#little knowledge you would have to have of the structure of this world or the terminology in order to enjoy it

[eosofspades]

my incredibly controversial fantasy genre take when it comes to writing is that you Do Not Actually Need to use high fantasy language and make up words for stuff, and sometimes it can be better if you don't

like. maybe it's just me but i find it a lot harder to get immersed in a story when the worldbuilding is SO intricate and detailed you need a glossary or have to pour over a thousand years of history in the span of a couple pages. i would MUCH rather read a high fantasy novel where the magic kingdom is just called The Garden or the deserted string of floating islands is just called The Wastelands or magic is just called magic instead of unpronounceable words and terms that have to be memorized.

especially for me, when it comes to writing, my stories are SO grounded in character relationships and dynamics, that trying to dig into the specific lore and structure of the world around just breaks the immersion and takes away from the characters themselves.

i know some writers are gonna insist this is just "being lazy" but i firmly believe that sometimes it is the best writing decision to allow simplicity and ease of understanding in your high fantasy setting, and that it can actually make the character complexities and relationships hit harder, because you're not distracted at all with remembering fantasy terminology.

[dawnslight-aegis]

and that's a wrap on my tarot series! the upright majors, at least. there may be others sometime in the future if I am seized by a combination of insanity and hyperfixation once again.

you might notice a few cards are a bit (or in the case of the fool and alternate chariot, a lot) different! I did a few retakes for consistency/style.

below the read more I've included a bunch of notes about symbolism and reasoning behind my choices if that interests you!

(tag for individual card posts)

0. The Fool: Ardbert was really the only choice for this one. He's our stand-in, our shard, our mirror. Feo Ul is included partially because of lore (they are my co-WoL's shard on the First) and also because they also fit the themes of adventure and new beginnings and exploration. Most of the cards I played pretty loose on the posing vs traditional depictions, but this one I wanted to hew a little closer, which is why he's on a cliff with a foot hanging over the edge a bit, with his axe standing in for the bindle. This is my second attempt at the card -- the first was in Il Mheg, but I moved it to Kholusia (Ardbert's home) and dawn to more closely symbolize that it's the beginning of something. Attempts: 2. Difficulty: 8/10, posing Feo Ul was annoying.

1. The Magician: This card could have had several subjects, chief among them Alphinaud or a more modern G'raha, but I settled on Alisaie a) because the other two cards I had in mind for her (Chariot and Justice) were already taken, and b) the card's focus on physical magic and depicting the "tools of the trade" reminded me a lot of Angelo's creation! So that's why she's here, and why I set the card in Matoya's Relict, among the tools of magicians who came before (Matoya, Y'shtola). I retook the shot because I was unsatisfied with the blurriness/the way the light covered her face in the first one. Attempts: 2. Difficulty: 5/10, simple pose but working with Impact's spell effect complicated things.

2. The High Priestess: Another that I never questioned who would appear on it. Y'shtola's arc is entirely about uncovering forbidden, secret knowledge and wisdom, so she fits beautifully. The blue-white orb and the purple staff depict duality between dark and light, and how Y'shtola walks in two worlds, seeing things that are beyond sight, standing before an altar/holy place to the Night's Blessed. Attempts: 1. Difficulty: 2/10. Premade pose, knew where I wanted to place her -- the only thing was finding a prop for her off hand.

3. The Empress: Hoo boy did Minfi give me some trouble. I knew that I wanted our Antecedent, who provides both authority and care for the Scions, to represent the Empress, but I struggled to find a depiction that wasn't, well, boring. Minfilia is deeply linked with the Solar, and I didn't want to lean too hard into Word of the Mother/Hydaelyn territory, so I settled on a triple goddess-like idea. Attempts: 3. Difficulty: 6/10. Not mechanically difficult, just conceptually.

4. The Emperor: Another one that I knew who I wanted but struggled with the concept. Haurchefant is very much emblematic of the stability, structure, and masculinity provided by the Emperor, but it wasn't until I decided to add his equally-Emperor-coded father that things settled into place. Together, Edmont and Haurchefant evoke the image of father and son as well as king and knight, filling both major male authority roles that the Emperor exemplifies. Attempts: 4. Difficulty: 6/10. Same as the Empress.

5. The Hierophant: this one was one of the hardest to choose a subject for -- the WoL's allies are largely a bunch of revolutionary firebrands, and I disagree HEAVILY with the popular choice of placing Aymeric here. So I landed on Alphinaud -- out of the Scions, he is the one most concerned with tradition and the "right" way to do things, with formal education and structure. He wants to bring Sharlayan into the modern day, not upend the institutions that raised him and that he very much still respects, much like how he still respects his very traditionally Hierophant-coded father. So I placed him in his family home with a sort of smug look since he can be a pretentious little shit sometimes (affectionate). The spell effect is from Kardia, and I paid special attention to having the shapes align perfectly with the lines in the background, to give a sense of stability and order to the shot, especially contrasted with Alisaie's more dynamic and chaotic depiction. Attempts: 1. Difficulty: 4/10, entirely in alignment.

6. The Lovers: Hrasevelgr and Saint Shiva are a great choice for depicting the Lovers as two people, but no one does the Lovers in one subject better than Ysayle. Invoking the spirit of a woman who died for love in order to bring harmony to her people, but it truly being her own power and her own choice the whole time... it's great. Her pose is her transformation/summoning pose, turned into a gesture of affection, which I was particularly proud of. Attempts: 1. Difficulty: 3/10, posing monsters is always a little funky.

7. The Chariot: This one has two options -- my co-WoL, Marz, and Tataru/Cid/Nero for the NPC variant. All 4 characters share a singular drive and refusal to let anything stop them once they've set their mind to something, and the 3 NPCs have the added benefit of being associated with a literal "chariot" in the form of airship design. Marz's place on Shadowkeeper has some lore associations (Cylva is her shard on the 13th) as well as being a void mirror to Kaede's sin eater shot. For both I wanted to have dynamic poses to evoke the activity of the card. Attempts: 1 (Marz), 2 (NPCs). Difficulty: 3/10 for both, no major hurdles once the lovely @/karoiseka pointed me at an airship in NG+.

8. Justice: The heart of the Justice card is its emphasis on truth, and no character in FFXIV is more committed to truth even in the face of great suffering than Aymeric de Borel. Because of this, the shot is taken at the top of the Vault, where he confronted his father over his concealment of the truth of the Dragonsong War. The card is usually depicted with a woman holding a sword and balanced scales -- Aymeric is holding his sword in a pose used in statues in the Pillars, and the symmetry of the shot/light and shadow split down the middle is meant to give the feeling of balance. Attempts: 1. Difficulty: 1/10. I knew my concept, location, and shader before I even went in, and it came out exactly like I wanted.

9. The Hermit: Originally I had Urianger for this card, who still fits well, but when I moved him to Wheel of Fortune, there was a clear second choice: The Exarch. He even resembles the Hermit, with his cloak and staff, holding himself in isolation and possessing secret knowledge with which he guides the party. G'raha has grown out of this role as of Endwalker, but the Exarch fits it to a tee. I wanted to show his longing to return through his body language and reaching out for the portal that shows him the world he is set apart from. Attempts: 2. Difficulty: 4/10. Nothing major but did have to do two entirely separate cards lmao.

10. The Wheel of Fortune: The one I struggled with the most, conceptually. At first I had a more abstract choice, with the 3 starting city state leaders and Tataru, in a sort of "fate leads to the Scions" idea. But then I remembered that Urianger is a fortune teller who uses a wheel-like weapon with a literal wheel of cards, and, well. Yeah. The man is intimately associated with fate and choice, and the choice to place him on the moon is intentional, to separate him from his more secretive depictions in HW/ShB. He is the one who prepares our second option (flight) while giving us the choice to make our first (fight). Attempts: 2. Difficulty: 7/10. He's up on a high ledge that's not normally accessible and that's always a pain in the ass.

11. Strength: The one that started it all. The original shot of Kaede contained some layer elements I wasn't happy with so I ended up retaking it to better cohere with the others. Strength is about confidence and inner strength "leashing" power, symbolized by the woman and the tamed lion, and there's exactly one good lion model in XIV -- Forgiven Cruelty. It also has the fun side meaning of Kaede conquering and wielding the light that almost killed her. For Moenbryda's, I went with something simple -- her axe to symbolize her strength, but with her archon mark and the Sharlayan Thaliak statue prominently featured, emphasizing her intelligence. Attempts: 2 (Kaede), 1 (Moenbryda). Difficulty: 6/10. Kaede's was straightforward enough (though I had to wait an annoyingly long time for the sky to shift colors correctly), but Moenbryda's involved me floating her up on a building so i could get Thaliak in the shot correctly.

12. The Hanged Man: Holy moly this one was a PAIN IN THE ASS. I knew from the minute I started this what I wanted to do with it -- Lahabrea holding Thancred's ankle as he reaches for Minfilia. The Hanged Man is one that I felt it was especially important to mimic the iconic pose on the card, and this was how I decided to do it, but it took me over an hour and a half to accomplish. Anyway, the Zodiark idol stands in for the Tree of Life, which I really liked. Attempts: 1. Difficulty: 10/10. Absolutely infuriating to have to pose 3 actors in three dimensional space like that.

13. Death: I only ever considered Estinien for this card. It stands for transformation and change, for shedding the old to make way for the new, and I chose to depict that by having his old corrupted drachen mail posed behind him like a shadow or an abandoned husk. He has left the hate and the rage behind, but the helmet is meant to symbolize that he always remembers it, and carries it with him so that he can do better. His lance is also vaguely reminiscent of the traditional Death scythe. That spot in Coerthas is where he challenges you in the early DRG quests while controlled by Nidhogg, as well as being just visually striking. Attempts: 1, but it took a while. Difficulty: 9/10. The ground is very much not flat, the helmet is on a minion, and I had to change angles and locations a few times.

14. Temperance: I briefly considered Hythlodaeus here, but Krile fits very well. Calm, competent, but unsure of her own worth. I chose Eureka Hydatos both for its importance to Krile as well as its easily accessible water -- instead of pouring from a cup, Krile is looking at her reflection. This one came together so quickly and easily. Attempts: 1. Difficulty: 1/10. In and out of Eureka in less than 20 minutes.

15. The Tower: Originally, before I reshuffled, G'raha was going to be the Tower simply because I didn't know where to put him, and I couldn't think of an ally who is ultimately a destructive force, but it always bothered me because he truly didn't fit. Meteion, though -- despite her innocence and unwillingness, is THE destructive force within Endwalker's story. This card had the highest hurdles -- I had to get 7 friends to help me queue for Endsinger and then leave, and I almost couldn't get my tools to load Meteion in properly. After that it was smooth sailing, however. I used the whole lockout timer, but this was only the 4th shot I took, and it's one of my personal favorites. Attempts: 1. Difficulty: 4/10, purely for queuing.

16. The Devil: Addiction, obsession, and control -- Zenos was the only answer for this card. I included Zero as well, despite intending this to be a primarily 6.0 and earlier set, to represent the humans bound in chains to the Devil, using the way she's pinned between Zenos and the scythe to symbolize that she's trapped. Afterward I realized this exact shot and character choice would have also worked quite well for the Tower, as well, but I ultimately prefer the Devil for him. Attempts: 1. Difficulty: 3/10. Came together surprisingly easily, despite the fact that I had to make Zero's hat touch pose myself.

17. The Star: Symbolizing hope and new life, I can think of no one better suited than Ryne and the Empty. Ryne herself was given her own new life when Minfilia passed on her power, and the ability to make her own destiny -- and she used that power to revitalize a barren wasteland. My first version of this shot had a photoshopped in central star, but I decided to revisit the concept with an in game effect for the star instead. Helios provided what I needed, with the fun extra benefit of some additional rainbows (happy pride!). Attempts: 3. Difficulty: 3/10. Nothing crazy beyond trying to find a good angle to get the star in the shot, as well as Eden and the rainbow crystal. Second attempt I messed up the framing and had to redo it again.

18. The Moon: The card of dreams, fear, anxiety, and secrets, Gaia is perfect here (and a lovely companion to Ryne as the Star), though I did briefly consider Urianger as well. I wanted to have Gaia on the sand, with the moon hanging between the crystal walls of the Empty above her, but the angles would NOT cooperate to allow me to get the moon in the shot. So, levitation was the only answer. Fortunately it suits Gaia well, especially the distance that it evokes. Attempts: 1. Difficulty: 6/10. I hate midair posing.

19. The Sun: Another card that sprang fully formed into my mind. Joy and fulfillment is symbolized by Lyse enjoying the morning light in a free Ala Mhigo, thinking of Papalymo. It also allowed me to get both of these very different characters into a single card, as they are very much a package deal, though I did consider Papalymo for the Hierophant as well. Attempts: 1. Difficulty: 2/10. Came together very quickly.

20. Judgement: The last two cards of the Major Arcana are very high concept, with very lofty ideals, so they felt hard to pin down. I thought of doing both my WoLs here, or maybe Elidibus with his three forms for light, dark, and balance. But ultimately I ended up on Emet-Selch and Hythlodaeus, as the sort of "final judgement" before the battle with the endsinger, the last step before everything ends. Their literal rebirth, the resolution of Emet-Selch's conflict with the WoL, the not-redemption but understanding reached, our efforts judged worthy -- it all just seemed to fit. The card design is simple but I hope the colors and emotion of the scene carry the weight of the arcana. Attempts: 1. Difficulty: 2/10. No major roadblocks.

21. The World: At last we arrive at the end, not only the last posted but the last taken as well. I always knew I wanted Venat/Hydaelyn for this card, as she is the literal heart of our world, as well as an Azem who has reached the end of her journey, as Ardbert was one who was at the beginning of his all the way back at the Fool. But when I didn't use Elidibus anywhere else, I decided to add him here as well, since he also served as the heart of the star for a time. Light and dark united together, watching over Etheirys. The one who destroyed our world in order to save it, and the one who saved our world only to try to destroy it. Perfect symmetry, a completion of the circle. Attempts: 1. Difficulty: 9/10. I had to stitch together 3 separate screenshots in photoshop, with the fore and backgrounds cut apart so I could control the opacities separately. Probably the card that took me the longest, but it was worth it.

