd #actually autistic #actually did #Mod Quill #I have now spent 3 straight hours on this post

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ijustliketoreadstuff · 4 months ago

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The rooms

I never talked about this, but I LOVE it when we get a chance to see what the characters rooms look like, it really gives you a lot of insight about them and their lives. I'll do the adults rooms/homes later.

Marinette's room is of course very creative, she loves learning how to make a lot of things herself and even learning how to repurpose broken down things to turn them into something new, like that lounge chair she said she made from salvaged parts. She tries to be tidy but every now and then if she really gets into doing something, her room starts forming piles of clutter everywhere. At first glance, everything seems to be in its proper place but there are little things she keeps away from prying eyes so as to not draw attention to parts of her life she want to keep to herself, like her secret as a hero, her diary is kept in a special case only she can open and has a sewing box with a secret compartment that holds the miracle box.

Adrien's room is a full on entertainment center filled to the brim with video games and arcade games, along with a built in basketball hoop, a rock climbing wall, a place to skateboard, a bathtub with built in water jets to swim in, a full library, a high tech computer and big speakers. Makes sense since he spent a lot of his life all alone in the mansion, so of course he had to keep himself busy and well entertained whenever he was by himself. Of course, Adrien being the goof ball he is, there are little hidden details that reveal things about the part of his personality he feels forced to hide since he feels a lot of people, especially his dad, would not approve of. He hides pictures of Ladybug in his trophies, old records that belonged to his mom, meaning he likely enjoys exploring and listening to old music thanks to his mom. And since we know anime is very popular in France as well, there's bound to be a lot of manga and animes in that library, boy didn't know flip about romance so of course he would have taken advice from the manga and anime he had.

Alya has a big family so of course she has to learn to make do with a smaller bedroom and not have too many things in her room that will take up too much space. Its clear as day that the girl is a total hero nerd, most of her books are about the heroes that existed long before Ladybug, like Majestia and the Owl. She loves fictional heroes too, like Doctor Who, she even has a tardis cover to put on her door. She's also passionate about researching and uncovering things, even having a map from her research on keeping track of akuma attacks, probably from back in her days of trying to uncover Ladybug's identity. That Ladybug and Cat Noir figurines holding hands ain't fooling no one, she loves seeing the two heroes being cute.

Chloe's room fits her expensive taste, she loves gold so it's incorporated into practically all the rooms. Everything is high class and specially built to keep her comfortable, above all, she has to have plenty of places to sit so she can take her selfies and not get bored being in one place. She also has lots of closets to keep her expensive shoes, clothing and jewelry. There are also a few big mirrors placed all about, including a big wall mirror for her to see her reflection, she does, after all, love the way she looks and would want to be able to marvel at herself anywhere in her room. Roses are also heavily incorporated in the rooms design, it could mean any number of things like her admiration for her mother who typically has a rose on her head, or maybe its representative of Chloe, "Every rose has its thorns", and though she perceives herself as a perfect rose, she is by all means very riddled with flaws, flaws that can even hurt others.

Zoe's room is relatively empty, which is expected given her situation. Zoe was bound to have more things with her when she moved to Paris, hence all the luggage that is still not sorted through, but seeing as she spent years pretending to be someone her family and former friends would approve of, a lot of the things Zoe previously owned, she likely didn't actually like, she only had to keep up appearances and brought to Paris in case she needed to keep up the act with her mom and Chloe. But now that she knows she doesn't have to keep up a fake personality to please others, Zoe would have been left with the opportunity to better understand herself and learn to figure out what she wants in life, what she actually likes and doesn't. So far the only things in the room are a set of cameras, meaning she has an interest in photography, a picture of kitty section cause she likes their music, a poster of New York to show that although she left, she still gets a little homesick of the city she used to live in and where her only true friend still resides.

