#putting here because it's a great writing idea

[agoodflyting]

I'm kinda in love with the idea of a dragonborn Dark Urge who was adopted and raised by a wealthy family in the Upper City. I want a Dark Urge who had private tutors as a child. Who can play the piano. Who had servants and tailored clothes. Whose mother wanted him to become a doctor.

It makes such a fun contrast to Gortash's 'started from the bottom and now I'm here' vibe if the Dark Urge started at the top and let himself fall from grace.

Gortash clawed his way up from nothing. He taught himself to talk like a gentleman and to dress like a gentleman to hide the fact the he's common as muck. He technically only has a grammar-school education, but you'd never know it because he reads voraciously. He's not ashamed of his background, but he also wants to make it very clear that he's risen above it. It galls him more than anything to be mistaken for poor.

Meanwhile, the Dark Urge had everything handed to him from birth, and willingly gave it up to embrace his role as the prophet of the mad and the forgotten, who lives in a sewer and is constantly covered in gore, because that's what his father demands of him. He rejects his background as much as Gortash does, though for very different reasons. Death is the great equalizer. What does he need airs and graces for? Why should he mind his manners? He is Death Itself. He doesn't need to be polite or cultured. He only needs to kill.

But he remembers. Occasionally, he will thoughtlessly correct Gortash - the kind of little things you tend to pick up when you grow up rich. That's damask, not brocade. The fork goes on the left. It's pronounced Ahm-nian.

It both infuriates Gortash beyond reason and makes him wonder about his partner's background.

Once, when he was waiting for Gortash to finish writing a letter, the Dark Urge went over to the piano in Gortash's office - the one he only keeps around for the look of it and has never touched - and played a few perfect, measured scales, like someone remembering an old lesson.

On the other hand, it's Gortash, in his gold-embroidered clothes and expensive boots, who will steal an unattended apple from a grocer's cart on instinct, because a part of him has never forgotten what it feels like to go hungry.

The Dark Urge is the one who sits with perfect posture and occasionally, unthinkingly, says 'please' and 'thank you' to those he is in the process of murdering.

Gortash is the one who, when weapons and guards fail him, will put up his fists and swing for the throat or the stomach, because he knows from experience that punching someone in the face risks splitting your knuckles on their teeth.

Gortash lives in the Upper City and surrounds himself with luxury because he thinks he deserves better than the poverty that he was born into, but he can't entirely cover up the stain of the Lower City.

The Dark Urge inherited a mansion but chooses to sleep among rats and filth because he thinks it's where a creature like him belongs, but the gore he surrounds himself with cannot entirely hide the Upper City underneath.

I just love the dynamic of the gentleman monster and the monstrous gentleman ok.

[literallyjusttoa]

Realizing I also want to keep track of the songs Apollo mentions, so I'm gonna go back real quick and mention "You Send Me" by Sam Cooke, released in 1957, which he mentioned in chapter 2, and "Rise to the Sun" by Alabama Shakes, released in 2012, which he mentions in the opening of chapter 10. Listened to them both, and honestly, they're both great songs! And Rise to the Sun actually fits Apollo really well, I was genuinely surprised.

Going back also makes me realize that Apollo was going to sing an honest to god love song to stop Cade and Mikey. That image will stay with me for years, I think.

Rhea is described as dressing like a "Libyan queen of old" which is interesting, bc I couldn't find any reference to Rhea being an important figure during the period where Ancient Greece had footholds in the region. What's interesting though, is that Apollo definitely was. One of the two cities Greeks established in Libya was Cyrene, and some myths even call the native Libyans the founders of both Delos and Delphi. So like, I have no idea where Rick got the idea of Rhea being connected to Libya, but it helped me learn new things, so that's cool!

Another anecdote: When Apollo drives the sun chariot as a bus, Hermes always sits in the back, because that's where troublemakers sit.

The way Apollo describes his physical state, I'm convinced he's just constantly in excruciating pain. Like, all he does is get off the cot in the Apollo cabin, and he says that his "eyes felt as if they were being microwaved in their sockets." Bestie, what? Are you dying, wtf lmao?

Anecdote: Apollo once attempted target practice in Zeus' throne room. That feels like it might have been a more pointed thing.

Apollo sees Nero in his dreams for the first time in chapter 10, but he doesn't recognize him yet. He spends the rest of the chapter simply referring to him as "The man in the purple suit", "The ugly mauve-suited man", and simply "the ugly man" King behavior, honestly.

I know I made a post about it a while ago, but I still can't get over Apollo's outrageous claim of 33 mortal girlfriends and 11 mortal boyfriends. He has past that in Ancient Greek lovers alone lmao.

Rick does a really good job of writing these long flowing internal monologues for Apollo, only to cut them off with a short sentence that both allows for an easy transition out of Apollo's head and back to the action of the scene, but also simulates Apollo getting distracted in his own ramblings and then abruptly coming back to reality. Like, he goes on for three paragraphs about Nico and will, and then his past loves, and then his embarrassment over sharing his love for Hyacinthus and Daphne, only to end it all off with the short line "I am so confused." and then we're right back into the scene. It's a really great comedic bit, and it does wonders for Lester's characterization. (Also my god does Lester read so much like he has ADHD. Almost more than Percy to me, but then I think Lester's flavor of ADHD is much more similar to my own than Percy's is)

Anecdote: Apollo cosplayed Rocky at midnight showings of Rocky Horror Picture Show. Queen.

Apollo mentions that he filmed the orientation film on "a tight budget in the 1950's" which like, why? Maybe it's mentioned in the supplemental books somewhere, but why would a god ever be put on a budget for something lmao?