[mostlysignssomeportents]

The majority of censorship is self-censorship

I'm on tour with my new novel The Bezzle! Catch me TONIGHT in SAN DIEGO (Feb 22, Mysterious Galaxy). After that, it's LA (Saturday night, with Adam Conover), Seattle (Monday, with Neal Stephenson), then Portland, Phoenix and more!

I know a lot of polymaths, but Ada Palmer takes the cake: brilliant science fiction writer, brilliant historian, brilliant librettist, brilliant singer, and then some:

https://pluralistic.net/2022/02/10/monopoly-begets-monopoly/#terra-ignota

Palmer is a friend and a colleague. In 2018, she, Adrian Johns and I collaborated on "Censorship, Information Control, & Information Revolutions from Printing Press to Internet," a series of grad seminars at the U Chicago History department (where Ada is a tenured prof, specializing in the Inquisition and Renaissance forbidden knowledge):

https://ifk.uchicago.edu/research/faculty-fellow-projects/censorship-information-control-information-revolutions-from-printing-press/

The project had its origins in a party game that Ada and I used to play at SF conventions: Ada would describe a way that the Inquisitions' censors attacked the printing press, and I'd find an extremely parallel maneuver from governments, the entertainment industry or other entities from the much more recent history of internet censorship battles.

With the seminars, we took it to the next level. Each 3h long session featured a roster of speakers from many disciplines, explaining everything from how encryption works to how white nationalists who were radicalized in Vietnam formed an armored-car robbery gang to finance modems and Apple ][+s to link up neo-Nazis across the USA.

We borrowed the structure of these sessions from science fiction conventions, home to a very specific kind of panel that doesn't always work, but when it does, it's fantastic. It was a natural choice: after all, Ada and I know each other through science fiction.

Even if you're not an sf person, you've probably heard of the Hugo Awards, the most prestigious awards in the field, voted on each year by attendees of the annual World Science Fiction Convention (Worldcon). And even if you're not an sf fan, you might have heard about a scandal involving the Hugo Awards, which were held last year in China, a first:

https://www.nbcnews.com/news/world/science-fiction-authors-excluded-hugo-awards-china-rcna139134

A little background: each year's Worldcon is run by a committee of volunteers. These volunteers put together bids to host the Worldcon, and canvass Worldcon attendees to vote in favor of their bid. For many years, a group of Chinese fans attempted to field a successful bid to host a Worldcon, and, eventually, they won.

At the time, there were many concerns: about traveling to a country with a poor human rights record and a reputation for censorship, and about the logistics of customary Worldcon attendees getting visas. During this debate, many international fans pointed to the poor human rights record in the USA (which has hosted the vast majority of Worldcons since their inception), and the absolute ghastly rigmarole the US government subjects many foreign visitors to when they seek visas to come to the US for conventions.

Whatever side of this debate you came down on, it couldn't be denied that the Chinese Worldcon rang a lot of alarm-bells. Communications were spotty, and then the con was unceremoniously rescheduled for months after the original scheduled date, without any good explanation. Rumors swirled of Chinese petty officials muscling their way into the con's administration.

But the real alarm bells started clanging after the Hugo Award ceremony. Normally, after the Hugos are given out, attendees are given paper handouts tallying the nominations and votes, and those numbers are also simultaneously published online. Technically, the Hugo committee has a grace period of some weeks before this data must be published, but at every Worldcon I've attended over the past 30+ years, I left the Hugos with a data-sheet in my hand.

Then, in early December, at the very last moment, the Hugo committee released its data – and all hell broke loose. Numerous, acclaimed works had been unilaterally "disqualified" from the ballot. Many of these were written by writers from the Chinese diaspora, but some works – like an episode of Neil Gaiman's Sandman – were seemingly unconnected to any national considerations.

Readers and writers erupted in outrage, demanding to know what had happened. The Hugo administrators – Americans and Canadians who'd volunteered in those roles for many years and were widely viewed as being members in good standing of the community – were either silent or responded with rude and insulting remarks. One thing they didn't do was explain themselves.

The absence of facts left a void that rumors and speculation rushed in to fill. Stories of Chinese official censorship swirled online, and along with them, a kind of I-told-you-so: China should never have been home to a Worldcon, the country's authoritarian national politics are fundamentally incompatible with a literary festival.

As the outrage mounted and the scandal breached from the confines of science fiction fans and writers to the wider world, more details kept emerging. A damning set of internal leaks revealed that it was those long-serving American and Canadian volunteers who decided to censor the ballot. They did so out of a vague sense that the Chinese state would visit some unspecified sanction on the con if politically unpalatable works appeared on the Hugo ballot. Incredibly, they even compiled clumsy dossiers on nominees, disqualifying one nominee out of a mistaken belief that he had once visited Tibet (it was actually Nepal).

There's no evidence that the Chinese state asked these people to do this. Likewise, it wasn't pressure from the Chinese state that caused them to throw out hundreds of ballots cast by Chinese fans, whom they believed were voting for a "slate" of works (it's not clear if this is the case, but slate voting is permitted under Hugo rules).

All this has raised many questions about the future of the Hugo Awards, and the status of the awards that were given in China. There's widespread concern that Chinese fans involved with the con may face state retaliation due to the negative press that these shenanigans stirred up.

But there's also a lot of questions about censorship, and the nature of both state and private censorship, and the relationship between the two. These are questions that Ada is extremely well-poised to answer; indeed, they're the subject of her book-in-progress, entitled Why We Censor: from the Inquisition to the Internet.

In a magisterial essay for Reactor, Palmer stakes out her central thesis: "The majority of censorship is self-censorship, but the majority of self-censorship is intentionally cultivated by an outside power":

https://reactormag.com/tools-for-thinking-about-censorship/

States – even very powerful states – that wish to censor lack the resources to accomplish totalizing censorship of the sort depicted in Nineteen Eighty-Four. They can't go from house to house, searching every nook and cranny for copies of forbidden literature. The only way to kill an idea is to stop people from expressing it in the first place. Convincing people to censor themselves is, "dollar for dollar and man-hour for man-hour, much cheaper and more impactful than anything else a censorious regime can do."

Ada invokes examples modern and ancient, including from her own area of specialty, the Inquisition and its treatment of Gailileo. The Inquistions didn't set out to silence Galileo. If that had been its objective, it could have just assassinated him. This was cheap, easy and reliable! Instead, the Inquisition persecuted Galileo, in a very high-profile manner, making him and his ideas far more famous.

But this isn't some early example of Inquisitorial Streisand Effect. The point of persecuting Galileo was to convince Descartes to self-censor, which he did. He took his manuscript back from the publisher and cut the sections the Inquisition was likely to find offensive. It wasn't just Descartes: "thousands of other major thinkers of the time wrote differently, spoke differently, chose different projects, and passed different ideas on to the next century because they self-censored after the Galileo trial."

This is direct self-censorship, where people are frightened into silencing themselves. But there's another form of censorship, which Ada calls "middlemen censorship." That's when someone other than the government censors a work because they fear what the government would do if they didn't. Think of Scholastic's cowardly decision to pull inclusive, LGBTQ books out of its book fair selections even though no one had ordered them to do so:

https://www.nytimes.com/2023/05/06/books/scholastic-book-racism-maggie-tokuda-hall.html

This is a form of censorship outsourcing, and it "multiplies the manpower of a censorship system by the number of individuals within its power." The censoring body doesn't need to hire people to search everyone's houses for offensive books – it can frighten editors, publishers, distributors, booksellers and librarians into suppressing the books in the first place.

This outsourcing blurs the line between state and private surveillance. Think about comics. After a series of high-profile Congressional hearings about the supposed danger of comics to impressionable young minds, the comics industry undertook a regime of self-censorship, through which the private Comics Code Authority would vet comings for "dangerous" content before allowing its seal of approval to appear on the comics' covers. Distributors and retailers refused to carry books without a CCA stamp, so publishers refused to publish books unless they could get a CCA stamp.

The CCA was unaccountable, capricious – and racist. By the 60s and 70s, it became clear that comic about Black characters were subjected to much tighter scrutiny than comics featuring white heroes. The CCA would reject "a drop of sweat on the forehead of a Black astronaut as 'too graphic' since it 'could be mistaken for blood.'" Every comic that got sent back by the CCA meant long, brutal reworkings by writers and illustrators to get them past the censors.

The US government never censored heroes like Black Panther, but the chain of events that created the CCA "middleman censors" made sure that Black Panther appeared in far fewer comics starring Marvel's most prominent Black character. An analysis of censorship that tries to draw a line between private and public censorship would say that the government played no role in Black Panther's banishment to obscurity – but without Congressional action, Black Panther would never have faced censorship.

This is why attempts to cleanly divide public and private censorship always break down. Many people will tell you that when Twitter or Facebook blocks content they disagree with, that's not censorship, since censorship is government action, and these are private actors. What they mean is that Twitter and Facebook censorship doesn't violate the First Amendment, but it's perfectly possible to infringe on free speech without violating the US Constitution. What's more, if the government fails to prevent monopolization of our speech forums – like social media – and also declines to offer its own public speech forums that are bound to respect the First Amendment, we can end up with government choices that produce an environment in which some ideas are suppressed wherever they might find an audience – all without violating the Constitution:

https://locusmag.com/2020/01/cory-doctorow-inaction-is-a-form-of-action/

The great censorious regimes of the past – the USSR, the Inquisition – left behind vast troves of bureaucratic records, and these records are full of complaints about the censors' lack of resources. They didn't have the manpower, the office space, the money or the power to erase the ideas they were ordered to suppress. As Ada notes, "In the period that Spain’s Inquisition was wildly out of Rome’s control, the Roman Inquisition even printed manuals to guide its Inquisitors on how to bluff their way through pretending they were on top of what Spain was doing!"

Censors have always done – and still do – their work not by wielding power, but by projecting it. Even the most powerful state actors are not powerful enough to truly censor, in the sense of confiscating every work expressing an idea and punishing everyone who creates such a work. Instead, when they rely on self-censorship, both by individuals and by intermediaries. When censors act to block one work and not another, or when they punish one transgressor while another is free to speak, it's tempting to think that they are following some arcane ruleset that defines when enforcement is strict and when it's weak. But the truth is, they censor erratically because they are too weak to censor comprehensively.

Spectacular acts of censorship and punishment are a performance, "to change the way people act and think." Censors "seek out actions that can cause the maximum number of people to notice and feel their presence, with a minimum of expense and manpower."

The censor can only succeed by convincing us to do their work for them. That's why drawing a line between state censorship and private censorship is such a misleading exercise. Censorship is, and always has been, a public-private partnership.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/02/22/self-censorship/#hugos

[seananmcguire]

That Xiran Jay Zhao video about the amount of time it takes to get paid by the publisher, a couple of time she says "that's just the way it is." Are there actual, legitimate business reasons for holding off paying someone 6 or 8 or more months what they've earned for their book? Or is it the publisher basically going "We'll pay you when we pay you. What are you gonna do about it?" because they're essentially the one in charge?

And is it the same for all authors? Or is there an unofficial "tier" system based on your name? Are they telling people like Stephen King or James Patterson or Neil Gaiman "you'll see your money in 8 months" or are they more likely to be getting monthly checks just because of who they are?

There are some legitimate business reasons, yes.

Okay, so let's look at the way a book is sold to a publisher. I'm going to use very round numbers, because I don't want to do a lot of math right now. So say I sell a book for $15,000 under the traditional three installment contract--signing, delivery/acceptance, and publication. What this means is I sign the contract, I get a $5,000 check! Yay! I will also get checks when the book is turned in and accepted, emphasis because it means I can't just give them a word jumble and claim I turned the book in, and then again when the book comes out. We're ignoring side situations like "book is never turned in" and "book is never published."

But wait! My agent gets 15% off the top of each of those checks, which isn't a whole lot at $5,000--$750--but means I'm receiving effectively a $4,250 check, and then waiting maybe a year for the next one.

In the US, 1/3rd of that check goes automatically to taxes, and I cannot math that very well, but it's about $1,416. So I'm left with $2,834 as my payment for the year. This is why most authors will have day jobs.

This structure makes sense. They pay you to call dibs on your book: they pay you when the dibs pan out: they pay you when they can start making money. Now, recently, some publishers have started going to a four stage advance payment, and I can't see any real justification for that. Maybe someone will give me one. I'd be fascinated to know what it is.

So here's the thing: until the book is out, there is no more money. You've been paid for the book, but it's not making money for the publisher yet, and so of course you're not getting more money. It used to be the expectation that your advance would pay your bills while you wrote the next book; that is clearly no longer the case. I live in Seattle. A single check from a three-stage advance isn't paying my mortgage for a month. But.

Once the book is out, it can start making money, and that's when things get complicated. Say a bookstore places an order for 10 copies of AWESOME NEW BESTSELLER. Yay! That should be ten sales, and ten units of whatever your royalty is, right? Only these are physical items, and bookstores can return them, so your publisher marks it down as "ten sales, five reserve against returns," meaning you're only getting credit for five sales until the return window (usually a year) runs out. Where it gets a little hinky is when the bookstore sells all ten and orders ten more, and the publisher still has it marked as "five (now ten) reserve against returns." Basically, you're only getting credit for half your sales until that reserve window closes.

Sadly, thanks to certain retailer policies, this has been grandfathered into applying to electronic sales as well.

TL,DR: The delay in royalty payments is to give bookstores time to sell the books, and mean that your publisher doesn't pay you for a hundred sales, only to ask for the money from fifty to be given back when books are returned. This could happen faster in the modern world, but that would involve publishers paying us faster, and they like to keep the money in their hands as long as possible.

