#it would require so much worldbuilding though

[e17omm]

I would kinda like to make an AU that at first just seems like a complete AU with nothing shared from HI3's world outside of characters. Like, the Earth got rings and no moon, there's ancient ruins everywhere, new countries and an altered landscape. It could follow Kiana and Mei and Bronya as they are exploring and they stumble upon some ancient ruins and stuff.

But then reveal that, no, this is 'Era 3' of HI3 (with the 'PE' being Era 1, in this case) and that in this AU what happened was something catastrophic during the final battle in Era 2 (aka, the CE);

The Moon's velocity was reduced, breaking its stable orbit, and it slowly got pulled towards the Earth.

Yeah if that actually happened the Moon would not crash into the Earth. Once the Moon passes the Roche limit, it would disintigrate as the tidal forces applied to it literally squeezes the Moon until it breaks, and its pieces would form rings around the Earth. That is after massive volcano eruptions, earthquakes, and tides as high as skyscrapers has destroyed most of all lives on the Earth.

But you know, you could technically survive it in bunkers or submarines.

I kinda wanna write the CE main casts reactions to being found and awakened out of cryosleep that they entered while waiting for the apocalypse to pass.

Like, imagine going into cryosleep, and when you wake up there's no Moon in the sky, and Earth got rings, and "what do you mean Earth didn't always have rings?"

(Yes I did just watch Kurzgesagt's video on this, shut up.)

[oflgtfol]

also yknow what im kinda iffy about the bathing in living waters thing as a means of redemption (for reasons that belong to their own post, if i ever figure out how to word it), but the fact that there even is redemption offered despite how strict the helmet rule is, is like. well proof actually that it's not very strict

and the fact is that prior to The Purge, the mines would not have been so hard to access. literally if the city is inhabited, if the surface is not glassed, if there is no debris and shit in the way, then it should by all means just be a walk and a skip down some stairs and there you've arrived to the living waters. it all around seems like a very easy method of redemption which just blows the whole "unforgiving cult!!!" thing out of the water because, like, well it seems very forgiving actually

[writingwithcolor]

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid. My main character for my story is a mixed demigod/fae. [...] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from [...] Wolof words [...]. The community of mages that she presided over is from the South Eastern region of Senegal [...] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries [...] I was unable to find a goddess that fit the story I wanted to tell [...] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess [...]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs? I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts [...] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older [...]. I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 

Is it specific? What ethnic/religious groups in Senegal are you drawing from? 

Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

...Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It's not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don't know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don't you think it's far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don't think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don't think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

[edgeray]

Custody Battle with a Dragon

(Arlecchino x GN! Reader)

A/N - Hi 🏹 anon! Accidentally deleted your ask when I did dragon! Arle part 3😅. Uhh… mbad. Reader just kidnapping three random human children is so funny to me, I will never not find this funny. Anyways, just wanted to say the only reason why I’m fulfilling both parts of this ask is because I already have to work on part 3. If I get an ask giving me more than 1 prompt, I will choose only 1 prompt to do. If you want me to do more, feel free to request from me, but with school starting soon, I probably won’t be able to get to many requests until I get used to the first semester.  By the way, since I’m lazy and don’t want to think of more/different worldbuilding, this will be like an alternative universe of my ‘dragon hunter mother' series and it will just be a role reversal. the lore with the hoth though is different from the series, i have a completely different backstory for arle and the hoth hehe. Sorry, this is really awkward and I didn't know how to not write it awkwardly since the reader decides to adopt them just impulsively and I doubt arlecchino would be happy about it. Naturally, they would clash but I tried to get them to get along. Not my best work... :( Content warnings / info - in arle's pov majority of the time, reader is referred as 'it' a few times, 1.6k words

Arlecchino likes to consider herself a successful and (justifiably) proud dragon hunter, among the best for the Tsaritsa. Dragon hunting has been in her veins since she was born into a well-known generation of dragon hunters. She's been trained and has performed the best out of her class in the kingdom’s most renowned dragon hunting academy, the House of the Hearth. Now, as the new head of the House of the Hearth, as ‘Father,’ she's able to change some things. 

For how rigorous and demanding the old House of the Hearth, underneath Crucabena (that despicable woman), it was also quite the precarious and perilous, though that was to be expected with what came with dragon hunting in general. It was easy to get into the House of the Hearth if you had enough money, and by then, you had basically paid for an early grave. Arlecchino remembers that the majority of her peers died, one way or another, before graduating. Families that were wealthy enough and had enough children were happy to enroll some of their children as an investment; being a dragon hunter paid immensely well given that they were paid by the kingdom themselves. 

Now, the classes were fewer due to the rigor requirements. Arlecchino has no need for people that want the job just for the money or to roleplay–with that mindset, they'll get themselves killed. For those seeking glory with none of the gore, for wealth without wear, dragon hunting is far on the list for what Arlecchino would recommend. It is daunting and never safe or relaxing. For this reason, the House of the Hearth takes very few individuals, often strays that she deems worthy and resilient enough for the task. A year is all it takes for her to train the small batch into formidable dragon hunters, about three times more valuable and efficient than the average hunter. 

This year's batch is particularly small, but that does make for more personalized lessons and unique opportunities. It's much easier to allow three children to accompany you on a dragon hunting mission than it is ten. 

Today is one of those days for the children to witness how a real dragon hunter deals with a dragon. Most hunters work in a group to hunt a singular dragon, though the best can do it alone. Today's dragon has been reported to have been killing some livestock occasionally–a few chickens here or there. At the very least, the dragon hasn't destroyed any other property besides the chicken pens, nor has there been any assaults on the people but the kill order is set in stone. Pity has no place among this job, but it is a shame to have to kill an innocuous dragon. 

“Children, maintain a good distance as we have always done. This dragon has been reported to be a two-paired dragon, so be cautious. I trust that you three will be able to handle yourselves during your observing?”

Lyney, the leader out of the three, nods. “Of course, Father.” 

The order should have been simple. It is. A two-paired-winged dragon is usually of little difficulty for Arlecchino, even with how volatile dragons are. Baiting them with fire as well as a large portion of fish is enough to draw the dragon out without waiting for it. With the help of the children, the preparations were done quickly, and all there is left to do is to ignite the fire and wait. 

Except, Arlecchino waits for quite some time. In fact, an hour has passed, and there are no signs of a dragon. Perhaps the villagers were mistaken on the dragon's whereabouts, though instances like these are rare. Nonetheless, it seems like that case, and the dragon hunter heads towards where she last left the trio. As she does, she hears a muffled outburst, recognizing it as Freminet’s, and rushes towards the direction.

Did the dragon target her children on the assumption that they were food? Did she make a mistake, bringing them here? Are their deaths on her hands once more, innocent lives lost because of her again? Her thoughts press her on as she increases her pace, fueled by fury and anxiety for her children. With each child she takes under her wing, with each soul she gently guides, with each hand she teaches how to wield a blade, a bit of her heart has parted and latched onto them. With the three, they are no different, except they are.

Lyney, the ever natural-born leader with a persistence like no other. Lynette, with a placid and rational demeanor to balance her brother's personality and fiercely loyal. Freminet, although timid, holds more potential and skill than he credits himself, and his kindness never fails to shine through even in his conscious actions. These three are endearing, as she has found all children she's taught in such a way before, but perhaps it is these children whom she'd like to call her own finally.

Drawing her sword once she spots the familiar silhouette of a giant, scaly beast, she approaches, only to halt as she takes in the sight. 

A sleeping dragon lays on their stomach in the middle of the forest, curled around Arlecchino's children, their tail hugging the children to the body. Instead of the two-paired-winged dragon that the villagers said, it instead has three-paired wings. That makes the dragon twice as dangerous. 

Against the dragon, Lyney, Lynette, and Freminet sit against the dragon's back. Once they spot the dragon hunter, they noticeably perk up.

Why the dragon is like this, the hunter is not sure, but she knows that it has taken her children. 

“Father!” They simultaneously cry for her. The dragon’s head lifts as they're awakened and turns their head towards the dragon hunter, snarling. They whip their tail upon the grass, and they stand on their legs.  

“Are you hurt in any way?” Arlecchino inquires as she prepares to lunge at the dragon. 

“Wait, Father, don't kill it!” Lyney states as he ducks underneath the dragon's tail, escaping from its vicinity quite easily. “It hasn't hurt us!”

“No? Then why did it take you three?” Arlecchino questions, her blade still pointed at the creature. Their slitted eyes glare at the swordswoman in response, also tensing for an assault. It spun its body the other way, this time standing in between Arlecchino and Lyney, and Lynette and Freminet. They maneuver their head to be beside Lyney, using their head to almost shield him from the hunter. 

“I don't know, but… it–they clearly have no intentions of hurting us. See?” Lyney hesitantly reaches out, running his hand on the underside of the dragon's mouth, and the dragon coos from the action, before opening their mouth to lick his hand. 

“I think…” Freminet states outloud, though his appearance is obstructed from Arlecchino’s view thanks to the dragon. “That we're their young. They have been offering us fish, and they're doing this right now.” 

Arlecchino contemplates the situation. The dragon had essentially adopted her children as their own, perhaps even imprinting them already, claiming them as their own. Trying to take the children away would not do any good, especially if it feels threatened, there is no saying what it would do to the nearby surroundings when enraged. But the dragon has been hostile, and given the children's defense for it… it seems that it is rather docile. The hunter narrows her eyes on the dragon, sending a nonverbal warning before sheathing her blade. The dragon relaxes. 