"Had I been a god, I would have turned her into a blue-belly lizard and released her into the wilderness never to be seen again. The thought soothed me." One, Apollo she is twelve dear god. Two, I love this as a character moment for Apollo (Stay with me here). Apollo comes from a culture that is so focused on strength and power and violence. The moment he loses control of a situation, he grasps for any way to get power back into his hands. And in these moments, his way of giving himself power is by reassuring himself that he could totally murder everyone here if he wanted to. Killing people is a way to assert control, it's a way that Zeus and the other gods assert control all the time. And there's an implication with Apollo using these lines too. By asserting that he can kill people, it's also an assertion that the people he is threatening cannot kill him. Idk it's just a very interesting way of coping.

Real quick fun fact! Lester describes the Oracle of Delphi in Greece as a "cavern filled with volcanic fumes" but that's not actually 100% correct. The oracle of Delphi in Ancient Greece was actually in the Temple of Apollo, with descriptions from ancient scholars putting her either in the cella or in an adyton that was below the main temple. There was a opening in the ground in this chamber, but it certainly wasn't a cave. Furthermore, the whole idea of Apollo fighting Python in a cave? From what I can tell, this is also not based in myth! Most descriptions of the fight between Apollo and Python that I can find in myth describe Python being coiled around the mountains of the Parnassus range, which is a terrifying image honestly. Just find it interesting that none of the cave stuff is actually a part of the Delphic Oracle. I mean, from what I can tell, the nearest mythologically important cave is the Corycian cave, which has nothing to do with the oracle and is also like a 45 minute drive away from Delphi.

I usually try to read three chapters before rb'ing, but I had so many notes on these two that I'm gonna cut it off here. Also, this has kind of just become pointing out shit I find interesting instead of focusing specifically on Lester-isms, but I'm def still gonna point those out, so the tag will stay. I just have so much to say about my little blorbo, sorry guys.

I think I'm gonna make a reblog chian of all the little phrases and Apollo uses throughout ToA, now that I'm rereading it. Bc like, he has such a unique way of speaking, and I really wanna dig into it, you know? Ok let's start.

He says "heavens help me" instead of "heaven help me" using the plural the same way demigods do with "oh my gods". I'm guessing this is an acknowledgment of other pantheons? Or I'm looking too far into it, I've just never heard this phrase with a plural "heavens" before.

He calls Cade and Mikey "Ruffians" . And he makes fun of the arrow for being Shakespearean.

He also refers to people as "Mortals" a lot here, which I remembered him doing, but now I want to keep track and see if he keeps that up throughout all the books, or if it peters out near the end.

"I thought how amusing it would be if I could make the snake tattoos around his neck come alive and strangle him to death" I honestly love how violent Apollo's thoughts can be sometimes. Like, you can tell he's someone who has done shit like this before.

I also want to keep track of all the little anecdotes Apollo brings up, so we'll start with the guitar contest against Chuck Berry in 1957, which apparently ended with him getting repeatedly stomped on.

"But something told me this was not she" II love how it's the little things that really get across how old Apollo is. Rick could've easily just said "It wasn't her" or something, but instead he had Apollo phrase this in a way that is far more formal, and more reminiscent of the grammatical patterns of old english. Idk it's just really cool.

(Side note that's not connected to Apollo: Meg's glasses are black? I feel like I've been living a lie, I've been coloring them red for years lol)

God his metaphors are just so striking. Like, I can imagine the phrase "Whatever was left of my pride turned into ice water and trickled into my socks" but I don't want to, because that's such a visceral feeling. I like that Apollo inadvertently proving how poetic he is by making the reader as uncomfortable as possible.

I think I'm gonna start crying out "Horrors!" when I'm upset to. I think I deserve that level of drama.

ahh the classic "My blessings upon you!" Again, I love how every little line characterizes him. Either it's overly formal, like before, or subtly arrogant, like here, or both. It's so fun.

I need to write him saying "Sacred Sibyl!" more. Because that is such a fun little term. Rolls right off the tongue, honestly.

I think I'm gonna leave it there for now, but trust that I will definitely be adding more to this later. Bc Lester-speak is so fun to really look into.

[lsunstreakerl]

omegaverse is great because it introduces the concept of courting which means charles can be ever more a downbad simp then before

definitely absolutely 100% open to writing more on this later, but for now- about 700 words <3

There's another basket outside of Max's door. It's the fourth one in two months, and it has flowers and fruit and chocolate in it. Just like the other three, Max has no idea why it's here.

They're in the off-season, so- maybe a gift from Redbull? He finds that hard to believe.

At the same time... there's Kinder chocolate in there, he can see the edge of the packaging peeking out from under the flowers.

Well. If it's a bomb, Max has had a pretty good life. He grabs the basket, slightly surprised at the weight, before he brings it inside, settling it on the kitchen counter.

Sassy jumps up onto the chair, sniffing at it.

"I tried that, and it does not smell like anyone."

She sniffs it anyways.

Max huffs a laugh, carefully pulling the flowers out.

Flowers, chocolate, fruit, and the culprit for the weight- there's a heavy blanket settled at the bottom, thick and soft.

Max runs his fingers across it. He's pretty sure it's a nesting blanket, though why anyone would give one to him- he's not sure.

It'd be weird for Redbull to gift him a nesting blanket, but he can't exactly think of who else would have done it.

Daniel doesn't gift him things- Max goes to his apartment and steals things directly out of his closet. He's been doing it since he was 18, and Daniel gave up arguing with him about it around the same time.

Max has a few of Carlos's things, but less often since he'd gone to Ferrari.

There's a concerning amount of Checo's things in his nest at their den in the factory, but that's because Checo is used to his wife and their pups- his things go missing for nests all the time. Max isn't even sure if Checo's noticed.

Definitely not Checo.

He pulls out the blanket, unfolding it. It's huge, definitely designed to be a foundational piece of a nest. It's a light baby blue color, and Max swears he's seen it somewhere, but he can't put his finger on it.

He barely realizes before he's doing it, rubbing the side of his cheek against the fabric. It's good. It's really good.