To the best of my knowledge, no one is A Big Enough Author that they can demand their money now, right now. And this is why trad publishing continues to self-select for the wealthy and the young.

[ask-the-pioneer]

"I've always been captivated by them. Something about the shiny exterior, how they glimmer when you tumble them around in your hands. My younger self would obsess about them, a childlike fascination. Even back then I instinctively knew they had value. My mom would use pearls I found to pay for a safe passage at scavenger tolls. We tried to bypass those points as much as we could, but sometimes it was unavoidable."

"It's a looong story…. I was found roaming the wilderness by my mentor, who brought me to er, an entity, called an interator. Do you know of iterators? Apparently they are what was left of an ancient civilization that once inhabited these lands. I couldn't wrap my head around it at first. Iterators are massive, absolutely huge, like mountains. Do you see that big structure of a regular, smooth shape?"

[She points towards Five Pebble's can in the distance]

"That is an iterator's «superstrucute». A mountain, the entire thing… is a person. It still sounds crazy when I say it."

"Ah, right, my name… like I mentioned, I got lost and my mentor found me. He brought me to his iterator. If my memory serves me right, his name is «No Significant Harassment», or NSH for short. I recall thinking at that time, «Harassment? I hope he won't be cruel to me». I had no concept of iterator names, their meaning, why it's three or however many words long. It was incredibly confusing to my young mind, though looking back at it I consider myself very lucky. The iterator was, dare I say, «god-like» (his own words), but benevolent. I saw how well he treated Hunter – my mentor – and it made me trust him more, even though I was scared and wary in the beginning."

"Would you believe it if I told you… there are stories written inside the pearls? That those things I’ve been obsessing about all my life are used for storing information? I had many of them leftover from when I lived at a scavenger outpost. One cycle, NSH noticed my interest, and – I wish Hunter had told me about this sooner, but – the iterator shot at my head with something…? And suddenly I could understand everything he said. Not that he said much, because I started crying loudly and ran straight out of there, haha. But before I bolted, he gave me one of his pearls as consolation. I think he felt bad for the scared little me."

"After that, he would eagerly read all the pearls I brought to him. That is how I learned more about the culture of the peoples who were here before me: the Ancients, their customs, why the iterators were built, and much more. It was like the knowledge of the entire world was suddenly revealed to me – to a seemingly insignificant being, a tiny speck in an endless ocean of life. It both made me feel very important, and very small. And, yeah, it has intensified my obsession with pearls beyond mortal limits. What if I could write into a pearl? I could archive the history of my entire species! All the stories my mom told me when I was small? All the places I’ve been to? Or other scugs have been to…"

[Her eyes widen, sparkling with glee]

"Y-yeah… that would be nice… sadly I am what I am – a slugcat. I don’t know how to do this very advanced stuff at all. I have no means of doing this. I once asked NHS for help, but there’s only so much he could guess from my frantic signing. I don’t think he understood me, in the end. But he did appreciate my efforts, and I was given a title – the Pioneer, like a person who is the very first to explore something uncharted. Apparently no slugcat before me thought of reading from or writing into pearls? I find it a little hard to believe."

"This one! This is a very special kind of pearl – it contains an ancient poem from which my name originated. See, my name was a gift from NSH the iterator. It’s spelled: «Mirmyntasseth». The best way I would describe it, is… it’s a name for a feeling, or an experience. The way it was explained to me, is that the word «Mirmyntasseth» is an expression of seeing a marble roll on a flat surface, then hitting another marble. Ah, right, you may not know this – a marble is like, like a pearl, but translucent and even more ornate. I was told that marbles were used by the Ancients for entertainment. They had a game where you rolled one to hit another. I'll admit, I can see the appeal. Throwing rocks is fun, although I image this game was considered a more dignified pastime."

[She tumbles the dark pearl in her hands, admiring its luster]

"The poem inside this pearl, one of its verses spells: «Eight Marbles Cast in Stone». The poem itself is long… very long… I had the iterator read it to me once, and we had to stop in the middle because the rain was coming. Maybe I will ask NSH to read it again, when I’m back at his superstructure with Hunter."

[Her gaze trails off to somewhere far away for a moment, a subtle grimace on her face. She closes her eyes and shakes off the thoughts that cloud her mind]

"So, um… yes… that is why I am called Eight Marbles Cast in Stone, or Marbles for short. I like how it sounds, it has a nice ring to it. And it’s a gift from an iterator, a god-like being. I consider it a great honor."

"…that said, I wonder why he didn’t just name me «Pearl»? Wouldn’t that make more sense? Maybe it didn’t sound cool enough. They’ve used pearls just to store information. I guess it’d be silly to be named «Dirt» because you doodle in dirt, or «Batfly» because you love eating batflies? Hmm…"

[cyberslvts]

SWEET TALKER || w.maximoff

Summary: In the bustling city of New York, two ambitious entrepreneurs, Wanda Maximoff and Y/n L/N, have been fierce competitors in the industry of mechanical engineering. You and Wanda have been at each others throats fighting for the top spot. However, Your opinions on the Scarlet woman change after she approaches you one night with a business proposal.

Warnings: 18+ rivals to lovers, office romance, angst, smut, teasing, oral (r recieving), fingering (r recieving), marking/biting, little twist at the end (i love drama). Wrote this on my flight to Hawaii (teehee)

Pairing: Wanda Maximoff x Fem!Reader

WC: 6.1k

Part 2 | Part 3

The names Y/n L/n and Wanda Maximoff had become synonymous with power and dominance in the bustling streets of New York City.

Y/n L/n was the heir to the L/n family empire, a legacy that had its origins in the late 1950s. Back then, L/n technology had been at the forefront of demand, supplying the country with groundbreaking innovations. Their influence was so profound that buildings, schools, and billboards bore their name in honor. They became the embodiment of high society and untouchable success in America.

However, after the passing of Y/ns father, the company’s prestige and reputation went downhill. Soon L/n. Inc was buried by other up-incoming engineers with bigger ideas, faster solutions, and more efficient products. What was once America's most prestigious company was now a forgotten memory.

Until your twenty third birthday arrived, and your father's will stipulated that upon his passing, the empire would be handed over to the eldest L/n child.Taking charge of the company, you unleashed your unrelenting drive. For years, you had observed your father's tireless nights of work, and the dedication he poured into the company. His legacy became your purpose.

Growing up, your life revolved around your father's teachings and his pursuit of excellence. From a young age, he immersed you in the world of science and technology, and you soaked up knowledge like a sponge. As he explained the intricate molecular structure of vibranium, you sat in awe in your high chair, absorbing every word.

From that moment on, you were expected to be nothing short of a carbon copy of your brilliant father. Academics became your priority, and you quickly excelled in the math and science fields. However, this dedication came at a cost – you sacrificed social outings and events during high school, choosing instead to spend your time perfecting your craft and living up to your father's high standards. Long hours were spent hunched over a desk, diving deep into research and innovation. Now, with the responsibility of the company resting on your shoulders, you were determined not to let all your father's hard work go to waste. The thought of allowing untalented and entitled individuals to take over what was built with so much passion and dedication ignited a fierce determination within you.

After inheriting the company 10 years ago you immediately rose through the ranks and L/n. Inc was back on the tabloids as New York's top engineering company. Driven by a relentless ambition, you earned your place as a formidable figure in the engineering landscape. Your brilliant ideas along with your father's teachings allowed you to refine your technology and weapons to perfection. The demand for your products was through the roof and you made millions. High-paying investors from all around the world were coming to New York to see and buy your designs.

Your cold, focused, and reserved nature, along with your rapidly growing empire intimidated potential competitors, which gained you the respect and prestige you needed to uphold the company’s reputation.

You were unstoppable.

That was until Maximoff Industries.

Maximoff Industries was Sokovias most prominent and respected engineering company. Even though they were still relatively new to the field that didn’t stop them from breaking countless records and rising through the ranks Once they decided to relocate to New York. As expected they were quick to put a dent in your sales numbers.

At the heart of it all was Wanda Maximoff – a powerhouse of a woman, displaying a captivating aura that draws people in. While not as cold and detached as you, she maintains a level of professionalism that commands respect and admiration. Some might even describe her as friendly, with a warmth that contrasts the cool exterior of her competitor. But beneath her approachable demeanor lies an unwavering determination and a fierce desire to become the best engineering company the world has ever seen.

Thus, a rivalry was formed. The competition between both of your Companys was electric. Every Month either you or Wanda was ahead. You had your team work themselves until the brink of death coming up with new ideas that would outsell Maximoff Industries. The same trope echoed within Wanda's company, as her team matched your dedication step for step. Late nights and early mornings became the new reality as she dissected every aspect of your technology, searching for any imperfections. Anything she could use to break you down.

The rivalry between your companies intensified with each passing month, setting the business world abuzz with anticipation and excitement. Photos, articles, and Newspapers were being published every month detailing any upcoming projects or interactions you two had with each other. Whenever asked about anything Wanda related your responses were always the same.

“No comment”

“Would rather not say”

“I'm not allowed to say anything”

You always tried to stay out of the media as much as possible, you knew how everything was twisted or taken out of context in order to satisfy their audience. Wanda on the other hand couldn’t seem to get enough of the overwhelming attention. Always happy to give detailed responses to random interviewers on the street and pose for photographers, even though it was clear they were following her. She was basically their only outlet to you since she apparently had no filter when it came to the paparazzi.

“I heard she's working on a new type of AI device that's going to be used in search and rescue missions”

“Of course, we don’t hate each other! Just Friendly competition!”

“She's single, I think. But with her looks, who knows?”

Her latest interview sparked a plethora of theories among the people of New York, The press finding endless entertainment in your perceived connection. Were they secretly working together? Dating? Sleeping together?

Amidst all the success and recognition, there was one area that remained untouched – matters of the heart. Your relentless dedication to the company and your guarded demeanor left little room for personal connections. Love had always seemed like a distraction, and you found comfort in pouring your energy into your work, your empire, and your dreams.

You scoffed and rolled your eyes, throwing the open-faced magazine on your desk. This is exactly why you stayed out of the press. Once they found out one little snippet of information about you they would twist it around just to fuel their crazy theories. Now you would have to prepare yourself to be bombarded with flashing camera lights and microphones being shoved in your face all while you were just trying to get to your car.

Yet, compared to past allegations, a dating rumor was almost a relief. In October, you'd been accused of murdering your father to claim the business. Another scandal involved pregnancy after declining a drink at a New Year's Eve party. A dating rumor would likely fade within a week.A dating rumor was a piece of cake. You’d been accused of sleeping with a number of people in the past. It would blow over within a week.

Your eyes trained back on the magazine cover “A secret scandalous affair” followed by photos of you and Wanda. Your thumb found its way to your teeth as you leaned back in your big office chair with the magazine in your hand. Your interest starting to peak. At least this rumor was somewhat entertaining for you. Typically the people you were accused of sleeping with were past friends of your father, who were old, fat, or balding.

Amongst your hatred for Wanda, you couldn’t help but be captivated by her. Her beauty was undeniable. Your eyes gazed upon the photo in the magazine, it was a photoshoot Wanda had done for a sponsorship a few months ago. She wore a dark red suit that fit perfectly around her body, her hair cascaded past her shoulders as she gazed into the camera with a gentle smile. She was posing in the streets of Manhattan, surrounded by giant buildings that framed her gorgeous figure. pedestrians blurred in the background which only highlighted her powerful presence. Her bright green eyes stared right back at you as you continued to observe the photograph. Her arms, legs, nose, lips-

“What are you reading?”

You were startled out of your daze, quickly shutting the magazine and sitting up straight in your seat to see Natasha raising an eyebrow and giving you a confused look.

“Nothing. just these ridiculous magazines I keep getting sent” you replied, moving a stack of papers over the cover.

Natasha suspiciously observed your rather shaken-up demeanor as she was expecting your serious deadpan face when she walked in not you ogling at a photo of Wanda Maximoff “Ok. Well… just wanted to tell you the monthly report came back in and once again we are second to Maximoff, by 5 sales this time”

“What. Are you sure? The last time I checked…” Your focus trailed off as you began clicking through different files on your computer.

“I'm sure. It's that new drone she just released. Stark Industries just bought ten of them” Natasha's hands were now in her pockets, observing your worried yet focused expression which was glued to the screen of your computer. Natasha was the Vice president of L/N Inc. And you owed most of your success to the redhead. She was the backbone of the company and shared the same passions and desires as you.

Those weeks were it seemed like you were working yourself into a grave in order to meet upcoming deadlines, She was right by your side, writing notes, crunching numbers, filling out spreadsheets and even correcting the mistakes you rarely made. She kept all of your employees at the top of their game when you weren't there to bark orders at everyone, and you were almost positive you and the rest of the company would be a chaotic mess if it weren't for her.

“We need to move up the timeline for the AI robot release if we want to get ahead next month” Natasha was now in front of your desk handing you a blue folder “This is a new updated timeline for the project. I know it's faster than we planned but I think if we can get this AI out before September we have a chance at getting ahead of Maximoff for the October reports”

You sighed as you looked over the papers “Thank you, Nat. I really wouldn’t be able to do any of this without you”

She gave you a sympathetic nod before turning to exit your office. You felt the stress build in your stomach as you read over the new timeline. It was almost a month ahead of schedule, and you were still a third of the way from finishing the final project.

You were starting to get really sick of Wanda Maximoff.

————————-

The sounds of keyboard clacking and rustling papers were the only things heard in your large office tower, The building was eerily dark, the only light coming from the conference room on the 27th floor. Your back ached and your eyes felt heavy from hours of being hunched over your desk.

You finally decided to take a break, stretching your arms above your head and looking out the big glass windows that overlooked the city, only to be met with the darkness of night and speckles of light illuminating from other buildings. You blinked in surprise checking your watch. 1:46 am. Have you really been here that long?