“Even though you three remain unharmed, you still are my children, and under my care. I cannot simply give them away to you,” Arlecchino addresses the dragon, placing a hand on Lyney's shoulder. “Do you not have any young yourself? Why take human children?” 

The creature growls, before shifting away from Lyney. Abruptly, the dragon's form is outlined with a blinding light, and when the light dies down, you stand in place of the beast. The three children gap at you, but Arlecchino remains unfazed, already aware that you have a human form. 

“I cannot bear any children without any mate,” you gruff, your tail flicking behind you in an agitated way. “Why can't I keep human children? They look so small. I can feed them better.” 

Arlecchino steps closer, her eyebrows furrowed slightly in vexation. “My children's diets are fine, and they are not in need of more.” 

“The little ones are tiny even for just hatchlings. You cannot feed your young better?” 

Never did Arlecchino think she’d have to fight a custody battle with a dragon. Should she kill you? No, the children have already rejected it. Though, she cannot deny that you are much more appealing now that you are in a human form…

“Children, what do you think of this?” Arlecchino questions, and all three, expectedly, hesitates. None of them could ever expect a predicament like this, and not surprisingly, a definite answer is hard to come from them.

“I will come with you,” you suddenly suggest, eyes gleaming with determination. “And you will feed me and not harm me. In turn, I will protect and parent the little ones, and I will not destroy another human’s building. Is that enough for you, dragon hunter?” 

“You will do that for human children you just met?” 

“I’ve been wanting children for over a decade. If they come in the form of another species, then so be it,” you assert, and your stubbornness only makes Arlecchino sigh. This is a headache. Though, it was nearly winsome of how protective you are over them, and Arlecchino can do nothing but surrender.

Arlecchino, proud dragon hunter, ‘Father’ to three, and now sharing custody with a dragon. 

[ouroborosorder]

I once heard someone say that because Arknights' disability representation is mostly tied to their fantasy turbo-cancer, then it doesn't feel like real disabled representation, and I've been unable to get it out of my head, like a piece of popcorn stuck in my teeth. So, rather than doing my homework like I'm supposed to be, I want to talk about why I disagree and why I love Arknights' approach to disability.

So, for those who are unaware, Arknights has a shockingly high amount of disabled characters, and characters who are disabled in a lot of different ways, both caused by being Infected and just being disabled in the way that normal people are. Nightingale has chronic pain, Lemuen is the best sniper in Laterano while being in a wheelchair, Akafuyu is mostly blind, Eyja has severe hearing loss, Rosmontis has severe memory loss, Amiya has very severe PTSD, I could go on and on.

And of course there'd be a lot of operators with disabilities! Rhodes Island is a medical organization dedicated towards long-term care of terminally ill patients. Of course many of them would develop disabilities, and of course Rhodes would have the resources and facilities to help them. They even make notes of how to treat them in their medical files, like how Ejyafjalla's has a little guide on how to best have a conversation with her. It makes perfect sense, but I can't say a lot of games would think about it on that level.

And that why I like this game's approach to disability so much. A lot of video games just treat disability as "someone missing an arm" or "someone in a wheelchair because of Their Injuries From Combat. It's usually treated as an individual thing, just someone who got hurt, or who maybe has a frail constitution or whatever. But in Arknights, disability isn't simply treated as a character trait for individuals, but as part of the worldbuilding itself. The world is largely defined by Oripathy, this fatal degenerative disease with no cure. And the Infected are treated as second-class citizens, considered free labor that they don't have to treat ethically because they're dying anyway. The writers realized that this would cause severe disability, both real and fantastical, and worked it into the story and world.

This runs the other way, too! Arknights' worldbuilding follows a sort of social model of disability, in a way. There's a lot of fantasy stories that treat the inability to use magic as a sort of disability, but to Arknights, it's... not. Because Arts require specialized training, and so a lot of people just don't know how to use them, and might not even know they can't use Arts. So it's not treated as such, even though it is still a physical inability to perform things other people can.

But on the other end, Laterano's culture is based around the Sankta having empathic communication between each other. Mostima, as a fallen angel, can't use this telepathy anymore, and she speaks about how othering it feels sometimes, to be physically unable to engage with an important part of her culture. While it's not explicitly stated as a disability to the Lateran culture, I certainly feel like it's treated as one to some degree. Namely that it's explicitly contrasted with Fiametta's PTSD rendering her unwilling to empathize with the people around her, as opposed to Mostima's physical inability. It's the fantasy disability treated with the same weight as real world disability, because within the world of Terra, they're the same thing.

And of course there's just some of the more fucked up fantasy stuff like "On top of her existing narcolepsy, Ptilopsis was forced to become plural after she had to have part of her brain replaced with a computer that forces her to speak and think like a computer or else it causes her severe mental stress to the point of physical pain." Which uh. I don't know where that fits in the conversation but jesus christ someone hug that owl

Of course, its representation isn't always perfect. Just off the top of my head, Nightmare is a pretty rough stereotype, with the whole "Oripathy gave her multiple personality disorder with a violent personality trying to take control of her body!!" trope. And, of course, I'm sure other people have complaints with the representation of their disability in ways that I'm not aware of because I only have the perspective I have.

But... what I remember about this game's treatment of disability isn't when it fails. What I remember is reading Glaucus' module for the first time, the story of the first time she ever put on the mechanical exo-suit legs that allowed her to walk for the first time in her life. And I started bawling my fucking eyes out. I cried because, even though I don't know the specific feeling of walking for the first time in years, I know well what she felt. That feeling of liberation from something you secretly feared was just who you are now. Even though you know it won't be a perfect solution, the physically choking emotion that you're able to get a little closer to a normalcy you've always wanted. The feeling that right now, the only thing you can do is run like the wind.

[stars-obsession-pit]

Since my brain has continued to rotate my alternate take on kryptonite being made of ectoplasm (here) I’ve decided to give the idea a name:

Souls of Kryptonite AU

I still don’t have any big or solid plans with it or whatever but. Yeah.

Anyway, I started thinking a bit about some worldbuilding possibilities around the thing. Nothing is too concrete but I wanted to write them out:

So, firstly:

Krypton’s destruction in some way involved ectoplasmic contamination of the planet (to justify why its bits got weird)

But then I had two ideas on how to take it:

1. Kryptonite flat-out is ectoplasm

When Krypton exploded, the energy output of the blast caused the souls of the dying Kryptonians to crystalize

Thus Kryptonite technically isn’t the shards of the planet - it’s the shards of the people

Because the souls crystalized in this way, they never fully formed ghosts. Instead, they’re just trapped in essentially the moment of their death

Kryptonite can hurt ghosts to touch because of the emotions contained within leaking through

I don’t have any fancy explanation for the Kryptonian power sapping part. Maybe the nature of it being their souls cause some sort of magic effect? Or maybe it’s literally just still radioactive in whatever special way. There are options.

Using it as a power source may or may not harm the souls - I’d think it probably would, but depending on how the energy effects work it might be arguable that the souls wouldn’t take much damage

Probably would require fancy ghost magic or ecto-technology to free the souls

You might be able to get a power boost by eating it but you really shouldn’t because that’d be like, soul cannibalism.

2. Kryptonite interacts with ectoplasm

Kryptonite is less “solidified ectoplasm” and more of a sponge that draws in ectoplasm from around it

Thus when any ghosts formed during the planet’s destruction, they were immediately pulled into it and trapped

And if any other ghost touches it later, it will start to drain or even capture them too

The ectoplasm stored in Kryptonite gradually leaks out as a different form of radiation - this is what allows it to interfere with Kryptonian powers

Generally, the more charged with ectoplasm a piece is, the stronger the radiation it releases is (this just feels like a logical rule)

The souls/cores/whatever-you-want-to-call-it of the trapped ghosts aren’t deconstructed (maybe because the ectoplasmic makeup of that part is different enough to hold it together)

Though maybe using it as an active power source could gradually damage them, to add extra angst to the usage of it in tech

However, any new ectoplasm the ghost forms while trying to heal gets torn away and spread throughout the rock

Thus keeping the ghosts stuck in a barely-formed state (essentially trapping them in the moment of their death)

Also this continuous drawing on the trapped ghosts’ ectoplasm allows for the Kryptonite to remain powered indefinitely

Kryptonite can’t hold an infinite amount of ectoplasm at once - it eventually becomes saturated and stops taking in any more (beyond replenishing what is loses to radiation)

At that point, it’s harmless for ghosts to touch (and can even give them a power boost if they consume it)

Yep i’m keeping the possibility of eating the rocks. Just make sure it’s filled with only non-sentient ambient ectoplasm and not souls and you’re good to dig in!

That saturated state could be used as a way to free the ghosts - continuously flood the Kryptonite with enough ectoplasm to keep it saturated, and the ghost will be able to reform without being drawn back in

Carefully breaking the stone might also work, but I’d probably add some sort of complication with that - maybe in regards to the stored ectoplasm being released suddenly or it potentially damaging the souls within

I feel like the latter option allows for some interesting concepts, but it’s a bit less faithful to the original “kryptonite is ectoplasm” idea

[skyscrapergods]

since bugs don't like mint, could mint be used as a repellent to changelings?

I had to do a bit of a deep dive to figure this out. This is all silliness but you can see the work that goes into my worldbuilding this way!

Changelings are descended from insects, but it's hard to call them insects today. They are the size of small horses, and they metabolize magic in addition to normal food. Because of this massive scale difference, some things that affect insects will not affect them.

