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power-handmaiden · 3 days ago
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Chuck Tingle interview
OK, here is the FINAL 2024 Tingles My Butt post, which I've been pretty hyped for. I still kind of can't believe this. While I was figuring out how I'd move on from 2024, @drchucktingle generously offered to answer some questions of mine to commemorate the end of my tingler project! Here they are!
-Considering that your process for tinglers is just to write it out and not stress about proofreading and editing, was it weird for you to see someone decide to go back, examine, and contemplate every single tingler published in the past decade?
the whole dang project was really wonderful for me, for exactly the reason you have just said. tinglers are very STREAM OF CONSCIOUS and only edited with one quick pass so while i think this adds to their honesty and rawness it also means that my time with them is limited. really watching someone go back through them at this depth was like reading a diary that i have not opened for many years, and it jumps around through time in a very beautiful way. it was very moving
-I love tingler character names. I personally admire how many great ones you come up with. (I never know what to name my ttrpg characters.) You just come up with all these great names that seemingly spring from nowhere, how do you do it?
DANG great question cant believe i have not been asked this before but yes there is a type of name that shows up in the tingleverse that is unusual and has a certain feeling and cadence that is very specific. if i am trotting along with sweet barbara and there is a name of a product or a place or something that has this tone we will say ‘oh thats a tingleverse name.’ the reason i wanted to do this in the books was as a very subtle way of saying these stories exist on a timeline that is RIGHT next to ours, so in some ways it is exactly the same as our world but there are these little cultural differences with things like chocolate milk and spaghetti and then with the names. you will have buckaroos like justin and sarah trotting along next to buckaroos named corb torbins-quill or borto lart.
-So, as a reader, reading from 2014 to now, old tinglers and new tinglers feel different to me. I believe you when you say tinglers have always been sincere, but they feel MORE sincere than they used to be. Like, I feel like there was some self-consciousness and irony in some of the early tinglers that you've since let go of and embraced the Chuck Tingle voice more. I don't know, am I imagining this, or does this square with your tingler writing journey? If it does, what has that process been like for you?
i think you are absolutely correct. the intention with tinglers was always to be a place for me to express myself with complete sincerity, but the practical way of HOW to trot like this took a bit of an evolution to arrive at. in other words i knew the basics, but actually refining the best way to express yourself and perform your art takes time. maybe in the same way goin back and watching season one of a tv show can feel very different from season three, even though they are part of the same expression. 
similar thing happened with in my chuck PRESENTATION as well, where my main focus was to stay anonymous so the metaphors i used to talk about my life were still true but laid on much thicker. even my attire was a large gi so that you would not even be able to see my shape, which has obviously changed now because i wear suits these days. all of this was a process of starting in a place i knew was important to me and then peeling off the parts that were not helping the message or expression over time
-Is there anything you could tell us about the significance of Borson Reems? I feel like he's more than just another Buck Trungle/Chuck Tangle/etc but I'm not sure what exactly...
yes borson reems is god. not that i believe in GOD in the way that most buckaroos talk about god (i am agnostic) but within the tingleverse, borson reems is an avatar for the creator of that world. technically i am borson reems, because i am writing the books. the question is: are we all the gods of our own little worlds that we create? i do not know, but when i look around at my buds and the joy and love they bring to various timelines they sure seem like gods to me
-A lot of no-sex tinglers (especially ones that aren't romance-focused) vary in terms of plot and structure a lot more than erotic tinglers. Is your writing process for these stories any different?
same process actually, but the sex scenes in tinglers are about 1500 to 2000 words long, and total tingler length is 4000 words which means if you are not including that portion you are going to have to come up with some creative way to fill that space in the story and a new axis for story to turn on. so the variety comes from me getting creative and trying out different axis points
-In "Not Pounded By My Book "Pounded In The Butt By My Non-Fungible Tingler That Is Literally This NFT" Because Of The Current Catastrophic Environmental And Ethical Impact" there are references to an earlier draft of the story that was never released because you ended up disagreeing with the message. Are there any other tinglers that never got finished and/or published, if you'd be willing to talk about any of them?
oh this is a VERY good question. the story of the NFT tingler is that when buckaroos were first talkin on nfts online and nobody really knew what they were, my first thoughts were just ‘oh this is interesting what the heck is this?’ this is my way with most CURRENT EVENTS. and i thought ‘this would be an interesting tingler, i suppose maybe i should make the tingler an ACTUAL nft’. this was in VERY early days so i did not really even understand what an nft was (neither did 99 percent of buckaroos yet honestly). so i looked into it just enough to actually MAKE a nft tingler that was a real nft and put it out. lasted for about thirty seconds before buckaroos were messaging saying ‘oh this is bad chuck you should look into what this is’ and i DID look into it and thought’ oh yeah this is terrible nevermind’. i took down the original and thought ‘well THIS is what art is all about. this is where i thrive in a world of moving living art that is in communication with itself’. so i dove into the research and actually started to understand NFTS and then i repurposed the story into a strongly anti-nft tingler and put that on out instead.
as far as OTHER tinglers that kind of move and breathe and live like this, in communication with the audience, GAY T-REX LAW FIRM is another very good example. that one i wrote early on and i think it was kind of in the model of something like fifty shade of grey, where issues of kink and consent and communication are not really handled well. i think at the time it came out the story was okay, but as time went on it always kind of bothered me and finally i thought ‘i love art that exists in the REAL WORLD and changes and evolves, so lets rewrite that story and fix some of these mistakes.’ honestly it is something i wish more artists would be open to. its okay to let something hold strong against a changing timeline, but it is also okay to explore what its like to take the notes that time gives us
-This one is about Chuck Tingle that exists in deeper layers of the Tingleverse that operate on tingler logic: what does the location inside his/your butt look like?
probably a nice mid-century modern home up in laurel canyon neighborhood of los angeles. kind of quiet and small like a cabin but also very cozy, like the kind of place where you would put on a crosby stills nash and young record on vinyl and gaze out into the woods for a while then walk down the hill for dinner at a little cafe where you spot some actor from a 60s tv show also having dinner in the corner booth. this basically sounds like the start of a tingler and in that tingler i will say the actor would be a bigfoot.
-OK this one is very self-indulgent but if you could help settle this frequent point of discussion I have with my wife- where do the following fit in the Tingleverse bigfoot/dinosaur/unicorn/living object(/human/does not apply?) taxonomy?
-a ghost of a regular human
-a regular human vampire
-a human/fish mermaid
-a sentient winged horse
-a sentient centipede large enough to wrap around a mountain several times (she is handsome)
alright lets trot through these. a GHOST is not one of the four tingle types so you can have a ghost racecar or a ghost unicorn or a ghost bigfoot. ghosts are outside of the four types and do not have a classification
a VAMPIRE is also outside of the four types. so you can have a vampire bigfoot or, of course, a vampire night bus. does not strictly fall into any of the four main categories
MERMAIDS are technically a long lost species of unicorn I DONT MAKE THE RULES I JUST EXPLAIN THEM. this makes the MERMOPED tingler a little confusing but i had to pick a category and that one went into living object. now that i mention it possibly the only tingler that is technically a double category of unicorn/living object.
WINGED HORSE is easy, thats a pegasus which is a species of unicorn just like a mermaid
a SENTIENT CENTIPEDE LARGE ENOUGH TO WRAP AROUND A MOUNTAIN is an ancient creature, therefore dinosaur tingler
-My other self-indulgent question: do you have a favorite bug? (Or second-favorite if you count Mothman as a bug)
i love finding spiders in the house and giving them a pet because they are doing a good job livin their lives doin their thing. close second would be a pretty ladybug
-Any thoughts on what tinglers will be like in 2025? Do you expect to be writing a lot of political tinglers again, like post-2016?
honestly i really do not like writing specifically political tinglers anymore, and the amount that i write has gradually dropped over time (i think ALL tinglers are political but in a different way). so honestly i think i will write a few political tinglers but not many. my hypothesis on this is that my HORROR NOVELS are very very political and so maybe i get a lot of these ideas out of my system that way now. when it comes to tinglers i just wanna explore my OWN mind and heart and butt more
THANK YOU for these wonderful questions and thank you for your tingler-a-day project it was so moving and powerful. what a treat it was an honor to be a part of something so beautiful. THIS PROVES LOVE IS REAL
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108, Canada. First of all, I would have died in my 20s when I got appendicitis, if I did at all.
Secondly, being as I am living off a disability pension now, I genuinely don't know if being part of a hunter-gatherer society in the year 108 would have been worse. I know the conventional wisdom is that of course the past wasn't better for anyone. But the year 108 seems a little early for the kind of sexism people are thinking of, and it's not like I am not systematically denied healthcare now. Covid wouldn't exist yet, and there is some chance I'd actually be part of a community where my skills were appreciated, despite whatever weird hangups or disabilities I have. The biggest question would be whether they'd be cool with me not wanting to fuck, or pair off, or have kids. Or whether I could survive and tolerate being forced to have kids.
I'd definitely be a lot colder for much of the year. Probably.
The thing about already having a very low quality of life is that short of dying there isn't much anywhere to go but up, and I don't think that early humans could end up "homeless" the way people can today, so I don't think that particular downgrade is on the table. I haven't done anything that's really an 'abandon this person and kick them out of the group' level offense. I write stories, I do lots of crafts, I can cook and repair things and I am good at visually identifying subtle differences. I don't think I'd be less hyper-competent in other time, but my skills would be FAR more valued.
The quality of life I have now is largely owed to my own resourcefulness in the face of completely lacking any support stricture or appropriate finances or the care that gets provided to the guy next to me. Like Yeah I wouldn't have my pension, but I also wouldn't be expected to have money to be allowed to build myself a shelter or go get myself food.
That all said, I also only ever got appendicitis because of a lead bullet and I don't think they had those then???? So maybe I'd be fine actually??
Like it would be DIFFERENT as fuck, but better or worse might be highly subjective when your pension is 1200 and your rent is 1000. We take for granted how much benefit we get just by existing in the modern world but we maybe also underestimate how many people are simply cut out of those benefits mattering to them. The aspects of modern convenience I am ALREADY cut out of due to poverty, disability and specifically Covid isn't trivial. I struggle to think of a modern amenity I rely on for basic quality of life that would not have an equivalent that might even be more accessible to me.
Some minor conveniences that I can actually make use of wouldn't be there sure, but so many of the things that destroyed my health or habitually set it back also just didn't exist them or wouldn't have happened.
I'm not saying I'd prefer it. I'd go nuts without the internet for a start. I want novels, and the internet and comics and modern music. I like some video games... But the version of me that never knew these things? Would their objective quality of life be worse?
The 1800's would be worse, the year 1000 would be worse... But the year 108? I genuinely don't know. Humans are resilient. I've been unfathomably resilient. Multiple chemical sensitivities probably wouldn't even be a thing I'd have to think about in a world where I had the diet of a hunter gatherer, it actually lines up pretty well with what I can even eat now. I'd have less cheese though, sad.
The decade you’re given is the decade to which you’re transported. Your geographic location doesn’t change; only the time period changes. “Equivalent QOL” means a qualify of life that approximates the life you have now and anticipate being able to have in the future.
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witherby · 11 hours ago
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hello! great work so far :-) im getting into batfam myself and been loving the platonic/familial works you do w littlest wayne! was wondering if you'd ever do an teen y/n or just an older one? I'd love to see you tackle the idea of a robin y/n or jaybe just some angsty kid stuff,,,,,, hope you had a good new years!
-- :33Anon
I love angst with my whole heart and soul, and I'm happy to write it with a slightly older Reader. Hope you don't mind I've commandeered your prompt to showcase the ability you guys voted on.
This one's a long read so I'm splitting it up. This part is roughly 2400+ words.
The Littlest Wayne: Uncertain Home
(Part 1/2)
Masterlist is Here!
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Uncle J'onn is looking at you curiously.
He's been doing that a lot, lately. When Daddy brings you to the Watchtower to be babysat so he can go save the world, one of his co-workers that they can afford to spare gets put in charge of keeping an eye on you. Usually it's Uncle Hal, but this time it's J'onn and he's in his natural form, which you don't mind. Green is your favorite color, and his whole body is green! He's nice and calm, and tells you lots of stories and plays any game you want, even if it's hard for him not to cheat and read your mind. He says it's instinct. You don't hold it against him because you still have fun.
Lately, though, when he talks to you, he tilts his head a bit. He usually does that when he can't understand something.
You wipe your face, checking for cookie crumbs. All clean. You search your shirt for any weird marks or stains. All clean. You scrunch your nose and puff out your cheeks, pouting.
"What's wrong, uncle J'onny?" You ask him. Daddy says the way to get honest answers from someone is just to be forthcoming (Dicky told you what forthcoming meant when you asked him later), so you are. "Did I do something wrong?"
That seems to snap his train of thought. J'onn shakes his head and goes back to sorting out the jigsaw puzzle pieces for you. You're good enough at this to do 100-piece puzzles, now, and when you get really stuck you don't even cry anymore!
"Nothing is wrong, Flittermouse," he says, watching you start putting the edges together first like Dami taught you. "You are simply...changing. Differences are not inherently wrong."
"What's inherably mean?"
"Inherently. It means instinctively, or something that is "set in stone." A rule that does not change. I am stating that change is not something that is always wrong. It's not a firm rule."
You pout and try to process all of that in your brain. It was a partial answer. Daddy says that means people might want to hide something from you.