Luka and Juleka's room is not necessarily a room, its just a sleeping quarters and a hangout spot for them and the friends they have over. Since they get along well and respect each other's privacy when they need it, they don't mind sharing a space, and since their mother gives them all the freedom that they need, they don't really feel like they need to completely shut themselves off in separate rooms. Of course their both passionate about the musical arts, and with so many instruments to use around the boat, they are not limited to what they want to learn to play and do. Their mom likes the boat messy, so most of their stuff is scattered about. However, the small space where their beds are, is tidy with little to no buildup in possessions. As much as they like their home, I'd take it that even they would at times need to get away from the clutter around the boat so they can focus on something specific without too many distractions. The one thing they both have is flower pattern curtains, which makes me wonder if the whole family has an interest in gardening, there are a lot of plants and flowers around the boat after all.

Juleka of course likes a darker décor on her side and anything that has a creepy yet cute appeal to her. The small jars of paint are for painting whatever she likes, like the little figures on the table or maybe even her nails? She dyed Zoe's hair so she must have whatever equipment she needs on her side to act as a hair stylist for her friends. She has a gift for song writing, but seeing as not even Luka knew until "Migration", she likely kept any trace of her song writing skills in her laptop, the best place to keep them as she is too shy to tell anyone of her writing skills.

Luka only has his guitar amp, his collection of guitar pics and a poster of jagged to show he has always admired his dad and his music. He likes to meditate so of course he prefers his side to be more open and brighter, especially when he has to offer free therapy sessions for the people in low spirits who know him for being the most emotionally wise. He likes to be alone with his thoughts whenever he feels frustrated, but at his home, that's not normally something he can have since there is a lot of activity going on, and prefers going to quiet places with nice sounds, like the spot under the bridge he showed Marinette in "Truth".

#miraculous ladybug #miraculous tales of ladybug and chat noir #tales of ladybug and cat noir #adrien agreste #marinette dupain cheng #thomas astruc #mlb ladybug #cat noir #alya cesaire #chloe bourgeois #zoe lee #luka couffaine #juleka couffaine

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mariacallous · 4 months ago

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On Saturday, an Associated Press investigation revealed that OpenAI's Whisper transcription tool creates fabricated text in medical and business settings despite warnings against such use. The AP interviewed more than 12 software engineers, developers, and researchers who found the model regularly invents text that speakers never said, a phenomenon often called a “confabulation” or “hallucination” in the AI field.

Upon its release in 2022, OpenAI claimed that Whisper approached “human level robustness” in audio transcription accuracy. However, a University of Michigan researcher told the AP that Whisper created false text in 80 percent of public meeting transcripts examined. Another developer, unnamed in the AP report, claimed to have found invented content in almost all of his 26,000 test transcriptions.

The fabrications pose particular risks in health care settings. Despite OpenAI’s warnings against using Whisper for “high-risk domains,” over 30,000 medical workers now use Whisper-based tools to transcribe patient visits, according to the AP report. The Mankato Clinic in Minnesota and Children’s Hospital Los Angeles are among 40 health systems using a Whisper-powered AI copilot service from medical tech company Nabla that is fine-tuned on medical terminology.

Nabla acknowledges that Whisper can confabulate, but it also reportedly erases original audio recordings “for data safety reasons.” This could cause additional issues, since doctors cannot verify accuracy against the source material. And deaf patients may be highly impacted by mistaken transcripts since they would have no way to know if medical transcript audio is accurate or not.

The potential problems with Whisper extend beyond health care. Researchers from Cornell University and the University of Virginia studied thousands of audio samples and found Whisper adding nonexistent violent content and racial commentary to neutral speech. They found that 1 percent of samples included “entire hallucinated phrases or sentences which did not exist in any form in the underlying audio” and that 38 percent of those included “explicit harms such as perpetuating violence, making up inaccurate associations, or implying false authority.”

In one case from the study cited by AP, when a speaker described “two other girls and one lady,” Whisper added fictional text specifying that they “were Black.” In another, the audio said, “He, the boy, was going to, I’m not sure exactly, take the umbrella.” Whisper transcribed it to, “He took a big piece of a cross, a teeny, small piece … I’m sure he didn’t have a terror knife so he killed a number of people.”