One example is diatomaceous earth, which looks like white dust, but is actually microscopic particles of broken algae shells. These fragments become tiny, razor sharp shards that leave vertebrates unscathed, but cut arthropods to pieces. The dust soaks up the oils that exist on the bugs' surface, drying the poor things to death. This makes diatomaceous earth an effective pest killer.

Changelings are massive, and the surface skin between their joints is too thick to be cut by microscopic shards. They also keep plenty of oils inside their bodies and won't be dried out by some white dust. It will still probably be uncomfortable and cause irritation, though.

Back to mint, I had to look up a lot of studies to find the material and method of insecticide it has. I figured out the biocide in mint is menthol, but didn't know how or why it happened. Here's what I found:

So it looks like menthol messes up energy reserves, protein content (of the insect?), and digestive enzymes. I looked up the enzymes, and we also use amylase, protease, and lipase. Apparently chitenase as well, which helps our stomachs break down chitin (what exoskeletons are made of). So if humans (and presumably horses) have the same relevant enzymes, then would we be disrupted by menthol as well?

So there's nothing particularly special about bugs that make them more at risk to menthol poisoning except for the one thing: their size.

We can rub mint oil on our skin and be just fine, but a tiny mosquito is going to get that oil on them, absorb it by touching or sucking it up, and get some Consequences to their proteins and enzymes. It's a tiny amount to us, but a massive amount to a mosquito.

So, if the mosquito was the size of a horse, a tiny amount of menthol would be a tiny amount of menthol. Horsquitoes Have much thicker exoskeletons and joints, and would require a massive amount of menthol to hurt them.

So!!!! If a gigantic insect senses mint, it might be a bit worried the first time, but will learn it's not harmful in small amounts.

Horses and bugs alike should avoid massive concentrated amounts of menthol, relative to their size. To a bug, that's a mint leaf or two. To a vertebrate or vertebrate-sized insect, that's chugging essential oils, which most people don't do.

TLDR: Mint, like many insecticides, is dangerous to bugs due to their small size. But changelings and ponies are only in danger if they drink concentrated menthol, as we share many proteins and enzymes.

[nvuy]

How do you write so well? I'm trying to get into writing because I YEARN to create, but it is very difficult. Do you have any tips? I try and create, but it feels like there is a brick wall in my brain 😫 I also struggle to come up with ideas 😭😭

oh worm thank you so much im so honoured… i don’t want to just say ‘practise,’ even though that is half of quite literally improving in anything.

i am going to long post now. you’re welcome. this is my little guide to writing. in no way am i saying my writing is perfect and world class five stars, but this is just some things i learned along the way that helped me get better!!!

now this is all assuming considering you read my works that you also want to write reader inserts, but even if that’s not the case, i think all this stuff applies to normal writing as well.

what i do like to think is that ‘good writing’ is very very subjective. for example, i prefer much more philosophical pieces, ambiguous endings, extensive world building, and things like that, and i like to put it in my writing.

however, what you may like about my writing could be what someone else absolutely hates. not everyone can be bothered to read 4 pages on a heavy description of a quiet deserted street in the rain, or a dusty old library , or the bustling atmosphere of a cafe. some writers like to do scenarios without fully developed plots. some do.

WRITING IN A NUT SHELL

what really helps is to find where you lie on this spectrum. do you prefer overtly poetic descriptive writing, or straight to the point, no beating around the bush? or does it depend?

i know it’s sounds taxing to write heavy descriptions and worldbuilding and this and that, but if you like to read it, chances are you may also like to write it yourself.

this is a tip i lowkey thought was common sense, but i’ve spoken to moots on discord and other platforms about it, and a lot of writers just… don’t know about it?

basically it’s that A First Draft is a First Draft. this has been said time and time again. j.r. tolkein didn’t write LOTR in a day, rowling did not write the entire harry potter series in one shot. nobody did that.

as well as this, my first drafts never start out as fully fledged stories. most of them look like this:

notice the obnoxiously large gap in between? yep! two entirely different scenes, but under the same concept. you don’t need cohesion in your drafts. that comes with time. get all your ideas down first.

my first drafts are awful. they’re absolute dogshit. most of the time, i abandon a lot of my works altogether. but i never delete anything, because sometimes i may come back and suddenly get inspiration again.

most of my first drafts look like this:

notice how it lacks with everything. there’s no flavour here. it’s incredibly dialogue heavy, and it’s clearly supposed to have some sort of surreal feeling to it.

come back to it later only when i feel like it and rewrite it only when you feel like it:

same concept, same exact scene, but now it has more emotion. because i’ve written it a second time, or maybe even a third, or fourth (anymore than that, and im sorry, but drop it. it’s doing you more harm than good). so many people hit this writers block because they want their first draft to be perfect and it won’t ever be.

don’t focus on the itty bitty details. get the idea down first. you can always come back later. it really really helps to get out of ruts and stuff.

another thing: You Don’t Need To Start With Writing Fanfics Right Away. and i wouldn’t recommend it. not doubting you, or any other young bright-eyed writers, but fanfics are gruelling work that require lots and lots of planning.

i would honestly recommend getting started and finding comfort with one shots and/or headcanons, or drabbles, or whatever else short fics are called, because they require a lot less dedication, and it’s a lot more fun, because you can spring from one idea to another. majority of my works are short fics for a reason. it’s a lot easier to write, and i personally find it more enjoyable :) try it out!

IDEAS: WORLDBUILDING

(this next segment is assuming your fic wants to take place in a different area than canon) (otherwise, check out descriptions/images/videos of the place your world is supposed to be set in!! same idea!!)

if you’re unsure about worldbuilding and what exactly this place you’re creating is supposed to look like or how it might function, browse pinterest! there’s so many real and/or fake & rendered places on that site. is your area really cold and constantly snowing? search up some art with those key words. it could help you gain a clearer image!

let’s use an example: say the world im building my fic is based in a very cold, always snowing, always icy town. we go on pinterest, have a bit of a look around, and then we go Ooh this looks interesting!!

this is a painting by alexander andriyanov.

who are these people? where are they? what’re they doing? is horseback and carriage their primary mode of transport? do these people have access to vehicles like cars? do cars exist in my world at all? what are the surrounding buildings? etc etc.

TLDR: what im trying to say is if it helps you, look at something, listen to music, watch a movie, and then ask the question How Do I Make This About Me?

this speedpaint by darek zabrocki helped me get an idea of what snezhnaya in my multi chapter fic on ao3 was supposed to look like. obviously snezhnaya isn’t released in genshin just yet, so it allows me a lot of creative freedom in that regard.

you can always always use other people’s works as inspiration. why do you think so many songs these days use samples from older tracks? it’s basically the same thing. obviously, don’t downright copy, that’s plagiarism, but seriously. if you’re struggling to create this world in your head, pinterest is your best friend.

IDEAS: PLOTS & THE CENTRAL CONFLICT

in terms of coming up with actually plot ideas, i said it before and i’ll say it again. movies, shows, games, other people’s stories, other fanfics/books, paintings and other forms of artwork, history, etc.

if you’re writing a fanfic, most writers like to take the canon route, and you’re welcome to do that.

if you’re worried about your own ideas being lacklustre or you can’t think of anything, but the canon storyline is good for your fic, canon divergence is always fun!

for example! i haven’t posted it here, but i always did have this idea of a neuvillette centric fic based on the love letter he received in one of the world quests. so you take something that happened in the game, and then you ask AGAIN: How Do I Make This About Me?

in terms of thinking up an entirely different idea or concept or prompt or whatever you want to call it, there’s honestly no right or wrong way of doing it. it’s really, really difficult though. i have so many ideas that are more suitable for one shots that fully fledged fanfictions.

again, read books you like. read other people’s works. read lore of the fandom you’re writing about, or better yet, sometimes i go off of a fleeting thought that a random NPC said at some point in the storyline that had little to no effect on the story.

what constitutes as a good plot and a bad plot is a matter of opinion. as long as there’s evident improvement (or the opposite, if that’s your fancy) of your characters in your story, whether that be their personality, relationship with others, or whatever, then you’ve successfully written a cohesive narrative.

how most of my works start is actually because i randomly come up with one scene in my head that haunts me. i call them Brain Rots™.

for example, in my scaramouche fic on ao3, the scene that started the entire thing was of some sort of solider that presented a ring to the doctor in a very cold and barren wasteland.

and then i asked, what is the significance of this ring? is the solider injured? should the doctor care? why are they there in the first place? where is this place? where do they go after this?

hopefully you get the picture.

TLDR: figure out what makes your Brain Rot™ about the particular scene that’s playing on repeat in your head, find your inspiration through any sort of media you enjoy consuming that you find directly links to your ideas (because most likely if you enjoy something, you’ll be inspired by it more than you would with something you actively don’t like) (and this ‘media’ ranges from pictures, real life anecdotes/stories, video games, other fics, music, art, etc.), ask questions (How Do I Make This About Me), and then answer them yourself!!!!

and also just practise and practise and practise!!! you will subconsciously develop new skills by consuming media and reading other people’s works that you really like. it all comes with time :) !!!!!

[svsss-fanon-exposed]

I've got a question! I know based on your blog that Ming Fan is Shen Qingqiu's senior disciple, but does that mean he was the first disciple Shen Qingqiu accepted period, or that he was the first one Shen Qingqiu promoted to inner disciple? I don't recall any mention of inner vs outer disciples prior to the Airplane extras, so I'm a bit unclear on how that might related to the position of senior disciple.