You sighed and looked at the sprawled-out papers that almost covered the entire conference table, you decided to migrate down to the conference room since your tiny desk wasn’t big enough for this chaotic mess. The situation was growing more and more impossible with each passing minute. Despite brainstorming a multitude of strategies, the looming project deadline for September remained a stark reminder of your impending failure.

Frustration gnawed at you, a tempestuous emotion ignited by the mere thought of Wanda outperforming you in the upcoming monthly report.

Defeat was not an option. Sleep was a distant memory, and your social life had become a casualty of your unwavering commitment to your work. With a determined huff, you settled back into your seat, your brows furrowing as your eyes scanned the multitude of charts, graphs, and spreadsheets demanding your attention. The focus of your thoughts was abruptly interupted by a gentle knock, followed by the slow creaking of your office door.

“Natasha. I already told you I would be staying late” you spoke without looking up from the documents in your hand.

A melodious chuckle filled the air, accompanied by a voice you weren't expecting. “You know, you've been holed up in this tower for so long, I'm starting to think you're avoiding me.

Your gaze immediately shot up once you recognized the sultry voice you had become all to familiar with. There she stood, Wanda Maximoff in all her glory. She wore a loose dark red blouse, tucked into her long black slacks. She must have come straight from her office.

“How did you get in here?” you abandoned the papers, your focus now being shifted to the tall redhead standing in the middle of your conference room.

“Micheal let me in, told him I had important business to discuss with Miss L/N” she replied, removing a hand from her pocket to hold up a day pass badge she must have received from the janitor.

“Well, it looks like I will have to talk to Micheal about letting strangers into the building in the middle of the night” You were beginning to get more frustrated, you had enough to deal with as it is.

“Strangers? Please. me and you both know were obsessed with each other” she said with a cocky tone, only fueling the burning fire in your stomach. She was right of course. The rivalry between you and Wanda was more than just professional competition; it was an obsession that fueled both of your careers. you couldn't count the endless nights you spent researching the Scarlett woman, Watching every interview you could find of her, reading every article. Trying to find any source of information you could use to take her down.

Wanda, too, was caught up in the same game. But unlike her, you were a master at guarding your private life, granting only a glimpse into your world through one or two interviews or photographs a month – sometimes three, if the mood struck you. You were excellent at avoiding the paparazzi, a talent wanda was not fond of. She craved to know the person that was always at the front of her mind, the person that had occupied almost all of her thoughts for the past 5 years. The secrecy of Y/n L/N ignited a flame of curiosity and desire inside her. Even though your office buildings were only 2 blocks from each other, she felt like you were on an entirely different planet.

Your rivalry had become a dance of fascination, a battle not only for success in the business world but also for the chance to understand the person behind the titles and achievements. The world may see you as rivals, but deep down, you both knew that there was something more.

“Don't flatter yourself” you spoke while rolling your eyes your patience was getting thinner and the smirk on Wanda's face was not helping. “What do you want wanda? why are you here”

“I wanted to see how you were,” she said, the sincerity evident in her words, this was true. The demands of your rapidly growing empire caused you to withdraw from the outside world. You had been locked away in your office day and night, immersed in your work. You were going out less and less, missing out on the countless business events where Wanda had the privilege of catching a glimpse of you.

Although she grew accustomed to only seeing your presence once and a while at board meetings, exclusive events, or walking through the streets of New York, she was beginning to get frustrated. And a little worried about your growing absence.

You scoffed “Im fine, thank you” turning your attention back to your work, Picking up your abandoned papers and tapping them against the desk to shape them into a neat pile “Now as you can see I am very busy, so if there is nothing else I can help you wi-”

“I have a business proposal for you” she confidently spoke, meeting your cold stare, watching your face briefly contort into confusion before returning back to your usual cold stare.

You narrowed your eyes at her, inspecting her face for any traces of sarcasm. To your surprise you found none. “What are you talking about?”

She watched as you raised a hand to move your reading glasses to the top of your head. Her eyes glossed over at the sight of your hair pushed back, exposing more of your beautiful face.

“Im sure you've heard of stark industries” Wanda spoke, you shifted, of course, you had heard of stark industries.No one had heard of Tony Stark until last year. Within his first year, he had already broken twice as many records as you did when you were first starting out and had already risen to the number four spot in the country. Uncomfortably close to your rank. Your thoughts were interrupted by the sound of Wanda's heels clacking on the floor as she made her war closer to you. Now Standing just a few feet from you “He offered me a partnership deal.”

Your face fell and your body froze. This was not good. If Tony and wanda were to partner up, that would be it for you. Panic started to bubble in the pit of your stomach. this news put a crack in the facade you were desperately trying to uphold. Wanda seemed to be enjoying herself watching your serious and cold demeanor crumble in a matter of seconds. “But I turned it down”

“What?” You blinked, making sure you heard her correctly “Have you lost your mind? What could have possibly possessed you to make such a stupid decision.” of course you were immensely relieved that she had declined the offer, however, you couldn't stop the frustration at wanda for turning down such a rare opportunity, An opportunity you would have killed to have. “If you came here just to rub this in my face-”

“I think you and I should partner up”

You were once again at a loss for words. Wanda stepped forward to take a seat closest to you. On one of the many large black swivel chairs in the conference room. “I want you. y/n.” You felt yourself heat up at her choice of words. “Tony's proposal got me thinking. You and I have been the owners of the 2 most successful engineering companies for almost a decade now. I've seen what you're capable of, Y/n. Your innovative ideas, and your dedication to your team, it's admirable. And I can't help but wonder what we could achieve together." Wanda continued, her voice gentle yet confident.

Your heart pounded in your chest as her words sunk in. Joining forces? You never thought you'd hear those words coming from Wanda's lips. The tension between your companies had always been palpable, and yet here she was, proposing a partnership

The conference room seemed to fade away as you considered her proposal. Working together with Wanda would undoubtedly be challenging, but the potential for greatness was undeniable. The combined expertise, resources, and talent of your two companies could create an engineering powerhouse, one that could outshine any new competition that arose.

As you took a moment to gather your thoughts, Wanda leaned in closer, her hand moving to rest on your knee "Think about it, y/n. I believe we could not only dominate the market but also push the boundaries of what's possible in engineering."

You narrowed your eyes at the woman sitting in front of you “Wanda, where is all of this coming from? you and I have been at each other throats for the past five years and now all the sudden you want to work together?”

Wanda's demeanor shifted, her eyes pierced straight into yours as she leaned forward to take one of your hands in her own. Her touch sent a jolt of electricity through you, and you couldn't ignore the rush of emotions welling up inside.

“Y/N. you are truly brilliant. Your designs are impeccable and You have an undeniable talent that I have been trying to replicate for years.” her hold on your hand tightened. You fell speechless at this confession. A sudden warmth spread throughout your chest. You searched Wanda's eyes for any trace of dishonesty but were only met with a look of raw truth. “Aren't you tired of fighting? wouldn't it feel good to build something great together”

You fell silent as your brain tried to formulate a response. You really weren't expecting this “There's no way it would work, we hate each other”

Wandas eyes softened “Oh, baby, I could never hate you” she spoke, and you felt something twist inside you at her sudden use of a pet name. “sure your constant desire to be better than me gets on my nerves from time to time. But hate? Never.” the sincerity in her words brought a sense of relief and curiosity to you.

The proximity between the two of you was getting thinner. Wanda was now so close your knees were touching and the smell of her expensive perfume flooded your senses.

“Do you want to know what I think” Wanda questioned with a slight smirk on her lips. You hummed in response, the lids of your eyes relaxing as your mind focused on observing the features of her face. “I don't think you hate me as much as you say you do”

“And what makes you say that” You leaned in closer

Wanda's eyes went up and down your body taking in the lovely sight of your slightly exposed cleavage, having undone the first few buttons before she arrived. “I think you want me, and that frustrates you” There was a beat of silence before you responded.

“That's ridiculous” You slightly pulled away, turning your head to avoid her burning gaze. Wanda only moved in closer, putting a hand on your thigh “Oh no I don't think it is. I think deep down, you crave for me as much as I crave you.” you clenched your jaw in embarrassment, your face felt like it was on fire.

Suddenly, She stood up, her hands moving to place themselves on the arms of your chair, hovering over you, enveloping you in her presence. “Truth is, you make me so angry y/n” You turned to look up at Wanda.

“I've thought about you almost every day for the past 5 years. I've thought about every possible way I could breakdown those walls you set up, find any crack just so I could see who you really are.” you felt the ends of her long hair brush against the apples of your cheeks, leaning down further to rest her knee right in between you thighs, pushing your back further into the chair.

“I don't like how I can’t get to you, I hate how you shut me out.” Wanda brought a hand to your chin, angling your face upwards to stare right back into her emerald eyes. “I hate that I can't have you.”

your eyes softened, reaching out to place a hand on the soft skin of her cheek. despite all the chaos that was you and Wanda, you felt a sense of sorrow illuminating from her. You couldn't help the tug you felt in your heart.

Her knee between your thighs sent a shiver down your spine, and you could feel the heat between you intensifying. The moment was electric, and the air seemed charged with unspoken desires. As she held your chin, her thumb gently caressing your cheek, you could see the raw emotion in her eyes, and it mirrored your own.

“Trust me, Wanda, I've always been yours,” you think in some twisted way it was true. You had practically built your empire on the dedication of her. You knew every detail about her, from the way her nose scrunched when she laughed, to the shimmer she got in her eyes just before she was about to tell a joke. You had invasively studied her for 5 long years. You went to bed dreaming of fiery red hair and woke up thinking about sea-green eyes. no other person had your attention like Wanda did.

Wanda's eyes darkened, her gaze moving down towards your lips. You felt all of the tension from the past 5 years building up in the room. What was about to happen was inevitable. You and Wanda both knew it.

Finally, Wanda leaned down to press her lips against yours, she started off slow, basking in the softness of your lips. As the kiss deepened, a sense of urgency overcame you both, and you could feel the walls that once separated you crumble.

Without a second thought, Wanda effortlessly lifted you off your chair and onto the desk. The sensation of being hoisted up caused you to gasp, to which Wanda took the opportunity to slide her tongue into your mouth. Wanda's arms held you securely as you instinctively wrapped your legs around her waist. You moaned when you felt the hard metal of her belt press against your clothed pussy.

You suddenly pulled back, Wanda furrowed her eyebrows and tried to chase after your lips, “Wanda. You know if we do this…things will change” you breathlessly spoke, your tone laced with caution but also lust.

“Yeah. Yeah. I know” Wanda quickly responded, attempting to reconnect your lips.

You put a hand on her chest, stopping her from devouring you “Things could get messy… and complicated”

All of a sudden, Wanda pushed you so your back laid flat against the mess of papers, your legs dangling off the edge of the desk. Using one hand she grabbed both of your wrists, pinning them above your head. You gasped, your heart pounding in your chest as she held you firmly against the desk “Y/n. I know. Trust me, I have thought about this a lot.”

You didn't have a chance to respond before Wanda smashed her lips back into yours, she used her other hand to run up the side of your thigh, pushing your skirt up to your hips. She moved her lips down to the edge of your jaw and then your neck. “Your so perfect” she mumbled against the soft skin of your neck.

Her fingers worked to undo the buttons of your blouse, practically ripping it from your body and tossing it to the side. Her mouth returned to your body, her teeth nipping at your collarbones as she moves her hand underneath you to unhook your bra.

You couldn't help but moan out when her mouth enclosed around one of your hardened nipples. With her hand still binding your wrists above your head you could only arch up your chest further into her mouth, letting out a pleasure-filled groan when she used her other hand to pinch a roll your other nipple between her fingers.

“You don't know how long I have been waiting to see you like this.” She groaned into your chest, Sending vibrations into your skin.

She finally let go of your wrists bringing her hand down to cup your pussy, now able to freely use your hands you tangled them in the mess of red hair that was splayed all over your chest.

Using her fingers she swiftly moved your panties to the side.

Wanda almost lost it when she pressed her hand against your pussy, feeling your wetness coat her fingertips. Her fingers ran up and down your slit, before she slipped them inside you, curling them right against your sweet spot.

“Fuck, Wanda” you harshly bit your lip, throwing your head back onto the desk. Wanda's fingers continued to pump in and out of you, setting a perfect rhythmic pace. You struggled to stifle the moans that threatened to escape, desperately attempting to hold onto any sense of dignity you had left amidst the overwhelming pleasure. However, It became clear that Wanda was determined to unravel you completely at this very moment.

“No, don't, I need to hear you.” Wanda breathlessly begged, momentarily pausing her fingers, causing you to let out a whine and buck your hips up to move her fingers deeper inside you. Surrendering, You moved your hand from your mouth, and as a reward she resumed her fingers, this time using her thumb to circle your clit. You were beginning to lose yourself in her, your senses becoming overwhelmed with Wanda. You wanted this feeling to last forever, to savor the feeling of her inside you.

Your moans were begining to get louder, Your jaw went slack against the side of her face as she continued to pump her fingers in and out of you at a ridiculous pace.

Wanda watched in pure adoration, your gorgeous face contorting in pleasure, your hips jumping up in fits to meet her hand, A rush of pride swelled up inside of her, knowing she could get this reaction out of you. y/n l/n. The daunting woman feared by half of the engineering industry. The same woman whom others could only dream of catching a mere glimpse of was now falling apart underneath her. Wanda couldn't help but want to be the only person who saw you in this intimate way. The thought of being the one who could unravel the layers of the formidable y/n l/n ignited a fiery wave of possessiveness within her.

“You're doing so good, baby” Wanda praised, returning her lips to your neck where she sunk her teeth into the softness of your skin and began to suck. Your eyes suddenly shot open and tugged on her hair causing Wanda to let out a groan, vibrating into your skin.

“Wanda don't, people will see” You were panting at this point, you could feel your orgasm building, the coil in your stomach threatening to snap at any given moment.