An OpenAI spokesperson told the AP that the company appreciates the researchers’ findings and that it actively studies how to reduce fabrications and incorporates feedback in updates to the model.

Why Whisper Confabulates

The key to Whisper’s unsuitability in high-risk domains comes from its propensity to sometimes confabulate, or plausibly make up, inaccurate outputs. The AP report says, "Researchers aren’t certain why Whisper and similar tools hallucinate," but that isn't true. We know exactly why Transformer-based AI models like Whisper behave this way.

Whisper is based on technology that is designed to predict the next most likely token (chunk of data) that should appear after a sequence of tokens provided by a user. In the case of ChatGPT, the input tokens come in the form of a text prompt. In the case of Whisper, the input is tokenized audio data.

The transcription output from Whisper is a prediction of what is most likely, not what is most accurate. Accuracy in Transformer-based outputs is typically proportional to the presence of relevant accurate data in the training dataset, but it is never guaranteed. If there is ever a case where there isn't enough contextual information in its neural network for Whisper to make an accurate prediction about how to transcribe a particular segment of audio, the model will fall back on what it “knows” about the relationships between sounds and words it has learned from its training data.

According to OpenAI in 2022, Whisper learned those statistical relationships from “680,000 hours of multilingual and multitask supervised data collected from the web.” But we now know a little more about the source. Given Whisper's well-known tendency to produce certain outputs like "thank you for watching," "like and subscribe," or "drop a comment in the section below" when provided silent or garbled inputs, it's likely that OpenAI trained Whisper on thousands of hours of captioned audio scraped from YouTube videos. (The researchers needed audio paired with existing captions to train the model.)

There's also a phenomenon called “overfitting” in AI models where information (in this case, text found in audio transcriptions) encountered more frequently in the training data is more likely to be reproduced in an output. In cases where Whisper encounters poor-quality audio in medical notes, the AI model will produce what its neural network predicts is the most likely output, even if it is incorrect. And the most likely output for any given YouTube video, since so many people say it, is “thanks for watching.”

In other cases, Whisper seems to draw on the context of the conversation to fill in what should come next, which can lead to problems because its training data could include racist commentary or inaccurate medical information. For example, if many examples of training data featured speakers saying the phrase “crimes by Black criminals,” when Whisper encounters a “crimes by [garbled audio] criminals” audio sample, it will be more likely to fill in the transcription with “Black."

In the original Whisper model card, OpenAI researchers wrote about this very phenomenon: "Because the models are trained in a weakly supervised manner using large-scale noisy data, the predictions may include texts that are not actually spoken in the audio input (i.e. hallucination). We hypothesize that this happens because, given their general knowledge of language, the models combine trying to predict the next word in audio with trying to transcribe the audio itself."

So in that sense, Whisper "knows" something about the content of what is being said and keeps track of the context of the conversation, which can lead to issues like the one where Whisper identified two women as being Black even though that information was not contained in the original audio. Theoretically, this erroneous scenario could be reduced by using a second AI model trained to pick out areas of confusing audio where the Whisper model is likely to confabulate and flag the transcript in that location, so a human could manually check those instances for accuracy later.

Clearly, OpenAI's advice not to use Whisper in high-risk domains, such as critical medical records, was a good one. But health care companies are constantly driven by a need to decrease costs by using seemingly "good enough" AI tools—as we've seen with Epic Systems using GPT-4 for medical records and UnitedHealth using a flawed AI model for insurance decisions. It's entirely possible that people are already suffering negative outcomes due to AI mistakes, and fixing them will likely involve some sort of regulation and certification of AI tools used in the medical field.

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zepskies · 5 months ago

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Podcast Interview With Idling in the Impala: "Y/N and Let Y/N…"

Here we go! Sandra and Kasey, the lovely hosts of @idlingintheimpalapodcast — the podcast for all things SPN and fanfiction — invited me on the pod for an interview…

We chatted about Dean Winchester and Jensen Ackles’ early roles, the best and worst seasons of SPN, the joys and pains of writing Soldier Boy, and much, much more.