Sorta related, but do you think there may still have been other young disciples on the peak, that were selected by the previous peak lord, when Shen Qingqiu took over? I'm uncertain if the peak lords would stop selecting new disciples in anticipation of their ascension, or they would continue to select them as usual.

I suppose they could do something like bringing their designated successors along with them to the selections, then making their choices with said successor's input. Or perhaps it's entirely up to the peak lord, with some continuing to make selections on their own, others allowing their successors to advise them, and still others no longer accepting disciples (plus Bai Zhan continuing to do it's own thing, where nobody is selected, but anyone can climb the mountain and join).

At this point, I'm seriously considering making an "Explaining Canon" post about the workings and rankings of CQM as far as we know, including the different types of disciples, acceptance policies, etc. because it can get pretty confusing, and there are a lot of gaps in what canon tells us that can sometimes be filled via genre convention, but other times it's a toss-up/entirely up to interpretation. SVSSS kind of plays fast and loose with worldbuilding in general, and we already know that PIDW does too, so it does sort of make sense but at the same time it can be so confusing for fic writers!

This got long so, answer below the cut:

Ming Fan being Senior Disciple means that he is currently the most senior of Shen Qingqiu's personal disciples/Qing Jing Peak's inner disciples (for CQM, I believe those terms are somewhat interchangeable but I'll explain them more in another post). It doesn't mean he was the very first one Shen Qingqiu took-- though he was probably one of the first. We do know that SQQ has driven disciples off the peak before, so it's possible that Ming Fan had a shixiong or two that are no longer present, but it's also equally likely that he was, in fact, the first inner disciple. As for a promotion, disciples don't have to start as outer disciple and then become inner disciple-- that was SQH's situation, but Luo Binghe seems to be an inner/personal disciple from when he was first selected. My interpretation is that inner disciples are those personally selected by the peak lord, while outer disciples are either those selected by other members of the PL's generation, or those who asked to be taken into the peak and were accepted, but not actually chosen themselves. Different peaks might also have different admission policies-- perhaps An Ding Peak accepts a larger amount of outer disciples due to the manpower required, while Qing Jing Peak's ranks may be thinner. This, of course, is all just speculation-- there are plenty of possible explanations, since canon doesn't give us much to go off of in this sort of thing.

We do know that there are disciples of the PLs' generation on the mountain, with a specific example being Bai Zhan's Ji Jue, but there's nothing to say when the former generation stopped accepting disciples. It is common in xianxia, though, for a master to close their gates and stop accepting disciples altogether-- oftentimes the 关门弟子 character type I discussed here can be an exception to this, taken in after the master has normally stopped accepting disciples. My guess is that, most likely, a peak lord would stop taking young personal disciples before ascension, but there's nothing to say distinctly one way or another. Personally, though, I think it highly likely that Shen Qingqiu was also 关门弟子, and there were no others accepted after him, but that's just my headcanon.

For QJP specifically, we don't see any members aside from SQQ and his direct disciples. This doesn't necessarily mean there are no others, as we know that SQQ was not the only member of the peak when he became PL, but QJP also may be a fairly small peak, and SQQ's shixiong may have decided to leave or go often travelling after he became peak lord-- otherwise, there are other members of the peak and their disciples, we just never meet any of them in SVSSS and they are not mentioned.

I wouldn't be surprised if successors went along to the selection, perhaps even selecting their first disciples before the former generation's ascension-- this would occur once the former generation had officially closed their gates and stopped accepting disciples, passing the lineage on to their successors. It also wouldn't be surprising for successors to simply attend the selection in order to observe it. We do know that Cang Qiong holds a recruitment once every year-- so there is some way for new disciples to get onto the peak, whether it is the successors taking their own, or other members of the current leadership generation, or outer disciples being accepted without a specific master.

Ultimately, I think that CQM's Peak Lords have a lot of freedom in how they run their peaks, including how they select disciples, when they close their gates, etc. CQM really does seem, a lot of times, to be more like twelve individual small sects rolled up into one, instead of one fully cohesive unit with policies and customs uniform across the peaks. At the end of the day, we don't have very much canonical worldbuilding, so a lot of things are up for interpretation when writing fics.

If you want some ideas on how things might be run, feel free to take ideas from other xianxia/wuxia novels-- for example, Tai Sui by priest and Zhu Xian by Xiao Ding both have fairly comprehensive political/sect worldbuilding, where MXTX's worldbuilding is a bit more loose/only made note of when specifically relevant to the plot, which is more closely focused on relationships between characters.

In the end, I would absolutely love to have more canon information regarding Cang Qiong's disciple selection, and sect rules and demographics in general, as well as more about the ascension of peak lords and transfer of power... sadly, it seems we will have to forever make do with headcanons.

[blorbologist]

Feeding a Flying City

[Aeor, by Pretty Useful Co.]

This started as a little exercise in my worldbuilding thoughts for some off-hand stuff mentioned in my current fic, but I uh. Got Into It. So enjoy, if you're into two thousand words of nerding out about fantasy economics and agriculture and spells. For the sake of context, this is specifically looking at Exandria's flying cities in the Age of Arcanum, working off D&D 5E's rules as written (so I'm avoiding inventing spells).

When tackling the Age of Arcanum in my fanfic, I knew going in that I wanted to use this space to stretch my worldbuilding muscles and fill in some of the space left by Matthew Mercer and Brennan Lee Mulligan with reasonably plausible meat and bones.

One thing I was excited to squint at was the issue of how the hell flying cites feed their populations. 

The ‘lonely city’ is a common fantasy trope, especially in visual media. Your towering bastion of civilization (or spire of evil) on the open plains, or beside a river, or deep in the mountains certainly makes for a great symbol. A flying city is really the ultimate version of this, completely disconnected from the petty ground below… and the farmland that usually would surround any metropolis. 

See, in medieval times, you only had so much time to transport good until they spoiled. Some could be more forgiving than others - however, given a city often aggregates political and financial elite, there is an expectation that they can get their fresh fruits, and decadent game. Even beyond freshness, if you have a lot of people in one place who are not actively growing their own crops, a lot of more-or-less processed food needs to get into the city daily. And though you could station your acres of farmland just over the hill so they don’t ruin the ~scenic approach~, that will cost more to transport. The fact is, having a lot of people - poor and rich - in one place requires a lot of food, every day, to feed them. And it has to come from somewhere.

(Off-topic note, medieval castles (not necessarily cities) were also there to, y’know, defend the populace. So they had to be both near enough to their peasants to respond to aggression, and near enough for the people to get to the castle for shelter when needed. Which is not relevant to this point.)

Magic, like refrigeration, greenhouses and GMO crops, allows a society to sidestep some of these issues. Which is great! But how the flying cities could use the resources they have to feed their population is half the fun in theorizing. 

To quickly recap what we know to be common to flying cities of the time:

Limited to the city only, usually a location with ground dense with brumestone (i.e., no farmland). 

Their limited ‘undergrounds’ are often fairly dense with more structures (Aeor’s many levels; the labyrinth and tons of administrative locations inside Avalir).

They are nomadic and engage in trade (both with eachother and grounded cities, like Vasselheim).

… but they all likely came from landed roots, and potentially were once perfectly normal cities. 

So. How do you feed your people while flying a path that might take years to travel (ex: Avalir’s 7-year trek), especially between trade stops?

The last surviving flying city is Draconia, which is really fragments of a larger nomadic city that decided to remain fairly sedentary compared to its predecessors. Its answer was probably pretty simple: given that Draconia hovered within Dreemoth Ravine, the tailed dragonborn could just… collect a tithe of crops from the enslaved ravenites. It’s already canon that they were put to work in the mines, so working the land also unfortunately makes sense. It’s unclear how the food then got up to the city (skyships, given they have ready brumestone access?), but given Draconia seems to be an exception to the rules I can (mostly) confidently rule out ‘the Age of Arcanum was built on abusing the grounded cities and towns, potentially requiring an age of magically-enhanced farming to provide for the people above and/or risking the farmers going hungry in favor of the mageocracies’. 

Here’s where magic offers numerous solutions, and just as many weird problems! 

First of all, the stupidly isolated nature of flying cities means that any method of bringing food in has to be extremely structured. Mom and pop can’t just bring the donkey to the farmer’s market to sell their goods in Avalir; to get there you need to fly (more scheduled) or teleport (requires a mage, and limited quantities of goods). So from the getgo a lot of financial control is likely in the cities’ hands. Which… is not all too dissimilar from history, but the lack of flexibility is probably more striking here. Shit, I was hoping to get away from Draconia’s grim worldbuilding.

It also places flying cities in a role very similar to an advancing army, requiring food as they march to be drawn from the surrounding lands. While soldiers can break off and loot towns they pass through, a flying city probably can’t just dock in the middle of farmland, grab all the corn and bolt. So the need for a more organized food transport likely helps protect towns from that exploitation. (Though, with the military posturing of Avalir and Aeor, I could see flying cities strong-arming support from grounded ones in exchange for promised protection/aid if they needed it.)

Of course, when docked at another city (Avalir stayed at Vasselheim for ten days in the weeks before the Calamity), they can fairly easily trade with the surrounding towns there… who are also providing for the existing city. Hosting a flying city must be a huge logistics nightmare, but economically worth the headache. 

(Vasselheim likely has a leg up in that it has both a sitting population of mages, such as Vespin pre-fuckup, and the likes of Clerics, who I’ll get to soonish.)

