#just rambles i suppose

[lazylittledragon]

can't believe we're all adults being forced into the club penguin level of censorship in 2024

[crowkip]

yeehaw, baby!

[goldensunset]

did you know? if you do your laundry you can get your clothes back

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[saturnisfallingdown]

I HAVE. A QUERY. for artists who have been posting stuff online for several years now....

[remxedmoon]

i hit 1k followers recently!!!! yipee!!!!!!! thank you all!!! so in celebration here’s all of my completed isat doodle pages, from oldest to newest. go nuts with them!! and maybe don’t look at the first doodle page too closely. it’s Old.

(no greyscale version below for once! just some mushy ramblings. you don’t have to read them don’t worry)

hhhhhha?? so many people. where did you come from. how did you all find me.

ok but seriously, thank you all so much for all the support. i never really. expected to make it this far? like, ever?? i’ve mentioned it a few times on here, but i’ve been a lurker for the past… 2 years, i think? and even before that, i never gained much traction outside of a couple posts. so this has been. very new to me!! in a nice way!! it’s weird to feel like an actual member of a community!! that people know about!

the idea of finally coming back to social media was Daunting (i literally got stress hives writing my first post lol) and the warm reception really. meant a lot?? i don’t think i would’ve ever gotten the courage to come back if i hadn’t been encouraged to by the people over at the isat discord!!

the fact that people actually care about my art still doesn’t feel real?? seeing people take inspiration from my art is just. surreal. just. auagssh. thank you all so so much for everything, i really do appreciate it!!! i’m really glad to be in this community. sorry if this all sounds sappy and long winded i’ve just got a lot of emotions about this whole thing!!

(also as a bonus for reading all this or whatever. here’s a concept page for isatscryption! it felt a little out of place next to my normal canvases so i’m putting it down here! yipee! sorry my notes here are so disjointed auauau…)

[bababaka]

Yall need to interact with fanfiction author's more.

So. After the ddos attack on ao3.

I was encouraged to write more comments and make my love known to fanfic writers.

I dont really like commenting. Because im a bit shy and soooo lazy.

Now though. I am writing more comments. And dude. This is so heartwarming. Ya'll need to treat writers better. They are doing the lord's work.

Take for an example, couple of days prior, i was searching for something interesting to read, and found an oneshot quite compelling.

I read it. At the end of it, i was blown away by how good it was. It promised me something and it went beyond my expectations. But then i saw a crime, zero fucking comments!

At that moment, i wasn't feeling up to writing a comment. Because, normally i like to write huge paragraphs. But because im lazy i decided to be brief.

Next day, the author answered that the comment lift their mood for the whole day.

That warmed my heart.

Duuuuuuuude! Write comments! Suport the writers of the fics you like! No need to be something super elaborate. Just give your thoughts. Freak out. Ramble. Ask something. Make theories. Compliment. Make a joke about how you wished to give kudos every chapter but ao3 sucks(not true bby) and won't let you.

Truly. Just. Comment. It can make someone's day. And that is part of the apeal of writing fics. Interacting with people.

Just give love to fanfic writers yall. They deserve this and so much more.

[lucabyte]

Different standards

[edwinisms]

not to take away from charles’ well deserved spotlight in ep3, but man. imagining the devlin house from edwin’s perspective is pretty damn rough in its own right. but in a way he doesn’t even seem to realize or process. like specifically, mainly, the fact that he stands there, unfazed, watching this family get cut up with an axe over and over and over. you know who else got cut up and torn apart and killed over and over and over? you know who else was stuck in a seemingly unending cycle feeling the pain of dying every single time? oh yeah

[madbard]

“You came back wrong.”

Maybe I didn’t want to come back. Maybe you dragged me, kicking and screaming, from a death that while cold and final, was at least my own. When you placed my body on the dissection table, understand that I could not welcome your touch. When you stole back my life for me, understand that you stole it from me as well, because I was not able to choose this.

You chose it for me.

“You came back wrong.”

Maybe I did. Maybe you were desperate to hold on to me and I was desperate to hold on to myself, to keep believing I had any control over my own body, my own soul. Maybe in that moment of struggle between your fear and my will, you pulled too hard and left a part of me behind.

Maybe that was the part of me that you loved.

Maybe that was the part of me that loved you.

“You came back wrong.”

Oh, my love. What makes you think I came back?