“I want them to see, I want everybody to know that you are mine.” her tone was assertive and dominating, her mouth never left the skin of your neck where she left behind deep red marks that you were sure would ache in the morning.

Her sudden possessiveness made you throb. A thrilling wave of desire surged through your body. Everything about Wanda was undeniably intoxicating – her confidence, her intelligence, the way she held herself with such magnetic allure. The way she looked at you with those intense, emerald eyes, the way her hands traced tenderly over your skin and the way she claimed you as hers ignited a primal response within you.

You surrendered to her, throwing your head back to give her complete access to you. her fingers just felt so good and her soft lips attacking your neck sent electric jolts throughout your body.

“God, fuck, wanda im gonna cum”

“Yeah? gonna be a good girl and make a mess all over my fingers?” Wandas fingers moved faster in you, her thumb moved to put more pressure on your clit, encouraging you to reach your climax. You buried your face in the crook of Wandas neck, biting into her shoulder as you fell into your orgasm, shaking and writhing against Wanda's tight hold.

“That's it, baby, keep going” wanda was moaning into your ear, feeling your wet walls tense and spasm around her fingers.

Wanda slowed down the pace of her fingers, letting you ride out the aftershocks of your orgasm before gently pulling them out of you.

She placed soothing kisses over the bruises she had created on your neck, she kissed her way up your body until she met your lips. You sighed into the gentle feel of her lips against yours, basking in the feeling of your post-orgasmic glow.

“Are you alright?”

“Yes, more than alright” you giggled, wanda smiled against your lips, holding your body flush against her. She pulled back to take in the sight of you. Your lips were swollen and red, a beautiful blush adorned your cheeks, and your chest was rising and falling with every heavy breath you took in. Your hair, which was now nothing more than a disheveled mess, cascaded past your shoulders, framing your face in a captivating way.

“Absolutely gorgeous” she breathed out. Her admiration evident in her voice

But before you could fully revel in the moment, your intimate bubble was abruptly burst by a loud knock on the door of the conference room. Both you and Wanda shot up, eyes wide with panic rising in you.

“Miss L/N, are you still in there? I need to vacuum before I head out for the night.” You immediately recognized the voice as the company's janitor Micheal—the one who had triggered the events of the night by letting Wanda into the building.

“Yes, Michael! I'll be out in a second!" Your voice came out slightly higher than normal as you swiftly pushed Wanda away, hastily pulling your skirt back down to your knees and frantically searching for your discarded top. Your heart raced with a mix of excitement and anxiety, trying to regain your composure as the interruption jolted you back to reality.

Wanda, seemingly amused by your frazzled state, observed you with a playful glint in her eye. You felt a rush of vulnerability as you ran around the room, both arms instinctively covering your chest to shield yourself from Wanda's piercing gaze.

As you searched for your top, she reached for the silk blouse that had been resting on the head of a swivel chair and offered it to you. You reached out to take it, but just as your fingers brushed against the fabric, Wanda pulled her arm back, causing you to stumble and fall into her embrace. She held you close, wrapping an arm around your waist to steady you. In the closeness of the moment, her words rang in your ears, reminding you of the business proposal she had made earlier.

"I want you to consider my offer, y/n," she whispered softly, her breath tickling your ear. "I meant what I said before. I truly believe we could achieve great things together."

The wave of embarrassment mixed with the excitement of the moment as you tried to cover up your exposed front from Wanda's lingering gaze. “I will. But can we please discuss this later?”

Wanda gave you a satisfied grin, handing you your shirt before stepping away to give you some privacy. As you swiftly turned around, you threw your shirt over your shoulders to cover the exposed skin of your back, and your fingers worked to fasten the buttons of your blouse. She observed you for a moment, taking in the sight of you as you composed yourself.

Deciding to take her leave, Wanda's heels clacked against the floor as she headed towards the exit of the conference room. However, with your back turned, you didn't notice her discreetly slipping a little red folder under her arm.

Unbeknownst to you, that folder contained the new timeline for the AI release, a pivotal piece of information that could shape the future of your company. In the midst of the intimate encounter, Wanda had managed to seize an opportunity to further her goals, using the moment to her advantage.

As she made her exit, a mischievous glint danced in her eyes, knowing that she had just played her cards strategically. The rivalry between your companies still burned fiercely, and she wasn't about to let the opportunity slip through her fingers. With the information concealed in that little red folder, Wanda was one step closer to gaining an edge in the competitive race.

[vintagegeekculture]

The Evil Little Hairy Cave People of Europe in Pulp Fiction

From the 1900s to the 1940s, there was a trendy theme in occult and horror stories that the explanation for widespread European legends of fairies, brownies, pixies, leprechauns and other malicious little people, was that they were a hereditary racial memory of the extremely small non-human, hairy stone age original inhabitants of Europe, who still survive well into modern times in caves and barrows below the earth. Envious of being displaced on the surface, these weird creatures, adapted to the darkness of living underground and unable to withstand the sun, still mean mischief and occasionally go out at night to capture someone.... usually an attractive woman....to take to their dark caves for human sacrifice.

Displaced by the arrival of Indo-European language speakers at the dawn of the Bronze Age, these original, not quite human stone age people of Europe were driven deep underground into caves and barrows below the earth, where they went mad, adapted to the darkness and acquired a fear of daylight, became extremely inbred, in some cases acquired widespread albinism. It is these strange little people who gave the descendants of Europeans a haunting racial dread of places below the earth like mines and caves, and it also is these strange, hairy troglodytes who originally built the uncanny and mysterious menhir, fairy rings, and stone age structures of England, Scotland, and Ireland that predate the coming of the Celts and Romans.

In some cases, these evil troglodytes are usually identified with the mysterious Picts, the pre-Celtic stone age inhabitants of the British Isles. In some cases, they are identified with the Basque people of Spain, best known as the inventors of Jai Alai, and the oldest people in Europe who speak a unique language unrelated to any in the world.

The original codifier of this trend was Arthur Machen, a horror writer who is less remembered than his contemporary, Henry James, but who may be the best horror writer in the generations between Poe on the one end and Lovecraft/CL Moore/Clark Ashton Smith on the other. His story, "the White People" from 1904 (a reference to their strange cave albinism) was a twisted Alice in Wonderland with a girl who is irresistibly attracted to dark pre-Roman stone age ruins and who is eventually pulled underground.

In addition to being a great horror writer, Arthur Machen was a member of the Hermetic Society of the Golden Dawn, an occult organization, and was often seen at the Isis-Urania Temple in London. Many of his works have secretive occult knowledge.

H.P. Lovecraft in particular always pointed out Arthur Machen as his single biggest inspiration, though he combined Machen's dread and occultism with Abraham Merritt's sense of fear of the cosmic unknown, seen in "Dwellers in the Mirage" and "People of the Pit."

Another and scarier example of this trend would be "No Man's Land," a story by John Buchan, a Scotsman fascinated by paganism and horror, who often wrote stories of horrific discoveries and evil rites on the Scottish moors. He is often reduced to being described as a "Scottish Ghost Story" writer, a painfully reductivist description as in his career, Buchan wrote a lot of thrillers, detective, and adventure stories as well. In later life, he was appointed Governor General of Canada, meaning he may be the first head of state to be a horror writer.

It was Buchan who first identified the cave creatures with the Picts, something that another Weird Tales writer decades later, Robert E. Howard, would roll with in the 1920s.

Howard is a very identifiable kind of modern person you often see on the internet: a guy who talks tough, but who was terrified to leave his small town. He created manly man, tough guy heroes like Conan the Barbarian, Kull, and El Borak, but he himself never left his mother's house. It's no wonder he got along well with his fellow Weird Tales writer and weird shut in, HP Lovecraft. With 1920s Weird Tales writers, despite your admiration for their incredible talent, you also can't help but laugh at them a little, a feeling you also apply to a lot of Victorians, who achieved incredible things, but who are often closet cases and cranks who died virgins ("Chinese" Gordon comes to mind, as does Immelmann).

With Howard, his obsession with the Picts and the stone age cave dwelling people of Europe started with an unpublished manuscript where at a dinner party, a man gets knocked out and regresses to his past life in the Bronze Age, where he remembers the earliest contact between modern humans and the original inhabitants of the British Isles, the evil darkskinned Picts. This is a mix of both the "little cave people" story and another cliche at the time, "the stone age past life regression novel," another turn of the century cliche.

Still with the Picts on his mind, Howard would later create Bran Mak Morn, a Pict chieftain, who predated Kull and Conan as his Celtic caveman muscle hero. Howard was of Irish descent and proudly anti-Colonial and anti-British, with his Roman Empire and Civilized Kingdoms as a stand in for the British and other Empires, which he viewed as rapacious and humbug, a view shared by his greatest inspiration, Talbot Mundy. His "Worms of the Earth" gets to the heart of why these little cave people scare us so much: they remind us that we live on land that is impossibly ancient and we don't fully understand at all.

It was another Weird Tales Writer a decade later who wrote one of the last stories about the little hairy cave people of Europe, though, Manly Wade Wellman in 1942. Wellman was mainly known for creating the blond beefcake caveman hero Hok the Mighty set in stone age times, and for his supernatural ghost stories of Silver John the Balladeer set in modern, ghostly Appalachia (like many ex-Weird Tales writers, he made a turn to being a regional author in his later career, in the same way Hugh B. Cave became a Caribbean writer), but Wellman also had a regular character known as John Thunstone, a muscular and wealthy playboy known for his moustache who used his great wealth to investigate the supernatural and the occult. Thunstone had a silver sword made by St. Dunstan, patron of Silversmiths, well known for his confrontations with the Devil.

Most John Thunstone stories featured familiar stories, like a demon possessed seance and so on, but one in particular featured a unique enemy, the Shonokins.

The Shonokins were the original rulers of North America, descendants of Neanderthal man displaced by American Indians. This fear that the land we live is ancient and unknowable and we just arrived on it and don't know any of its secrets is common to settler societies, who often hold the landscape with dread, as in Patricia Wrightson's fantasies of the Australian Outback. It was easy enough to transport the hairy cave people from the Scottish Moors to North America. I suspect that's what they are, a personification of a fear shared in the middle class, that in the back of their minds, that everything they have supposedly earned is merely an accident of history, built by rapacity and the crimes of history, and that someday a bill will come due.

A text page in the May 1942 issue of Weird Tales gives strange additional information on the Shonokins not found elsewhere:

Since then, there have been too many examples of evil cave people who predate Europeans. Philip Jose Farmer's "The All White Elf" features the last survivor of a pre-European people who live in caves. A lot of other fiction of course has featured the Picts, but according to our modern scientific understanding, which describes them as much, much less exotically, as a blue tattooed people not too different and practically indistinguishable from the Celtic tribes that surrounded them, and which they eventually blended into.

[carlyraejepsans]

UTY!Flowey, "lore" and how to criticize a fan prequel without being an insufferable pedantic, a guide by Biscia.

(for my muskless fellows, here's a transcript of my thread on Undertale Yellow that I posted on Twitter. enjoy!)

There's this really frustrating attitude in fan spaces i like to call "lorepilling" where people are substantially more concerned with encyclopedic knowledge of details & minutiae (so called "lore") in place of full-text thematic/narrative analysis as if the two are mutually interchangeable.

It's especially common in large franchises and story heavy videogames, and it's like... Are You Treating This Piece Of Art Like A Trivia Battle Or Are You Treating It Like A Story

This is coming from a person who is also deeply autistic about UTDR trivia btw, I'm just saying that when it comes to transformative *stories*, depending on the impact it has on character, themes, and narrative structure... lore is expendable.

Ultimately this is why most of the UTY criticism i see (on twitter specifically) falls flat. What does it matter if "lore" means Flowey couldn't chronologically be there when the justice human fell, as long as the game narratively justified his presence in the story in a compelling way?

The real criticism, in the end, is that it didn't.

He's a plot central, main cast character from the canon returning in a cast of mostly OCs and what does he have to show for it? An admittedly sick boss battle in 1/3 endings, sure but... not much else. He has no significant "presence" in the story, no tie, interaction, or even just... an opinion on the rest of the cast. Which is a huge miss when Flowey's meta role is to be Thee completionist player mirror. He's the OG lorepilled UT fan! He's an opinionated little shit!

This isn't to say that UTY *didn't* engage w/ his metanarrative. When me and @a-town-called-hometown first started playing the game (we were both skeptical of Flowey's inclusion), he immediately said "It would be really cool if they made it so this has been going on for a while and Clover has no idea". Which is precisely what the game did in the neutral ending, and what I will openly say was the most well written & well executed part of this game's story...

...a part we almost didn't see, because the pacifist ending disappointed us so much we lost all will to replay.

To put it in the words of my friend Mel @clowwwnbytes, there's a deafening hollowness to UTY Flowey's motivations & core principles where his guilt towards Chara—and resulting black and white thinking—should be. You're telling me Mr Kill-or-be-killed, "sacrificing yourself to do the right thing is stupid", would stand there after 1000s of failed attempts to make Clover survive, look on as they make the same mistake Asriel he did, and fondly call them friend? Cue the guitar, roll the credits?

He would lose it. Oh my god he would lose his goddamn mind, he would throw the nastiest temper tantrum in the world. Are you serious? How dare you. How DARE you. All this effort, all my patience, and you just let yourself DIE for a few worthless idiots? I should've let you ROT!

*clears throat* sorry got a bit too into character. as i was saying.

I can understand a UT prequel wanting to distance itself from the canon Chara storyline in order to form its own identity, but then turning around and choosing Insane About Chara The Character™ for a sidekick is... far from optimal. In the end, Flowey comes across as underutilized and inconsistent, with a whole lot of wasted potential.

This is an issue I have with UTY's character writing (original AND returning) and story structure as a whole. Lots of inconsistent character arcs, tonal dissonance, overuse of situational sadness... it's an amateurish work, after all, and you can feel it. There's no shame in that.