That’s right, there be some hot takes coming in this convo, and I had an absolute blast with these two! (And like I said in Sunday's announcement, I’m also putting my name and my voice out there for the first time! 😆)

So if any of that sounds interesting, feel free to dive in!

(**Important Note: Just to preface, we recorded this back in June, so it was before I posted certain stories or even started developing Lost on You. It was also when Tumblr activity/engagement was going through a spring/summer slowdown lol.

Links to all the fics and podfics we mentioned are at the end of this post.)

Have a listen: ⤵️

youtube

Interview Timestamps –

(Plus fic recs, SPN writer shoutouts, and more!)

1:44 – Who’s your guy: Sam or Dean?

3:35 – Getting into Supernatural for the first time (and seeing “Deanisms” in Jensen’s early roles).

10:15 – We debate the best and worst seasons of SPN: talking Mary Winchester, the British MOL, MOC Dean vs. Demon Dean, Chuck/God villainy, “jump the shark” moments, and that ending.

30:29 – Favorite SPN characters besides Sam and Dean.

32:34 – Writing fanfiction, joining Tumblr, and writing reader inserts vs. OCs.

38:05 – To “Y/N” or not “Y/N,” and the power of 2nd person. (**Disclaimer: Despite my hot take on this, I’ve loved a lot of stories by authors who use Y/N in reader insert stories.

Also, if I’m remembering the book You and its characters incorrectly forgive me, it’s been like 5 years since I read it lol.)

51:00 – Favorite fanfic tropes in romance, the joys and challenges of writing Soldier Boy (AKA: the Original Asshole), and attempting to humanize Ben in Break Me Down.

Shoutout to @deans-spinster-witch always for giving me the inspiration to write BMD. 💚

Why We Love The Boys – A review of Supes Ain’t Always Heroes

1:07:57 – Engaging with readers, tips on increasing engagement, optimizing your Tumblr blog, writing schedules and processes, and incorporating reader feedback into stories.

1:26:38 – Sandra graciously narrated Midnight Espresso (Dean Winchester x Plus-sized Latina!Reader). We chat about what sparked the idea for the ME-verse, self-representation in fanfic, feeding Dean, loving Dean, and writing about culture and ethnicity in the fandom space.

1:38:26 – Chatting about the inspirations behind Smoke Eater, a firefighter!Dean AU; law enforcement procedurals, House MD, and researching for stories.

1:44:30 – Which Jackles character is the easiest or most fun to write?

1:47:39 – The challenges of writing Sam vs. Dean.

1:53:15 – Shoutouts! To some of my favorite SPN authors. I could only remember a few people off the top of my head (stupid me), but I love all of you!!

@waynes-multiverse @dean-winchester-is-a-warrior @luci-in-trenchcoats @rizlowwritessortof @waywardxwords

@deanwinchesterswitch @deanbrainrotwritings @deanwritings @spnbabe67 @thatonewriter15

@justagirlinafandomworld @kaleldobrev @artyandink @princessmisery666 @wayward-dreamer (– and many more.)

2:00:40 – How I came up with my username.

2:05:04 – Kasey’s Secret Question…

2:07:38 – Advice to fanfic writers and creatives for inspiration and/or wisdom.

2:16:35 – Sandra and Kasey’s lovely outro: self-representation in fandom, escapism, diverse voices, and more. (“Reach out a hand. Touch somebody. …Not like that.”)

📖 Fics Mentioned:

Sandra: @talltalesandbedtimestories -

Some Sunny Day Series – Dean Winchester x OFC - (I'm in the process of reading this entire series and it's been a joy to read! 💜)

Past Due – Dean Winchester x Reader

The Iceman Cometh – Dean Winchester x Reader

Cowboy Canter (Original Fiction) – Inspired by cowboyish Dean/Jensen.