[fictionadventurer]

I have to talk about Chester Arthur. His story makes me go crazy. A mediocre president from the 1880s who's completely forgotten today has one of the best redemption stories I've ever heard and I need to make people understand just how cool his story is.

So, like, he starts out as this idealist, okay? He's the son of an abolitionist minister and becomes famous as a New York lawyer who defends the North's version of Rosa Parks whose story desegregates New York City's trolley system.

Then he starts getting pulled into politics and becomes one of the grimiest pieces of the political machine. He wants money, power, prestige, and he gets it. He becomes the right-hand man of Roscoe Conkling, the most feared political boss in the nation, a guy who will throw his weight around and do the most ruthless things imaginable to keep his friends in power and destroy his enemies.

Because Arthur's this guy's top lackey, he gets to be Controller of the Port of New York--the best-paying political appointment in the country, because that port brings in, like, 70% of the federal government's funds in tariffs. He gets a huge salary plus a percentage of all the fines they levy on lawbreakers, and because he's not afraid to make up infractions to fine people over, he is absolutely raking in the dough. Making the rough equivalent of $1.3 million a year--absolutely insane amounts of money for a government position. He's spending ridiculous sums on clothes, buying huge amounts of alcohol and cigars to share with people as part of his job recruiting supporters to the party, going out nearly every night to wine and dine people as part of his work in the political machine. He's living the high life. Even when President Hayes pulls him from his position on suspicions of fraud, he's still living a great life of wealth, power, and prestige.

Then in 1880, his beloved wife dies. While he's out of town working for a political campaign. And he can't get back in time to say goodbye before she dies. Because he's a guy who has big emotions, it absolutely tears him up inside, especially because Nell resented how much his political work kept him away from home. He has huge regrets, but he just moves in with Roscoe Conkling and keeps working for the political machine.

And then he gets a chance to be vice president. The Republican Party has nominated James Garfield, a dark horse candidate who wants to reform the spoils system that has given Conking his power and gave Arthur his position as Port Controller. Conkling is pissed, and he controls New York, and since the party's not going to win the election without New York, they think that appointing Conkling's top lackey as vice-president will pacify him.

They're wrong--Conkling orders Arthur to refuse--but Arthur thinks this sounds like a great opportunity. The only political position he's ever held is Port Controller--a job he wasn't elected to and that he was pulled from in disgrace. Vice President is way more than he could ever have hoped for. It's a position with a lot of political pull and zero actual responsibilities. He'll get to spend four years living in up in Washington high society. It's the perfect job! Of course he accepts, and Conkling comes around when he figures out that he can use this to his advantage.

When Garfield becomes president, Arthur does everything he can to undermine him. He uses every dirty political trick he can think of to block everything that Garfield wants to do. He refuses to let the Senate elect a president pro tempore so he can stay there and influence every bill that comes through. He all but openly boasts of buying votes in the election. He's so much Conkling's lackey that he may as well be the henchman of a cartoon supervillain. On Conkling's orders, he drags one of Garfield's Cabinet members out of bed in the middle of the night--while the guy is ill--to drag him to Conkling's house so he can be forced to resign. He's just absolutely a thorn in the president's side, a henchman doing everything he can to maintain the corrupt spoils system.

Then in July 1881, when Arthur's in New York helping Conkling's campaign, the president gets shot. By a guy who shouts, "Now Arthur will be president!" just after he fires the gun. Arthur has just spent the past four months fighting the president tooth and nail. Everyone thinks he's behind the assassination. There are lynch mobs looking to take out him and Conkling. The papers are tearing him apart.

Arthur is absolutely distraught. He rushes to Washington to speak with the president and assure him of his innocence, but the doctors won't let him in the room. He gets choked up when talking to the First Lady. Reporters find him weeping in his house in Washington. Once again, death has torn his world apart and he's not getting a chance to make amends.

Arthur goes to New York while the president is getting medical treatment, and he refuses to come to Washington and take charge because he doesn't dare to give the impression that he's looking to take over. No one wants Arthur to be president and he doesn't want to be president, and the possibility that this corrupt political lackey is about to ascend to the highest office in the land is absolutely terrifying to everyone.