"What's changing?" You ask him. "I got older a week ago. Is that what you mean? I'm four, now. Grandpappy says I'm getting so big and growed up. He says to not do that so fast. I dunno how, though. He's silly."
J'onn hums. His eyes look away from you as he considers what to say. You put one whole edge together before he speaks again.
"You know that I am not a human, correct?"
"Yeah, I know," you say. "I don't care. I love you. And auntie Diana. And uncle Clark. And uncle Barry. And —"
"Thank you," J'onn gently interrupts. "Do you also know that, sometimes, humans are born not entirely human? That sometimes they get special abilities?"
"Yeah, I know that," you repeat.
"I suspect that —" he cuts himself off, hesitates, then starts again. "Little one. You are showing signs of being one of those humans with special abilities."
"I am?" You ask. You perk up. "Can I fly?!"
You immediately abandon the puzzle and climb onto your chair, about to jump off of it to try and fly around, but J'onn catches you by the back of your shirt before you can hit the ground.
"You cannot."
"Aww...then I don't wanna be a megahuman," you complain, stomping your foot.
"Metahuman."
"Whatever."
"I am sorry," J'onn says, "I did not mean to upset you. I do think you are developing powers, however."
"Not fly powers?" You frown.
"No, not flight powers."
"Boring," you say, blowing raspberries. J'onn cracks a smile at your antics and you giggle. "Help me do the puzzle, please!"
"Alright," he relents, sorting more pieces for you. You're both quiet for a while, and you get the whole frame done before he speaks again.
"Little one. Do you know your father's rule about metahumans?"
"Yeah," you say, grinning, because you're a great listener. You pitch your voice down and make it scratchy. It's adorable in your four-year-old tone. "No metas in Gotham. I am Nighttime. Raaahhh."
J'onn huffs in amusement. "Right. He usually means what he says, does he not?"
"Yeah," you agree, "daddy is a bad liar. He lied and said he didn't eated the last cookie once, but he did eated it. Alfie was mad, 'cause it was for Dami, but Dami didn't care. He likes brownies more than cookies. I like brownies, too."
"I figured," J'onn says. He's not looking at you again. This time he's frowning.
"Do you want brownies?" You ask, figuring that was the issue. "I don't have any. I can ask for some when Daddy comes back. I'm good at sharing, 'cause I'm a good noodle, like Jay says."
"No, but thank you for offering to share. Jason is right, you are a good noodle."
You preen. "I know!"
J'onn drops the subject again and helps you complete the puzzle. You squint at every piece in concentration and politely ask him if he can dim the lights so you can work better. He complies, and after another hour and a half, you have a completed image on the table.
"Yay! We did it!"
The sounds of chatter and footsteps appear down the hall moments later, and you spring to your feet in delight.
"Hello!!!" You shout.
A chorus of "hello!" greets you in return from multiple heroes, and the rest of the Justice League files into the room one by one. They don't look too roughed up, so the mission wasn't very dangerous. That's good. You stand by the door and offer them hugs. Everyone complies, to your endless delight.
"Daddy!" You cheer when you see him, running and hugging Batman's legs. He scoops you into his arms and you grin and point at the table. "Uncle J'onny and I dided a whole puzzle! I didn't give up!"
"Good job, Mouse," Bruce says, reaching out to adjust the light. "You did it in the dark?"
"Yeah," you grin, kicking your feet. "Did you punch bad guys?"
"I did."
"Did you win?"
"Yes."
"Can we have ice cream?"
"Maybe after dinner." He carries you down the hall and towards his temporary quarters, the place he'll stay after a particularly tough mission when he can't make it home right away, and deposits you gently on the bed. "I have to debrief with everyone, and then we can pack up and go home."
"Okay, daddy," you say, already digging through the nightstand for a toy to play with. "I stay right here!"
"Good job," he says again, kissing the top of your head, and leaves you alone with a small wave.
--
The next time you need to be at the Watchtower, it's with Uncle Clark and Auntie Diana. The mission wasn't a super dangerous one, so they both got to stay behind and entertain you.
Today, you're a cashier at your world-famous grocery store. You have the best ingredients all over the world.
"Welcome to the groshy store, what do you want stranger?" You demand, getting into character. Clark looks mildly offended.
"Whoa, hello. That's a lot of 'tude for a paying customer," he says.
"You didn't buy nothing yet! Whataya want!"
"Uh. Some carrots please."
"All out."
Clark narrows his eyes at you. "Can you check in the back?"
You turn around. You turn back.
"All out. Whataya want!"
"You barely looked!" He insists.
"FRESH OUTTA CARROTS, BUB. WHATAYA WANT."
"Oh my goodness, now there's yelling. I think I need to speak to a manager."
"Okay!" You shuffle across the room and grab Diana's hand, leading her back to Clark. "This is the manager. Auntie, tell him all the carrots are gone. He can't have any."
Diana covers her mouth to stifle her laughter. "You heard them, stranger. There are no carrots here."
"Well, aside from the blatant nepotism, auntie, I think you're hiding the carrots from me," Clark huffs, crossing his arms. "I need them for my soup. Guess I'll go to the grocery store across town. I hear they're nicer."
"No," you gasp, "wait. Okay maybe I have one secret carrot. I go get it."
You leave their giggling forms and run over to the toy box that was set up for you on the watch tower, thrusting your hands inside to dig around. You squint your eyes, but all the bright colors are hard to distinguish properly. In the dark spaces, deeper into the box, is where you cast your focus. Instinctively, you follow the trail and close your hand around a plastic carrot. You lift your hand triumphantly.
"Okay, got it!" You cry, only to startle when you find both Clark and Diana kneeling beside your toy chest. Diana picks you up around the waist and takes several steps back, and Clark's eyes turn that funny shade of blue they do when he's using x-ray vision. "Umm, I gotted the carrot already. It's in my hand."
"Are you injured?" Diana asks you, expression deadly serious. You frown and shake your head. "You're certain? I could sense something in that box with you."
"No, I'm fine," you promise. Clark stands up and his eyes go back to normal. He shrugs, brows furrowed.
"There's nothing in there but toys."
"Yeah," you nod, "toys and dark spots."
Both heroes look at you. You squirm in Diana's hold shyly.
"Um, want to pay for the carrot?" You ask, holding it up. "It's only ten dollars. Orrr one lollipop." You whisper conspiratorially. "I can be bribed."
Diana and Clark exchange glances. Clark gingerly takes the carrot from you and puts it back in the toy box.
"Sold. Let's go to the kitchen and pick out which flavor you want."
You grin, forgetting about the game, and Diana puts you on the ground so you can follow excitedly after them. With a couple "pretty please's" and your lethal puppy dog eyes, you even manage to get two lollipops. You ask to be hoisted onto the counter so you can swing your feet as you enjoy the candy, and both heroes perch on either side of you.
It's quiet for a while. It feels like that weird, anticipatory quiet you felt with Uncle J'onny, but you don't know what for, so you wait for one of them to speak. You finish off one whole sucker and open the second one when it happens.
"Mouse?" Clark eventually asks, "can you explain what you meant about your toys? That there are dark spots in there?"
"Yeah," you say, "shadows. Dark spots. Light not touching."
"And you can...feel shadows?"
You hum, thinking it over. "Um...yes. Kind of."
Clark and Diana look at each other again. They're frowning. You frown.
"Can you tell us what you mean by that?" She asks.
"Um. I wanted the carrot, for uncle Clark," you say, "so he can buy it at my groshy store. And the dark spots showed me where it was, and I grabbed it."
"Did they also help you complete the jigsaw puzzle, when you were with J'onn?" Diana asks. "It was quite dark when we got back." You nod.
"Yeah. Easier to do in the dark. It's not cheating!" You blurt. "I didn't cheated!"
"Okay, ya' didn't cheat," Clark agrees, gently patting your back. There's a slight drawl in his words which usually shows up when he's stressed out. "We're just curious, is all, darlin'. Seems you've got a... A special talent, we can call it."
"It's a power. They're a metahuman, Kal," Diana says simply, "and you know Bruce's rule."
The rule? Which one? Always brushing your teeth before bedtime? Or maybe no sweets until you finish your dinner? Hmm, but you haven't had dinner yet. That doesn't make sense.
"No metas in Gotham. I'm very aware, Diana."
"Then you see the problem."
Oh. Now you think you know why uncle J'onny was upset that day.
"Now wait a minute," Clark says. He looks genuinely angry, which confuses you. Did they not like that you could ask the dark for help? They had superpowers, too. You figured they would be happy. "They're his kid."
You are. You're Daddy's little Flittermouse, scampering around and bringing joy. That's what everyone tells you. They love you.
"You've seen how hard he works to keep us out of Gotham," Diana says. "We can be trusted to babysit, but we can't enter the city? What does that tell you?"
"That's different. He's territorial, we all know that. He's not a monster, Diana. He would never hurt them —"
"I'm not saying he is. I'm not saying he would. But I am saying that he doesn't bend his own rules. He does not make exceptions."
Oh.
You sit almost numbly on the counter and watch Clark and Diana start to argue over your place in Gotham. Over your place at home.
You think about Daddy's rule about no metas in Gotham. You think about your new ability to interact with shadows.
Oh.
The lollipop tastes like ash on your tongue and the tips of your fingers feel like tv static. When you blink, your eyes sting as they well up with tears. You've been so good about not throwing fits, about not being a crybaby, about being as strong as your super cool daddy and brothers and grandpa.
But you can't call them that anymore, can you? They don't want metas in Gotham, and that's what you are, now. You can't live with your family anymore.
Large, fat tears roll down your cheeks and your bottom lip wobbles. You whimper and both Diana and Clark whip their heads around to look at you in shock.
"No, oh no, don't cry," Diana coos, "you don't need to worry. Your father isn't —"
You bat her hands away when she reaches for you and jump off the counter, running underneath Clark's cape. They don't catch on to what you're doing in time.
Clark practically rips it off and fans it on the floor, floating above it with wide eyes. Diana kneels next to the fabric and frantically pats it, searching for you.
But there's nothing. You've fled into the shadow Clark's body cast and allowed the darkness to swallow you.
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yanderenightmare · 1 day ago
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this might be a stupid question but what are the rules of omegaverse? or like idk how to phrase it but what's the set up?
On Omegaverse
Not a stupid question! In fact, a really good question because the answer is anything but straightforward!
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♡ Consensus still pending...
There aren't really any set rules in the Omegaverse, which is why, when reading an Omegaverse fic, there will often be a paragraph or two at the beginning of the story explaining the setting, rules, culture, and dynamics specific to that Omegaverse alone.
Even so, I'll try to explain the overall concept, as well as divulge some of the common tropes different writers use.
And so, first off! Plainly put, the Omegaverse is an alternate universe in which human beings can have an additional gender, referred to as the second gender—most commonly but not restricted to Alpha, Beta, and Omega. Across different Omegaverses, these second genders act as defining factors, often deciding social rank as well as playing a part in determining other physical, physiological, and psychological attributes of a character.
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♡ Alpha, Beta, Omega, Whatnow?
Alpha, Beta, and Omega are ranks typically used within the hierarchy of a wolf pack. The general idea is that Alphas are the pack's leaders, with Betas as their second in command, while Omegas exist at the bottom as the lowest-ranking members.
I want to note really quickly that this view of wild wolves is an old conception and has since been criticized and debunked—something I'll write more in length near the bottom of the post.
But anyway, regarding the Omegaverse, this is still the general dynamic, wherein the Alpha, Beta, and Omega titles aren't only used to identify rank but exist as actual bodily differences as well—referred to as second genders.
And, while Alpha, Beta, and Omega are the token types in most Omegaverse settings, they aren't standardized. For example, Betas can sometimes be ruled out entirely to focus purely on Alpha x Omega pairings—while other writers might add even more types into the mix, such as Delta, Gamma, Sigma, etc...
There aren't any rules to this.
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♡ Werewolves or nah?
Since the ranking system was originally taken from the wolf hierarchy, it's natural to think that the Omegaverse has to have something to do with werewolves, hybrids, or some other type of bestiality.
The answer to this is both yes and no.
In some Omegaverses, it's true that characters will be some or other version of werewolves. Hybrids with tails, fluffy ears, claws, etc—or shapeshifters who can fully transform themselves into four-legged canines—or any other type of werewolf you can think of.
This is all a creator's choice and up to them to implement or not!
As for other Omegaverses, characters will be described as regular human beings but with added instincts and characteristics in line with what second gender they have: Alpha, Beta, Omega, etc... Here, the whole wolf aspect of things isn't highlighted, though might still be used somewhat metaphorically.
There are no rules to this either. Only options.
Additionally, not all Omegaverse hybrids need to take after wolves alone. The range can be broadened to include any type of dog breed—Huskies, Labradors, Chihuahuas, etc. Here, apart from physical attributes, what type of dog a character is can also play a part in what type of personality they have. For example, Huskies are diligent characters, Labradors are fun-loving and playful, while Chihuahuas are uncharacteristically combative for their size.
I've even come across some writers whose Omegaverse includes any and all types of hybrids, having Alpha horses, Beta oxen, and Omega bunnies. However, I'd say this is less common and will more likely be referred to as hybrid au or something of the like.
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♡ Characteristics!
Though there are no rules, there are some common understandings of how the different types of second genders tend to look and act.
Starting off with Alphas. They're usually described as big and strong and come forth as the designated leaders in society.