Whoever sent it knows him well. Max bundles it into his arms and makes his way into his bedroom, where his nest is set up.

He eyes it for a moment, trying to decide where it'll fit best. He can reconstruct part of the right side, by the window. It's been unstable for a few months, ever since Max finally gave into Pierre's complaints and let him have his airport blanket back.

He'd complained the entire time, informing Pierre about what this was doing to the structural integrity of his nest, and that the slight would not be forgiven easily, and-

Max frowns at the blanket. Surely it's not from Pierre.

No, he just can't see it in his head. He crawls into the nest, carefully unfolding and removing things, picking the perfect spot for the blanket. It's somewhat scentless at the moment, but that will change quickly.

Max is feeling much better about it when he finishes tucking it in, and the light blue is a nice contrast to the other colors. Jimmy has wandered in, and Max scoops him to his chest before lying back into the middle, tucked between the blanket and a pillow from Yuki. There's a jacket that smells like GP nearby and Max takes a deep inhale, settled by the scents of his pack.

Jimmy readjusts in his arms, and Max starts up a soothing purr, lets it rattle through his chest until Jimmy tucks his head under Max's chin. Sassy makes her way back in, because the purr is practically a bell, and Max feels perfectly content.

He doesn't need an alpha, despite what the press has been desperately discussing the last two seasons since his designation got leaked.

It's just him and the cats. It works great.

Max isn't even sure what an alpha could add to this- besides maybe going back and grabbing the Kinder chocolate that Max had left on the counter.

It's as he's dropping his head back down that he catches the faintest scent off of one corner of the blanket- but he can't quite make it out. It's familiar at least, which is a small comfort.

Max resolves to start interrogating people. Later. When he's not so sleepy.

[drdemonprince]

hey there! in regards to ur last ask (about adults in kink spaces online having status quo ideas about kids in those spaces and such, sorry this isn’t a great summary), do you have any ideas on how to combat that? this is a genuine question - those disclaimers of ‘no minors can follow’ and such have always made me a little confused whilst i understood the statement behind them objectively you know? and now that i’m adult (legally - i turned eighteen a couple of months ago), i’m having trouble figuring out how to talk about kink and sex online in a way that doesn’t hurt kids or exclude them. like, i want to post some explicit stuff i’ve written on my blog or ao3, but i know that i have kids subscribed to me since i used to post relatively bland kids stuff for years before that. so like… how would one navigate kink spaces online and general spaces with an attitude of understanding that trying to close off these spaces to kids completely is harmful but that kids can also be harmed by people in these spaces? if that makes sense?

I think it is a really challenging thing to navigate. The way that I handle it personally is that I don't regard it as my responsibility to monitor and police the ages of people following me. I want the information that I put out into the world to be freely available to the people who need it most; one of the ways that I ensure that is by not paywalling any of my writing, and another is by not age restricting things except for when circumstances mean that I absolutely have to. for example: during some of our live streams that have been particularly focused on kink or sex, Maddie and I have flagged the stream as 18 plus out of necessity, and if a member of our chat identifies themselves as being under 18 during such streams, we have to ask them to leave. but in terms of my own private attitudes, I recall accessing porn and sexual writing from a very young age and learning a great deal from it, and I don't think there is anything wrong with a young person doing so. and if a young person has questions around sexual health and safety and they direct them to me, I would generally be comfortable answering those questions or at least directing them to resources. I do all I can to normalize talk about these things and de-exceptionalize sex, and I don't let myself get intimidated by puritanical accusations about that being inherently evil and improper. but I also have really firm digital boundaries in terms of not giving a stranger on the internet much access to my life or getting too overly involved in theirs. I do this because I'm a public figure and people can be very inappropriate with me, but another benefit of this approach is that I'm never really having any kind of conversation with an internet stranger that would immediately turn inappropriate if I would find out that they were a minor. strangers on the internet are strangers. I can pass along resources and share my opinion if they ask me for advice, but I am not developing a close relationship with them or developing anything involving emotional or sexual intimacy with them. or with any, like, fan either. obviously some of this is different from your own situation, but you can probably see the logic here and how you might apply it to your own ways of relating to the subject online. I think there is never any harm in making information available, being aware of what a platform's terms of service are just for the sake of protecting yourself, and maintaining good boundaries with people you do not know while still being friendly, helpful, and cordial.

[your-turn-to-role]

if it helps at all (reblogging directly from you starry bc can't tag you) - as someone who gave up on it pretty early on bc it wasn't really my thing, i have been wanting to look up more positive opinions on the campaign recently, i've just been really busy so haven't had time to respond to anything but what's on my dash, which yeah is a lot of critique, and with what i do know there's definitely stuff i'm not a fan of, sure

but also like. the critical role cast aren't some corporation just trying to squeeze money out of this show, like a lot of the things c3 has been compared to are

while they could have, in retrospect, probably made better decisions to really pull off whatever they were going for, they're also playing the game that makes them happiest (and they're putting it all online for free it's not like they're obligated to follow the fans' ideas of what should happen)

if you enjoyed it all start to finish, you're honestly a perspective i'd like to see round tumblr more! you're seeing what the cast see in this narrative and that definitely doesn't make you wrong or stupid. if there was no value in this story whatsoever they would have stopped a long time ago

as megs said, being able to articulate an opinion well doesn't make it objective truth. god knows i can pull out a million references for any of my essays but when i write them it's always gonna be me shining light on a specific angle of the narrative that appeals to me. other people can choose to pick a different angle and still be just as right, regardless of whether or not it's something i personally would enjoy looking at. and that's even more true in a fandom like this, where every narrative is in fact 7+ narratives that we hope will weave together well, and there's a million things to focus on that haven't all been handpicked by the creators for the sake of telling a singular story

if you're seeing an angle a lot of people aren't focusing on, hell, celebrate that! i love hearing about the moments that genuinely appealed to people, it just feels like there's been fewer and fewer of them focused on bells hells the longer the story went on. but i've also been in fandoms where i truly genuinely enjoyed the ending of a particular story and thought it was well told the whole way through, and then it turned out 99% of the fandom thought the ending was rushed and it ruined the whole thing, so i definitely get how that can feel a bit crushing and like you're fighting a tidal wave