(Though, there ARE some issues that i take more seriously with its writing, especially when it comes to its two main female characters—Ceroba's lack of narrative agency and depth borders on misogynistic writing imo. But that's a topic for another day)

Over all, UTY was an incredible piece of collaborative transformative work, with gorgeous art and a genuinely incredible OST, which... would have benefited from more experienced writers. But hey, you can only ever learn by trying!

For all it could've been a better story, it certainly did not fail to entertain: both when my friend was playing it, and after in our many discussions of its writing, its faults and how it could've been improved (royal scientist!ceroba character fix you will always be famous. to ME!)

I'm sure this project served as an incredible source of experience for the developers: as individual creators AND as a team. I look forward to their future projects!

but also if i have to see another person say UTY is better than Undertale i might turn into The Jonker.

end of the essay! really couldn't stand any of the pedantic ""criticism"" I'd seen of this fangame so far, so i had to say my piece as someone more versed in analysis. happy to elaborate on anything in the replies or in my inbox!

[nyuuronfly]

On Rain World lore and it's implementation within the game.

This is kindof a random ramble I went on in a Discord chat and just feel like sharing elsewhere. (also note this is all primarily in reference to the original game, Survivor's story.)

I honestly think too many miss the forest for the trees a bit with RW, in terms of how important the lore is, if that makes sense. I talked with somebody about first-time experiences with the game and they said they'd watched a number of lore explanation videos on YT before starting, because of some reason along the lines of "I didn't trust the game to deliver its own story properly." To me this is almost saddening to hear because I really feel that misses the point of why the game has it's lore to begin with.

To me, while playing, any tidbits i learned about history or other information contributed to a feeling like the world I was navigating had a very real history that saturated it, yet one that I would be unable to grasp fully. It is an illusory feeling of realness, given how it is experienced. The game is mechanically not designed to incentivize collecting many information pearls, especially when in the original game you can literally just drop them off a cliff and lose them forever. You get the feeling often like you are bound to never be able to get everything, nor would you even probably want to put in the effort, so the illusion actually stays stronger because of that. Your mind wanders speculating about every little detail, whether intention truly existed behind it or not, because it feels like it did. You learned that it might have. Maintaining that illusion while playing I think is the primary reason they were included, not actually the experience of "knowing" the history. Rain World in general seems to have a thematic fixation on the simple idea that individuals have limited perspectives. Joar Jakobsson has said that one of the core ideas behind Rain World was to recreate the life of a "rat in Manhattan." That is to say, a creature that understands how to find food, hide, and live in a complex man-made structure, that cannot understand it's structuring purpose or why it was built. The very core issue of the iterators, is that the solution to the "great problem" intrinsically has to lie with knowledge that could only be obtained from "the other side." They are corporeal beings trying to know something that pertains to something outside corporeal reality. Yet pursuit of knowledge is very important to creatures like ourselves. Collecting any individual pearl is mostly an exercise in doing a lot just for little bits of knowledge. There is a lot of understanding of just how significant wanting to know more is, even something unimportant, when you are left in the dark the way you are in the game. Most information pearls you deliver are literally completely useless to know about, but they feel personally important, especially in how finding them relates to your connection to the iterators. My primary motivation to find pearls in my first play was to spend more time with Moon. On a very real emotional level, Moon felt like my only friend in the world while I played. On a mechanical level, she does literally nothing. But Rain World manages to operate on a very emotional, even instinctual level with how it's designed. I wanted to be in her company and have something to give her. Because I am alone, and lost. So something along those lines is why I felt saddened to hear the sentiment like Rain World somehow "fails" to deliver it's "story." The purpose of the game is not to find pearls and hear about some grand narrative. At it's core, Rain World is a game that's design was inspired by nature, and it's use of history within the world relates to us as a player the way history relates to us as people. It is relayed through people reading from records created by parties with their own perspectives, and connects us abstractly to a sensation that there is more out there than our own lives. That is a feeling you have as a player, and ultimately the true story that Rain World tells is the memories you have playing it. What you did, saw, and felt. The same as how our story is that of our own lives. That is the purpose of the game.

[sabersandsnipers]

Halsin Building a Crib

@inmyloveworld continues to feed our shared Halsin obsession

The thought wakes you from a deep sleep. You sit straight up in bed, a small panic gripping you. Halsin stirs beside you at the sudden motion.

"Halsin," you gasp, grabbing his massive bicep. He sleeps on his stomach, face buried in his pillow.

"Hm?" he mumbles.

"Where is the baby gonna sleep? We don't have a crib or anything!" Your voice is both a whisper and a scream.

His eyes crack open a bit at the concern in your voice. His large hand slides over your swollen belly, rubbing slow circles along your taut skin. "Don't worry about that right now, love. We'll figure it out."

His words do little to satisfy your worries. But you listen to your husband and lay back down. He keeps his hand on your belly. The act is almost protective.

Little to your knowledge, Halsin immediately begins plans in his head to build a crib. His woodworking skills give him the expertise to build a safe space for your baby to sleep.

He gets to work first thing in the morning, after making you your favorite breakfast. He leaves your shared cabin and sets out to the thick forest surrounding your home.

His first task, and perhaps the most important one, is to find the perfect tree. He takes his time in choosing, taking in the height, width, and ensuring he'll have enough material to work with. Once he finds what's he's looking for, he sets to work.

He grabs his axe and begins swinging. He’s quick to work up a sweat, so he peels his shirt off and tosses it into the wheelbarrow next to him. The strain in his muscles is a welcome one. Even as more years wear on his bones, he always finds solace in a hard day’s work.

In the midst of the continuous swinging motion of his axe, his mind wanders. And, of course, it always wanders to you. He thinks back to the moment you shared with him your belief you were pregnant, and the joy that rang through him at your words. He thinks of the first time he felt the baby kick, and how he felt the overwhelming need to protect you two.

Throughout his long life he's always known he wanted to be a father. But the world is cruel, and after all the events he had been through, he never thought he would get the chance to share this kind of life with someone. Until he met you. Singlehandedly being the most exceptional creature he ever laid eyes on, he was eager to start a family with you. And you were happy to give him that gift.

Once the tree has been felled and cut into workable pieces, his hands are quick to work. He shapes the pieces into their desired sizes. He carves patterns into the wood.

The sun is nearly setting by the time he’s finished. His back aches but he can’t stop the smile on his face as he admires his work. He knows you’ll be expecting him about now. He told you he was going out to hunt for the day.

You’re curled up in front of the fireplace when Halsin returns, a warm mug of tea in your hands. You hear his heavy footsteps outside the door and excitement sings within you. Your heart already aches to see him even after spending the morning together.

He swings the door open, shirtless and sweaty and covered in wood shavings. Butterflies race through you at the sight.

“What on earth have you been doing?” You ask him, a little breathless due to the sight before you.

He grins. “I’ve got a surprise for you.”

Your heart flutters at his words. He disappears outside for another second, before carrying in a beautiful crib. Your jaw drops as you stand and make your way over to the gorgeous work set in front of you.

You slide your fingers along the smooth finish, appreciating its sturdy structure. Images of ducks and bears are carved into its siding, and the sight of it nearly brings tears to your eyes.

“I don’t know what to say, Halsin,” you tell him. You meet his gaze, and there’s a slight tinge of red to his cheeks. A shy Halsin is a rare sight, and you’re overwhelmed with the need to hold him.

You step forward and place a long kiss to his cheek. His hands instinctively find their way to your belly. Once you’re able to see pull yourself from the warmth of his skin, you pluck a wood shaving from his dark hair. A small laugh leaves his lips.

“Thank you,” you say, gratitude surging through you.

He grasps one of your hands and brings it to his lips. “You and the baby are my world now. I would do anything for you.”

A sweet feeling stirs within you. After the horrors of your past, you never thought you could find a life of peace. Yet here you are, living a life with Halsin, and growing the promise of a future inside you.

[comicaurora]

In your asks and other outside-of-comic statements, you seem to draw on parallels to programming a lot when talking about lacrimas.

And this makes me think as a programmer: the primordial rules that are used in Auroras to do magic and lacrimas are part of the primordial language. You are literally telling the primordial's dead bodies what to do, and they obey.

Yet, the difference that comes to my mind is that Primordial was at one point a language actually spoken. Used to communicate in day-to-day life by normal sentient beings. That's quite different from programming languages, which aren't meant to be talked in at all, and are built from the ground up purely to convey a series of precise instructions. They're very formalised and structured. There are no synonyms, no double meanings, no altering of word order, no redundant information etc. It's extremely rigid, much unlike languages people actually talk in, for which a degree of fluidity and ambiguity is essential.

And in Aurora it would seem the latter is being used as the former.

Have you ever thought about this tension/contradiction/conflict? How it affects the world, how it affects your writing, etc?

Or has this distinction never crossed your mind?

Or was this something you have noticed, but never really had the right knowledge to engage with much?

Or any other thoughts on the subject, really

So! This is an interesting thing I have actually thought about.

When the Elder Races were first created, they were born knowing and speaking a language innovatively called the First Language. Every new Young Race is also initially created speaking this language. The language then drifts over the generations, developing into regional dialects and then into separate linguistic descendants if given enough time.

The Ancients spoke a close descendent of the First Language for most of their time in existence, and made a writing system of their own very early on, which has no innate power. But in the early days of the world, the generally accepted story is that a god granted the three elder races knowledge of the written Runic language, which could command the elements. The Ancients acquired it late and used it very sparingly, only for the programming of lacrimas, but for the Elves and Humans living in the depths of the Caves, this was their first and primary writing system. It's even possible that a rare cave-dweller brave enough to venture to the surface was the one who taught the Ancients these runes in the first place.

It's posed an obvious question, of course. Why does this one specific form of writing manifest as a language of magic? Why can it command the dead Primordials? Why is it so well-suited to the phonemes of the First Language that every child of this world is created speaking?

The predominant theory - and, with two living primordials to check with, one which is potentially on the cusp of being proven - is that the First Language and its runic writing system are the language that the Primordials spoke. Its words, written or spoken, can be understood by the remnants of thought that still linger in the sleeping, dead-but-not-entirely-gone primordials that make up the world.

Primordial magic is different from programming in one key way: real computers are entirely unthinking entities. They are not in any way smart - not even smart enough to be stupid. A computer parsing a program cannot observe a missing parentheses and compensate like a human could do in their sleep - it simply fails to parse, because the mathematics don't work out.

Magic in this world is like what every programmer wishes programming could be. Tell the computer what to do, and it might be a little confused, but it'll get the gist. Tell Fire to burn in this direction - Fire, even if it's just running on an echo of a seven-thousand-year-old memory, knows what that means. Tell the wind to printf this statement to this recipient, it'll try to find them and send the message. Tell Life to make this body do what it's doing faster, it can do that. It's simple executions of simple commands, almost reflexive - things that require no complex higher thought from a being that is no longer alive enough to have them. They're not as unthinking as computers, and that means the nuances of language can actually have an effect on them. Some mages think more poetic and emotionally-charged spell invocations can lead to better, more efficient results - an appeal to a long-dead emotion might be easier for the Primordial to execute than an appeal to a half-forgotten complex thought.

When a mage takes direct control of a magical energy and funnels it into an elemental effect, their own higher thought allows the element to do more complicated things - Fire can't transmute on its own like it could when it was alive, but it can when bent to a mortal will. No need to translate a spell into the language of magic when the mage can simply use their own mind to shape the effect. This is the primary advantage mages have over lacrima-users - flexibility, complexity, and speed.

Another interesting factor. Alinua's dynamic with Life demonstrates what a living Primordial's living thought can do when in the hands of a mortal. A normal, simple healing spell cast by anybody but her just accelerates a body's own healing, but with Alinua's guidance steadying Life's hand, they can do much more complicated things of her own free will - things Life knows how to do that no mage knows how to command her to do.

[mitsies]

proposal ; satoru gojo

gojo satoru proposes quite often. each time, it all goes terribly wrong.

satoru gojo x gn reader, proposal, established relationship, parenthood (later!!), dad!gojo, 5+1 trope, so much fluff!!!

the first time gojo satoru asks you to marry him, he ends up nearly choking to death. he recalls it with a faux bitterness, and you with indignance and a tinge of amusement.

it was a fancy dinner restaurant, with low-hanging chandeliers and the aroma of obnoxious perfumes. people clothed in dressy designer gowns and suits flocked the bar and tables. you watched them as you sipped your drink, wondering what they were doing here tonight.