Personality-wise, they can be loud and oppressive but can also be shown as silent, stoic types who command the room simply with their presence. In any case, they're often very masculine and dominating, always marking their territory and striving to be the ones in charge, with a tendency to be very protective of what's theirs and rather aggressive when challenged.
More physical attributes other than strength and size may be added, such as an array of muscles and a gifted nether region, including the knot.
The knot is most common in Omegaverses that have a hybrid spin. In simple terms, the knot is a group of muscles found at the base of an Alpha's manhood, which swells up when they're close to climaxing to keep their partner from pulling away and so ensuring that their spend doesn't escape.
More traits common for Alphas in the hybrid Omegaverse are bigger and stronger fangs than their other counterparts, as well as larger and longer claws, better hearing, optics, and sense of smell—they're also faster, stronger, and often smarter than the rest. All reasons as to why they're considered the leaders in society.
But all in all, whether you include all of this or not, Alphas are considered the ones at the top of the food chain.
And at the bottom of that food chain, we find Omegas.
Often portrayed as small, weak, and meek by nature—Omegas are the opposite of Alphas. And yet, despite this, Omegas are also highly desired by Alphas for mating reasons. Although this isn't really taken from our understanding of how actual wolf packs work, it is often the case in the Omegaverse.
You see, in the Omegaverse, Omegas are considered highly fertile and domestic, making them objects of desire for Alphas. In turn, Omegas will usually want an Alpha—the bigger and stronger, the better—to provide, protect, and keep them safe from other Alphas.
Furthermore, Omegas are said to be very pretty, sometimes to an irresistible degree, and will often be described as cute and doe-eyed.
Hybrid Omegas have all the same physical attributes as Alphas, but smaller—so tiny teeth, short and sometimes dull claws, soft bodies without much muscle, etc...
Simply put, Alphas are large and dominant, while Omegas are small and submissive.
Now Betas, on the other hand, are a little more ambiguous...
Some choose to make them the odd men out, characters without Omega/Alpha instincts and needs—making them the normal humans in an Omegaverse society. Here, Alphas and Omegas are more or less an altogether different species than Betas.
Others choose to treat the second gender as a spectrum going from Alpha to Omega with Beta in the middle—here, Betas might vary from being recessive Alphas to recessive Omegas.
Others, again, portray Betas only as just below Alphas—so, still big and strong but falling just short of being the biggest and strongest.
Hybrid Betas will be described as something in between Alphas and Omegas, or simply as smaller Alphas—so moderately sized teeth, claws, muscle mass, etc.
There are no rules to this, but all in all, Betas are usually portrayed as being less desirable to both Alphas and Omegas—for these mentioned reasons and for further reasons we'll divulge now.
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♡ Scents, Ruts, Heats and Suppressants
This is what makes up the charm in the Omegaverse.
Scent is basically the Omegaverse word for pheromones.
It's often the difference in scent that allows characters to identify and determine whether someone is an Alpha, Omega, Beta, etc. Moreover, scents are used to arouse and are often what induce heats and ruts, which we'll talk about shortly.
But first! Alpha scents are usually described as spicy and musky, whereas Omega scents tend to be described as sweet. Both, respectfully, are designed to attract the other.
Betas, on the other hand, are either described as not having scent glands the same way Alphas and Omegas do or have them but exude a very weak scent, which in some Omegaverses might be the very reason they're deemed as Betas—labeled as defective Alphas or Omegas.
This is all up to the writer. There can be many other descriptions defining the Beta type, each different from the first—too many to explain here. A writer can more or less make their own definition of what makes someone a Beta.
But in any case, Alphas and Omegas are often said to be indifferent to a Beta's scent. Likewise, Betas aren't affected by Alpha and Omega scents—either because they can't really detect them or because it doesn't affect them the same way, usually because Betas don't experience heats or ruts such as Alphas and Omegas do—though this can also be decided by the author.
Again, no rigorous set of rules applies here. It all depends on whether the Betas are portrayed as being normal humans in an Omegaverse society or something more like recessive or defective Alphas/Omegas.
But onto heats and ruts!
Omegas go into heat, whereas Alphas go into ruts. Betas, as I already mentioned, are often said to go into neither—but that's a choice the writer makes.
And, as you've probably guessed by now, there are a lot of different choices a writer can make here...
Omegas often have a heat cycle—meaning they experience regular and scheduled heats. You can think of it like the menstrual cycle. It doesn't have to be once a month or every full moon—it can be twice a year before winter and spring or once a year between January and April like female wolves have. Like many things, it's up to the writer to decide. But in any case, Omegas tend to go into heat on a regular basis.
Additionally, the scent of an Alpha can sometimes induce spontaneous heat in an Omega outside their heat cycle.
But what is heat exactly?
Well, heat is the time when an Omega is most fertile. When Omegas go into this heat, they're often said to feel horny for no apparent reason, often to the point of feeling frustrated and feverish, while exuding copious amounts of slick and scent in order to attract a mate.
The degree of these symptoms varies from writer to writer. Some like to portray heats almost like a sickness, describing a burning ache in the lower belly making the Omegas bedridden and damn-near delirious, whereas other writers make their Omegas fully functional, only feeling slight discomfort—while other writers incorporate both for different types of Omegas, some highly sensitive and others not so much. Again, same as with menstruation, some women feel high levels of pain, and others don't feel anything at all.
Ruts are a bit different...
Most writers treat ruts like the Alpha equivalent of heat—meaning it's when their libido is at its highest and their need-to-mate through the roof. But whether this is also based on a cycle or is simply triggered when encountering an attractive mate varies from writer to writer.
The symptoms of an Alpha's rut are also a matter of debate. Some writers make their Alphas go completely berserk, all manners of rationale gone, blacked out with only one goal left in their head: to mate until their ball's empty. Other writers make them simply become hot and bothered and a little more aggressive than normal. And some writers choose both, making their Alphas lose control over specific Omega scents while having less of a reaction to others.
But onto suppressants!
Sometimes called heat/rut suppressants or inhibitors, these usually exist in the Omegaverse and are sort of their version of the pill, only different and with more effects.
Heat suppressants or Omega inhibitors are often explained to minimize the effects of a heat or to prevent it completely, making them highly useful for sensitive Omegas that experience tough heats regularly.
Rut suppressants or Alpha inhibitors are, similarly, for Alphas who experience rough ruts or who are sensitive to Omega scents.
All in all, suppressants and inhibitors are taken to avoid the effects of ruts and heats.
You also have something called scent blockers, which, as the name suggests, makes the person who takes them dull their scent glands, making it so that they don't emit too much of a scent or cancel out their scent completely. This is useful for Omegas and Alphas who don't want to attract attention—and can be used, for example, to keep their second gender hidden from others.
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♡ Pairing, Mating, Marking, Biting, and Bonding!
So, as we've already gone over, the most common pairing is Alpha x Omega. But it doesn't have to be that way! Anyone can, of course, be with anyone, even in the Omegaverse. Omega x Omega, Alpha x Alpha, Beta x Omega, Alpha x Beta, and Beta x Beta are all still valid pairs, as well as all other variations with the other additional second genders.
However, there are some things that will work differently or, in some cases, won't work at all.
First on that list are, as we just covered, scents, ruts, and heats.
As I said, Betas aren't usually affected by Alpha/Omega scents, but they can still feel attraction for them anyway! The same goes for same-second-sex relationships. Omegas won't affect each other with their scents, but they can still like each other despite that. Alphas, too, can fall for other Alphas even without them necessarily being affected by one another's scent.
The matter, then, of course, is whether they can satisfy each other when their heats and ruts come along. Generally, an Alpha and Omega are made to please the other, and so it's common to see writers make their Beta x Omega/Alpha pairs and same-second-sex pairs struggle with this—which is where using suppressants and inhibitors may come in handy.
Another thing that will work differently is bonding.
Bonding or marking happens when one or both in a pair mark each other with their bite, thus solidifying them as mates.
This, however, is commonly agreed that only works and happens between Alphas and Omegas, where Alphas will deal the bite to the Omega or both unto each other. This is often described as an irreversible act, forever binding them together as a mated pair.
Depending on the writer's choices, there may or may not be any merit in an Alpha biting a Beta or of a Beta biting an Omega—and even less in two Alphas or two Omegas biting each other.
And so, as you can tell, a lot of the Omegaverse rests on the idea that Alphas and Omegas are meant for each other and only each other—and therein lies the potential juicy conflict, which we'll discuss a little later, but first...
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♡ Soulmates!
This is another common facet in the Omegaverse.
The soulmate idea typically rests on two concepts. We went over the first one: the bite that seals the bond between an Alpha and Omega for life. Here, Alphas and Omegas can more or less choose their soulmate.
Additionally, it's often a factor that after the bite is dealt, the Alpha and Omega in that bond will only affect each other with their scents and will only be able to reach satisfaction with each other when experiencing ruts and heats—basically making them fully dependent on one another forever.
The other soulmate concept is based on the idea that an Alpha or Omega will recognize the scent of their mate—at first sniff! Here, soulmates are predetermined and not chosen.
Both of these concepts can exist in one Omegaverse. Sometimes, the scent will be used to identify a soulmate but will still need to be confirmed and sealed through a bite or rejected by not biting.
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♡ Culture, Society, and Politics
This is where you can really have fun!
When you have characters in ranks like Alpha, Beta, and Omega, who are supposed to be one thing, it can be interesting to suddenly make them the opposite.
For example, Alphas are supposed to be successful winners—but as we see in real life, not all those who have everything going for them end up with it all. So it could be fun to take the angle of a loser Alpha who hasn't got what he feels entitled to.
Or to have a really successful and independent Omega, who is generally only supposed to be a housewife for Alphas.
Betas can be a fun role to play with too. You can make them salty for not being Alphas, desperate to do anything in order to prove themselves—or you can make them happy outsiders who're relieved they don't have to participate in any of the Alpha-Omega nonsense.
Additionally, as we covered earlier, you can break the normal pairings. You can make Alphas who are sickeningly interested in courting only Betas—who almost seem to think of them as a conquest. Or Omegas, who're frightened of Alphas and end up only courting each other. Or Alphas who think everyone is beneath them and also decide that only those of their own rank are worth their time. Or Omegas who, instead of settling for just one Alpha, goes for two Betas, like in this fic:
♡ TWO BETAS, ONE OMEGA
And that's only breaking gender and social norms! We can also break the body norms! Such as suddenly making a really big and strong Omega and a small and cute Alpha. A dynamic I explore in this fic:
♡ UNNATURAL
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♡ World Structure
There are many different types of Omegaverses. Still, I'd say we can categorize the Omegaverse by three different types of world structures: modern, primal, and dystopian.
Modern Omegaverses are reminiscent of the real world but with the added Alpha, Beta, and Omega dynamics.
Primal Omegaverse is where society is set out in the wild—this is also the type of Omegverse that usually features hybrids.
Examples of primal Omegaverse:
♡ SILLY LITTLE MATE
Dystopian is modern Omegaverse, but with laws and politics that support segregation between the second genders where Omegas are usually being oppressed and treated as lesser humans—this is the one I play around with most.
Examples of dystopian Omegaverse:
♡ TWIST OF FATE ♡ THE OMEGA INSTITUTION ♡ HARD-LEARNED LESSON
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♡ Second gender and male pregnancy!?
I'm not an expert when it comes to this type of Omegaverse, but yes, male pregnancy is possible in some Omegaverses due to the existence of second genders.
This type of Omegaverse is popular in the Boy Love genre.
Here, Omega males can be impregnated by Alphas.
Male Betas, however, can neither impregnate male Omegas nor be impregnated by Alphas. They can, on the other hand, still impregnate any type of female.
Additionally, Alpha females can also impregnate Omegas. In this type of Omegaverse, Alpha females are often portrayed as futanari—meaning they have both sets of genitalia.
Rules to this vary, though I'm unfortunately not well-versed enough to explain it all. And so I'll leave it at that.
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♡ Other Animalistic Elements May Be Included!
Impregnation may be referred to as catching, and babies as pups. Additionally, Omegas will often be said to carry litters, meaning more than just one pup—sometimes a lot more.
Scent glands exist on the wrists and in the juncture between the neck and shoulder—which is also where the bite is dealt.
Imprinting can be another aspect of things. This is something that happens as you grow up, often between childhood friends and siblings and with parents. Imprinting simply means that you recognize the scent of someone else as kin, trustworthy, or a source of comfort. Pets do this with their owners, for example.
A home, bedroom, or simply a bed might be called a nest or den. Nesting is when a character spends time in the nest, typically for Omegas during heat or pregnancy.
Other than that, I'd say there's a lot more one can implement in the Omegaverse. But this concludes the general idea of things as well as some further inspiration for those who might want it.
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♡ Wolf Pack Hierarchy: Debunked!
Lastly, I want to clarify that the Alpha, Beta, and Omega ranks aren't really as relevant out in the wild as many would believe.
Wolf packs out in the wild are usually only made up of two parents and their children and, therefore, actually have a similar type of hierarchy to that of human families. Wolf cubs come of age before they turn three, at which point they'll leave their family pack, find a mate, and start their own pack. Leaving no need for ranks, just the simplicity of mother, father, and offspring.
However, wolf packs kept in reservoirs and captivity are different because they're usually much bigger, including not only relatives but random non-relatives, at which point a hierarchy is needed, which is where the idea of the Alpha, Beta, and Omega dynamic originally comes from—from humans studying a large group of mostly unfamiliar wolves held strictly in captivity.