In EXU: Calamity, skyships (and an offhand mention of something called an ornithopter) already exist, which could facilitate the bulk transport of goods. Based on the speed of the Silver Sun in Campaign 3 (4-5 days to cover ~700 miles translates to a speed of ~5-6.5 knots; for context that seems to be about the middling range for a medieval tradeship), this seems like an excellent way of transporting goods that do not spoil easily. Or use arcane equivalents to the canon Bag of Colding to help keep things fresh longer. However, as noted above, this would require a lot of community organization to get crops together when the skyship shows up for harvest.

The tricky thing is that Avalir, at least, follows leylines as it travels. So if there was intent to line up its passes over farmland with their harvest season - to minimize transport distance - it might be difficult to coordinate. Moreover, with an implied many flying cities, and no clear territorial delimitations between their routes (especially if they’re all following leylines; but Avalir at least made stops in Issylra, Gwessar/Tal’Dorei, and Dorumas/the Shattered Teeth at least), I wonder if there would be economic conflict over which cities could be highest bidder for the freshest crops. Which could be Interesting. 

(I wonder if sky piracy, or sky privateering, was a thing in the Age of Arcanum. Nydas is said to have been a pirate on the actual seas, so aquatic trade is still going strong, but given the flying cities are so reliant on limited methods to get food… you could put a lot of pressure on a rival city by capturing a few key skyships full of the last harvests before winter.)

Another option is teleportation. Avalir, after all, has an entire guild devoted to teleporting people around, so critical to its functioning that part of the Betrayers’ plan was to leave them without leadership when they struck. However, teleportation is very much a creature-oriented form of transportation; perhaps you could bring up a herd of cattle for slaughter, but that’s a pretty damn high spell slot for beef.

Avalir is in a fortuitous situation, in that it has a longstanding relationship with the Gau Drashari; druids, well-known masters of plant and animal life. In theory, this could mean Plant Growth casts to increase harvests… but at this time the Gau Drashari specifically only live in Caithmoira, guarding this holy site. So hopping from one druid-boosted farmland to another is unlikely. 

Well, if transporting food to the cities is such an issue, why not produce food in the cities?

While magical greenhouses must account for some luxury fresh goods for sure, I really don’t think the cities as illustrated have enough real estate to actually support their whole populations like this. Like I noted above, of the two cities we know really well, their insides are already full of labs and labyrinths and all sorts of things probably best kept away from your food supply. 

D&D 5E spells offer another answer, and another piece of potentially complicated worldbuilding: Create Food and Water. Per the spell description, it creates enough food to feed 15 people for 24 hours, which seems to neatly solve all our problems! Until you realize the food is explicitly bland (bet you the mages turn up their noses at it), vanishes if not consumed after 24 hours (so that’s a daily 3rd level spell slot from some poor schmuck), and is mostly limited to Paladins and Clerics. You know, godly people, who are so fondly looked upon by the mageocracies. Artificers, at least, are more in line with the Age of Arcanum attitude - but we don’t see any in Calamity, so it’s unclear if the class ‘exists’ per say in the time period. Reducing powerful Paladins and Clerics to food dispensaries - and not even good food, probably for the lower class - would fit in neatly with how the powers of the divine are seen as lesser. Goodberry falls into a similar role: useful, but probably something mages would avoid.

Speaking of spells, let’s get a little fucked up, hm? Who is to say a mage couldn’t just. Summon some pigs to be served up as bacon tomorrow? Well. Conjure Animals specifically says the animals are actually fey, and vanish when their HP reaches 0. Summon Beasts? Same thing. Find Steed? You guessed it. So magic can help us grow food, and transport it, and preserve it, but not actually make it out of nothing. (If there’s a spell I’m missing that completely solves this, please let me know, but I can’t really find one.)

My final little thought came watching geese migrate some time ago. The passenger pigeon has been extinct for… a hundred and ten years, now. But in its hayday, flocks of the birds would literally cloud the sky. Exandria is home to far more stunning beasts than pigeons, and hunting flying game is likely a lot easier when you yourself are flying too. 

Sure, you can apply this to actual fishing when the cities are over the seas, but! Imagine fishing boats but for birds and all manner of winged beasts in great flocks, netting and catching them to haul in. Maybe the magical equivalent of those helicopter boar hunts to deal with invasive populations, but landing at all introduces a whole lot more hassle. Big net and flying device = fresh meat, with an arcane twist.

So: how do you feed a flying city? Especially one with a lavish lifestyle as seen in Avalir, or a hard research focus as in Aeor?

Have an extremely regimented relationship with the towns on your path (likely in competition with other flying cities using these leylines when you are) or that otherwise have food you need. Make sure skyships arrive in time for the harvests. Miss that and things get dicey. 

Supplement this with trade, both with other flying cities and grounded ones when docked. However, docked time has to be limited to not risk starving out the countryside surrounding the city hosting you.

Small deliveries, especially of fresh livestock, can be accomplished through Porter’s Guild or equivalent.

Magically preserve food thus obtained to survive until your schedule and harvests of X Y z goods next align. 

City-based organizations can ‘fish’ for birds as the city flies (or potentially even actually fish as they fly over the ocean) for fresh meat.

Hope to gods (but without hoping to the gods because they’re schmucks) that you time your pick-ups right, that there are no famines, or early frosts, that no one steals your fucking skyships our outbids you on a key agricultural contract, or casts Dispel Magic and makes your food all spoil.

When the carefully-scheduled management of the city’s resources fails, turn to your diviners or healers and have them feed the masses with bland crackers while the Somnovem or Ring of Gold continue eating honeyed lamb and figs. 

If you read this far, I'm super flattered you shifted through my rambles! I'll gladly discuss any glaring mistakes or things I've overlooked; this is only what I considered in worldbuilding for a fic, and I don't pretend to be an expert on medieval agriculture or economic practices.

This was still very fun to (over)think about <3

(Water, of course, would be a similar limiting factor, but is easy enough to magically purify, and would not be too bland when made by Create Food and Water, so I didn’t bring it up.)

[2btheanswertothequestion]

Eddie's Kissing Lesson #3: It's way more than kissing now

(Lesson 1 | Lesson 2 | AO3)

A few years ago, Eddie made a habit of driving to Indianapolis. Inevitably, he ended the trips at a club or a bar. The visits were usually solo affairs, though not always; sometimes Donnie or Zac (the only ones in Hellfire who looked old enough to get past the bouncers) or Callie (who didn't look old enough, but who could charm her way in), would tag along. If they did, they'd go to a straight club. If he was by himself, he'd roll a die between a straight or a gay one. No matter the kind, he'd be approached at least twice every night. Beautiful strangers with appreciative eyes, a drink in hand and a line ready on their lips.

Eddie would accept the drink, flirt for a second, then tell them he 'wasn't interested, but thanks anyway'.

It was half true – he was interested (fuck, was he interested), but also… not. He'd never say it out loud, but even at his horniest there was something in his way. A roadblock. Because the thing was, intimacy required, as one might suspect, intimacy. Although, one night stands walked hand in hand with alluring anonymity. Like being watched without risking being seen.

Eddie liked that, most of the time. Liked shrouding himself in a mystery. But when it came to sex, he wasn't so certain. Something instinctual told him it wouldn't be truly good unless it was real. For it to be real, walls would have to come down. Leave an unobstructed field of view for wide-open eyes. Terrifying and exhilarating; he wanted it so bad, but he couldn't (wouldn't) have it with just anyone.

It had to be special.

So, he accepted the drinks, flirted for a second, and sent the beautiful strangers on their way.

Steve writes with a rhythm. It goes tap-tap-tap-tap with the pencil on the pad while he thinks, followed by scritching, before he pauses to tap-tap-tap some more.

It's strangely endearing, not to mention relaxing. You'd expect a guy like him to be rough, leave imprints on the papers underneath and constantly break the point, but no. His large hand is soft as it writes. Eddie could fall asleep to it. A shame they're too busy to sleep.

Star Trek IV came out a week ago and the kids, Dustin especially, have been obsessed ever since. The moment they stepped out of the theater, the little twerp turned to Eddie and begged for a science fiction-themed campaign. And because he's a chump who can't say no to the kids nowadays, Eddie agreed – to a one-shot, not an entire campaign.

(Also, he's already been crafting a solar system for a potential space exploration-campaign on the down low. Why not finish and use it?)

And because Eddie Munson doesn't do half-measures in these circumstances, he spent the next week worldbuilding and polishing his new universe. At one point, as he put the finishing touches on the water planet's cuisine, Steve peeked over his shoulder and asked about sports. Eyebrow raised, Eddie said 'what about sports'. And that's when Steve snottily pointed out that Eddie had developed everything about these space cultures except for the sports, which didn't make any sense – sports was a huge part of every culture, whether Eddie liked it or not.

So! Because Eddie Munson does not do half-measures… he's currently creating extraterrestrial sports games in Steve's kitchen. Although, right now Steve's doing most of the work. After Eddie came up with the base concepts, Steve stepped in to use earth sports as inspiration for the technical aspects: rules, scoring, player positions, player numbers, playing fields, seasons (which ties in with the climate of each planet), and so on.

If he's being honest, he'll never use most of this. God knows the kids (except maybe Lucas, but he wouldn't bring it up) wouldn't notice or care about the absence of sports. But. Turn down an opportunity to hang out with Steve? Never. Also, deciding how much of real baseball should inspire their thinly veiled version of space baseball (spaceball) is kind of fun? What's a penalty and what isn't is just exciting when you throw anti-gravity into the mix.

Most importantly, it's nice seeing Steve be in his element. Dude is so fucking knowledgeable about this. Hearing him say that this will score x points because of that reason, confidence dripping from every syllable, has Eddie's tailbone tingling.