Kasey: @sam-is-my-safe-word -

English Cottage-verse – Sam Winchester x Reader (I've read it and it's fantastic! 💜)

(K)not for sale – Soldier Boy x Dean Winchester

Alex (Zep/Me) -

Break Me Down – Soldier Boy/Ben x F. Reader

Midnight Espresso (& the Series Masterlist) – Dean Winchester x Plus-sized Latina!Reader

Dream With Me – Dean Winchester x Plus-sized Latina!Reader

Smoke Eater – Firefighter!Dean Winchester x F. Reader

Every Second Counts – Russell Shaw x F. Reader

🎙️ Stories/Podfics Sandra has narrated for me:

Podfic Playlist

And please remember to check out all the other awesome interviews, narrated podfics, and fun topics covered by Sandra and Kasey on the Idling in the Impala Podcast!

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tagamantra · 11 months ago

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realities, maximalism,and the need for big book™️

some gubat banwa design thoughts vomit: since the beginning of its development i've kind of been enraptured with trying to really go for "fiction-first" storytelling because PbtA games really are peak roleplaying for me, but as i wrote and realized that a lot of "fiction first" doesn't work without a proper sort of fictional foundation that everyone agrees on. this is good: this is why there are grounding principles, genre pillars, and other such things in many PbtA games--to guide that.

broken worlds is one of my favs bc of sheer vibes

Gubat Banwa didn't have much in that sense: sure, I use wuxia and xianxia as kind of guideposts, but they're not foundational, they're not pillars of the kind of fiction Gubat Banwa wants to raise up. there wasn't a lot in the sense of genre emulation or in the sense of grounding principles because so much of Gubat Banwa is built on stuff most TTRPG players haven't heard about. hell, it's stuff squirreled away in still being researched academic and anthropological circles, and thanks to the violence of colonialism, even fellow filipinos and seasians don't know about them

this is what brought me back to my ancient hyperfixations, the worlds of Exalted, Glorantha, Artesia, Fading Suns... all of them have these huge tomes of books that existed to put down this vast sprawling fantasy world, right? on top of that are the D&D campaign settings, the Dark Suns and the Eberrons. they were preoccupied in putting down setting, giving ways for people to interact with the world, and making the world alive as much as possible.

one of my main problems with gubat banwa was trying to convey this world that i've seen, glimpsed, dreamed of. this martial fantasy world of rajas and lakans, sailendras and tuns, satariyas and senapatis and panglimas and laksamanas and pandai... its a world that didn't really exist yet, and most references are steeped in either nationalism or lack of resources (slowly changing, now)

i didn't want to fall back into the whole gazeteer tourist kind of shit when it came to writing GB, but it necessitated that the primary guidelines of Gubat Banwa were set down. my approach to it was trying to instill every aspect of the text, from the systems to the fluff text to the way i wrote to the way things were phrased, with the essence of this world i'm trying to put forward. while i wrote GB mainly for me and fellow SEAsian people, economically my main market were those in the first world countries that could afford to buy the book. grokking the book was always going to be severely difficult for someone that didn't have similar cultures, or are uninterested in the complexities of human culture. thus why GB had to be a big book.

in contemporary indie ttrpg spaces (where I mostly float in, though i must admit i pay more attention to SEAsia spaces than the usual US spaces) the common opinion is that big books like Exalted 3e are old hat, or are somewhat inferior to games that can cram their text into short books. i used to be part of that camp--in capitalism, i never have enough time, after all. however, the books that do go big, that have no choice to go big, like Lancer RPG, Runequest, Mage, Exalted are usually the ones that have something really big it needs to tell you, and they might be able to perform the same amount of text-efficient bursting at the seams flavor writing but its still not enough.