This would be the same as locking a number of random humans together in a house and deeming the outcome a solid case study for what happens naturally when, in reality, it's the farthest thing from natural occurrence possible.
Of course, wolf packs of a larger number do exist out in the wild as well, though they are uncommon. But even then, the simple dynamics of Alpha, Beta, and Omega don't apply as straightforwardly as it sounds.
But anyway, here's a last fun fact about wolves: they mate for life!
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♡ For more Omegaverse fics of mine: ♡ FEM x M INSERT ♡ GN x M INSERT
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I literally made a post on Tumblr about this idea but thought I'd actually share it here but decided to make a more special version:
The y/ns one day going into a throw down to see who is the best y/n...the superior y/n...like the embodiment of the song 'the ultimate showdown'...Or, if you want another version I think is also super fun...'the ultimate smash bros' lol...
And can imagine the cookies standing idly by in shock as they see things like streamer cookie throwing a left hook at alien y/n or entity y/n going John Cena on timid y/n...oooor the cookies, when they notice the y/n show down, start trying to stop it, loving all the y/ns and not wanting them to destroy each other lol!
Decided to write this bonus with the version where cookie are trying to stop the fight...just various scenarios that are happening all at once because of the number of y/ns lol:
Entity, in a tree about to jump from it elbow first onto timid y/n: AND THEIR NAME IS ENTITY Y/N COOKIE!
Regular, seeing entity jump right at them: OH DEAR WITCHES-
pure vanilla, quickly running up to push timid y/n out of the way and then catch entity so they don't take fall damage: BOTH OF YOU, STOP! WE LOVE YOU EQUALLY!!!
Meanwhile:
Streamer, holding a modified keyboard to work both as a keyboard and a blunt weapon in their hands: LET'S FUDGING DO THIS!
Alien, with a blunt alien weapon: COME AT ME, YOU COWARD!
Caramel arrow: OK, BREAK IT UP YOU TWO!
Meanwhile:
Timid y/n and shy y/n...really not wanting to fight but know this is a free for all and both immediately think the other is gonna kick their butt: .....
Both immediately start crying.
Cream ferret rushes up, trying to calm them both down: shh shh it's OK you don't have to fight, let's go for hot chocolate instead...doesn't that sound nicer?
They both go off with cream ferret.
Just pure chaos heh...sorry if this idea sounds stupid just with the y/n tag having so many different kinds of y/n cookies...having a creative mind and listening to these songs all combined really makes ya think XD
Let's- Lemme just list how many Y/N cookies I've made just to be sure what I'm getting into=
Ancient Y/N- virtue of patience
Beast Y/N- Shadow of wrath
Child ancient Y/N- Virtue of innocence
Child beast Y/N- Shadow of grief
Male batman Y/N
Entity Y/N
Alien Y/N- (No stories on them yet)
Robot Y/N
Streamer Y/N
Timid Y/N
Shy Y/N
Ghost Y/N
Merchant Y/N
Isekai'd Y/N
Baker Y/N
Tarzan Y/N
Child of White Lily cookie Y/N
Yeah- I'm gonna figure out how to do all of them T T oh boy-
Y/N cookie showdown!
On a random day of a random week on a random month in a random year, the Y/N cookies found themselves in a predicament. They wanted to be the best Y/N cookie. But what happens when everyone wants to be the best? They argue and fight to claim that title. And unfortunately for the cookies, these 17 cookies were no different.
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Ancient Y/N cookie and Beast Y/N cookie are trying to stangle each other
Ancient Y/N: DIE, FOWL BEAST!
Beast Y/N: TASTE MY WRATH, STUPID COPY!!!!
Pure Vanilla cookie and Shadow Milk cookie are tying their hardest to pull the two apart.
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The Children aren't exactly any better, even if they aren't fighting physically since Mystic Flour cookie and White Lily cookie are holding them back.
Ancient child Y/N: Crybaby!
Beast child Y/N: Goody two shoes!
Both stop talking for a moment, before crying to the adults.
Both: They were being mean to me!
Mystic Flour cookie: There there,
White Lily cookie: It's ok little one.
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Male Batman Y/N: *Holding merchant Y/N in a choke hold* Admit your defeat!
Merchant Y/N: *Wheezing* Over my dead body!
Male Batman Y/N: That can be arranged!
Black Raisin cookie: *Trying to push them apart* No! Stop fighting! I love you both too much to lose any of you! Stop!
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Streamer Y/N: *Hitting Alien Y/N with their keyboard* Be gone!
Alien Y/N: *Behind a shield* Like your father?!
Caramel Arrow cookie: No no- no insults! Stop fighting before any of you get hurt!
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Robot Y/N: *Trying to shoot entity Y/N* STOP MOVING SO I CAN ELIMINATE YOU!!!
Entity Y/N: *Moving in all kinds of inhumane ways* MAKE ME, METAL HEAD!
Agent Jjajang cookie: No- don't taunt each other! Just behave for witches sake!!!
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Baker Y/N: *The only sensible one at the moment* Guys- there isn't a best Y/N, stop fighting-
Ghost Y/N and Isekai'd Y/N: SHUT UP!
Isekai'd Y/N: I'm about to exorcise a stupid ghost!
Ghost Y/N: Not if I hit you with another truck first!
Pumpkin pie cookie: No! Stop fighting! You'll end up hurting yourselves! Please stop!
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Tarzan Y/N: *Casually holding child of White Lily cookie (COWL) Y/N by their ankle* Hahahahahaha
COWL Y/N: Put me down you brute! Put me down right now!
Cherry Blossom cookie: Aye! put them down!- put- Hey! Put them down and stop fighting this instant!
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Shy Y/N: *Thinking they're done for*
Timid Y/N: *Thinking it's over for them*
Both begin crying and Cream Ferret cookie rushes to them both.
Cream Ferret cookie: Hey hey, it's ok. You don't have to fight. You're safe. Come on, let's get you some ice cream and candy for the other two crying over there.
Both nod as they follow Cream Ferret cookie.
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kinthulou · 3 days ago
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This is all so so so true! I have had so many friends be too shy or anxious to share their writing with me because I'd shared mine first, and I'm always having to tell them that the only reason I'm so good at the writing thing? It's because I've been doing it since I was old enough to hold a pencil. Stories have been my Autistic Special Interest (TM) since I learned to read when I was two years old. All I've got that my friends don't is time and practice and I would never ever judge them for just starting out. I want to see their stories! I want them to feel encouraged and motivated to keep practicing! It's an art form!
And this is a shyness that I know super well from a different art form. My entire immediate family is incredibly talented in the music sphere. And I do mean talented--my youngest sib had no music lessons whatsoever and taught themself how to play piano and violin incredibly quickly. Middle sib picked up guitar as a teen like it was nothing. The mother unit was a stellar soprano in church choir, and the father unit, who was raised by a music teacher and so had a lot of encouragement and probably all the lessons he wanted, is not only a fantastic singer but can pick up any instrument for the first time and within ten minutes have figured out how to get music out of it. I had lessons galore. Lots of instruments. Choirs to join. All the encouragement. Almost none of it stuck. I was awful at music. Couldn't sight read music to save my life--and still can't, turns out I had an undiagnosed-at-the-time learning disability that impacts that skill--couldn't figure out my way around a string instrument, and my singing voice was so terrible I was constantly being told to stop.
Fast forward to last night, when I was listening back through a recording of a song I'd learned on ukulele last week. There were plenty of flaws in my performance, but when I listened to the vocal warm-up, in which I just sang the song a cappella to make sure my voice was good to go and I didn't need to refresh on the melody?
Fucking blew me away. You guys? Somewhere along the way I got good at singing? Like actually, legit, super pleasant to listen to, would buy an album of this stuff if it wasn't MY OWN VOICE, that kind of good????? What????? My music skills are catching up to my writing skills! I have more talent in writing than music, which is why there was a gap between getting good at writing and starting to get good at the music, but like. Just keep at it, everyone. It's just practice. Once day you'll look at your art, whatever its form, and be blown away by how far you've come. You just have to be willing to let go of perfection and give yourself the chance to try!
So earlier in art class today, someone drew a characters hands in their pockets and mentioned that hands are really like the ultimate end boss of art, and most of us wholeheartedly agreed. So then, our teacher went ahead and free handed like a handful of hands on the board, earning a woah from a couple of students. So the one from earlier mentioned how it barely took the teacher ten seconds to do what I can’t do in three hours. And you know what he responded?
“It didn’t take me ten seconds, it took me forty years.”
And you know, that stuck with me somehow. Because yeah. Drawing a hand didn’t take him fourth years. But learning and practicing to draw a hand in ten seconds did. And I think there’s something to learn there but it’s so warm and my brain is fried so I can’t formulate the actual morale of the lesson.
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justjesse116 · 1 day ago
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Can I pester you for your thoughts on Dabi and Hawks' respective canon endings (if you haven't posted em somewhere already and I've just missed it)
Oh yeah, I did say I'd touch on that and sure never did huh. I got so fed up that I just ignored the ending and didn't feel like acknowledging it with a post anymore.
But I do have an answer for you. It's gonna be a long one, buckle up buttercup.
As for Dabi's 'end'.
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Ah yes, fantastic message Horikoshi, if you're not a perfect victim and don't shrink away and make yourself small and hide away from your abuse/abuser - if you get mad and lash out then you should just fucking die. Your ABUSER gets a second chance, but you can just go fuck yourself.
(For a better understanding on how I feel about Dabi's story as a whole I got, what, 2 sentences in and had to pause because I'm sick as hell right now and a little fucked up on cold medicine, and I got so mad my hands started shaking and my heart tried to do it's best impression of a wildebeest stampede in my chest. (Emotional regulation who?))
Dabi is my ride or die, because I came from a home where my sperm donor terrorized me my whole life for the crime of being alive and having the gall to take after my mother. I have an unfortunately personal understanding of how he feels, at least in part, and his end in the story is what bothers me most, and will continue to do so.
Did he go about it the best way? No, I'm not a fan of the murder (arson I couldn't give 2 fucks about, destroy that government property babey) but I can't blame him for turning out the way he did. He went through literal hell and came out the other side torn apart physically and mentally. And I'd be lying if I said I didn't fantasize about killing my sperm donor for all the ways he fucked me up every once in a while, so I can't blame him for that either. I think it's a natural reaction to want to eliminate a perceived threat, especially one as traumatizing as one of the people who are supposed to be guaranteed to love you turning on you the way Endeavor did.
But anyway, I'm rambling at this point so in a nutshell; FUCK Horikoshi and his wishy washy writing and bitchass cop out. The end to Dabi's story is insulting at best and harmful at worst. It's very obvious that he was over My Hero, since he bulldozed over anything that would resemble a satisfying ending in regards to multiple parts of the story, but his handling of Dabi as a character is the most egregious in my opinion. I have well and truly had enough of this man (derogatory).
So now I shall move on to the man, the myth, the legend, the love of my life - you get it. Hawks. And if I'm being honest I'm not very keen on his ending either.
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First of all, what ever happened to giving heroes more time to kill?
Ahem. Excuse me, getting a little heated.
Fucking give me that man, he needs to be sat down in a plush fucking armchair, with a mug of actual coffee, not that canned shit, bundled in the softest blanket money can buy, just relaxing and reading or watching a show. LET THAT MAN REST. HIS ASS HAS NO BUSINESS BEING THE PRESIDENT OF AN ORGANIZATION THAT SHOULD HAVE BEEN ABOLISHED AT THE END. THAT'S WHAT IT FELT LIKE HORIKOSHI WAS HINTING TOWARDS THE WHOLE TIME. GET RID OF THE HERO SYSTEM. BUT NOOOOO.
To be a little more coherent (hopefully) about it. It's not to say I don't think he could do it, I just think it was one fuck of a leap. That was some Olympic level stretching, at least in my opinion. I just think that man deserves to rest. He belongs in a quiet little house in the countryside and he has a part time job at like, a local farm or something and in his spare time he volunteers all over town and preferably Dabi is there as well 🙄. Give him peace and quiet, let him rest.
I honestly don't know what would have satisfied me canon wise for his ending, but HPSC president just ain't it. Again, I feel like it was Horikoshi catching the cooties for his own work; he just wanted to be done with it so he slapped together what he thought was the most likely of scenarios and just left it at that. In a word; disappointing.
I see a lot of people saying he should have died, because out of everyone of the heroes his death would have made the most sense and had the most meaning or whatever, and I can agree with that, but I'm still glad he's not dead. It absolutely is fucked up how disproportionate the deaths were when it comes to heroes vs villains, no one can deny that. But dammit I need a win, I need a fave who ain't dead.
I think that about wraps up my thoughts without me writing a god damn dissertation. Thanks for the ask, it was a nice distraction.
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mumuscae · 2 days ago
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SPOILERS!!! SPOILERS!!!
Rant on Storytaco's bad writing of dark skinned characters. Specifically Sirius.
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I wanna start this out with saying, I do not hate Sirius as a character. He's one of my favorites and I feel like he had wasted potential being in the hands of Storytaco. I don't think there's anything wrong with enjoying Sirius as a character either! I believe however that we can enjoy media, and look at it from a critical lense. There are good things about his character and I enjoy a lot of how he was written lore wise!!! Otherwise I wouldn't be so violently obsessed with him since the age of 15 lol. But again. There are a combination of things that I can't really see as a coincidence.