Would it be rude to swipe their notes off the island and jump onto it, offering himself like a buffet?

He knows he's allowed. Or, he knows that Steve wouldn't mind if he asked for a break, even if it was to make out. They've made a habit of sucking face when it's just them and there's nothing else to do (or when there are things to do, but they're easily ignored). Question is if he truly wants to interrupt those soothing pencil scritches and put an end to Steve's surprisingly sexy thinking face. He's got a little furrow between his eyebrows while chewing on his bottom lip, and every so often he'll mutter hoarsely under his breath. The fact that he's being so serious about doing this for the campaign, for the kids, for Eddie, is…

'Unreal' is what Eddie would've said nine months ago. Now he knows it's entirely in character. It's still noteworthy enough for him to memorize every detail of this moment. The King creating nerdy sports with the Freak is a picture that must be immortalized.

He doesn't realize how hard he's been staring until Steve looks up from their work, raising his brows in a silent 'what is it?'

Eddie shakes his head, warmth creeping over his cheeks. He pushes off the kitchen island and turns away to hide it. The sink is conveniently right there, so he grabs a glass out of the cupboard and fills it as excuse.

Behind him, the pencil hits the pad, rolling across the paper. Steve's footsteps are deliberately loud, telegraphing his advance over the surge of running water. Eddie fills the glass, drinks it in one gulp, and puts it on the counter. When he turns, heart thudding, Steve is standing inches in front of him. Steve leans forward, bracing his hands against the counter on either side of Eddie's waist. Boxing him in, but not trapping him.

"Did you want something?" Steve asks.

Eddie crosses his arms casually and shrugs. "Not really."

"Huh. It seemed like you wanted something."

"I was admiring your dedication to the campaign. It warms even this barren heart that you'll partake in nerdestry for the sake of the children."

"Oh, okay," Steve says and doesn't move; his hands remain on the counter and his face stays inches away. His eyes shine like suns, hot and intense. Eddie meets his gaze, face schooled into something calm. At least, he hopes – years of DMing have taught him how to regulate his expressions, but there's a big difference between DnD and this.

"Did you want something?" he asks to fill the silence and – yes! – his voice didn't tremble.

Steve grins. "Now that you say it, I did."

And with that, Steve kisses him.

The initial second, Eddie's brain shuts off, as it always does. It's simply too much too fast and all he can register is Steve Steve Steve. His taste, his scent, his firmness as he presses against Eddie and backs him into the kitchen cupboards.

But only the initial second. After that, he's back on, and that means he's on. Loping his arms around Steve's neck, Eddie tilts his head at the perfect angle until their mouths fit together just so and licks the inside of Steve's mouth. His hands delve into product-stiff locks and tug the way Steve likes it. Steve moans, slumping against Eddie. Eddie giggles into the kiss. He fucking loves knowing Steve better than his own back pocket, loves coaxing these reactions out of him, loves when he melts and leans his weight on Eddie.

It could be better only if they were horizontal and on a bed, or couch, or the fucking floor, and he'd get to feel the hair on Steve's chest and legs, the jut of his hipbone, and his evenly distributed weight. He so badly wants to know how heavy Steve is. He wants to be fucking crushed underneath him.

Maybe he could if he asked. Or maybe that'd be too much. The only time they've gone past second base is during the spontaneous blowjob he still can't fathom happened. Since then, their hands and mouths have stayed strictly above the waist. Eddie, though he's dying to blow Steve, is not going to complain or rush. Steve's the teacher here; he decides the curriculum.

All Eddie can do is show off the results of his rigorous practice. Today, it's by slotting their faces together like a pro and perfectly executing that tongue-sucking move Steve seems to love having done to him as much as he loves doing it to others. It brings a guttural noise out of Steve; he grabs Eddie's ass with both hands and yanks him closer. Eddie nearly loses his balance and must cling to Steve's neck to stay upright. Laughter rumbles within Steve's chest as he steadies him and rolls their hips together. The neck of his shirt bunches in Eddie's vice-like grip. They're as close as during that first kiss, no room for Jesus' finest hair between them. Eddie feels Steve's heartbeat, which means Steve can feel his, and the combined thud-thud-thuddings have his knees shaking.

Steve's hands round Eddie's hips and tug at his belt buckle. Eddie jerks back, breaking the kiss; a string of saliva still connects their mouths. Steve's eyes are enormous, more black than hazel. There's a question in them, a plea for permission.

Eddie nods and doesn't look as Steve opens Eddie's jeans and pushes them down his thighs. His face is on fucking fire. You could fry eggs on his cheeks. Which is a little debilitating. This is never how it goes in his fantasies – he's a lot suaver in those. Quicker on the ball, so to speak. On top of things, one could even say. But not here. Because here's an unfortunate fact about sex:

It's embarrassing.

Exciting and sexy and fun, obviously. But also embarrassing. It was the same during the blowie. The moment his pants were coming off and his dick popped out, Eddie was more inclined to run away than anything else. Hopefully, the feeling will fade as he gets used to it. These hopes are supported by how at ease Steve is, going from de-pantsing Eddie to unbuttoning his own jeans like it's nothing, second nature.

Eddie couldn't look away from that if he wanted to. Why would he want to? Steve's dick is a sight to behold. It's the eighth wonder of the world. Worthy of worship, of a dozen temples and daily sacrifices. It's long and thick, smooth and symmetrical, flushed at the tip and with a bead of precome already pooling in the slit.

It's pretty. And it's hard. It's hard for Eddie.

"Hey." Steve cups Eddie's face, tilting his head up (as well as bringing to his attention that his mouth's been hanging open like a fool; Eddie's teeth clack when he shuts it). "Is this okay?"

Eddie nods, breathing harshly through his nose. "Okay. So okay."

Steve smiles like Eddie just did him a favor. Eddie could – would – analyze that a little closer, except Steve lines up their cocks so that they rest against the broad expanse of his palm, rest against each other, and-

That's another guy's hand on Eddie's dick. It's another guy's dick on his dick. Steve's. Steve Harrington's dick. Next to Eddie’s.

Hoooooooooly shit.

It's happening right in front of him, and he's still having a hard time believing it. But it's real; it has to be real. Imaginarily gifted as he might be, not even he could daydream this into existence. Like, the way Steve's fingers curve around their cocks as he squeezes and strokes? The scratchy calluses on his fingertips? The ever-present chill of the Harrington mansion? How Eddie's testes keep catching on Steve's shaft, rising and rubbing against the dry skin? Steve's softly labored breaths? The edge of the fucking countertop digging into Eddie's lower back?

That's real. Uncomfortably and amazingly real.

Steve pauses to spit in his palm; Eddie whimpers out loud. When Steve resumes stroking it's just amazing, the glide so much easier now. It lets him go faster, put his hips into it and grind their pelvises together. Eddie keeps whimpering, these shamefully squeaky little ah-ah-ahs that he tries to swallow until Steve moans, hotly against the shell of his ear, that he sounds so pretty and sexy and "fuuuuuck, Eddie, wanna hear you like this every day."

He stops holding back then. Gets even louder when Steve noses along his jaw and sucks what'll surely become a mark at the underside of it.

The saliva has rubbed off but the glide is only improving, thanks to the precome dripping everywhere. Both are leaking, but Eddie especially – he's so fucking close. He tries to say it, but his skull is full of cotton and he can't form the words.

Steve must have some sixth orgasm sense, though, because he presses his lips to the scar on Eddie's cheek and mumbles, "So good, baby, you're doing so good, so perfect, wanna hear you come, wanna see your face, looked so pretty last time, almost made me cream my pants-"

Eddie screams. Head tossing back, lungs bursting, as he slouches against the counter. Most of all he'd like to sag to the floor and nap for an hour, he's that spent. But he can't – Steve hasn't come yet, and there's no way he'll go without again.

"Steve," he says. "Whaddya wan' m' to… C'n I…?"

The syllables slur together; he takes Steve's dick in his hand while licking his lips, hoping the point comes across. He just wants to make him come. 'How' doesn’t matter, as long as he's the one doing it.

Steve, thankfully understanding, puts Eddie's other hand on his cock, molding them tightly around the shaft, and rocks back and forth. Eddie almost whines a little since… well, he honestly has never before been so keen on having a cock in his mouth. Like, Steve towering over him, holding his head in place while fucking his throat? Yes and please, Jesus Christ, amen!

But this image is also pretty good: Steve's face inches away, pink with exertion and arousal, fringe plastered to his forehead, mouth kissed raw, and him thrusting wildly into Eddie's closed fists. Eddie's gaze darts between it and the throbbing cock in his hands. It's the second he's ever touched, after his own. It's a bit like jerking himself off, except a million times better, despite the kinda awkward angle.

Steve makes a noise, reedy and desperate. Eddie's eyes snap up just in time to see the climax wash over him, his mouth dropping into a perfect 'o' and his half-closed eyelids fluttering in pleasure. Ridiculous, beautiful, intoxicating; Eddie could become addicted to it.

Sighing, Steve lumbers forward to flop his head into the crook of Eddie's neck. Eddie drapes his arms over Steve's shoulders, probably smearing body fluids on his shirt. Neither says anything – they simply hold each other and breathe.

It's been a while since Eddie last was in Indianapolis. Been even longer since he visited a club. After some time, rejecting willing strangers and going home with bluer and bluer balls, no one to blame but his own fucking hangups, got old. Why waste the gas when he could just as well be getting no dates and not laid in Hawkins instead?