Then in August, when it's becoming clear that the president is unlikely to recover, he gets a letter. From a 31-year-old invalid from New York named Julia Sand. A woman from a very politically-minded family who has been following Arthur's career for years. And she writes him this astounding letter that takes him to task for his corrupt, conniving ways, and the obsession with worldly power and prestige that has brought him wealth and fame at the cost of his own soul--and she tells him that he can do better. In the midst of a nationwide press that's tearing him apart, this one woman writes to tell him that she believes he has the capacity to be a good president and a good man if he changes his ways.

And then he does. After Garfield dies, people come to Arthur's house and find servants who tell them that Arthur is in his room weeping like a child (I told you he had big emotions), but he takes the oath of office and ascends to the presidency. And he becomes a completely different man. His first speech as president mentions that one of his top priorities is reforming the spoils system so that people will be appointed based on merit rather than getting appointed as political favors with each change in the administration. Even though this system made him president. When Conkling comes to Arthur's office telling him to appoint his people to important government positions, Arthur calls his demands outrageous, throws him out, and keeps Garfield's appointees in the positions. "He's not Chet Arthur anymore," one of his former political friends laments. "He's the president."

He loses all his former political friends. He's never trusted by the other side. Yet he sticks to his guns and continues to support spoils system reform. He prosecutes a postal service corruption case that everyone thought he would drop. He's the one who signs into law the first civil service reform bill, even though presidents have been trying to do this for more than ten years, and he's the person who's gained all his power through the spoils system. He immediately takes action to enforce this bill when he could have just dropped it. He becomes a champion of this issue even though it's the last thing anyone would have expected of him.

He oversees naval reform. He oversees a renovation of the White House. He still prefers the social duties of the presidency, but he's respectable in a way that no one expected. Possibly because Julia Sand keeps sending him letters of encouragement and advice over the next two years. But also because he's dying.

Not long after ascending to the presidency, he learns he's suffering from a terminal kidney disease. And he tells no one. He keeps going about his daily life, fulfilling his duties as president, and keeps his health problems hidden. Once again, death is upending his life, and this time it's his own death. He's lived a life he's ashamed of, and he doesn't have much time left to change. He enters the presidency as an example of the absolute worst of the political system, and leaves it as a respectable man.

He makes a token effort to seek re-election, but because of his health problems, he doesn't mind at all when someone else gets the nomination. He dies a couple of years after leaving office. The day before his death, he orders most of his papers burned, because he's ashamed of his old life--but among the things that are saved are the letters from Julia Sand, the woman who encouraged him to change his ways.

This is an astounding story full of so many twists and turns and dramatic moments. A man who falls from idealism into the worst kind of corruption and then claws his way back up to decency because of a series of devastating personal losses and unexpected opportunities to do more than he could have ever hoped to do. I just go crazy thinking about it and I need you all to understand just how amazing this story is.

[dollarstorefern]

*cough* if you hate amber volakis i hate you *cough* (just kidding!) (i’m not.)

[rystiel]

i feel like poolverine easily could’ve been one of those “they’re flirty but it’s mostly unserious” situations, and for most of the movie yeah they were extremely gay, but wade’s been like that with other guys and it was never treated as a serious type of relationship before. they’re willing to die for each other, but even then the romantic aspect of their relationship could be glossed over because it’s a superhero movie, that’s just what they do, and they’re working together to save a whole timeline—it’s not just about them. but then the movie doesn’t end with them saving the day and moving on. i think this’s really the part that sells poolverine as a genuine relationship to me… logan’s leaving, and wade calls for him. he can’t stand to let him go. then he introduces him to his family, and logan stays. he doesn’t really need to stay, but they’ve both decided they’re better off with one another than without

[viyojo]

You're a kid now…🧍‍♂️still a kid now!

[weirdglassthing]

It’s IRONIC. god. Nobody understands satire humor these days

First attempt at drawing Gideon and Kremy went surprisingly well maybe I’m destined to become a scaly idk. You guys have no idea how hard it was finding a pose that was easy to draw with Kremy’s alligator mouth. I probably forgot like 400 fey curses I barely remembered gideons flower crown. I’m not drawing that thing but imagine the dulcet tones of the worlds greatest bard (morning Ross) playing in the background.

Guys you can’t blame me I just watched episode 15 and I was possessed and blacked out and woke up staring at this

Ft. Some drunk pixie wives and the only three people that cared about Thaco (I did not look up a reference I just drew a clown)

Anyways pose under cut

It had to be adjusted a bit

[noxious-fennec]

Snapshots of simpler times..