thats what happened to GB, which I wanted to be, essentially, a PbtA+4e kind of experience, mechanically speaking. i very soon abandoned those titles when i delved deeper into research, incorporated actual 15th century divination tools in the mechanics, injected everything with Martial Arts flavor as we found our niche

all of this preamble to say that no matter how light i wanted to go with the game, i couldnt go too light or else people won't get it, or i might end up writing 1000 page long tome books explaining every detail of the setting so people get it right. this is why i went heavy on the vibes: its a ttrpg after all. its never gonna be finished.

i couldnt go too light because Gubat Banwa inherently exists on a different reality. think: to many 3 meals a day is the norm and the reality. you have to eat 3 meals a day to function properly. but this might just be a cultural norm of the majority culture, eventually co opted by capitalism to make it so that it can keep selling you things that are "breakfast food" or "dinner food" and whatnot. so its reality to some, while its not reality to others. of course, a lot of this reality-talk pertains mostly to social--there is often a singular shared physical reality we can usually experience*

Gubat Banwa has a different fabric of reality. it inherently has a different flow of things. water doesn't go down because of gravity, but because of the gods that make it move, for example. bad things happen to you because you weren't pious or you didn't do your rituals enough and now your whole community has to suffer. atoms aren't a thing in gb, thermodynamics isn't a real thing. the Laws of Gubat Banwa aren't these physical empirical things but these karmic consequent things

much of the fiction-first movement has a sort of "follow your common sense" mood to it. common sense (something also debatable among philosophers but i dont want to get into that) is mostly however tied to our physical and social realities. but GB is a fantasy world that inherently doesn't center those realities, it centers realities found in myth epics and folk tales and the margins of colonized "civilization", where lightnings can be summoned by oils and you will always get lost in the woods because you don't belong there.

so Gubat Banwa does almost triple duty: it must establish the world, it must establish the intended fiction that arises from that world, and then it must grant ways to enforce that fiction to retain immersion--these three are important to GB's game design because I believe that that game--if it is to not be a settler tourist bonanza--must force the player to contend with it and play with it within its own terms and its own rules. for SEAsians, there's not a lot of friction: we lived these terms and rules forever. don't whistle at night on a thursday, don't eat meat on Good Friday, clap your hands thrice after lighting an incense stick, don't make loud noise in the forests. we're born into that [social] reality

this is why fantasy is so important to me, it allows us to imagine a different reality. the reality (most of us) know right now (i say most of us because the reality in the provinces, the mountains, they're kinda different) is inherently informed by capitalist structures. many people that are angry at capitalist structures cannot fathom a world outside capitalist structures, there are even some leftists and communists that approach leftism and revolution through capitalism, which is inherently destructive (its what leads to reactionaries and liberalism after all). fantasy requires that you imagine something outside of right now. in essence read Ursula K Le Guin

i tweeted out recently that you could pretty easily play 15-16th century Luzon or Visayas with an OSR mechanic setting and William Henry Scott's BARANGAY: SIXTEENTH CENTURY PHILIPPINE CULTURE AND SOCIETY, and I think that's purely because barebones OSR mechanics stuff fits well with the raiding and adventuring that many did in 15-16th century Luzon/Visayas, but a lot of the mechanics wont be comign from OSR, but from Barangay, where you learn about the complicated marriage customs, the debt mechanics, the social classes and stratum...

so thats why GB needs to be a (relatively) big book, and why I can contend that some books need to be big as well--even if their mechanics are relatively easy and dont need more than that, the book, the game, might be trying to relay something even more, might be trying to convey something even more than that. artesia, for example, has its advancements inherently tied to its Tarot Cards, enforcing that the Arcana guides your destiny. runquest has its runes magic, mythras (which is kinda generic) has pretty specific kinds of magic systems that immediately inform the setting. this is why everything is informed by something (this is a common Buddhist principle, dependent arising). even the most generic D&D OSR game will have the trappings of the culture and norms of the one that wrote and worked on it. its written from their reality which might not necessarily be the one others experience. that's what lived experience is, after all

*live in the provinces for a while and you'll doubt this too!

#gubat banwa #ttrpg #filipino #fantasy #writing #rpg #gamedev #dnd

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