Except here he is, sweat sticking his shirt to his skin, hair frizzing around his ears, come drying under his nails. Standing with his dick hanging out in Steve Harrington's kitchen, with Steve Harrington in his arms.

He's sure he could've gotten this exact experience in a gay club bathroom years ago.

"Rather unhygienic doing this in the kitchen, hmm?" Eddie says.

Steve grunts, grossed out, but shrugs a shoulder. "I'll disinfect it."

Eddie giggles, and so does Steve, rubbing circles over the scar tissue on Eddie's hips. Burrows farther into Eddie's neck and makes no indication he'll move anytime soon.

Yeah, Eddie could've had this in a club. But he couldn't have had it with Steve in a club. Couldn't have felt this swoop in his stomach, like he's at the top of a roller-coaster, anywhere but here. Couldn't have felt this special.

You're ruining me, he thinks as he pets Steve's head.

Do you know that? he wonders when Steve ducks away, griping about what a pain it is to get semen out of hair. Squinting, Eddie asks how he figures. Steve blushes and laughs and doesn't reply, eyes glittering.

Can you see it?

------------------------------

Not tagging anyone except @piratefishmama because she's the reason this exists in the first place. Also, I'm pretty sure she's even more excited about this than I am, so. Here you go, girl. I hope you enjoy this very late continuation.

[fortheloveofarchons]

Been playing Love and Deepspace for the past few days and here's my take on this.....

Content warning though, it's gonna be a long post! And this is just coming from someone who only played the game a few days ago so this is just my first impression!

Let me just say this, algorithm...

It's your fault for making me download the game.

You knew I like hot attractive fictional men. You knew I like bratty boyfailures. You knew I like older, stoic yet kind men. You knew I like mysterious softboys.

YOU KNEW.

So you bombarded me with L&DS content on my socials, my home, my walls, and even my grass!!! I won't forgive you for dragging me into another gacha hole, especially when you knew that I promise myself to never spend a dime on any of these games!!! (I'm an f2p player)

Anyways-- Here's my take on this game as a newbie.

The VAs and character designs?

Amazing. I love the boys (including Caleb) and the MC customisation is really detailed. Though, I wish we could have short hair MC permanently but I'm glad we get to experience it on photoshoots. I do wish we get to explore more of the boys on the main plot cause it feels a bit underwhelming. Then again I just finished chapter 3 so we'll see!

I love the dates and the playtime mode since it gives us time to get closer to the boys and understand more about their past and their characteristics. (I'm convinced the claw machine gacha is so random cause one day Xavier won a lot and the next it was Zayne)

I will say tho for now I feel like Rafayel is more developed and interesting compared to the other two. I like Zayne in terms of how much he really cares about his patients and how he was closer to MC back then, but I wish we get more of him soon. For Xavier he's such a mystique as well and I really like him too! Overall, I wish we get more events dedicated to Zayne and Xavier.

The fluidity of the animation and graphics?

Really good considering that I'm playing it on mobile, I set it to medium and its runs pretty smoothly without any low pixelated quality. I love how detailed the backgrounds and designs are, and I really love some of the cinematic shots the developers added during the date scenes. I can't wait to pull for more dates for the characters!

Combat wise?

It's fine for now ,and I really appreciate the proceed 10x button when farming for materuals considering that I'm more of a casual player rather than a combat one.

Though I'm still frustrated that one of the requirements of getting 3 stars for extra diamonds would be to win the combat within 90 secs and I'm like-- boy if that dragon didn't have that short animation I would've gotten it faster!!! If it had been 120 secs I would have gotten it easier... I know that the whole combat system will get a bit complicated the more you ascend your hunter level so I'll just farm for materials just to prepare the inevitable.

Also I wish there were more ways to gain more exps for your hunter level instead of doing the daily tasks. Imagine you are about to head to the next chapter get some main content and yet you can't bc your hunter level is just two level away so you have to wait for the next day...

The plot?

I would say its okay for now since I'm about to head to chapter 4 and even though I finished chapter 3 it still feels like the beginning. The worldbuilding is really interesting but I'm still a bit confused on some aspects of the story. Overall, I can't wait to finally see Caleb on screen (I already saw him on Youtube and I wish he's playable he's so pretty sksksksks)

Edit: I just finished chapter 4.... what in the sweet metaflux world... CALEEEBBBBBB!!!!!

So yeah this is my impression on the game as someone who only joined after a few days! I hope to see more contents for the boys and I can't wait for more chapters (I spoiled myself at chapter 4 and my god... I want Caleb to be playable plzzzzz)

I'm aware that as a newbie my opinions are probably flawed considering that it's barely even a week since I joined, I would love to hear some advices from you guys just so I can prepare myself in terms of combat and to understand more about the characters if I missed anything about them!

[supersoakerfullofblood]

Beta Reading, Workshopping, and Peer Editing for Indie Writers: a Guide

Beta reading is a term you might hear tossed out as a vague buzzword, kind of like how people talk about "character development" and "worldbuilding"; I've made a bunch of posts to demystify words in that latter category, but beta reading is a different type of term. Where those latter words and their ilk are terms of craft, things we can discuss in theory ("this is how I think characters are developed best"), beta reading is about a novel after its first draft and first wave-ish of edits. Pretty much everything before and after the production of a novel or story is purely up to what works best for the writer, so this post will introduce beta reading if it's new to you, and I'll give you my process if you want to tinker with it!

Beta reading is when interested readers work through your polished manuscript and make workshop comments so you can make an extra wave of edits. Publishing houses usually have two waves of this type of reading--alpha reading (AR) and beta reading (BR). If you can find enough people to alpha read for you (and you want alpha readers), go for it! But if you're confident in your grammar, your ability to craft a scene and characters, and the other formalities of creative writing, alpha reading isn't a requirement (as an indie. If you ever query your work to a house, it'll probably go through alpha reading).

Alpha reading is to catch grammar and syntax slips, mischaracterizations, character development that doesn't add up, excesses of adverbs and adjectives, and other craft faux-pas that the average reader wouldn't catch. Your alpha readers should pretty exclusively be other writers.

Beta reading is to gauge what your audience is thinking or feeling while they read your work. If your beta readers want to make alpha reading comments ("I don't feel like [character] would do that here"), that's A-okay, especially if you didn't have alpha readers, but that shouldn't be your chief concern with your betas. These are your audience surrogates! The job of beta readers is to tell you what they think or feel: "I like this," "I don't like this"; "This paragraph hit me hard"; "This word is confusing"; etc. If they add more words to their comments, that's A-okay ("I like this because these words go well together" or "This word is confusing--does it mean X or Y?") but not necessary! If your beta readers are your audience and not people who really get how writing works, then you should be taking any reasonings in their comments as loose, loose suggestions. Maybe those words that go well together to one reader feel, as you look at them a second time, cliche. Or perhaps the confusing nature of a word or phrase was by design. In any case, try to see your beta readers as a "live audience reaction" and not a "live reactionary critique."

One aside about alpha/beta reading: "this is bad" and "this is good" comments are toxic and should be avoided at all costs. Tell your readers to avoid these before they start writing. No good can come from these. Even "I don't like this" and "I like this" are worlds better, though still not great. But absolutely warn your readers against using objective blanket statements like "good/bad" as they read.

Now that we've laid the foundations, I'll go into my own process so hopefully everything above makes more sense.

Before I give my manuscript to beta readers, I go through 2-3 waves of revision on my own. After I finish my first draft, I wait about a month to let the dust settle, to gain at least a little emotional distance from the project so I can look at it a little more objectively. Then, I read it through, revising for content: cut this scene, add a scene here, chop paragraphs and sentences, add paragraphs and sentences, move this chapter here, make sure this character actually functions as he should in the narrative, etc. These are my macro edits.

Then I let it sit a week or two and go into line editing: punctuation and syntax, word choice, tweaking figurative language, etc. Close pruning of your work. Filing your nails after you've clipped them.

The third read-through is at a normal reading pace, as if you were a reader, to catch anything that may have slipped past during your close edits and revisions. This third read-through is likely the first time you've read your manuscript as it should be read--a book! This step, then, is a victory lap, but it's also one last troubleshoot. You might not find the errors in a computer program until you run the program. So too it is with writing.

This is a lot of work! You might want to relegate these tasks to your readers, but DO NOT!!! If you're still heavily revising and editing your work, don't let your readers to the table. This is your work and your story, and outside influence will stray it from what you want. Own this. Buckle down. Read.

Once you've got your polished draft, it's time to contact your readers! I would recommend 4-6 readers total unless you think you can handle more cooks in your kitchen at a time (I cannot). I typically just ask some of my friends to beta for me. Here's an example text:

"Hey all! I finished that book about church camp a while ago and was wondering if you'd beta read for me! Basically, I'd just need you to read through the book and make comments in the sidebar whenever you like something, don't understand something, are excited or intrigued by something, or other general impressions. You can comment however often or little you feel comfortable with--some people make one comment a chapter, others make multiple comments a page--anything works great. Really all you shouldn't comment are blanket statements of "this is bad" or "this is good," but feel free even to say stuff like "I like this" or "I don't like this." Just avoid objective language when possible.

I don't have any money for this, so sorry in advance, and if possible, I'd love for all of my beta reading to be done by the end of summer.

Let me know if you're down or not! :)"

I really have had readers comment that much and that little on my manuscripts. This is normal. If your readers are supposed to comment whenever something in their attention triggers, different readers' attentions will trigger differently.