If you have anything to add, or disagree with any of my points, please do not be afraid to say so! I wanna have an actual discussion about this. please I do not bite. I stand pretty firm on my points at this very moment, but I'm entirely willing to listen and change.
Uh. Apologies if my points come across poorly or if my writing is incoherent. There's a reason why I did bad in school lol.
My criticisms are below here. Have fun
Anyways.
Fuck Storytaco?
Uh. This is 100% inspired by recent discussion on the fandoms treatment of Sirius. But I'd like to discuss why this treatment is actively perpetuated by the developers of Arcana Twilight. Which is much more disturbing to think about when you consider their games are often marketed towards minors.(There are other issues with storytaco marketing towards minors too. Uh, idk if those are relevant for this post though. Maybe later cuz it's high key disturbing!!! 😃)
Sirius was written very inconsiderately. Like I know he's a villainous/morally gray character. However I feel like there needs to be a lot more tact when your only dark skinned character is written to be not a good person. Especially in comparison to the light skinned characters. I feel like they just applied every negative trait on earth to him, then turned around and went "jk guys! He's not actually bad. Hes like this cuz he's an orphan." 😭 Like some of these traits would be fine in their own if balanced out with other things, but there's so many combined together that I can't help but feel suspicious of their intentions and bias.
He's the most provocative out of all the love interests. He's consistently initiating suggestive situations, is labeled the "sexyman", and is constantly making innuendos. The game has a lot of fan service in general (even though it's rated E), but Sirius is disproportionately portrayed this way and is just constantly going "hehe sex 😁" Which making him the provocative one is both an issue with him being queer coded and dark skinned..double whammy 😟
He's the dangerous, unpredictable and violent one. He SHOT!!! SHOT the mc within the first few floors. And like. There wasn't even a good reason behind why they decided to write that in other than to make us think he's violent/dangerous/untrustworthy. There are times when it's portrayed that he can't even be trusted alone in a room with the mc, even prior to the villain arc. 😐
He's a pretty much a domestic terrorist.... 😐
He was a wanted criminal for half of the story. Idk if I need to explain what's wrong with that either 😐
He's potentially the only one killed off at the ending depending on your interpretation.
In the clan equivalent of Americans (cough. Guns + eagles + the lazy unlikable rebellious group that just gets into trouble) which is just. Silly. 😭😒
Again he's the "untrustworthy one that nobody wants to be around." This is a point constantly driven in by the characters he's surrounded with. they drill that into the viewers head so so so much.
He's the "party animal" of the group??? Which isn't really portrayed beyond him drinking a lot but was definitely advertised as such.
He's 100% queer coded you cannot convince me otherwise. Which. Now we're falling into queer coded poc villain territory. Double whammy again! Disney is that you?
Going off the queer coded point, he's falling into "predatory gay man" territory. Hes shipped with basically every man in the game by storytaco for promotional and bait reasons. But it's always displayed as Sirius making the other party uncomfortable and getting in their personal space. Making unwanted advances. Like... Y'all don't got a do that
Ok this is possibly nitpicky but deadass why'd they make him a basketball player in the highschool au thingy. He's a theater kid. Nothing about him reads as liking sports. Please do not wear dangly earrings while playing sports??? It bothers me so much 💀
Okay so the sassy, violent, deranged, perverted terrorist... is the only romance-able dark skinned man in the game. ??? NONONO just think about that for a good moment
HE HAS OTHER THINGS IN HIS CHARACTER. THERE ARE GOOD PARTS ABOUT HIS CHARACTER!!! I LOVE SIRIUS SO MUCH. HES VERY COMPLEX AND INTERESTING.. but this is such a horrible combination of very specific negative tropes that it's hard to ignore. Especially when thinking about how this game is advertised to minors who, more often than not, are easily subjected to subconscious bias in media and are easily influenced due to our lack of ability to critically analyze media we're haphazardly consuming. (Sorry fellow minors. As a senior minor aka 17 yo it's the hard truth y'all gotta accept. we've all been there and we've been influenced by media whether we're aware of it or not. I'm not mad at y'all or belittling. Keep having ur funsies with ur silly star men I'm not stopping you lol? This is legitimate concern and criticism towards a company that is promoting weird stereotypes to us)
And I don't think Sirius is just a one off weirdly written dark skinned character from Storytaco. Thuban (WHO IS GREEEEEY. Big issue on its own 😰😭) is depicted as lazy and rude.???? Like he has a single redeeming moment but again. Just reads as "domineering rowdy black man." Especially when you look at the whole great hero trio .. he's supposed to fall within the fantasy "Fighter" archetype with his big ass mace. Compared to Polaris who is like a Cleric and the Wizard/Ranger Schedar.
Also shout out to storytacos other grey men.....???????? I was only able to find four dark skinned men (not just tanned a bit) including Sirius when I went thru Storytacos game catalogue. Two of them are grey. 😐
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Anyways Sirius was a huge motivating factor in why I wanted to make Extraterrestrial... Fucked up potential of a character. There are 100% biases showing through how he was written. These were all conscious decisions made on the writers part and I don't think it can be kept behind "he's a morally gray character who's going thru it" because there were so many good ways to show that and his grief without going to every. single. extreme.
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regthomas1728 · 3 days ago
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Writing Exercises
I'm wondering. Would anyone benefit from writing exercises? I definitely would!
If you'd like writing exercises, comment or message me what you'd like to work on. Tell me if you'd prefer daily, weekly, or monthly challenges.
Some things I'd like to work on:
Eliminating filler words, unnecessary sentences. I've noticed that my writing is redundant or over clarifying. To change this, I need to make sure each word serves a purpose, that each sentence achieves the overall goal and conveys exactly what the reader needs to know without saying it directly. This will kind of go into 'showing not telling' which we've all heard before.
Dual Action Plotting. I JUST LEARNED THIS FROM A FELLOW TUMBLR USER! Basically, two things are going on in one scene. I want to practice this and make the most of every major scene in my stories.
Self Editing. I edit my work to death. To the point it's not even changing important details, I'm exchanging words that are synonymous with each other--saying the same thing a different way. The problem with his is that I'm still int he first draft phase. I shouldn't be editing so heavily without a complete first draft. A touch up makes sense, but heavy editing doesn't. To keep it brief. The first draft is for me to get to know my story. The second is to make it understandable for the reader/editor. I want to change this.
Writer's Block. Enough said.
There are also small things--dialogue, descriptions of scenery and people--that I'd like to practice. If this would be beneficial to anyone aside from me, I'll start making regular posts or an Ellipsus folder/document to share work and get feedback.
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rowie264 · 3 days ago
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I don't really have a complete picture of their entire story in detail (if I had, I'd write fic, lol), it's more like ideas and sketches
so lets come up with something i imagine their first interraction could be like this: After Silco's death the voices in Jinx's had become unbearable, taunting her constantly and not letting her sleep. She tried to drown out the voices with loud music, blowing up everything around her, but nothing helped. Here story can go different paths: either Jinx get too tired to continue and wants to end her life, either she get loose completely and starts to cause more chaos targeting Piltover, doing anything to muffle voices in her head. Also i can't really decide what could be better if Jinx (and others) would somehow teleport on Azeroth or if Sylvanas (and others) would teleport on Runeterra. (on my pictures Jinx is on Azeroth purely bc i can export and use models from WoW, and i can't do the same with models from Arcane obviously) Either way, one teleports to the other, and both draw their weapons, confused and wary. Jinx would speak first. Maybe say something like "don't remember killing ya, toots" - she would think the woman is her hallucination. But Sylvanas wouldn't understand her (different languages duh). Then - worst timing - Jinx would have an episode, lashing out at voices and taking a shot in the air (like when Isha was taken in s2). Sylvanas would have taken it as an attack on her and shot back. Then a fight will start, which will end with Sylvanas using her banshee scream. It wouldn't kill Jinx - just make her lose conscience. When Jinx will wake up hours later she'd realised... the voices went silent after that scream.
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tyrantisterror · 3 hours ago
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You're welcome! Thank you for being such a willing participant in the interactive side of this story!
And yeah I'll gladly answer some more questions.
So, as I said above, I realized in the process of writing the story that, from a narrative and thematic perspective, this story could not give Sailor a clear and definitive answer to what they are. Even in the ending where they chose to go back to the normal world, we get an answer that convinces Sailor, but still clearly has some holes to the audience. I think there are ways we could have skewed certain conversations to learn more about the hypothetical answers in-story, but it would have come at the cost of key moments of character development for Sailor and Calibani. And I also think it's possible we could have skewed the story in such a direction where giving a definitive answer to the question wouldn't have necessarily hurt the theme of the story, by dint of turning the story into a different theme entirely - a South-heavy story might have focused on Sailor confronting their own inherent selfishness and short-sightedness rather than questions of their identity, for example, while a West-heavy story might have been a more dense and wacky adventure full of foolhardiness where learning who/what Sailor is could happen quickly and definitively without fanfare in order to be pushed aside for more shenanigans. 58 choices - there's a lot of potential what-ifs here.
There would be no way to contact Earth in the story as told, no, just as there wouldn't be a map till the very end. But, like, Sailor is canonically living longer than just the nine or so days the story covers, the Sea of Monsters is big, and Sailor knows a mad scientist. It's possible Sailor finds a way to get a message back to earth at some point - but I guess we'll have to save that for a hypothetical At Sea Without a Map 2: Now With Map!
I generally tried to vote either for the answer I thought would get the most votes, or the one that would get the least, in hopes of not actually affecting the result too much (unfortunately tumblr doesn't let you see the results before the poll ends unless you vote, and for the sake of keeping to a more-or-less daily schedule, I kinda needed to keep an eye on it to know what I'd need to draw during my downtime moments). I think the TT-only version of At Sea Without a Map would have been pretty similar to what we got. We might have spent a bit less time with Calibani and bit more time getting into monster hijinks and drawing exposition about the setting from characters like Dr. Neptune, but otherwise it would have been pretty similar. I had more fun with the player-choices that contradicted my own instincts, though - it was fun being given free reign to just shoot the shit with love interest while ignoring the plot. Very indulgent I do wonder if Sailor might have turned out differently, though - I was very conscious of trying not to flavor things too heavily when Sailor was in my control in the narrative, i.e. when they had to make choices without a compass to set them in a direction. I didn't really start giving Sailor personality in-text until I got a feel for what we were turning them into together, and even then I always felt nervous about it - I never wanted it to feel like I was forcing you all to play a character that wasn't authentic to what you were choosing. This wouldn't be a problem if Sailor was just written by me and me alone, so they might have become something different by dint of me not having to worry about alienating voters with their actions.
At Sea Without a Map Post-Script
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After two months of so, my little writing experiment At Sea Without a Map has come to an end. And because I'm vain, I not only felt compelled to share it, but to talk about it in depth after the fact, so here we are. This is going to be long, though, so I'm not only going to break it into sections, but put it all under the cut for the sake of your dashboard. So go ahead and dive into the depths of the Sea of Monsters with me one more time!
Part 1: Never Stop Blowing Up
The writing process of Wizard School Mysteries Book 3 was really strained - not because of the book itself, mind you. When I was actually able to work on it, Book 3 came together really well - I think it required the least substantial rewrites of any my novels thus far. It's just that real life was kind of beating the shit out of me while I was trying to get it done - or maybe the better metaphor was that it was just slowly but steadily draining me of energy all the time. I'm honestly surprised I got the book out in roughly the same amount of time as the first two - by the way life had been treating me, it should have taken longer.
But when I got done with it I was accutely aware of how tired I was. I still had the creative drive, but fuck I needed something simple as a palette cleanser - something easy, and more importantly, something that was allowed to be bad. I needed something creative to do that was surplus to requirements and fully within its rights to suck ass so long as I had fun making it.
Around this time, I decided to rewatch Dimension 20's Never Stop Blowing Up. Brief explanation of what that is: Dimension 20 is an actual play show, i.e. a recording of people playing D&D and other TTRPGs. I'd say its reputation is built on the contrast of its main DM, Brennan Lee Mulligan, who makes these meticulously crafted campaign plans, and his chaotic band of improv comedian players who promptly derail those plans spectacularly. Like, a good deal of the show's humor comes from Emily Ashford or Ally Beardsly doing something so off-the-wall that it shatters whatever the scene was going to be and creates a far more absurd and zany spectacle in its place. Which is why Never Stop Blowing Up is pretty notable, because it's the one campaign where Brennan himself is the agent of chaos, fully unleashing his own brand of madness that the players struggle to keep up with. And fuck does he seem to have fun with it.
Of course, all of the analysis above is purely from the outside looking in - it's likely that a lot of the "chaos" is played up for the audience. But still... there is something to the idea of a person who's been working on meticulously structured stories letting loose and just doing something extremely stupid.
So I decided to give myself a Never Stop Blowing Up moment - a short story that would be simple by design, with no standards to live up to or goal beyond "have fun telling a silly little story." I then came up with a few key criteria:
It can't be set in the Midgaheim/ATOM universe. I don't want the burden of figuring out where this story would fit among others.
It's gotta be a romance. People who've read my books might have picked up on the fact that I like to write about people falling in love, for the same reason I like to write about fire-breathing reptiles and friendly monsters (i.e. I use writing to indulge in things I'll never experience in real life). I've only used romance as subplots in my fiction before, and tend to feel a bit guilty if I focus on it too long - like I'm being self indulgent. Well, this is all about self indulgence, so the romance should be front and center.
