#putting those narratives onto peoples pages

[roblogging]

just had to block someone on tik tok bc they said people give regulus lily’s personality & tweak it slightly and i want to scream 😭 bc no ?? i don’t think i’ve read many fics where they have similar personalities at all. if anything in aus or canon divergent fics i’ve seen their personalities clash before warming up to each other. like sure they might have overlapping character traits like enjoying reading & being studious but imo i think that’s where the similarities end. similarly i’ve also seen people say that about pandora & luna as well, that pandora is given luna’s personality in fics (although i do understand where it’s coming from, i do disagree w/ the sentiment). idk maybe it’s the fics i read or the characterizations i enjoy, but i would never say that any of them were “given” the other characters personality. i would love to hear your thoughts especially about pandora being “given” luna’s personality in fics but pls feel free to ignore me !!

WAIT ABAHAHA I HAVE A DRAFT OF THIS CAN I DO TWO IN ONE!? im doing two in one !! first cut is pandora, next cut is lily/reg.

oh. i can only do one cut. oopsie. okay pandora is here and lily/reg is under the cut

luna and pandora i actually dont have many thoughts on?? i think i tend to characterise them quite similarly as well which i'm just noticing now !!

i think the big difference for me is how pandora died and how that plays into her personality? like i see her as a lot more headstrong and action-based than luna? not to say that luna doesn't do anything, but that pandora will rush into it regardless of visions etc and luna does it based on them ?? if that makes sense ??

woah. we've unlocked something i cant talk about. rarely seen before. might have to update the software (read more pandora centric fics) ANYWAY!

something i can yap an atrocious amount under the cut for people that want to avoid these discussions 🫶🏻

im now realising that this isn't EXACTLY what you were saying, but it does touch upon their different personalities and dynamics

but yeah. sorry, it's like 4am none of this will be coherent i fear.

[spectralreplica]

Uhhhhhhhh Sburb AU!! This was more of an excuse to classpect and make sprites, so don’t ask me questions about plot details because I put like zero thought into it. Tsumugi probably had something to do with setting up the session, and she’s hiding her real title and the fact it’s not her first session. Baby Kiibo is a robot baby because I thought that was the funniest option.

Drawing with anti-aliasing off really brings me back...

Classpect thoughts under the cut if you really want:

Immediate caveat: I mention speculative stuff here like unconfirmed active/passive class pairs and inversion theory. If you don’t like those things or otherwise disagree with the titles I gave people that’s fine but just know I’m not super interested in debating about it and won’t reply.

So, to start out with I wanted to make the 8 of them a session, so I needed no overlaps in class or aspect and one Time + one Space. I also wanted to have Kaito and Kokichi as opposing aspects. In general, I think of a Title as kind of the end of your assigned character arc, so depending on your level of maturity/introspection at the start, it can seem either really obvious or really unintuitive. I tried to base them off of the hypothetical chapter 6/survivor versions of characters, since those (plus maybe the chapter 5 deaths) of the ones that get a full arc in DR canon.

Immediately Tsumugi seemed like a deadringer for Space, not so much because of the literal physics-related stuff but because of its associations with creation/narratives and setting things up for other people to act. I made her Sylph of Space here, but that's a facade. She's actually a Muse of Space who participated in past session(s) and wants to watch how things play out.

Based on the Extended Zodiac description, Kaito or Kaede has to be time, but Kokichi CANNOT be Space by any stretch of the imagination. I made her Heir of Time with the interpretation of Heir as someone who invites change/influences of/through their aspect. Time is also associated with music and death, which is both fitting and a little mean. (I can also see Kaede as Breath outside of having to have someone be Time.)

So moving onto Kaito and Kokichi, I was considering Hope vs Rage (belief vs doubt, possibility vs restrictions), but 1) Rage is defined partially by hatred of lies despite otherwise sounding Kokichi-ish (that alone could be interesting, with the possibility of a negative/reverse title or else giving him Hope and Kaito Rage for the unexpected swerve........) 2) I really wanted to give Hope to Kiibo. So instead I went with Heart and Mind (emotion vs logic, intuition vs planning, identity/motivation vs action/decisiveness).

Kokichi is Thief of Mind for taking away other people's decisions for his own purposes but also for generally "stealing" things (e.g., the Mastermind Role, narrative importance in general, along with literal items) through his own cleverness. Vs Kaito, a Knight of Heart, who uses his constructed identity as a weapon to face challenges. I'm also a fan of inversion theory, so I think at low points they'd both trend towards Page of Heart (grows powerful late in the narrative based on his own ego/identity) and Rogue of Mind (taking choices/agency/logic away from people for their own good), respectively.