It's also a wise idea to form your beta reading group (again, especially if you aren't doing a wave of alpha reading) as a mix of people from different backgrounds and writing experience. My church camp novel group is below:

Person A who went to church camp with me, is into poetry

Person B is into fanfiction, little church experience, mindful of social issues

Person C has little church or writing experience, mindful of social issues

Person D is very into writing, pretty into church

Person E is very into social issues and church, not a writer

I would advise to find a similar balance of people who are into your subject matter and those who aren't.

It's also helpful to give them a timeframe to read by, and make this longer than they need. I gave people ~two months for my ~60k-word novel.

Also, as a little incentive for your readers, plan something for when everyone's done! A post-beta party! Something like this will also encourage you through the process :)

Once you have your betas' comments, it's time for one last wave of revisions. Compile these comments however you like, and start tweaking. I like to have each beta's document open so I can cross-reference while I work through my own doc. And remember: these are audience comments, not writer comments (unless you explicitly brought writers on). If someone says something confuses them, that might just be their cross to bear. If none of your other betas were confused by it, or if one of your betas compliments the same section, it may be worth ignoring that first comment. Try to rule with the majority when you can, and take everything with a grain of salt. "I don't like this" doesn't mean it needs to be changed. It means you should figure out why that reader doesn't like it.

If you have any questions, my asks are open! Again, this is a pretty open concept where anything works as long as it works for you, so don't feel pressured to "get it right." But if you have any questions or suggestions, I'm all ears :)

Hope this helps!

[tanoraqui]

Dungeon Meshi Liveblog Ch6-7: Living Armor Double Feature

He looks so SAD... I'm so glad he'll get to eat it before this is over!

[flashbackforward to Marcille conducting Falin's resurrection ritual]

...girl.

actually, this DOES seem ooc in retrospect. Marcille is so fierce in defense of "ancient" magic. Is the magic that would be used to animate armor somehow more evil than what is on average required for dungeon creation and maintenance?

.

I"m not going to screenshot every motif of the winged lion, but it sure if big and impressive in the archicture of this living armor hall. The lead armor also has a leonine helm. My understanding is that this furry fucker is the demon that's somehow at the root of all the trouble here, sating desires presumably in exchange for feeding on souls. So my question is: was he always a guardian and symbol of the Golden Kingdom and the people in it were always being played, until suddenly the Mage made a Deal that made it all much worse? Or did a demon come in a usurp the local mythology/symbology? OR did the lion demon drop in and the dungeon looks like this because of it, because it helped build this place... I just saw the Golden Country episode and they seemed to believe the lion was a traditional symbol and guardian of their kingdom, but ngl I don't 100% trust the memories and/or perception of a bunch of trapped incarnate ghosts.*

*I know they're still alive, but for all intents and purposes, they're ghosts.

.

Understanding as a path to compassion, acceptance, appreciation, respect, and even alliance? Sure, whatever. Have you tried understanding as a path to KILLING IT AND CONSUMING IT FOR YOUR OWN GAIN!

.

I love the periodic implications that there's academia about all of this. Laios isn't alone! He's just a rare field researcher!

.

"It's definitely not cursed, I can tell!" -the calm words of a man whose word you can and should totally trust that his cool new sword isn't cursed.

Srsly though I love that for all intents and purposes Laios got a magic sword as a narrative reward for his first big breakthrough in careful scientific observation-based understanding of a monster in order to kill it and eat it. Except instead of magic (as proven!) it's got a creature in it...which WOULD make it "cursed" in the eyes of many, who hate and mistrust monsters, but to Laios it's a potential friend! Though later re: Ann the kelpie he says that monsters can't be trusted because they have their own, inhuman instincts and motives, he's clearly willing - nay, eager - to extend trust here. Even if he just wants to observe the mollusk, keeping it in his sword for that is a pretty big leap of faith. He needs his sword to survive, and moreover to save Falin.

In an ideal world, the wings on the hilt would get enchanted so it can literally fly to his hand when called. Laios deserves to have a loyal trained flying mollusk sword.

.

I like that not everything they make tastes good (here: living armor mollusks steamed in the armor). It's obviously thematically important that it USUALLY tastes good, even great (thanks to Senshi!), but it's realistic that sometimes attempts at food just suck.

.

THE WORLDBUILDING IS JUST SO GOOD /sobs

[twisted-wonderland-shenanigans]

For the monster au

Is there a student at the school that could have four legs? If so do they need a custom seat in order to sit down?

There actually is a student that has four legs: Deuce! He's a centaur in the Twisted Monsterland AU, which means that movement for him will be a little trickier in smaller areas. But thankfully, most of the facilities and furniture is designed for larger monsters as it is, so it's not like he's going to be squished into a seat.

If anything, I'd imagine that the tiered/auditorium styled seating is capable of adjusting easily to accommodate such students, having various hinges and patches of wood that can be retracted or pushed out. Think of them as like those desks where a push of the button causes the computer monitor to sink down into the desk or flips it over so you have a flat surface! Or those tables where you can add or remove a piece to shrink or expand the amount of space you have!

Granted, for freshmen it's more physical for them to make the adjustments until they figure out how to do it otherwise (aka when their seniors can stop laughing long enough to share their wisdom). Since this is NRC, all Deuce or any other student who requires more or less room at their desk has to do is tap their pen against their seat (since it is their student ID), and the enchantments in the wood can adjust accordingly!

Which would also benefit Yuu now that I think about it since that world isn't exactly built for human sizes. 😅

Of course while they can stand off to the side if they want to, it's much funnier to imagine Deuce sitting like this 🤣

This does also bring up a thought on how they'd manage if they needed a wheelchair to get around since crutches wouldn't exactly be a viable solution given how heavy their lower bodies are compared to their torsos. And this goes for any four-legged monster by the way!

I'd like to imagine that for four-legged monster students/adults, they'd have wheelchairs akin to how you'll see dogs or cats have them strapped in to allow them to move around easier.

Though the artist below (and they're here on tumblr too under the same name!) has an interesting concept for centaur based wheelchairs, as well as other worldbuilding things for their characters, so go check out their stuff!

Centaurs in Wheelchairs

Keep in mind that I'll be creating my own ideas for this AU and centaur monster species, but this is a general concept for how the facilities would work for monsters with 4 or more legs. Hope that clears some things up!

[nixite117]

Worldbuilding Brainstorm???

in most scifi settings, there is either a common language or some sort of technology that translates languages.

I like the second one and here’s why:

A common language is too easy. Since everyone knows the same language, everyone speaks with the same grammar structure and similar speech patterns. Sure, everyone has accents and some don’t ever evolve past “broken” common, but a single verbal language isn’t exactly… plausible… to every species.

Think of it like this: birds mimic spoken words and sounds, but rarely ever sound real. Same with ai voices. Sure you can get pretty close, but unless you carefully map out each little inflection in tone and pitch, an ai voice will mess up in inhuman ways. Because it’s not human.

Humans also mimic sounds, but it takes years of practice to make those sounds truly believable because our vocal cords simply aren’t designed to meow and chirp.

So who’s to say every alien creature is physically capable of making the sounds required to speak the common language? That’s awfully presumptuous >;P imagine if humans met aliens and the aliens all speak in a squelching, squeaking and chirping warble? What if they sounded like bears or birds? Many humans have trouble mimicking OTHER HUMANS, even if it’s just an accent. How would we be able to learn a language we physically cannot replicate?

A common language makes more sense for a newly blooming galaxy, one that hasn’t truly connected so much as made contact with each other. As a larger variety of creatures join the stars, however, it simply becomes implausible to continue relying on a “common” language. So they do what everyone in a scifi genre does best! They make technology.

Depending on how far along the timeline you have your story going, the complexity and variety of translation technology would vary. The earliest translation devices would be handheld or digital, and would be limited to simple sentences like our modern translators. The translation would be word to word like google translate, and the only languages available would be the main ones of each planet (for earth, it would be English).

But as technology advances, you go from handheld devices like tablets to headsets and microphones that automatically translate what you say and play it through a speaker. Then the headsets turn into visors and eventually you have a brain implant. Perhaps they work for any species, perhaps they don’t. In my universe, chip translators process any language for you and transmit that information to your brain rather than play it out on a speaker or give you text to read.

The reason I like this distinction is because a brain chip that processes language for you would be a WILD experience for me. You’d be able to hear the things the other person is saying, the exact way they’re saying it, but you’d be comprehending that shit in YOUR OWN LANGUAGE. SHITS CRAZY MAN!

Imagine hearing someone speak Latin, never having known a word of it, but understanding exactly what they want even though you couldn’t translate it word for word. That would be so fuckin trippy.

You could even go further by applying non verbal languages. Of course with any surgery, this would have risks and complications should your translator get damaged, but imagine the possibilities!

Technology isn’t perfect, so obviously it will sometimes be unable to figure out what that person is actually saying. For example, in English, we often repeat things to accentuate the point and make sure people understand what is important. Perhaps some species of alien don’t understand this, leading to confusion and maybe even misunderstandings.

“I have to get this done. I have to.”

“Have to what?”

“Didn’t you hear what I just said?”

“Of course I did! What else do you have to do?”

The thing about this, however, is that verbal language isn’t universal. In fact, most expression from species to species would be different. Each species might have different body language. Different emotional expressions. Different stress responses. Different displays of affection.

This would make room for a lot of things to be learned about humans. I have a handful of little fluff drabbles and humor I came up with on this concept. I just have a feeling there’d be some things aliens just wouldn’t be prepared to deal with about humans and vice versa.