(and hell to your tags about being worried c3 will become an automatic skip in the fandom - i also really love a lot of the c1 episodes before ep24 and think there's some great character stuff there that a lot of people skip bc orion or because the briarwood arc is where it gets 'good', so im with you on that one. it sucks but it doesn't mean i can't talk about, say, trial of the take, there still are and always will be people in the fandom who've watched it, and there will be even more people who didn't watch it but are glad to find out what's in it because they couldn't find out themselves)

so yeah all to say if you ever wanted to write about c3 stuff you loved, im on your side here

if you're just sad that the fandom reaction to stuff you liked has been overwhelmingly negative, that's also fine, and doesn't make you any less a valued member of this fandom

idk I kind of feel like I'm an idiot bc I actually enjoyed cr 3 from the jump to the end but like the blogs who follow bc I feel they are definitely more articulate and insightful than me are like "the whole thing was meaningless and pointless! matt fumbled everything!" so maybe I'm wrong to have liked it all? I'm not really sure where I'm going with this sorry

I think one thing to keep in mind is that many (and in fact, I would argue, most!) people who are critiquing the story and construction have also generally enjoyed the campaign as a whole! Certainly I don't know anyone who stuck it out through the end who did not overall enjoy watching it, for various reasons; I know there are people who hate watch, which I think is an absurd and honestly really stupid waste of time, but from my experience they are normally making snide and vicious tweet-length posts rather than long considerations of what isn't working for them.

There are also a lot of levels of critique—I've greatly enjoyed a lot of moments in isolation that I simultaneously felt weakened, contradicted, or even actively undermined the structure of the story as a whole, but those moments were still really fun and interesting beats. The Arch Heart's cameo comes to mind, as does, in hindsight, some of the construction of the post-Solstice split, but there are plenty of others of higher or lower impact on the story. In the finale the Raise Dead falls into this place very strongly, so I'm going to talk about it at length for a moment, since it was an absolutely stellar moment for me personally and as such I do think it serves as very illustrative of an example where I simultaneously fucking love a moment while finding it worth significant critique. I think it also touches on the critiques you're referring to, which I would summarize overall as the idea that many of the outcomes feel influenced negatively by pulled punches on the part of the DM rather than a flaw of one player or another. (Also, I want to talk about it cuz I love it. :3) This got very long but I think that to your point, it is worth examining in this amount of depth.

First, the good: it is an absolutely phenomenal culminating point of an arc that was only really concluded in summary; I have, as noted earlier this week, written at length about how Essek is never situated as a protagonist, which is functionally fine and even good. He ends up tied very strongly to Caleb's arc, and moves in the narrative in such a way after 2x97 that allows Caleb to reach a concluding note, and strengthens that narrative. So we only really hear about the outcome of Essek's choices, his inevitable leave from the Dynasty, in the summarization of the campaign 2 epilogue. This is not inherently a problem, because he is not a protagonist. But this moment does functionally create a material representation of that denouement, which does strengthen his arc in its own right.

This moment also, hilariously, bears out my argument from this post. That the resurrection should only work with this intervention, particularly while the Nein are involved, does follow through on the Nein's general positioning within Exandria. Essek's leave happening without a fight (and, frankly, with only one attempted Counterspell) both makes for a very well-paced moment and also maintains the overall sense of story that the Nein impart when they are on screen; I'm thinking again of how their Ruidus episodes feel, much like their campaign and their post-campaign one-shots, like an intrigue action thriller series, and this fits well in that framing.

So overall, it is a fantastic moment... for the Nein. The Nein are not the protagonists of this story. They exist in the world, and are such active agents that they do continue to develop and exert motion on the narrative into this campaign, and frankly, I think this would have been fine if the party given ownership of this story and campaign did not abdicate their responsibility for it with unfortunate frequency. They do not exert a strong control over their story, which is at odds with the fact that the Nein do, and are present and also involved by the nature of their ending. It completely overshadows Ashton's heroic moment, in that the culminating action beat of this sequence is Essek getting away, which kind of takes the wind out of the sails of the Hells' involvement in the gods' outcome. It doesn't negate it, certainly, but it does refocus the story from them to, for some reason, Essek. So in this sense, it occurs at the expense of the Hells.

I find that while the handwaving of using dunamantic intervention to push Raise Dead beyond its limits (if indeed the reason it didn't originally work was because Ashton's brain was essentially gone) fits fine and even well within the framework of the Nein's story, and an NPC being able to do so without a roll is fine, since NPCs are vehicles the DM uses to guide the story, this is a significant divergence from the overall mechanics of the world at large; even the Nein had to do a full ritual for the resurrection of their tiefling. Matt put those mechanics in place specifically to create narrative meaning behind resurrections, which can feel very unmotivated and like a get out of jail free card in D&D, and while it's been noted that this would've really strained the runtime beyond its existing length, prioritizing it at the cost of, for instance, more truncated end notes for the Nein and Vox would've bolstered the Hells' presence in an ending to their own story that even many of their fans felt was ultimately lacking.

Giving the resurrection full weight would've also given Ashton's sacrifice and the Hells' involvement more narrative weight; the reason the other parties are involved at all is because the Hells were truly running on fumes by that point, but any lack of involvement this created could've been alleviated by having them directly involved through pre-established ritual elements that are not contingent on them having any mechanical offerings. So this moment sits within the context of critique that I agree with: that it felt like a pulled punch that ultimately also served to decenter the Hells within their own narrative, when it could've been used with more deliberate narrative force.