I always wanted Kiibo to be Hope since 1) Ult. Hope Robot 2) big on possibilities/faith but can be a little self-centered. I went with Bard at least partially to make a "guess we know whether he has a dick or not now!" joke, but I also think "inviting destruction through Hope, inviting destruction of (false) hope" is pretty spot on for chapter 6 Kiibo. Like, as the camera/audience surrogate, he's been forced into passively leading the others to despair, not to mention how the audience takes him over to destroy the hope of ending the show. But Kiibo ends up reversing this and helping destroy the audience's faith in Danganronpa, destroying the whole academy in accordance with the vote. (Sidenote: I wonder if Kiibo gets taken over by Horrorterrors and goes grimdark? Or if he's just really, really susceptible to orders from his Exile)

Shuichi, Page of Void, was another one that immediately came to mind. Like, "starts off weak but becomes really strong/important by the end" is Shuichi's thing! Also, counterpart to Kaito's Knight. And Void is all about secrets, mystery, etc. From the Extended Zodiac: "Where others might be compelled to go out and seek answers, the Void-bound lean more toward casting doubt on what is already considered understood. They don't take much on faith and would rather live in a state of confusion- than believe something that might be untrue or bow to intellectual authority... At their best, Void-bound are wise, intuitive, and vibrant. At their worst, they can be dismissive, indecisive and apathetic." 

I had considering Light, for seeking out knowledge/truth, but Shuichi's character arc ends on "fuck you, I refuse to play. You all get nothing more from us" and learning to live with ambiguity, so I think he's way more Void. But, again, inversion would be Thief of Light, so selfishly taking away knowledge/importance from others.

Speaking of Light, I made Miu Mage of Light. Mage is like, active Seer, seeking out knowledge for yourself (vs advising others) and Light is luck, knowledge, and also importance/plot relevance. As an inventor, Miu keeps innovating and figuring things out, plus she's very motivated by her own importance to the world. She wants to be seen more than anything else and loves being smarter than those around her. Also: "At their best, the Light-bound are resourceful and driven. At their worst they can be fussy, pedantic, and insensitive." Inversion is Heir of Void, so "inviting change via hiding things" or "changing what's kept secret", which suits Miu when plotting murder.

Finally, Maki is Prince of Blood. Blood is trust, bonds, relationships, stubbornness, duty, obligation (vs freedom, change, choices) so "someone who breaks bonds/destroys relationships" but also "someone who destroys using/motivated by duty/relationships". Like, Maki is inherently a fracture point in the group because of her talent and then directly breaks the group apart and sabotages her relationships with the others in chapter 5, but also she's deeply motivated by her bonds to others in all of her destructive actions (protectiveness for orphanage/friend, love for Kaito). This sound super negative, but I think this is also the Maki who commits to destroying the institution of Danganronpa in chapter 6. Sometimes you have to be decisive and cut bad relationships out of your life.

Inversion would be Sylph of Breath, so "healing via change" or "encouraging growth towards freedom", which you can argue is sort of the way Kaito wants her to go? But she just doesn't. Idk, for better or worse, I think Maki is very aware of who she is and how people related to her, so even at her worst she's true to herself, vs, say, Kaito or Kokichi, who act "ooc".

[nitrowyverine]

I thought playing Obscura would help me get rid of my brain worms. no, it just gave me new ones. For Obscura, specifically.

I'll be adjusting the format from my TOUCHSTARVED expanded thoughts post. Brain dump after the cut!

[Demo/CH 1 spoilers are included]

(Header Image from Itch.io page! All images in this post are either from there or the Rotten Raccoons tumblr page)

Design/gameplay thoughts:

In full honesty without fluff: this game fucks immensely.

The setting for Obscura might be my new all-time favorite, like, ever. Mystery underground scandalous marketplace??? Under a mountain???? it's a diverse and vast city that's still elegantly contained and claustrophobic, but in a spicy way. The worldbuilding and flavor is excellent. I really want to run a TTRPG in a similar setting now, since its an area with so many possibilities.

CH. 1/the "demo" has a LOT of meat on it. It's got different endings, variations, a whole soundtrack. Speaking of sountrack-

Obscura is also one of the few games I've put on the soundtrack to just to vibe to. The soundtrack is SO good, and sets such a strong mood/tone. I think it complements the game perfectly.

Allot of people have mentioned it, but I am also a fan of the Safeword pause menu. It's a nice and comforting touch, especially when the game can get so intense. It lets players take a breather if they need it, but also doesn't interrupt the intensity/mood of the game for someone who doesn't want a break from the narrative.

Now, onto character specific thoughts!

Cirrus:

IN MY HOUSE WE DON'T BELIEVE IN NOT STARTING OUT STRONG

Shout outs for having your asexual option in the dating sim be. The kinkiest guy there

Cirrus is a bit too intense for me, however, that is NOT a bad thing in the slightest. I think his route is well done for those who are up for his brand of intensity.