It's gotta be SIMPLE, episodic even. Not complex plotting required.
I almost chose my xenomorph romance for this, but I had developed its outline to the point where it would be too complex to fit. I then considered a sort of superhero story that could be pitched as "what if Bringing Up Baby but Katherine Hepburn's character is a Harley Quinn-esque supervillain and Cary Grant's character gets turned into some sort of horrifying genetic mutant in the first ten minutes." That one hit a weird roadblock when I got to the character brainstorming phase (the first phase of any writing project I do) - I was trying to figure out what the mad scientist who turns out Cary Grant-figure into a mutant would be named, came up with the name "Dr. Skullfuck," immediately realized that having a character named "Dr. Skullfuck" is a Mark Millar-ass writing move that I could not allow myself to do, but then couldn't stop thinking of the name "Dr. Skullfuck" and giggling, which just brought all thinking to a grinding halt on that project.
(I'll still probably do it someday, though - just, you know, without Dr. Skullfuck)
Inspiration struck again, though. I'd been getting into Epic: The Musical, a musical retelling of The Odyssey, and it put me in the mood for a sea monster story. But, more than that, it got me thinking about one particular archetype from sea monster stories - but that brings us to the next part of this Post Script...
Part 2: It Was Always About Calibani
Ok, so, one of the big changes Epic: The Musical made involved Odysseus's encounter with the sirens, and before you read more of my rambling, I'd like you to watch two animatics for the two songs in question here:
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A summary: one of the sirens takes the form of Odysseus's wife to try and tempt him into getting in the water, Odysseus tricks her into giving him directions, captures her and the rest of her kind, and proceeds to have his men slaughter them horribly. In the OG story the sirens don't die - nor does their song involve imitating a man's wife, for that matter, it's just a really pretty song.
This is done for an important narrative purpose - Epic: The Musical is focused on analyzing the moral ambiguity of Odysseus, and how it is constantly challenged by the impossible choices he is forced to make in his attempt to get home. At this point in the musical, Odysseus has decided to stop trying to be a compassionate man, shirking all mercy in favor of utter ruthless pursuit of his goals. These two songs are meant to be unsettling as hell - this is the beginning of a series of heartless choices by both Odysseus and his men that will culminate in the mutiny and complete annihilation of Odysseus's crew, as well as Odysseus himself being so hopelessly stranded that nothing short of divine intervention will save him.
I bring this up because when I first heard these two songs - specifically while watching these two animatics - it, like... it devastated me. I was so horrified and sad, so shaken by it. And part of it was for the reasons outlined above, but admittedly that wasn't the gut reaction I had. No, my immediate reaction was, and I quoute my own broken brain verbatim here: "You can't kill the sirens! They're not for killing, they're for loving!"
...now, those of you who know me are probably not surprised by this very stupid sentiment coming from me. One of my more popular posts is just me talking about how down bad I would be for various folkloric monsters whose whole shtick is "looks like a pretty lady but Watch Out." But as a person filled with immense self loathing and doubt, my brain immediately looked at that very stupid sentiment I expressed and said, "Wait, no, that's fucking dumb, I'm fucking dumb. The sirens are remorseless murderers. These sirens in particular preyed upon a man's love for his wife, who he has not seen in twelve years, to convince him to let them kill him. They are, by all standards of morality, Very Fucking Evil, and if they were not women you would not feel bad about them getting killed."
And as my brain argued with itself over this topic, I got to thinking about the various monstrous/othered sea women of The Odyssey - not just the sirens, but the witch Circe, the nymph Calypso, the monsters Scylla and Charybdis. And I thought about the others of their kind in other myths and folktales - selkies, mermaids, etc.
There's an archetype of sea monster that focuses entirely on one specific anxiety sailors are prone to, namely the fact that (for a good deal of human history) being on a boat meant spending a lot of time away from women. The horror of this monster is how it uses that desire for female company to tempt people into danger - like a mirage, it leads you to expose yourself to danger in pursuit of an illusory comfort.
But, unlike real world mirages, these monstrous sea women DO exist in their stories. More than that, they're often, like, sad and lonely. Their narrative purpose is just to be a temptation, but that doesn't change the fact that they do have lives of their own in these worlds. And, softie that I am, I can't help feeling sad for them, especially the ones who actually seem to want the same companionship the sailors they tempt want. Sailors don't stay with their Circes, they don't marry their Calypsos. The sirens live on a barren rock, alone, Scylla is left to wallow in misery at her monstrous form, and the selkie always has to leave for fear of being trapped by a person who won't love her on her terms.
I realized I had my hook for this simple, easy, silly little sea monster romance story: I was going to give a sea woman the happy ending she'd never get from anyone else.
Sailor may be the protagonist, but make no mistake: At Sea Without a Map was always, always, ALWAYS about Calibani.
The goal with Calibani was simple: I was going to set up a fairly standard Monstrous Sea Woman, but where other stories would let her be in one episode of the travel narrative and move on, this one would stick around. She'd be an unambiguous predator of human beings - an open and admitted maneater - but she would have no true malice to her. She, like all predators, eats what she can get to survive, and it just so happens that she's adapted to eat humans. And the story would pose the same question to the reader that my brain posed to me during Different Beast: is there any way you could make a siren-style sea monster sympathetic? Can you make a normal person who doesn't have my particular brain rot look at a maneating siren and think, "You're not supposed to kill her, you're supposed to love her!"
One of the few unavoidable plot points of At Sea Without a Map was that Calibani and Sailor's relationship would become romantic. What kind of romance it was could have varied substantially - it could have been one-sided, it could have been toxic, it could have been far more tragic OR far more comedic. But it was always, always going to be a romance of some sort - the goal of this experiment was to make you, the reader, love Calibani. All else was icing on the cake.
I decided to base Calibani's personality on Miranda from The Tempest - i.e. a sweet girl who is both wordly and naive, who understands the strange setting of our "lost at sea" story far better than the audience viewpoint character does, but views the mundane world of the audience viewpoint character with wonder and naiveté. In fact I almost named her Miranda outright... except I already had a character in the setting I chose for this story who had that name, and as an allusion to the same Shakespearean character no less. So I settled on naming her after Miranda's adoptive sibling (of sorts), Caliban - more fitting in some ways, as Caliban is a fish-human hybrid who is arguable more native to the magic island in The Tempest than Miranda herself.
(Calibani isn't the only Tempest name homage, either - her mother, Sycorax, takes her name directly from Caliban's unseen but oft-spoken of witch mother. Dr. Antonia Warefore takes her first name from Antonio, one of the human villains in The Tempest who hopes to use being lost at sea as a way to perform a coup. And the mothman Iriel takes her name from Ariel, the wind spirit in The Tempest who aids the wizard Prospero in controlling the magic island. If Sailor has a "real" name, it's probably either Ferdinand or Miranda, the two lovers who manage to blend civilization and the wilderness together with their romance.)
Visually, I wanted Calibani to not be any common archetype of sea monster woman, but rather something that evokes the popular images while still being her own thing. She's not a mermaid or a siren or a selkie - she's basically "what if a sea serpent was also a girl." In-universe, she's chubby because she, like all marine megafauna, needs blubber to survive. Out-of-universe, she's chubby because I've found that routinely drawing cute chubby girls is good for my mental health.
Part 3: CYOA
Now, while we live in a post-Muncher society where shame and cringe are emotions only the cowardly should experience, I am nonetheless Very Catholic about expressing my own feelings of, like, liking girls and shit. I cannot help feeling guilty when publicly expressing adoration of women without, like, an excuse - it's gotta be a joke or something, you know? I can't be genuine about it, or else Jesus will beat me with a cane for disrespecting women with my lecherous gaze.
But luckily I've cultivated a loyal audience of fellow monsterfuckers, which meant I had an excuse lined up: if I made this a choose your own adventure type deal, a story with audience participation, then you all would be my accomplices. And Jesus can't cane all of us! He doesn't have enough hands! I found a loophole bigger than his stigmata!
Plus I love collaborative story-telling - there's a thrill in not having total control of where the narrative is going. As Brennan Lee Mulligan must know, there's a joy in having to deal with the chaos thrown your way by letting others grab the figurative ball, even if just for a moment.
Part 4: Offbeat Melody
Since I did not want to set this story in Midgaheim, I decided to steer myself away from a vaguely medieval setting altogether. But I also didn't want to limit myself with the need for "realism" that putting it in a normal sea would require, and making a new setting whole cloth would start pushing this project into "not easy" territory.
Luckily, I had a setting lying around that I hadn't played with in a while, which just so happened to have a location that was PERFECT for the sort of Never Stop Blowing Up style madness I was aiming for. For a few years I ran a Monster of the Week TTRPG campaign called Offbeat Melody, and one of its core setting elements was taking the goblin universe hypothesis in paranormal science (yeah it's a real hypothesis) to an illogical extreme. We had specifically seen glimpses of the Sea of Monsters in Offbeat Melody, i.e. the parallel universe where monsters like Nessie, Ogopogo, Champ, and the like all hail from. Well, why not have a whole story set there? It's literally a universe devoted solely to creating sea monsters - what better place to strand our modern Odysseus?
Offbeat Melody was always sort of a Never Stop Blowing Up project, or at least NSBU adjacent. Some of my most unhinged story-telling moments are in that campaign - you could make a supercut of just the "commercial breaks" in the various sessions and it'd basically be an I Think You Should Leave episode. Taking one obscure corner of its multiversal world and exploring it in detail was perfect for this project.
Part 5: Monster by Monster
With our main romance as sorted out as could be for a CYOA story, it was time to figure out the "episodes" of this sea voyage. I settled on there being ten to roughly align with The Odyssey - just in terms of number, mind you, not in a one-to-one comparison. The first was, obviously, Calibani herself, which left nine more slots for me to fill with monsters. Let's go through them together in brief:
Tree Storks - any lost at sea story eventually has to get its protagonist into an island at some point, but this immediately begs the question, "Why don't they just stay on the island where it's safe?" The answer to that question has to be, "it's not safe there, actually." The Odyssey does this quickly and cleverly with a one two punch: the first island seems safe until you realize the food on it brainwashes you into forgetting everything except your desire to eat it, and the second island is full of delicious sheep but also giants who will eat you just as easily as they eat the sheep. When other islands show up in the story later, you immediately regard them with suspicion, because you don't know HOW they're going to be fucked up, but they definitely will be. My goal with the second episode was to establish the same sort of danger - that land is NOT safe, that islands WILL be fucked up and dangerous in ways you might not expect.
I also wanted to establish that this is not just a sea of monsters, but a very WEIRD sea of WEIRD monsters. It couldn't be any old monster on this island - it had to be one that was unique, unexpected, and maybe just a bit silly while still being menacing.
I've always felt that there's a lot of un-mined horror potential in storks, cranes, and herons - any bird with a long neck and spear-like beak it uses to stab smaller creatures from above. Just imagine yourself in a frog's place in the world - tiny, going about your business, when suddenly something shoots down at you from above and impales you before you even feel the shadow fall over your face. Or perhaps you did see the shadow - some of these birds spread their wings to create shade specifically to attract fish, and then spear the poor little bastards.
Well, what do people often look to islands for when out at sea? Shade - the shade of a palm tree. And palm fronds kinda resemble feathers, don't they? Wouldn't it be both ludicrous and terrifying is there was a stork big enough to mimic a palm tree - and wouldn't that be a DEVIOUS trap for a sun-drenched sailor to fall for? So the Tree Storks were born.
The Globster - I made a list of sea monster archetypes in the early planning for this project, and one I wanted to include was a kraken, i.e. some sort of tentacled sea beast. But I didn't want to do JUST a big squid or octopus, or even a riff on them. I wanted to take the idea of "big sea monster with lots of tentacles" into a stranger direction.
Since the Sea of Monsters is explicitly the home universe of lake and sea monster cryptids, I thought it might be fun if ASWaM's kraken equivalent was a globster - just a big ball of rotten meat. I love drawing monstrous faces, so I decided it'd just be, like, MADE of hideous rotten faces, all melting and congealing together, with its tentacles doubling as the tongues of its many mouths. A perfectly wretched image that, like the Tree Storks, would do well to establish how Fucked things could get in this setting. Plus similar monsters had appeared in Offbeat Melody, which would make for a fun sense of familiarity for the, like, five or so readers of mine who had listened to that campaign before.
Captain Peter & the Dolphin - Another thing I did in the early planning stages of this project was make a list of the different sea voyage stories I know and love, the most contentious of which is The Life of Pi. That's a story that I love on a literal level but kind of hate on a figurative level - its whole theme/message is that doubt is the worst thing you can have, that if you don't commit to believing something with zealous conviction you are a coward. As a person who thinks doubt is valid, that "I don't know" is sometimes the ONLY truly valid answer to a question, I have issues with that message.
But I can't help loving the beautifully ludicrous idea of a non-anthropomorphic tiger sailing the ocean on a big Odyssey of its own. Like, if that story didn't actively hate me for being agnostic, it would be one of my favorites.
So I decided to, you know, just steal the idea of a tiger Odysseus. The tiger in The Life of Pi is named Richard Parker. Richard Parker also happens to be the name of Peter Parker's dad. Hence we get Captain Peter - the figurative son of Richard Parker, if you will. And to ratchet up the absurdity of a tiger Odysseus, I made him a pirate and the sole sailor of his voyage. Somehow, this tiger has manned a boat on his own.