"that man with the red spotted tie? i bet the younger lady he's with is his mistress."

gojo's words made you choke back a laugh. his voice was low, to avoid anyone overhearing. he smiled at how your lips pursed to hide your smile.

this was your favorite game- you would find a person to observe, eyeing them, and gojo would follow your gaze. he'd then create a backstory for them- a game of fill-in-the-blank based on their actions and appearance.

the both of you would often go on fancy dinner dates (with gojo being vain and rich and enjoying dressing up, and with you benefitting from him being happy,) but today was a more momentous occasion. it was the two of you's 6th anniversary of dating.

you weren't expecting much, nor did you want a lot. just the regular flowers, sub-par wine, and overpriced food would do. you were content with his presence and no greater plans.

gojo, however, had other ideas for today. without your knowledge, he'd coordinated with the kitchen staff to create a secret proposal scheme- and he did a damn good job if he said so himself.

a large, gaudy, and expensive ring was stowed away inside a cupcake of your favorite flavor. there'd be two to share, and when you bit into it, you'd discover his proposal and say yes. that was gojo's plan, anyways.

when the plate of sweet treats were brought out, they just looked too good. gojo couldn't help but have his right away too- after all, it was best to avoid suspicion, right? so he popped the whole thing into his mouth like a pill.

and gagged. loudly.

a piece of fine silver, an immaculately cut and expensive diamond, and the tiny lapis lazuli studs in the form of a gaudy engagement ring was lodged in his throat.

at this point in the story, gojo typically pretends to forget what happened afterward. you would laugh and explain to the audience that he did, in fact, have to get heimlich-maneuvered by an elderly man. he ended up spitting out the ring and you never even knew it was there, assuming he was choking on his overly-chewy steak.

that date ended with an unpaid bill, apologetic staff, and an embarrassed couple. 'an ultimate success', gojo would chime into your story, since he 'got you in the end'.

you'd snort a laugh and push his shoulder playfully. 'more like an ultimate fuck-up', you'd smile. he would grin right back at you, brighter than a diamond.

the second time gojo satoru proposes, you get hit by a car.

it's a warm, sleepy day in thailand. gojo opted to take you with him as his plus one to some stuffy clan event being held there. instead of attending the event fully, though, the two of you decide to leave 10 minutes in to roam the unfamiliar streets.

the sun is about to set and it's held in the sky by the clouds, cradling it like a child. the world is alight with oranges and the streets are quiet. it's an abandoned little town, the one you end up in.

the buildings are dilapidated and birds nest in the rafters of old structures. graffiti decorates the walls and empty boxes line the streets. vines and flowers and grasses bloom and blossom through the cracks and creases of the decaying village, like nature was reaching back into the world to take what was hers.

your formal wear was itchy on your skin but you really didn't mind, as you laughed like a fool as satoru made stupid joke after stupid joke. his smile was enough to rival the setting sun as he beamed at you as if he'd never seen anything more beautiful.

gojo, who'd been a few paces ahead of you, falls into step next to you before grabbing your hand to get you to stop walking.

he says your name and it's more gently than usual. "look at the sky," he whispers, like it's a secret.

you look up to the expanse of tumbling clouds and the streaks of dusk and you're left breathless by the unusual serenity of it.

"it's not half as pretty as you." gojo is so quiet you almost can't hear him, but you smile a little. you turn, about to make fun of him for being cheesy and cliche, and then it's all a blur- you see satoru, on the floor for some reason? and you hear jingling and satoru shouts something and- 'bam!' gojo would pantomime, gesturing an explosion with his hands.

you'd roll your eyes before continuing the story. an elderly driver with a done-up and ancient, creaky, rickshaw had slammed you into the pavement and kept on driving.

you lay, dazed, back on the ground. gojo appeared in your vision, blurry and doubled. panic is prominent on his face, and you feel his hands on you.

for a few minutes, as gojo tries to manage both his own anger at the old driver and the fact that his partner just got hit by a rickshaw going at 100 miles per hour.

he helps you sit up, and you do so slowly. you're still seeing doubles of everything and the word is spinning and your head hurts like hell, but you don't think your bleeding, and gojo is slowly coming back into focus so you're probably, maybe okay.

'it was traumatizing,' gojo would narrate, 'blood everywhere, guts on the floor, everything.'

you'd smack gojo's shoulder and he'd cackle like a fool.

'it wasn't bad,' you would state, 'he's making it seem like i was on the verge of death. i was not.'

'i was not,' gojo mimicked. you'd shove your shoulder into him and he laughed, wrapping an arm around your waist.

this story ends with you in the hospital with a minor concussion and gojo stashing the engagement ring in his suit pocket and tucking it into the depths of his overly-stuffed suitcase.

'god, you getting hit by a car-'

'rickshaw,' you corrected, 'not a car.'

gojo side-eyed you. 'like i said, a car, was so inconvenient.'

you glare at him, and you hear your audience laugh. 'next time, the car is going to be hitting you. and it won't be just a concussion.'

attempt number 3 is less painful for you, but incredibly embarrassing for gojo.

it's snowing on the school campus. you and satoru observed as maki beat the shit out of yuta, as per usual. you wince as a particularly brutal blow strikes him.

"jesus, she's not holding back."

gojo smiles. "i wouldn't want her to. how else is he meant to learn?"

you raise an eyebrow. "i'm surprised you're allowed to be a teacher."

"me too!"

the silence pursuing your words is comfortable, the only thing breaking being the loud smacks coming from the field until gojo says:

"i'm sure they'll be fine. want to go for a walk?"

you tsk as he stands from the bench you are both sitting on. "now, what kind of teacher would that make you, satoru?"

"one with priorities."

you smile and take his extended hand. "damn right."

your walk is quiet. neither of you speaks much, and you're both happy that way. sometimes, silence is lovely.

gojo is not quiet around many. he is, by nature, loud, and that is something he hadn't grown out of. you feel a little blessed that he can find it in himself to be peaceful when you're around, though.

he's holding your gloved hand but you can still feel the cold emanating from his palm as he leads you through a grove of leafless trees, just behind the school campus.

"i love the snow," he says at some point.

you hum in agreement and steal a glance at him. satoru looks angelic in this scene, under a snow-filled tree, like a heavenly deity that you had the honor of encountering.

you turn your face so he doesn't see you staring. you've been together for years at this point, but you don't feel like embarrassing yourself at this moment.

when satoru lets go of your hand, though, you turn back around from your faux-examination of the winter scenery- just in time to see a big cloud of snow from the tree drop onto gojo's head.

he collapses from his place on the ground (why was he on the ground?), and he looks like a surprised deer. only his head peeks through the pile of white around him.

you stare for a beat before breaking out into laughter, so hard it makes your ribs hurt- and in the distance, you hear even more people laughing. you glance around to see the current 1st-years, yuta, maki, inumaki, and panda doubled over in laughter. panda had a phone out, presumably recording the whole scene.

'i should've killed him,' gojo grumbled, and you snort.

'too bad. he'd already sent the video to everyone, so that wouldn't really help your case.'

'maybe it's not too late.'

'i think it is. it's all okay though, right? because it all worked out in the end?'

you batted your lashes and gojo huffed at your blatant mockery of his previous words.

'well, i suppose you were worth it all. just barely, though.'

the final failed proposal was gojo's last ditch attempt at making it romantic.

it's your average day, about 6 months after the last mishap. spring flowers blossom all around your little picnic blanket as you smooth it over the grass. satoru places the basket over in the corner and began to unpack it.

it was one of the rare days when you both had a little time off, so in honor of the good weather, you and satoru opted to spend a while outside.

what you don't know is that satoru has a skywriter scheduled to come out in 5 minutes, to pull across a banner asking you to marry him.

and what satoru doesn't know is that the company he'd booked had a 2-star yelp rating.

so, when the skywriter dances across the blue canvas with a grey trail of letters following it, your name is spelled wrong. very wrong. to the point where it's unrecognizable.

"gertrude, will you marry me?"

you read out the words the skywriter spelled out, and smile dumbly. gojo wants to gouge his eyes out. "good for gertrude. strange name, though."

and then it starts raining. like, really raining. torrents of water rush down from the sky out of nowhere, soaking the both of you in a matter of moments.

"okay, well," gojo tries to conceal his disappointment, "i guess this was kind of a bust."

but you smile at him and he's not too upset anymore, because how could he be?

"there's always next time, satoru. could you help me with the stuff?"

the both of you rush to clean up your picnic. and then, you hear a rumble of thunder in the distance.

the hairs on the back of your neck rise and you think satoru feels it too because he grabs your hand and tugs you away. "i think we should go-"

a loud, crackling noise followed by an astonishingly bright light strikes the place where your picnic blanket used to lay. a small stream of smoke billows, before its vanquished by the water.

gojo looks at you. you look at him. and wordlessly, the both of you leave the park as quickly as you can.

(what neither of you realizes is that a little box with an over-the-top engagement ring was left abandoned at the park that day, never to be seen again.)

without the engagement ring, gojo isn't quite sure what he's meant to do.

he could try again. he could buy another one. but honestly, the demotivation he's feeling wouldn't do anything for his proposal skills. he is feeling very much slumped.

it's a week after the picnic fiasco, and life has been as normal for you. but for gojo, he's been stressing over everything for what feels like an eternity.

it's the last friday of springtime when he comes home from teaching to you laying on the couch. you're reading a book with a red cover in your flannel pajama pants and his oversized t-shirt. you look so good, and gojo doesn't know what to do with himself so he just stares at you from the doorway like some creep before entering your shared apartment.

he calls out a greeting to you and you reply in kind, asking how his day was. he keeps the conversation going as he showers, calling out his replies. he returns in his own overpriced loungewear and slides next to you on the couch.

he lays his head on your lap, looking up at you. you diligently and wordlessly rearrange to make this more comfortable for both of you.

the last rains of spring are pounding against the windows of your home, and the sky outside is dark blue. the yellow lighting of the lamp casts a warm glow on the two of you, and gojo thinks it brings out your eyes, and he doesn't know what he's saying when he says it but it's spoken nonetheless:

"i want to marry you."

you don't react in the slightest, flipping the page of the book you're reading and working your free hand through gojo's hair. but he doesn't miss how your movements falter for a moment, just a second.

"haha. funny."

gojo sits up. you're looking at him now, and he sees a flicker of confusion flit across your face.

"i'm serious. i mean it."

you blink. "you want to marry me."

he nods.

"oh."

"so..." gojo scoots back from you on the couch, so he's not in your face. "this is me proposing."

and then he waits. he waits for the burglar to come in and shoot both of you in the face. he waits for the microwave oven to explode in the kitchen and set the apartment on fire. he waits for the ceiling to collapse and bury you both in the rubble. he waits for you to say no.

"then i guess this is me saying yes."

but he is waiting for nothing. he smiles at you, so brightly that he could illuminate the stormy nighttime sky. and you kiss him, this boy made of diamond, as if he's going to disappear.

'i was so smooth, you can't lie,' gojo said with a stupid smirk.

'you're right, i can't lie. and you weren't smooth. at all.'

two little voices giggle and your heart was infinitely warmed.

you and satoru were sat telling your story to your young kids, aged 6 and 7. it was late on a wednesday, and you'd run out of stories to tell, so you resorted to the undoubtedly entertaining tale behind your engagement.

'you're so silly, dad!' said your 6-year-old daughter shigure. she had recently learned what the word 'silly' meant, so obviously it had to be used in every sentence ever. 'so so silly!

satoru ruffled her hair and you were taken for a moment at how similar the two were.

your 7-year-old son, fuyuki, interjected. 'i'm too old for bedtime stories now but i like this one i guess.'

you raised an eyebrow. 'oh, really? i guess we won't read you them anymore. y'know, since you're too old and cool for them-'

'no! i was just kidding!'

you snort. 'okay. i see.'

satoru stood and you followed suit, wishing the children goodnight before shutting off the lights in their room.

your husband sighed before stretching and cracking his back. he winced at the sound.

'you really are getting old,' you said lightly. he glared at you playfully.

'says the one whose hearing is giving out already.'

you waved a finger at him. 'that is a direct result of getting hit by a car-'

'rickshaw,' satoru corrected.

'a car,' you repeated, 'which, by the way, is technically all your fault.'

satoru groaned as you both made your way to your own bedroom. 'that was forever ago.'

'still feels like yesterday.'

'sure it does, grandpa.'

you were, at this point, by your bedside. so you threw a pillow at him.

he (almost) caught it and threw it back onto your bed. 'get in, spouse #1.'

you exhaled a breath of laughter. 'you first, #2.'

the night was cold as you slid in after satoru, and in all honesty, he was even colder, but you couldn't find it in yourself to care.

your head laid close to his chest and you could feel the rising and falling of his breathing. you tried to match it.

'i'm glad i asked you.'

his voice was out of nowhere. you raised your head to look at him inquisitively.

'i mean,' he amended, 'i'm glad this is how things ended up. really glad.'

you thought about your life. you thought about how you met, about the restaurant anniversary, about the crazed rickshaw driver, about the video of gojo losing to the snow, about the lightning and your failed picnic, about the rain against the windows and the color of the book you were reading, about everything from then til now.

there were so many words you could have said to tell him about how much you agreed. but you opt to return your head to his chest and listen to his heartbeat.

'i'm glad too,' is all you said. he already knew.

the name shigure means rainshower in late summer, winter, or autumn.

the name fuyuki means wintery tree.

[somethingusefulfromflorida]

My mom bought me this book for Christmas

The Resurrectionist by EB Hudspeth, a fantasy field guide full of anatomical illustrations of monsters and cryptids.

The musculoskeletal systems are fun to look at, but not nearly as in-depth as I would have liked. If you have more than a passing knowledge of taxonomy (or in my case, access to Wikipedia), a lot of the details fall apart under scrutiny

The harpy has four upper limbs connected to one shoulder girdle; it shouldn't have arms, only wings

The sphinx is not classified as a mammal, but is still somehow in the family Felidae with cats (and like the harpy is also drawn with only two girdles despite having six limbs. I will give the author credit for giving the sphinx a keel for the wing muscles to attach to)

It lists the Hindu deity Genesha as a cryptid, which is a no-no.

Cerberus is also explicitly not a mammal, but somehow still a canine (literally in the species Canis with wolves, dogs, and coyotes)

Both mermaids and dragons are listed as members of the order Caudata; the only extant members of Caudata are salamanders, which kinda makes sense for dragons, but not so much for mermaids (also, the author keeps playing it fast and loose with cladistics; both mermaids and dragons are in the same order despite being in different classes, and while dragons are explicitly said to be amphibians, mermaids are given the fictional class mammicthyes, which means mammal-fish. At that point, why not just call mermaids amphibians? Why make up a fake latin hybrid name?)

But what bugs me most of all is the classification of the Minotaur as its own order of mammal when in mythology it is explicitly described as a hybrid of two known species (made possible only by the cruel machinations of the divine, but still)

To use actual taxonomical nomenclature, the minotaur's species would be B. taurus × H. sapiens (specifically B. taurus♂ × H. sapiens♀; there are, to my knowledge, no legends of H. sapiens♂ × B. taurus♀). That's how ligers, tigons, mules, zorses, pizzly bears, narlugas, etc., are described.