At the same time, I fucking love it, and watched it four times in a row yesterday, because it is so good—and it is, as I described, narratively and thematically coherent in one sense! And I think that is one issue of the campaign: many, many great moments are excellent and coherent in a certain framework but are weaker to varying degrees when considered as one piece of a larger whole. There are so many frameworks at play in this narrative, and not enough direct intervention to manage those as frameworks rather than as a single story, but at the same time, I think those frameworks are far more apparent if you're really looking for them, and that's much more difficult, if not impossible, when you're in the midst of them and telling the story.

I also don't think this means one cannot critique this; in fact, I would say this is more an issue of being a serialized narrative than an improvised one, which is often how critique of it has been pushed back against within the fandom. I was thinking about this as I'm currently in a course on, quite literally, how to critique comics, and we discussed this week how Marjane Satrapi said in an interview after making the film adaptation of Persepolis, which was first a serialized comic, that she ended up preferring the film, and I speculated that was because with a film, one has the ability to make a more cohesive narrative purely by virtue of the fact that with a serialized form, you cannot go back and make retroactive edits when no developments come to light. This is something that long-running comics must constantly navigate (as do many long TV shows), and in extreme circumstances such as decades-old comic franchises, ends up resulting in infinite timelines and hand-waving, which becomes so ridiculous that at this point it's a meme. In that scenario, though, it is not presented as a non-contradictory story, let alone a cohesive one.

Many of the critiques of campaign 3 are operating within the idea that this is presented as one overarching narrative. (And honestly, comics and other narratives that don't utilize that presentation are also still critiqued on that merit by people who greatly enjoy the texts they're critiquing anyway.) Within that context, I feel that the framing of the Raise Dead, as well as much of what would be my critique of the other pieces I referenced (the Arch Heart's cameo and some of the party-split sections) if I was to do the same kind of rundown of those, actively undermine this presentation by introducing and forefronting too many conflicting frameworks that are not interwoven well enough to create a single, cohesive overarching narrative.

This is a very long-winded way to illustrate my point, which is that I would really encourage reading critique not as a lack of enjoyment of the campaign, let alone a suggestion that no one should've enjoyed it (and if you did, then you're not smart enough to know better), but as a way to engage with the text(s) as presented within one framework or another. I think this is sometimes obscured in online fandom spaces, where we're not engaging in critique in as formal of a sense as one would in, say, an academic setting, where the norms generally dictate the framework one is using is explicitly stated if not fully delineated within the critique, but it is, more often than not, still implicitly present within the critique.

And as a final note, I would also really urge everyone reading others' opinions on something they enjoy to resist the urge to elide their own opinions from the conversation, even if you don't feel as articulate or as well-versed in critique. Critique is a trained skill, so it is certainly something one can pick up if they are inclined, and at the same time, someone doing it does not mean they are inherently right—and in fact, with all argumentative writing, it is up to the reader to consider the argument and decide whether or not they agree with it. (You can decide that you disagree with me about the Raise Dead! Just because I wrote a thousand words on it does not inherently make my interpretation truth; it's just an interpretation. You get to say whether or not you think my interpretation makes sense based on the evidence presented.) Even here I'm using the framework of some critique that others have made, but I don't delineate in full myself. In doing do I'm not presuming that you agree, but I am presuming that you've read it and know what I'm referring to. Strictly speaking it's also not even saying that I take that critique as true; it's saying that I feel the conclusions drawn are applicable as a basis for my argument. If you wanted, you could even say that you feel that my argument is irrelevant to you because you don't feel those critiques are true! But you ultimately do have to be the one to decide any of that, which does involve a balance between a confidence in the formation of your own opinions on the text and an openness to entertaining others'.

[vorthosjay]

Hi Vorthosjay! Until today, I had no idea you had a blog here! It's very fun to scroll through.

I have a question I'm unsure if you'd be able to answer: a character like Ashiok is unlikely to have gone through only one draft in creation, but that doesn't necessarily imply a certain amount of drafts or hands to have gone through. Through those drafts and hands, by the time a story comes out, how different is Ashiok (or any other big character in a story) from the original idea behind said character?

Thank you if you were able to answer, and thank you regardless if you weren't. Have a good day!

The answer is: it's really going to depend, and I'm not involved in most of it. It has also changed over time. This is just my educated guesswork, but I think I'd break it down like this:

Idea

Concept

Design

Character

Idea is "This set will have a Blue-Black planeswalker. We are calling it "Dark Jace"." I would imagine this is part of the design skeleton, although designing for planeswalkers has changed a lot over time.

Concept is giving that idea to the art/creative team (who were part of creating the idea, I'll note), probably during a creative push (usually like, a week where all the art concept decisions for a setting are made: clothing styles, architecture, broad categories of creature designs, that kind of thing based on the rough ideas the worldbuilding team put together). Worldbuilding Ikoria is a great article to read up on this.

Design is both the parallel and intertwined game design process and the hand off to the final artist to draw the pieces the public will see on cards.

Character is handing off the concept of a character for an author to, you know, characterize and write. Sometimes the creative team has strong feelings and a lot of guidance, sometimes the character is a broad sketch for the Author to fill in. For a new character, this can be tough because it can be where mismatches begin to arise as different writers (creative text or story authors) might take a concept in slightly different directions. Often (but not always) story, creative text, and art waves happen around the same time roughly a year out from release. This is likely what happened with Lukka, for instance, he got taken in two very slightly different directions.

That said, these things can vary a LOT. Ral Zarek, Kiora, and Nissa, for instance, were all designed for the Duels of the Planeswalkers games and had full concepts and designs and backstories before ever approaching an actual Magic card.

[traincat]

So @softgrungeprophet just posted about John Jameson/Peter Parker, a thing I have nothing for, but it did remind me that I had a Spideytorch WIP where Jonah tries to set John and Peter up and so Peter comes up with the brilliant idea of fake dating Johnny to get out of it, only for John and Johnny to start dating, a thing which will obviously not drive Peter mad with jealousy. Ft my not remotely in order writing practices.