Captain Peter was intended to be the hero of another story - a sign for the readers that it IS possible for a stranded person (or, in this case, tiger) to survive out here. To that end, he had to rescue our heroes from another threat, but not one that would be interesting enough to take the focus off of the tiger pirate. Originally I planned for that threat to just be a big shark, but I ended up liking my shark design too much to put it in a role that small, so I quickly designed a nasty dolphin for the role instead. I think that worked out well, honestly.
Dr. Neptune - Episodes 5 and 6 were the mid-point of this journey, so I wanted the two monsters of those to escalate things significantly. I figured episode 5 was probably a good place to FINALLY give some meaningful exposition on what was going on, and there are a lot of stories about mad scientists doing weird shit on islands in my big list of sea voyage stories I love. So we get Dr. Neptune, a classical brain-in-a-jar mad scientist who's affable enough to give more-or-less accurate exposition but loony enough to be a problem. This also felt like a good spot to remind the reader that Calibani is not just a girl with a tail but rather a Sea Monster herself, and one that we'd been making stronger by allying with.
With his human-but-not-quite nature and cyclops eye, Dr. Neptune could sort of be seen as the Polyphemus of this story, couldn't he?
The Crocodisle - One of the sea monster archetypes on my list was "the island that's actually a sleeping monster," of which there are many in mythology and folklore. My favorite is the Jasconius from the voyage of St. Brendan, mainly because it's more or less benign and actually comes back to help St. Brendan and his crew at the end of the story. I always love when I can find an old story with a friendly monster in it.
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When thinking of my own spin on the island monster concept, I remembered the only Magic the Gathering card I had as a kid, which I still have and love to this day: The Sandbar Crocodile. This card already inspired Crocogon's color scheme in The Atomic time of Monsters, but I felt I could go to that well again one more time, and so made a crocodile that wasn't just a sandbar, but a whole damn island to itself. And, like Jasconius, it turns out he's pretty chill.
I did not think of the pun name "Crocodisle" until I was actually writing the chapter in question.
The Femdom Mermaids - These three were a late addition to the roster. When I had Calibani bring up mermaids early in the story, I realized as soon as I wrote her rant about them that we'd HAVE to meet some later on in the story.
The readers had significantly shaped Calibani and Sailor's romance by this point, and I decided that it could be useful to have a chapter that was devoted to showing definitively how these two were good for each other. I thought the mermaids could provide a good contrast: have them act out a seemingly more benign take on the monstrous sea women trope (they abduct our hero to protect and care for them!) only for it to quickly feel MORE deranged than Calibani's comparatively simple desire just to eat him.
The spirit of Calibani's rant about mermaids was taken from weird* girls I knew in high school complaining about cheerleaders, so I wanted the mermaids to look like the sea monster equivalent of popular kids to Calibani's chubby weird girl. Two of them got the names of famous beauties - Helyne = Helen of Troy, Clio = Cleopatra.
(*when I say "weird" I mean it in a complimentary and affectionate sense)
Bob, meanwhile, kinda... rebelled, I guess? Before I had names for them, I listed "bob" by her as just, like, a descriptor for her hair cut, but then I liked it as her name, and once she was named Bob she became more than just a mean popular girl. She was a weirdo too, the little punching bag of the two mean popular girls who did their dirty work and smiled through their abuse because hey, at least they included her. It gave the trio an easily defined dynamic, helped make two of the three more visibly nasty, and gave us comic relief in an arc that could very well have gotten too uncomfortable otherwise.
And I guess it worked - readers REALLY loved Bob, and were very vocal about it, and I realized mid-arc that I had accidentally made her too likable to just leave in this arc. So Bob got to be rescued from her awful friend group thanks to readers like YOU.
Lord Ironteeth - yeah, this was the shark that was too cool to be a minor threat. When I drew his noggin, I realized he would need a chapter of his own, one with gravitas. I decided he'd specifically be the threshold guardian -once we beat him, we'd know for sure how to get home, even if there were a few more threats in store.
Spindle Inc and Sycorax - when I was a kid I used to have this recurring nightmare about being on some sort of underwater sea station that had this huge sea serpent trapped inside it. I'd look at the sea serpent from a window within the station and see it coiling in its tank, only for it to look at me with fury. In that glance I would suddenly realize two things with absolute clarity: first, it was going to break free and kill everyone, and second, we deserved that destruction for what we had done to it. The terror of the dream was less that the sea serpent was going to break free, and more the guilt of knowing that all the mayhem that was about to unfold was our fault to begin with.
I thought that would be fun to homage with the penultimate chapter of this story. OBVIOUSLY the sea serpent was Calibani's mom, obviously the trauma of its capture was why Calibani grew into a predator that specializes in hunting humans, obviously we would have to free the sea serpent despite that running counter to Sailor's goal of getting home. Easy, easy, easy plot point to include.
Spindle, Inc. is the primary antagonistic force in Offbeat Melody, so they easily slotted into the role of the arrogant humans who captured this monster for nefarious and selfish motives. They could tie a lot of other plot threads together too - Dr. Neptune was a scientist who worked for them as a contractor only to get screwed over (i.e. they stranded him in the Sea of Monsters, expecting him to die, and then used his research to make their own base of operations in it), we'd learn of him through a spindle briefcase left behind by some unfortunate rogue agent who got eaten by the Globster while he was trying to escape, hell they could even be one of the possible origins of Sailor themself (more on that later). Very useful villains, Spindle.
The Abyssal Mother - I knew the last sea monster would need a lot of punch to it. I briefly considered just a big whale - the Moby Dick to Spindle's corporate Ahab - but it felt underwhelming after all that came before. So I went for arguably the most dramatic possible sea monster, a full on Cthulhu-style elder god. If you're a frequent follower of this blog, you might know I have particularly high standards for Eldritch Abominations, so I realized this was going to be a pretty big challenge for me to live up to, and decided to keep the cthulhu in question reserved to the last few entries as a result - the less it appears, the less it has to live up to.
I realized I had a good angle when my experiments with the Cthulhu "squid for a head" concept ended up having a face framed in shadow - you know, the same visual that our protagonist has in most appearances. That provided some very juicy parallels between the two that made this final monster feel particularly noteworthy to me, ones that I'll leave you to ponder, since they tie into...
Part 6: Themes
I did not set out to have a theme in this story. I just wanted to make a sailor and a sea monster kiss. That was my only goal.
But I really don't begin with theme in ANY of my writing. I figure out topics I want to address, but for all my novels I feel like the themes didn't start coming together until about halfway through the first draft, when enough of the elements of the story had been set down and interacted with each other enough for me to realize what I was saying with them. A huge part of my second and third drafts for my novels have focused on making the themes of my stories more concrete and unified.
Well, ASWaM is very much a first draft of a story, but it's a simple enough story that I think the theme found itself pretty well despite lacking subsequent drafts to refine it.
ASWaM is about doubt and direction. It's about being adrift in a world that is in many ways hostile by nature, about not feeling like you're where you're supposed to be or even WHO you're supposed to be, and about setting off aimlessly in the hope that maybe you'll find your way to that mythical land of "what my life is supposed to be."
When I began the story, Sailor had amnesia and wore clothes that obscured their identity as a way to make it easier for anyone to step into Sailor's role. Sailor had to feel like You, the Reader, and so we don't know their name, their gender, their eye color, their hair color, even their skin color (note that their hands are always wearing gloves, and their face is always in shadow).
But it also meant Sailor is, well, undefined, at least at the start of the story. Sailor doesn't know who they are, what they are, how they came to be. Sailor feels distinctly that they should be Something Else, should be Somewhere Else, should be Someone Else, should not be who/what/where they are. Sailor is plagued by doubt, by a need to go in a different direction, by a need to be other than they are.
This initially contrasts with Calibani, who begins the story very confident that she is doing exactly what she was designed to be doing and acting exactly like she should be. As they interact, they begin to shift each other in opposite directions - Calibani questions her existence and nature, sometimes to a self destructive degree, and Sailor begins to find something about who and where they are that they like. They find a healthy middle ground together - doubtful enough to want to be better people, but with love for themselves that allows them to not feel the need to up-heave their lives entirely.
I knew at the start that I would build an expectation for there to be some answer to the question of who Sailor is and where they came from, because those are the questions that begin the whole narrative. I brainstormed a number of answers to those questions, but once I got a few chapters into writing the story and saw this theme of doubt developing, I realized I couldn't answer them. From a thematic standpoint, the doubt HAD to remain. So I gave hints to possible answers, bits of evidence to support the possibility of them being true, but never planted a smoking gun that answered it for sure.
Sailor can't know the answer because NONE of us know the answer. Outside of blind Life of Pi style faith, you cannot know for sure that you are living the life you're supposed to live. All you can do is figure out whether you're happy with the life you've got, or if you need a change. Sailor will never know who they are supposed to be, but they did learn who they are, and they love that person now.
For those curious, the possible Sailor origins are:
Occam's Razor: they're exactly what Dr. Neptune theorized, i.e. a human who got stranded in the Bermuda Triangle (or the Devil's Triangle or any other number of paranormal triangles) and fell into the Sea of Monsters. The trauma of that experience gave them amnesia. It's just brain damage and bad luck.
A Spindle Experiment: Dr. Warefore mentions that Spindle has been trying to find a way to make a human who can evolve like the denizens of the Sea of Monsters. Sailor may well be an attempt to do just that, perhaps one they wrote off as a failure and abandoned (they do that a lot)
A Deep One: Sailor is the offspring of one of the denizens of the Sea of Monsters (most likely the Abyssal Mother herself) who has somehow been tricked into believing they are human, to the point where they seem to be human to everyone else, even other monsters. Maybe a human summoned a sea monster to breed with on earth, and Sailor ended up being subconsciously drawn back to the Sea by their blood. Maybe Sailor never actually lived on earth at all, but was only made to THINK they had as part of the transformation into a human.
The Platonic Ideal of a Sailor: the Sea of Monsters is full of archetypal concepts, and arguably a sailor trying to find their way home is just as archetypal as any sea serpent, mermaid, or kraken. Our only proof that humans aren't native to the Sea of Monsters is Dr. Neptune, and he's not as reliable an expert as he claims to be.
This theme of doubt and direction also made the compass more important to the narrative than a simply mechanic for audience participation - a compass, after all, gives direction, and the feeling that Sailor is not where they're supposed to be, that they need to head in a different direction, is ultimately the catalyst of the plot. The compass is, in many ways, the antagonist of the story - the force that keeps Sailor from accepting themself. I realized this a little after I started making the different directions have personalities - initially they just represented broad concepts (North = follow conventional wisdom ala the North Star, South = preserve your short-term self interest at all costs, East = act with curiosity and be willing to take calculated risks, and West = throw caution to the wind and do anything that seems novel and exciting), but over time they became little characters themselves.
Since it was our thematic antagonist, I decided to pepper in some ideas about what the compass might be in-universe - and, in a move that would no doubt frustrate the compass, we also don't know for sure which of those is "correct." Is the compass a poltergeist, some amalgamation of dead sailors who try to steer other lost souls home? Is it a malign entity that leeches off of those desperate enough to seek its aid, living through them while pretending to aid them? Is it a device Spindle made to lure sailors to their clutches, OR to guide their experiments in human/monster hybrids? Was it a cursed item that forced a sea monster to assume a human shape? Who can say - the compass sure can't, it can only tell you a direction to go in.
Part 7: Q&A
Since this was an interactive story, I felt it was only fitting to add one last interactive element to this post-script write up, and some of your happily obliged me by sending in questions.
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When I noticed how fast readers were falling for Calibani, I figured there was a good chance we'd end up staying in the Sea of Monsters. By chapter 7, I figured it was more or less a given, and by the end of the Lord Ironteeth encounter I was almost 100% sure Sailor would remain at sea. There was always a chance, though - while a look at the polls shows that the audience got more and more on the same page towards the end, there were always dissenting voices, and the desire to get an answer to the question of Who Sailor Was remained strong, as a number of people kept trying to find angles where they could get that AND stay with Calibani.
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I was surprised early on by how easily the audience fell in love with Calibani, to the point where I made a few posts commenting on it. I mean, I shouldn't have been - as I said earlier, I have cultivated an audience of fellow monsterfuckers on here, and I know at least a few of them saw my bait and knew they could get me to be freaky in a way we found mutually agreeable (thank you all again for helping me escape being caned by Jesus for being horny).
Like, we REPEATEDLY ignored developing the plot in the Tree Storks chapter for several days just to spend more time with Calibani - something that I enjoyed immensely (this whole thing was an excuse for me to write and draw a cute chubby sea monster girl as much as possible aftter all) but also knew as a storyteller was not what most would consider a good story call. I like how it turned out, but it defied conventional narrative wisdom, you know? I was surprised.
On the other side of the coin, I was also surprised by how the audience NEVER chose an option that was humorously disastrous. I gave plenty of them, and, like, generally in collaborative storytelling there will be at least one moment where your collaborators decide to do the really, REALLY stupid thing that makes everything spiral out of control really quickly. I figured at least once the audience would choose the troll response, but no, you guys worked hard to keep Sailor and Calibani alive. You refused to let them hurt each other, refused to let them throw themselves into danger, refused to imperil them for your own chuckles. It was very sweet and unexpected.