I might still play his route because. damn this boy's issues got me curious about his backstory. ($10 on mommy issues)

I had the hardest time getting to Cirrus's good end during my playthrough because having pretty much any self-preservation instinct around Cirrus gives you a bad/neutral ending. He's the only one I had to pull the guide out to get the best ending. (I think I'm just too sassy)

I get medusa vibes from Cirrus. The snake imagery is more likely tied to the lunar church, but his staunch reluctance to take his own mask off makes me wonder (this is mainly referenced in asks answered by the Rotten Raccoon studios). Refusal to let people see his eyes + snakes + power + slightly unnatural abilities to influence is, something.

I am shaking this man like a snowglobe WHAT IS YOUR DEAL I MUST KNOW MORE

(I am. metaphorically shaking him like a snowglobe. I would never shake this man im terrified)

CONCLUSION: Most likely to shame you for your anime choices. Least likely to be normal about it when you ask for help peeling an orange.

Keir:

HERE COMES BIG MAN

yeah he's tied for favorite right now. the slow burn in his plot is just too good? big man....freckles...secret soft side...im weak

he's so nice I keep forgetting. He kind of kidnaps you? not even kind of he just drags you off the street and goes "you live in my house now". Even Griff calls MC a stray early on. My man really said "Here's a convenient lost human I'm dragging them home now"

oh my GOD they were ROOMATES

I definitely was too nice to him in my first playthrough until I realized he does need (and want) to be sassed to death.

this man is like 6'6 and the canon-ish Vesper height from the CG is 5'4. THE HEIGHT DIFFERENCE. This kills the man (me)

The sprite of Keir's ears blushing SENDS ME INTO A FRENZY

I quite liked the gameplay style of Keir's route. I was so focused and invested as soon as I realized I needed to remember specific directions to save the heist group during timed decisions

Something I haven't seen discussed yet: I'm mega curious about the dagger Keir has on his outfit. It's specifically pointed out in text that it's high-quality, and I vaguely remember an ask that Rotten Raccoons answered that said it's a status symbol. (The dagger also just looks SO cool. and....it looks like Francesco's...?)

(My bet is that he either 1. stole it. or 2. got it from Oleander during their tryst (WHICH WE ALSO NEED TO TALK ABOUT-))

CONCLUSION: Most likely to be gifted a "WORLD'S BEST DAD" mug from his similarly-aged peers. Least likely to live down that one time he ate soap because he thought it was edible.

Francesco:

someone keep the "silver dust" away from this lad im scared

Originally, I was least looking forward to playing Francesco's route since I just wasn't interested in his initial concept. After playing his route though? It was excellently done, and I genuinely had fun. It was refreshing to have a character more naive than Vesper, so more cultural aspects were explained and we got a good alternate perspective on the marketplace. Also, it got REAL spicy in new and exciting ways the other chapters didn't. I'm really looking forward to the next chapters with his route!

I totally love the contrasts in his design and his character. He's got both bright red and blue highlights in his design, his outfit is very pointy and angular while his hair/smile is soft and flow-y.

And in his personality, he's both sweet and open, but extremely cagey about some information, and quite pragmatic when he wants to be. I think he's way smarter than he lets on.

that doesn't mean I don't want to bridal carry him and tuck him into bed at night after a all-nighter party

I do think Fran's slightly looser demeanor could lead to him being even more brutal than the other LI's. Remember that one anime clip (Found it, it's this one from Danshi Koukousei) where a group of friends wants to fight for fun, but one of the friends asks why they need rules in a fight? And said friend is shown like secretly holding a rock and was ready to use it? that's Fran. He would not have chill and does not heed the rules.

"Protect the boy", but mostly to prevent him from tasting blood. Because if that happens we're all fucked

CONCLUSION: Most likely to eat that M&M off the ground because you dared him. Least likely to beat the puppy allegations.

Oleander:

Oleander is tied for favorite with Keir. Oleander is just *chefs kiss* LOOK AT HIM. inscrutable......

Somewhere in an ask answered by Rotten Raccoons studio, they mentioned that for Oleander's route, they were going for a "Sexy boss situation that doesn't feel like a work safety violation". They hit that right on the nose; there's intrigue and a power imbalance, but in a non-restrictive or terrifying way.

I love being involved in the business part of his route. I keep making decisions like "Hmm yes my primary goal is to romance Oleander. But what would be the smartest business move here? How do we advance our agenda?"

Also, I do love playing a sexy evil secretary in a vn. love having a job and being evil at it AND being paid money. 10/10

That dance scene is everything I could have ever wanted no notes

I am fascinated to find out more about what he's been up to since his last trek into the marketplace. Seems like people are trying to kill him all the time anyway, so what would be enough to cause him to leave?

he's like an angler fish, but the lure is his booba

I relate to Oleander in that. I have too many online usernames because I can't stick with one. People get my 800 online names mixed up often. He has the same problem, we're basically twinsies

This man is pretending to be a himbo like his life depends on it (It probably does). He's too smart though, I know for a fact he has at least three different schemes going at any given time.