Anyway I don't know when I'll finish it so have a thousand words of people making bad decisions.

--

It was a regular Friday afternoon and Johnny, free of all social and superhero responsibilities, was just trying to relax and maybe catch up on a week’s worth of reality television when a full-grown man hit the side of the Baxter Building going eighty miles an hour.

“Did I scare you? Sorry,” Peter said, not sounding very sorry at all, as he climbed gracefully through the window.

“Of course you scared me! Not everyone has a built in magic spider danger sense!” Johnny said. He looked down at the carpet and the new red footprints there and made a face. “No, it’s fine, track what had better be paint all over my apartment.”

“Thanks, Torchy,” Peter said, as if Johnny had been in any way sincere. “Don’t worry, Reed’s little robot friends will steam clean that right out. Listen, I’ve got a favor to ask you.”

With friends like these, who needed Doctor Doom.

(blah blah blah)

“I just need you to pretend to be in a relationship with me,” Peter said. “For one, two months, tops. Or however long Jonah has left on this earth. Either or.”

(blah blah blah)

“Look, here’s the deal,” Peter said, rolling his eyes, “and don’t ask how this happened, but I accidentally told JJJ I’m bisexual and –”

“Wait, you did what?” Johnny cut him off. His voice was dangerously high even to his own ears. “You’re what?”

“I just told you it was an accident,” Peter said, still in that tone like it was no big deal and he accidentally came out to major newspaper publishers every other week. For all Johnny knew, maybe he did. For all Johnny knew maybe he put on a rainbow spider-suit and shouted it from the top of the Empire State Building every single Friday Johnny had ever been off-planet.

“How do you accidentally tell your former boss you’re bisexual?” Johnny demanded. Then, his own voice somehow rising even shriller, he added, “You haven’t told me you’re bisexual!”

Peter shot him a look that said that he was pretty sure he just had. As if Johnny wasn’t sitting right in front of him, currently losing his mind.

“The bad news, apparently John Jameson came out to his dad a few months ago,” Peter said.

“That’s the bad news,” Johnny said, his voice both flat and scathing in a way no acting coach he’d ever had would believe he was capable of. “Really.”

“Well, good for John, I guess,” Peter allowed, making a face like he wasn’t quite about all of that. Johnny was going to smother him by the end of this conversation, probably. “But bad for me. Because now Jonah wants to set us up.”

There was a strange static-y sound ringing in Johnny’s ears, like someone had scrambled all his frequencies.

“I’m sorry,” he said. “Could you rewind? Maybe to the beginning of this conversation?”

“You’re not listening to me, Johnny,” Peter said. “Jonah basically implied that John and I should get married. The other day I caught him looking at brochures for catering halls out on Long Island. And look, John’s a great guy, but –”

“Great,” Johnny said, his face in his hands. “Fantastic. I’ll send you two a fantasti-toaster.”

“But he’s not my type at all,” Peter said. He reached over and closed his fingers around Johnny’s wrist, tugging his hand effortlessly away from his face and leaving Johnny no choice but to look up into that big brown imploring eyes. “Now, She-Hulk, on the other hand…”

A strangled noise of rage tore itself from Johnny’s throat.

(Peter asks Johnny to be his fake boyfriend to some Bugle event)

--

(Bugle event, Jonah awkwardly talks to Johnny and says something mildly homophobic in an incredibly well meaning way.)

“That’s very… something of you, Mr. Jameson,” Johnny said.

“My daughter Mattie bought me a book,” Jameson admitted.

(blah blah Peter runs off and John and Johnny talk on a balcony)

“You know, that’s the thing about Parker,” John Jameson said, his voice light and casual. “Every time I’ve ever seen him he’s had some beautiful model hanging off his arm.”

Johnny snorted, thinking of the Black Cat, and Mary Jane, and even Carlie Cooper with her whole hot librarian vibe. Dorrie Evans, the prettiest girl in Johnny’s high school, talking Johnny’s ear off on a half dozen of their dates about how Peter Parker was so smart and how he was interested in politics and an inch taller than Johnny and probably much more in touch with his feelings. Yeah, right.

“Tell me about it,” he said. “They should ban him from fashion week for the models’ own good.”

They probably already had. Johnny would have to ask.

“No, I meant…” John trailed off. He smiled ruefully, shaking his head. “Never mind.”

“I’m sorry,” Johnny said, realizing he’d cut John off. “What were you saying?”

“I was complimenting you,” John said, his eyes twinkling. “What I said about Parker and beautiful models – I meant you.”

“Oh,” Johnny said, floored. He felt strangely like blushing, but that was silly. Johnny was a famous space explorer. It was hardly the first time a handsome astronaut had called him beautiful.

It was, perhaps, the first time it had happened to him on earth. And the first time it had happened outside of a hostage situation. And the first time Ben hadn’t been there to threaten to beat the astronaut up.

“You are here with Peter Parker, aren’t you?” John asked. “As his date, I mean.”

“Allegedly,” Johnny said. He’d meant it to come out under his breath, but it didn’t, and he suspected his eyeroll wasn’t quite as internal as he’d intended either. John laughed, but not unkindly.

“He does have a habit of disappearing, doesn’t he?” John said lightly. “I get it, though, as the son of a newsman. The number of dinners my father actually made it to the main course without rushing off to take a call or chase a story...” He trailed off, sighing ruefully, the corners of his mouth quirked up. “That must be why they get along so well.”

“Can I tell you a secret?” Johnny asked, feeling emboldened, maybe, by the way John was looking at him, by the fact that he had called him beautiful.

He definitely wasn’t feeling spiteful over the fact that he was supposed to be here with Peter and Peter had, of course, ditched him, caught up in fifteen other different things, just like always. Things that were more important than Johnny. Things that Johnny could have helped with, maybe, if Peter had asked.