If I had written this book, I would have leaned more into evolutionary biology. Most land animals have four limbs because they all evolved from boney lobe-finned fish, which split off from the boneless sharks and rays millions of years earlier, so any six-limbed vertebrates would need to be descended from a fictitious category of six-finned fish which would either be an offshoot of boney fish/tetrapods (I guess they'd be hexapods, though that term refers to insect arthropods), OR a precursor to boney and cartilaginous fish that both clades split away from much earlier (it's easier to lose structures than to gain them, so it makes more sense for a six-limbed ancestor to spawn four-limbed descendants than the other way around).

Think about how different elephants are from humans, and humans are from aligators, and aligators are from penguins, and remember that they all evolved from the same ancestor tiktaalik, an amphibious fish that existed some 375 million years ago. Imagine a precursor six-limbed species and how diverse all its descendants would look after 400 million years. Save for the occasional instance of convergent evolution causing two unrelated species to independently evolve similar body plans to fill the same niche, tetrapods and hexapods would look nothing alike. There would be very little recognizable overlap between the two. A six-limbed "pegasus" would not look like a real world horse, and a six-limbed "dragon" would not look reptilian/dinosaur-ish, for much the same reason that giraffes don't look like frogs; they're just too distantly related. Bonless sharks and boney fish and whales/dolphins all have similar looking bodyplans only because their environment requires the same hydrodynamic shape, while terrstrial vertebrates are much more physically diverse.

[mimi-cee-genshin]

Old words unspoken ‘til now: Neuvillette; heartwarming, spoilers from his story quest, 0.7k

Imagine you were a history and literature enthusiast in the world of Teyvat. You collected books -old books- and you tremendously enjoyed the archaic language written between the dusty covers. The terms used, the odd sentence structure as well as the punctuation were all hindrances to the common person. With phrases slightly off-putting to the contemporary palate, one could hardly persevere through a single page.

Yet you, on the other hand, would read these books aloud with flair and drama, causing strangers to raise a brow and your closest friends to share a knowing smirk. As you walked along by Palais Mermonia, quick on your feet to run a commission, you heard a word you'd only read in the book located on the third shelf away from your fireplace.

The word? An insult. The equivalent of calling a person a buffoon.

Of course the one receiving the insult was oblivious to the fact that he was indeed insulted, as if it never occurred to him that it could be anything but a compliment. But as you listened to him wail and complain about how a certain Melusine failed to meet his petty expectations, you understood the drama that had reached your attentive ears.

The great Monsieur Neuvillette was understandably upset.

You had never forgotten the spectacle. You tucked it into a corner of your memory, next to the lines of an obscure but cherished theatre script written centuries ago. The single word brought you back to a different world that separated you not by space but by time. Old Fontaine, with all its flaws, also contained stories of bravery and love in its pages.

Then when you happened on a rare chance to greet Monsieur Neuvillette himself in person, you seized the opportunity for an experiment. A harmless one of course.

You quoted a line from your favorite play.

It was a typical form of greeting when directed to a respectful gentleman such as him. But the archaic saying revealed a brief shock in Neuvillette's eyes, just as he received the completed commission from you. He continued on with business as usual, not thinking much of your words. Yet when another sentence flowed out of your mouth, he could no longer ignore his heart. His smile could hardly be contained at hearing the equivalent of his mother tongue, the mode of words when he first lived among humans. Your intonations brought him back to his early days with Vautrin and Carole, of small gatherings and outings with those he cherished. A warm soupy aroma had wafted from the kitchen of Vautrin's mother and young children had giggled with the handful of Melusines he first brought over.

And without knowing, Neuvillette replied you. He replied in that old Teyvat language, with idioms and speech patterns he scarcely spoke ‘til now.

Your eyes grew wide, and then were replaced by an even wider grin. With glee, you spoke to him the language you only read from books, almost a little bashful from the excitement in your own voice.

He asked where you learned to speak that way and you spilled out your vast knowledge of centuries old literature, those cherished tales of characters you loved. In turn, he gave you insights into the settings and culture at the time for each of the stories you shared. And mid conversation, you couldn't help but feel the urge to write them all down.

As the people walked by you outside the Palais Mermonia, you continued to speak in a way that was unknown to the expanse of the current human world. It was awkward at first for Neuvillette, not having conversed this way in so long. But the more he spoke, the more natural it felt, and the words and phrases on his tongue made themselves home in him once again. The place in his heart that was long forgotten was brought to the surface for him to enjoy once again. It was a marvel to behold how a mere few phrases had uncovered this abandoned treasure.

So when the day was done, and the hours had passed from the moment you'd shared your good-byes, Neuvillette once again reflected on his former years. They were painful memories, but there was great joy in them as well. And you had just gifted him with a warm experience he couldn't have foreseen. An encounter that led out a forgotten part of his being.

A place he called home.

Thanks for reading! This was pretty different from my usual writing style and format, but I hope you enjoyed it.

[writingquestionsanswered]

Trouble Making Stories Work

Anonymous asked: I keep getting stuck on ideas. I can pick out one base idea to work with but can't get further than that. I could get an idea for a external conflict, but no ideas for the characters or stakes. It doesn't matter if I get an idea for a conflict first, a character, a world, or a "what if" scenario, it all just stops after that. Do I just not have enough creativity? I've been wondering if storytelling is for me at all... I have read your Creative Well stuff multiple times. I do have one, but it doesn't always have what I need. And it takes time for things to get added. If I'm working on a story and get stuck, I need ideas as soon as possible. I can't really use my time watching movies and going on walks and hope for some ideas when I need them when I'm finally at my computer trying to write. It's not often I'm able to get myself to do it.

(Ask has been edited for length...)

If you make sure your creative well is full, and stays full, and you still struggle with ideas in the moment, the problem is that you don't have a solid enough understanding of how stories work. The ideas don't go anywhere because you don't know what to do with them. You don't have a solid enough grasp on internal conflict, external conflict, motivation, goals, internal wound, plot points, story structure, character development, and world building to know where to take each idea. It's a little bit like loving cars but trying to design one without knowing anything about car construction.

I really wish I could just say "do this" or "do that" and it would magically solve the problem, but there's no quick solution. You'll have to spend some time learning about your craft before you can bring these ideas into full stories. The more books you read or listen to, the more you'll understand how stories work. You can also read writing books and articles, and watch writing videos.

While you're doing that, you can continue to work on your current stories. Pushing your brain to come up with solutions is actually helpful, and the more you fill your brain with craft knowledge, the easier those solutions will come. Here are some posts that will help in the meantime:

Fleshing Out Plot Ideas Turning a Barrage of Ideas into a Plot How to Turn Ideas into a Story Finding a Story in Characters and Setting Finding a Plot to Go with Characters/Setting Can Come Up with a Back Story but No Plot Want to Write but Can’t Come Up with a Plot Guide: How to Turn Ideas into a Story Guide: Starting a New (Long Fiction) StoryGuide: Filling in the Story Between Known Events Guide: How to Outline a Plot Basic Story Structure Beginning a New Story How to Move a Story Forward Plot Driven vs Character Driven Stories Understanding Goals and Conflict

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[physalian]

11 Underexplored settings of post-apocalyptic worlds

Inspired once again by my recent binge of abandoned explorations.

The greatest hits of the sprawling city scapes and farmland that feature in everything from post-alien invasions to zombie takeovers to just worlds gone by in a not-so-distant future tend to be:

Generic office buildings

Churches

Schools

Water parks

Suburbs

Famous monuments

Cruise ships

It’s come to my attention though just how many architectural abnormalities there are, in their own current post-apocalyptic states, that would absolutely befuddle archaeologists centuries from now trying to figure out their purposes.

So whether you want to go hard into “this new world has completely forgotten what came before it” or your very own and unique road trip through desolation, here’s some suggestions for cool and/or practical settings!

1. Disney/Iconic Theme Parks

2000 years from now after X disaster strikes, survivors completely removed from historical context stumble upon…. Disney World. They presume Mickey really was a giant mutant mouse, or a mouse-shaped deity worshiped by the local populace (and I mean… are they wrong?). People who might have never left the local area without planes and feasible transport, or knowledge that land across the ocean even exists, might be astounded by the buildings of Epcot’s World Showcase, or any of Disney’s themed resorts.

Water parks are done to death, but not enough emphasis is put onto how bizarre these places would look without context, even to a younger generation that has no idea what it used to be.

Orlando has a hotel with its own rainforest in a massive atrium, with ponds and boats and boardwalks inside. But, you know, I guess strolling through Chicago or New York City is cooler. It may be unfilmable, but it’s not unwritable.

2. The foundations of unfinished construction projects

The remains of an office building that never was, a veritable modern Stonehenge with how little would survive an apocalypse. Inexplicable areas of land with massive pits for unbuilt parking garages, or sprawling swimming pools and lazy rivers.

Or massive, skeletal towers that would have been the monument to a much larger estate that just lost funding. Buildings still surrounded by scaffolding, only half-complete with their windows.

3. Survivor’s encampment landmarked by a monument/hotel/theme park that was never built

In one of those abandoned videos, a company in China was trying to build a discount Disneyland and all that remains is an unfinished Cinderella Castle with steel shells of the gables… behind a modern shopping mall.

Any structure that would have been deeply out of place either in the country it’s built in, or the newer buildings that surround it, immediately looks more creative than just ‘generic strip mall’ or ‘generic high school’. And it’s also realistic, as projects like this fall through constantly, as a unique piece of your worldbuilding. Or, it did have its run as whatever the strange building was part of, and through bankruptcy and selling the land around it, it ends up being the only structure that remains.

4. Hotels that are made up as if the staff vanished instantaneously

Or, many, many Covid victims. Having your characters scrounge for resources through a hotel with beds still made, coffee cups on the breakfast tables, serving spoons and plates ready to go by the buffet. Halloween, Christmas, or Valentine’s decorations still on display.

The schedules for the final week of business still hanging in the offices, unopened mail, packages for guests still in the mail room, pallets of new soaps and supplies still in the delivery bay from the distribution center, linens still in the industrial dryers. I worked in a hotel scheduled for eventual demolition and the disrepair the interior fell into because, what’s the point of managing mold and bed bugs when it’s all getting gutted anyway, makes it super creepy knowing guests are completely clueless on the other side.

Places that have been completely ransacked and destroyed are creepy, sure, but places that are almost frozen in time despite the decay around them are both eerie, and rather dark. Cruise ships/confined spaces like ships tend to be used more for horror, but these, too, as if they’re frozen in time.

5. Cargo ships/shipping yards

An easy-ish one to film in. Looters breaking open shipping containers, or building entire communities and homes out of those containers either on land, or on the barges and ships. A community that can weigh anchor and move once resources and scavenging dries up, or another violent group moves in on the land.

Or, in the case of a viral apocalypse, a community relatively spared from the violence out on the open ocean.

6. IKEA/Furniture Warehouses and DC’s

Warehouses especially have few entries and fewer windows to secure, but as their contents (except the showroom floor) are in mint condition at the time of the world ending and probably stored in plastic and crates, they’d be relatively spared from the elements as a good base camp.

Furniture is also too heavy to loot in a panic and absconding with a brand new mattress probably wouldn’t be at the top of people’s minds as doomsday approaches.

Your little community each having their own lavish living spaces with whatever eclectic furniture they either liked or could now get their hands on for free would just be cool to read about.

7. Penthouse suites

Climbing those stairs would suck and depending on the build quality, the safety of the structure over time would degrade, but maybe your community has manual cranks for the elevators. There might be one way down, but there’s also only one way up, and you can see invaders and catastrophe coming for miles.

These places tend to be dripping in luxury your characters might otherwise have never experienced and they could either make a base there, or have a grand old time trashing the place up because the rich are dead and gone.

8. Historical forts

They lasted this long, why not a few centuries more? The fort that comes to mind is the Castillo de San Marcos in St. Augustine, Florida, right on the beach with a built-in defense wall and a huge courtyard for your community of plucky survivors.

Castles, too, though they’d likely be prime real estate for all manner of interested parties. Aging, famous forts are just never in these types of stories, unless it’s a picture of where the military used to be, now overrun or destroyed.

9. Ski resorts

Similar to the made-up hotels and theme parks, this one comes with presumably multiple buildings, potential use of the slopes and ski transports, isolation via elevation and remoteness from major cities, and the threat of bitter winters and blizzards.

Never been to one myself in winter, but remote locations for a post-apocalypse story tends to just be shorthand for “generic farm or small town,” which isn’t super immersive.

10. Luxury malls

Seen in The Last of US, it gives you a microcosm of so many different environments all slapped together and there’s no limit on what kinds of stores you could include, or all the kiosks, all the mini attractions like trampolines, kiddie parks, massage tables, and even VR flight simulators.

Maybe it has a theater tacked onto it, or a double-story book store, one of those rental spaces dedicated to fancy cars or candy stores. Great for the main setting or even just passing through, especially as they’re already a dying breed you can go ham with. ‘Luxury’ and designer items collecting dust right across from the discount store with everything for under &14.99 could strike a powerful message about social constructs.

11. Science museums

Sure you can make some poignant message about priceless artwork being left to rot, or. When I was a kid, I went to a science center with natural disaster simulators like house fires and tornadoes and a whole-ass IMAX theater where I saw Night at the Museum, the only movie I’ve ever seen in a proper IMAX dome.

There was a whole kids section with a ropes course, area for exploring the human body, a NASA-sponsored mock up space module, mock up grocery store, and little exhibits here and there about optical illusions and the physics behind laying on a bed of nails and how it doesn’t kill you. It’s just something unique and fun that your characters can interact with and gives them plenty to play off and give little anecdotes to make them feel more human.

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Point is, your post-apocalypse doesn’t have to be limited to the usual suspects. We’ve all seen the strip malls and Walmarts and suburban homes and farms. There is no special effects budget or filming restraint in a book and I’d love to read more stories set in unique and descriptive places, or just fresh takes on your standard survival camp that isn’t just “build a wall around a section of neighborhood”.

It’s the apocalypse. All real estate becomes free real estate.