I say "you refused" but to be fair it's not like NO ONE voted for the troll options - they generally got a handful of votes, just one that was beaten by a landslide of more reasonable options. Hopefully those of you who voted for the troll options enjoyed Bob throwing you a bone by disintegrating Dr. Warefore - that was my consolation prize to you.
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Yes. I knew at the beginning that there would be two endings for this story: either Sailor leaves the Sea and goes home, or Sailor stays there forever. Or, you know, Sailor dies as a result of you guys choosing several stupid options in a row, but as stated above you guys avoided those scenarios pretty decisively.
Had Sailor gone home, the following would have occurred: first, they would forget everything that happened in the Sea of Monsters. Second, they would wake up in a hospital, having been found in the Atlantic Ocean by a human-recovery charity run by... oh, isn't that funny, some tech company named Spindle Inc! Spindle would foot the medical bills and even offer Sailor a job, but Sailor would decline because even now they're still not sure what Spindle even does. Sailor would go back to their life and find it familiar and utterly mundane, but not particularly happy. Their father died when they were 18, their mother was never in the picture, they have no siblings. They worked an office job and were sort of a nonentity - that position has long since been filled, but Sailor gets a new job and lives out much the same life: simple, mundane, dreary. Every now and then they get a pang of desire to leave, to go to sea, but they push it out of mind. They never even see the ocean again as long as they live.
Sailor would have gotten the normal life they thought they were supposed to have, the normal memories and name and identity, the mundane life of a normal person. And they just had to trade everything they found in the Sea of Monsters to get it. A question is answered, a direction is followed, but is it the right answer, the right direction?
Well, I think doubt would have remained.
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I had a very vague idea for there to be some sort of man-eating giant in, like, a crystal castle. He got cut to make way for the mermaids.
I wanted to fit in a big whale and a giant crustacean, but there wasn't room or an interesting angle for me to want to make room for them. Saved for a possible sequel, I suppose.
I also wanted to have a scene with, like, DOZENS of sea monsters, including some of the ones from Offbeat Melody, but the goal of "this should be EASY you dumbass" made me kill that idea pretty quick.
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Thank you!
The primary inspirations were:
The Odyssey and Epic: the Musical
The voyage of St. Brendan
The many "weird shit happens on an island" movies in Toho's filmography, i.e. Godzilla vs. the Sea Monster, Son of Godzilla, Yog Monster of the Deep, Matango, etc.
The Island of Dr. Moreau
The Boy and the Heron
Ponyo (specifically Ponyo's parents - I wanted Sailor to have the same desperate energy as that wizard who fucks the giant sea goddess)
The Life of Pi
Slay the Princess (perhaps most obvious in the use of second person narration, multiple voices in the protagonist's head, and falling in love with a creature that has tried to kill you at least once)
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I'm going to use this to springboard to a related point in a second, but first a genuine yet humorous answer: Yes, absolutely yes, I am enough of a big romantic sap that I would give everything about my life away to be with a person who loves me and explore a world of monsters in a heartbeat. Hell, I would have jumped in the water the minute Calibani asked and died with her fangs in my neck and a smile on my face. I am dumb this way. Do not follow my example.
On that related point, though... Most stories like this, I daresay ALL stories like this that I know of, end with the hero abandoning the fantasy world in favor of reality, never to return. And that seems like the proper choice and lesson on the surface - we don't want to tell audiences to give up their real life in favor of a fantasy, after all. That's encouraging escapism, and that's not healthy!
But, like... textually speaking, the fantastical world IS real to the characters in these stories. And it's often not really an escape - was Sailor's life devoid of conflict and suffering in the Sea of Monsters? Fuck no! It's just that they figured out how to deal with that conflict and suffering - they built skills and a support system, they adapted, they learned how to overcome what was there.
I think it can be argued that sometimes the return to a "normal" world is, in itself, an escape - the idea that your life can spiral into chaos but that's ok, you can just reset everything and go back to The Way It Was and Should Be is just as unrealistic and unhealthy an idea as You Should Escape to A Better World. Sometimes your plans for your life fall apart, sometimes you're thrown into a place you never intended to go, sometimes you have to learn skills you never anticipated needing and ally with people you never thought you'd befriend to deal with problems you never dreamed you'd have to overcome. And sometimes it's ok to look at your derailed life, your Not Where You Should Be life, and say, "Well, I've learned how to live here... maybe I can stay."
Especially if there's a cute chubby sea monster girl who loves you.
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Bob was never supposed to appear past chapter 7, but about halfway through that chapter I realized the audience and I myself would be heartbroken if we didn't rescue her. Definitely for the best - she provided some well-needed comic relief in the final chapters.
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This is gonna sound snarky, but, yeah - there were 58 choices with four options a piece, and we only chose one of the four. While some of the options would have similar results, almost none would have had identical outcomes. And some would have been VERY different.
Like, to go back to the beginning: when Calibani attacked, we could either throw a net on her, harpoon her, try to drive around her, or hide below deck. We picked the net, but for the other three options:
Harpooning would result in us hitting her in the thigh, causing her enough pain that she collapses on our deck and we, horrified at the violence we committed, just sort of push on. Calibani would be wounded for at least the next chapter, perhaps longer, and significantly weaker (and probably harboring a great deal of hidden resentment while also being genuinely scared of Sailor). She would be vulnerable during the stork attack, forcing Sailor to take a more active role in that chapter.
Trying to steer around her would result in us essentially fighting her with our boat, resulting in the boat capsizing and Calibani getting tangled up in it. We'd wake up alone on Stork Island and have to travel in search of our boat, alone and vulnerable among man-eating trees. We'd run into Calibani again, also beached and in trouble, end up recruiting her to help us get our boat out of the sand.
Hiding below deck would end in a sea storm that leaves us inside our boat as it's beached on Stork Island. We'd fend off the storks alone, and run into Calibani once we get our boat out to sea, as she got away more or less unscathed.
All of these would have majorly changed the trajectory of our relationship with Calibani and our identity as Sailor, despite seeming to have the same component parts on the surface. Now account for how similarly slight changes in the other options could have gone, and we could have had a very different story indeed.
Part 8: Our Girl
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I just think she's neat!
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littlesmokecloud-yan · 2 years ago
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Fanfiction in Progress:
'I made a promise to myself that I wouldn't post any (fanfiction) online unless I finished it, and it's looking like I might be able to share this one soon'
So, yeah, hopefully I'll be able to post fanfiction for the first time in like... possibly 10 years ^^;
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yuseirra · 2 months ago
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about marrying...
There was a magazine interview where they had Ai answer a couple of questions, and well, she didn't say no when asked if she had someone she wanted to marry. Seeing how she pictured a cute and loving family with Hikaru... I believe they really could have gotten married if things weren't this messed up.
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ultfreakme · 20 hours ago
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Okay so.....this is complicated. I'd like to start off by saying, firstly, we are all allowed to write what we please, but we do not hold sway over how art we create is received. Second, there are distinctions in how different art is perceived and the responsibility this art has towards people. Third, all art is political. Fourth, specific to this post, what does "evil" mean in fiction and how does it relate to reality?
You are absolutely free to write a Horde Lord AU! What you include in this up to your judgement and your vision for this. The reason people are often much more critical of original media like Arcane is because of the thing I said in the second point where different art has different levels of responsibility and distinctions in perception.
Fanfiction is fairly niche. You may opt out of reading it if you'd like, there is no pressure to read. But a mainstream show like Arcane is advertised frequently, you really can't avoid or ignore it the way you would a fanfiction. Arcane also has large social impacts. It has kickstarted new forms of drawing and animation, and its storytelling toolkit has been further utilized by others.
The medium is important here, because large-scale corporations and companies can use things like Arcane to push specific messaging and propaganda. We all obviously show our politics to SOME extent in our art, it's impossible to extricate that, but individuals such as fan creators don't have similar influence so even if a fic writer writes something super "problematic", it's fine, because it's an individual creator putting out their art without any urgency for the general population to see it or endorse it. This is important because art can and often has been used to influence political opinions, specifically by corporations.
This difference in the ways in which fanfiction and original media affects the world, and our reaction to story elements in it is because of the above points.
So, yes you can make your lesbians as evil as you want. But a lesbian character in a fanfiction killing everyone and idk, torturing or SA'ing someone would be fine. But put that on the big screen and people will have obvious criticisms because media has often portrayed lesbians as predatory, which in turn propagates lesbophobia. We need to keep in mind this gap.
Now in Arcane, Caitlyn is a cop. She's actually head cop and there are scenes of her brutalizing poor people and their neighbourhoods by gassing them. Her girlfriend Vi is from these poor neighbourhoods, and Caitlyn has told her to her face something along the lines of "your blood makes you as horrible as your sister"(she also once called Vi's people "animals"). Now in fanfiction, this would be questionable but if a reader is uninterested they can just leave if they disagree with this kind of a plot line. It doesn't affect anyone, it doesn't cause waves in pop culture, etc.
But Arcane is HUGE. So if a Cop Character is calling people animals, gassing them, hitting their s/o and they still get their s/o with a happiy ever after and no repercussions- it is deeply political. Defense of Caitlyn for the above actions has stirred a huge wave of racism against a Black character and his VA. People are speaking in rhetoric defending police brutality. The show also neglects prison abuse and SA by ignoring Vi's trauma from being falsely imprisoned.
ALL of these decisions are deeply political when coming from corporation creating a story specifically to sell and audience a product(Arcane as the show, League of Legends as a game). This was not created with the mindset of a singular individual going "what if I explore this idea?" it is a large entity pushing a certain messaging to convince a large audience of a very specific rhetoric.
This is why it's important to be careful and thoughtful to some extent when creating things. Obviously that doesn't mean there is no place for "problematic" or "evil" art, it's just, be aware of the things your art is gonna say. AO3 has a tagging system so we can all go into it with awareness.
And, the idea of "evil". So fictional evil and irl evil are obviously very different. Characters get leeway so long as their story is done well. Irl, murdering hundreds would be bad, but in fiction, no one would care. But, if in fiction a character tortures someone or is a pedophile, people would generally have the same amount of hatred and disgust for the character as an irl person who's done the same. Why? Why do we have these distinctions in crime? That's also deeply political and important to dissect.
Violence has been normalized in media and death as a concept holds different weight in fiction. SA and such are portrayed consistently as horrible and evil, and the nature of these crimes in relation to people vary. Fantasy killing with a giant laser beam or a cool sword is distinctly removed from reality and you can suspend disbelief and that gut reaction people have.
SA, torture, etc, are depicted with a lot more real life connections and thus it feels impossible to separate it from our sentiments in reality.
This is also what happened with CaitVi. Police brutality as it is depicted in Arcane has been inspired by real life police brutality. They used pictures of protests in recent years as references for drawings, and imprisoned the characters in the protests. CaitVi is a harrowingly realistic depiction of a cop character being abusive towards an S/O. In a Horde Lord AU, Catradora are in outer space on a distant planet with magic-tech weapons. SPOP carefully depicts its violence as distantly from reality as possible. CaitVi, does not, and on top of that it tries to make it seem like Caitlyn is the good guy despite all her actions as a cop. This is real. People have experienced this directly and have had their experiences trivialized.
All of these aspects combined led to a disdain for CaitVi. So unless you're like, idk, genuinely writing something with the intent of convincing a large audience that fascism is good, actually, and we as a society irl should all just let any colonizers have at it, you're good.
Does Toxic Yuri have a limit? Genuinely asking here (a potential Horde Lord Catradora AU)
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Okay, so for the last while I've been having a kinda exsistential crisis about a particular fic I wanna do. Namely, I want to do my own take on a what if Adora stayed in the Horde AU, aka the Horde Lord AU as some people call it.
I saw another post earlier that was saying that it's obviously okay to have evil characters in a story and whatnot. I'll link it here. https://www.tumblr.com/dovesndecay/760032664866701312?source=share
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So like it's clear to me people love their evil, messed up toxic lesbians, right? Except I've been seeing stuff about Arcane on the sidelines and while I haven't seen it yet, I know that some stuff about how the two girls in that show were written and depicted pissed off a lot people.
So is there like some limit on how evil lesbians can actually be in stories that people just don't wanna talk about? Is this just an internet nuance is dead thing?
I've been conflicted about this sort of thing for a while and to be honest I don't really have answer to it. If anyone wishes to chime in and help me out, I'd appreciate it.
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lemonadeslice · 2 months ago
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hello i may be coming to the end of my reserves of sibling horror movies that i can draw vague thematic through-lines through! i would love suggestions if anyone has more!
ideally they'd be stories where the focus is on the siblings' relationship as opposed to just having siblings in, but i've bent the hell out of that rule myself, so tbh i'll accept anything. basket case is on my list. this is a lawless place.
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walkingstackofbooks · 3 months ago
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You know when you read back your writing and you're like man, this is actually good???
Editing the next bit of Garak in Vision Awry and I remember that scene as being fiendishly difficult to get through, at times every word feeling like a chore.
And now I'm like -- but this feels like Garak and Julian. it flows! It makes sense as a conversation! And yeah, there's no point to this really but I am just very excited to share it and hope other people might feel the same and just like... feelingsssss.
Also like every time I write Garak&Bashir I'm like "nope not again for a while this is too hard, not for me" and then reading it back I'm like "but i love them though this is so fun" and so... idk. i'm just rambling. But this has made me think I might actually try and continue that second Garashir prompt I have sitting in my drafts rather than carrying out my plan to post it as-is unfinished as a "no i'm sorry this isn't for me but i did try" thing...
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