Or maybe things Johnny couldn’t have helped with. After all there were plenty of reasons he might have found Peter’s shirt abandoned in the corner of the men’s room. Things that might have everything to do with, say, the Black Cat instead of Doctor Octopus. 

“Of course,” John said. His hand landed next to Johnny’s on the balcony railing. “You can tell me anything.”

(Johnny admits Peter only brought him as his date to get Jonah to quit it.)

“My father does have that way about him,” John said ruefully. “He’s trying to be very supportive. My foster sister bought him a book. He said he’s thinking about starting a podcast.”

“Elderly Bugle subscribers, watch out,” Johnny said before he could stop himself. Luckily for him, John laughed.

[John kisses Johnny at some fancy event]

--

So now Johnny was a homewrecker. Either of his fake relationship, or of Peter’s future Daily Bugle society page wedding to John Jameson, certified American hero. He wasn’t sure which was worse.

--

Johnny stared at Jonah. Jonah stared at Johnny.

John tucked into his steak like he wasn’t sitting in the middle of the world’s most awkward dinner. Johnny guessed he must have had experience getting through dinners with J Jonah Jameson, but he could have taken a little pity on Johnny, a novice.

(And then somewhere in here Peter would have gone insane.)

[marlynnofmany]

Lookie what I got! The rarest of collector's editions, with only one in existence! (There's an @ symbol in place of a © on the title page.)

(There's only one because I fixed it after I ordered my proof copy.)

Someday this will be very valuable, for sure!

[not-brionnnne]

hey has anyone ever considered doing shinjiro smut for after the fade to black but he lays you across his lap, like has anyone ever considered the canon praise kink with him more—shinjiro who scolds you, calls you trouble and tells you to stay close to him like a "good girl", shinjiro who acts tough, pretends to be fed up with you pushing him around (he loves it, but that doesn't mean you're not gonna hear about it), ignoring what he wants, so two can play that game, and you think, god, he's not holding back anymore, he's going to kiss me, finally, we're going to— but no, he settles on his bed and pats his lap and tells you that you need to "take responsibility" for teasing him like that, messing with his feelings — "be a good girl." remember, you started this.

[camels-pen]

(i haven't read Whole Cake in a while, and i never really watched it, so bear with me)

I'd love to write a fic with Usopp on Whole Cake. it'd be sooo fucking long and i'd need to refresh myself on the entire arc, but god i'd probably be so satisfied when it's done. specifically for having brought a single moment in my head to life, but we'll get to that.

On Zou, he insists to be taken along on the Sanji rescue team and has worked himself up with a whole bunch of very good reasons as to why he should go there instead of helping in Wano, but of course Luffy just immediately accepts with a "yeah sure"

With Whole Cake, I think he'd be flipping between having fun as part of the idiot trio/quartet (Luffy, Chopper, Carrot), and being terrified with Nami. There wouldn't be that many differences in the arc as a whole, though; some things would be easier/better and some things would be worse- I don't necessarily think Usopp's presence would be overall an advantage or disadvantage, just different. Like, major events would stay mostly the same, but little details would change and maybe those little details would build to a far more drastic change-

for example, maybe one of Big Mom's kids considers themself a great sniper and wants a match with Usopp, or is motivated to work harder because Usopp is around and they want to take him out and boast about it. Maybe it means Sunny takes more damage than canon, or maybe Usopp's help means less damage to Sunny. (idk if i'd really do smth like this, but it's just an example)

skjdhf fuck i'm really not equipped to try and figure this out when i don't remember shit from Whole Cake aaaa

I do know that, despite his penchant for talking and rambling, I'd probably have Usopp be dead silent after his initial shock when Sanji fights Luffy. Everything about that is the same, except Usopp is just watching Sanji the whole time- not panicking, not moving, and not speaking. He doesn't say a word the entire time, doesn't even make a sound, and that, along with Luffy's words and Nami's begging, stick with Sanji.

(Usopp is thinking of his own fight with Luffy in Water 7, he's partially wondering if this was what it was like- if it was this painful to watch from the sidelines- and partially knowing he doesn't have to say a word, because he knew, like he knew back then, that it didn't matter what was said. It wasn't quite the same, but he could tell in the way Sanji moved, in the way he spoke and held himself, that he was putting on a front, trying to be brave in all the wrong ways. Usopp didn't say a word to Sanji because there was nothing he could say that Sanji himself didn't already know. Should've known. And his quiet, direct stare, was more than enough.)

the singular moment i really wanna write, is a scene where Sanji is apologizing for dragging them into his mess- either during the big meeting in Bege's castle or some other time- and Usopp's like "I'll do what you can't, you do what I can't, right?" and Sanji pauses, a little confused, until he remembers Enies Lobby and a stupid mask and cape and-

and tears are gathering in his eyes now, fuck, but he laughs a little. It sounds wet and his face is itchy and they're surrounded by tentative allies, but he- he laughs again and he says, "Fuck, you remembered that?"

Usopp shrugs, a little smile on his face. "They were some wise words from a wise man."

Sanji laughs a third time. "You think I'm wise?"

And they banter a little more before Bege tells them to quit it since they're on a time constraint or something. Quietly, Usopp will ask, "It-it helps. On bad days. And I figured, 'what's a worse day than this?' Ah, not that you getting married would ever be bad per se-"

"Usopp," Sanji says, looking more relaxed and settled. He smiles fondly and grabs his friend in a one armed hug, crushing him to his side. "Thanks."

And yeah, don't remember much beyond that, except the whole "hiding and then busting out of the cake" bit, which would mean Usopp in a cute little tuxedo or smth- maybe with a fedora aaaaaa <- loves fedoras- helping out with the fighting and eventually sailing with everyone to Wano.

He would be so distressed about fixing up Sunny now that the whole thing with Whole Cake is over. Maybe there'd be a gag about him promising Franky to take good care of Sunny while they were gone and being confident, after being Franky's tinkering partner and learning from him over time, that he could handle minor repair work much better than he did the first time around with Merry. And so when he finally takes in all the very-not-minor repairs he has to do, he's certain Franky is gonna strangle him for not keeping his promise. Probably also try to write in some nostalgic 'repairman Usopp' vibes from pre-Water 7.

Also something something, Sanji, wanting to do more for the crew bc he still feels guilty about Whole Cake, decides to take it upon himself to help Usopp not fall into a whole anxiety spiral about the ship. In turn, Usopp ends up helping Sanji not feel so guilty- usually by handing his own words back to him on a silver platter. And, yknow, having the two of them bonding and being buddies again like they so rarely get to be in canon nowadays qwq

[aroaessidhe]

2023 reads / storygraph

The Poisons We Drink

YA urban fantasy

a girl who brews powerful potions is coerced into making potions to interfere with D.C.’s most influential politicians in an attempt to stop a dangerous Witcher Registration Act from passing, and will do anything to protect her sister after their mother is killed

bi MC, nonbinary love interest

arc from netgalley

[quibbs126]

I’m realizing that with the way I interact with the real world, I could very much make the case of being an alien trying to learn about and blend in with the human race

I don’t know if that makes sense, but the way I act sometimes, you’d think I don’t know what a person is

[mercuryislove]

now that I'm writing daily again and honing my voice I want to dip my toes into a couple other projects that I've been rolling around in my brain for almost a year now

[thepandalion]

I have a fic idea and I dont know if I want to write it or not send help

[kameyyy]

#recs

(did nawt fit in anymore😭)

off balance - h. iwaizumi x reader smau

chapter two: thank you?

off balance masterlist

more:

𓇼 yn lied and said she had to go to the bathroom after the whole "thank you" fiasco becuase she truly did not know how else to get out of that situation (and she was drunk and panicking)

𓇼 iwa just kinda assumed she got sick after drinking and went home

𓇼 mattsun had to physically drag yn out of bed for practice at 5am. literally pulling her onto the floor like a slinky (she was pissed)

𓇼 yn genuinely doesn't really know what a man thanking her when she kisses them means. she does know that is NOT a positive reaction

𓇼 yn spent at least 6 minutes chasing mattsun down and throwing all the ice cubes in their apartment at him after that tweet

𓇼 sakusa and yn just match each others freak. they bonded so fast.

𓇼 iwa has literally never shown any interest in anyone else during college until this (oikawa bugging about it)

𓇼 iwa is acting very cool and nonchalant about the fact that she hasnt texted him yet (he is not feeling cool and nonchalant at all)

taglist: 50/50! (closed!)

@softpia @kagsoup @honeyfewr @punkhazardlaw @xxblackroses623xx

@bakugouswh0r3 @beckxisxinxlovexwithxjin @honeycrispappletree @diorsz @theycallmenanamisgirl

@milliondollagirl @lees-chaotic-brain @jaynawayna @elliott0o0 @spicana

@nbcvs @dazqa @bambinos22 @toomanygoldfish @mfcherry

@cherrypieyourface @itsdragonius @lilchubbyyy @kuroosmikasavolleyball @viscoolreal

@reignsaway @dragonictears @st4vk1nmybra1n @sunakeiji @whosmarjj

@kxttqi @snufflesw @rrosiitas @sunnyskiezzzz @gsyche

@tsukiesimp @gigiiiiislife @gangsterthomasbrodie @hanniesdegree @kameyyy

@evilari111 @manhattanstrawberry @oshygoshy @darling-eos @loveyislost

@yunirgo @s6rine @sickpatientt @s777athv @hanniesdegree

[bookcub]

Cozy Fantasy and Why It Doesn't Work

I think I am among many who feel like they should love cozy fantasy and have found it an incredibly lacking genre.

This newly branded "cozy fantasy" genre that has taken readers by storm since 2020 and while it is new that books are now marketed as cozy, the genre itself isn't new. Howl's Moving Castle by Diana Wynne Jones is a great example of the genre before it was labeled and also how to make it work.

Cozy fantasy is defined by many as fantasy with low stakes. Fantasy aesthetic but less sword fights. On paper, it sounds great. But the execution has been less than stellar for readers like me. The lack of physical stakes has also impacted the emotional stakes of these books, creating forgettable characters with boring problems. As a romance reader, I find this frustrating. Romance is known for being a predictable and formulaic genre, the now defunct Romance Writers of America defined romances as needing happy endings, a term romances have continued to follow. Yet these romance texts manage to have low physical stakes (how to date your neighbor, how to confront your toxic friends, etc) while still maintaining high personal stakes that keep readers invested and begging for more. So I was initially confused why cozy fantasy authors struggle to write texts that connect to readers like me.

I think I have found the answer which is the genre is just here for vibes. It is all about aesthetic, not even worldbuilding that fantasy is known for as most cozy fantasy I read have so many problems as soon as you ask one question. It is hard to acknowledge that a genre that is pitched to work for readers like me doesn't work for many of us. Especially because occasionally there is one that works beautifully to my taste.

I often say my favorite cozy fantasies that are more contemporary are short and visual, which I plays into the idea of the genre being an aesthetic. The Bakery Dragon by Devin Elle Kurtz is a good example because it is a simple story that is given the perfect amount of pages and gorgeous visuals without dragging on when the message is very clear and easy to understand. Books like The Phoenix Keeper and Legends and Lattes have absolutely nothing for me, their very clear message hitting the reader over and over so the readers don't miss it and focusing on the aesthetic of worldbuilding rather than the reality of the fantastic elements within the world.

I guess my point is. . . I realize this genre isn't for me since I have realized it is more of an aesthetic than anything. .. .but I want it to be. Should I let it go and put my efforts elsewhere? Or should I keep exploring this new trend and find the hidden gems?