CONCLUSION: Most likely to be able to help you properly lace a corset (this man knows the boot-to-the-back necessity of the process). Least likely to be allowed to be banker during monopoly night.

Vesper:

black mask enjoyer 4 life

(all three are good I just wanted to say which one I picked. And to add my conclusion section)

CONCLUSION: Most likely to get their shit rocked by a falling piano. Least likely to survive an argument about pineapple on pizza.

Concerns:

With how separate the four routes are, the game could potentially feel like four separate visual novels all in one universe. Maybe I haven't played enough VN's, but there is a feeling of separation between the routes.

In the very beginning of the game, when you're picking your route, I wish there was a bit more heads up/information between who you're picking. For example, I had a rough idea that going into the church is where you'd find Cirrus, but only from information outside the game. I didn't know sticking around for the brawl would push you into Kier's route. It's overall pretty vague to which route you're going based on only in-game information.

Misc thoughts:

Vesper: "How are you going to keep me?? ;)" Keir and Oleander: "crimes" Vesper: "Wh-" Keir and Oleander: "you're an accomplice now congrats we're in this together. wanna get drinks"

catch my socially anxious ass wanting to be under the mountain and wear masks so I don't have to make eye contact with strangers all the time. at least its a fun thought to have when I mask for covid

OKAY FRANCESCO AND KEIR'S DAGGER MATCH? AND ARE RED/BLUE LIKE FRANCESCOS OUTFIT? DOES IT MEAN ANYTHING??? probably not but I do like the pretty knives....

For real, I got the brain worms for this game, I'm on the edge of making a big ol playlist. the headcannons? They go on my friend. they go on. I'm laying awake at night thinking about what each character would order at a coffee shop

by the time I publish this post. I did start working on the playlist

yes, I've also designed my own vesper, its such a prime opportunity for character design.

Obscura also may or may not have inspired me to get involved with an otome jam game team, more on that in the future possibly.....

OVERALL: I got the first chapter/demo of Obscura for free from Itchio/steam. High marks for writing, sound, art, game design, all of it! I am on the edge of my seat waiting for CH2.

TL;DR: If you haven't played it, and love spicy and dark stories, go play it! Part one is free! and fantastic.

Itch.io

Steam

[nayatarot777]

Is There Anyone Who You Need To Be Wary Of Right Now?

• Pile One •

This person could be an Earth sign feminine - Taurus, Virgo, Capricorn. If not then they’re someone who enjoys physical comforts and luxuries. This doesn’t have to mean that they’re wealthy, but they may just prioritise money and materialism. This could even be a boss of a company. This person is very rash with the way that they communicate. They don’t think before they speak. They also communicate in a very immature and childish way. Their actions could also be very rash too. I am picking up on a major immaturity from this person though. They’re highly unawakened. This could be linked to how they’re highly materialistic or how they worship money more than anything else, but I’m seeing that they’re highly unawakened in general. They’re not self aware, they’re not aware or understanding of experiences and lifestyles outside of their own. They’re highly judgemental - but this is because they’re highly judgemental towards themselves. This is giving ‘insecure ass person who puts themselves up on a pedestal to cover up their insecurities’.

You need to be wary of this person because you’re trying to gain control over your life. You’re trying to direct your life to the place that you want it to be, but I’m seeing this person trying to cause you pain as a way of putting up blocks in your path. You’re being represented in this reading as the Page of Pentacles - someone who’s learning how to build some type of stability for themselves - and this person is trying to get in the way of this. They’re triggered by any self-stability that you have. Their insensitive way of speaking is the way that they try to hurt you. They know exactly what they’re doing as this is a conscious decision. I’m also seeing that this person could’ve already brought you pain - perhaps triggered some traumas out of you - and they’re trying to control the narrative behind your back. This person is a bit strange too as they don’t want to acknowledge what you’re building for yourself. Whatever money or stability you’re accumulating, they’re not wanting to see it.

Patreon

• Pile Two •

This person is either highly religious or just a major conformist. They could be a preacher or the equivalent to one - someone who likes to preach their own beliefs. They stay in line within society’s expectations of them and they don’t budge. This person could also be a married person. I’m seeing this person watching you and trying to learn things about you while you’re in a dark time mentally. While you’re experiencing fears, anxieties, and kind of stuck in a self-imposed mental prison. This is either a past or present energy. You were protecting yourself from this person, or just keeping yourself away from the external world as you didn’t feel prepared nor stable enough to deal with the judgements or expectations of others. This person could’ve definitely sent you judgements and tried to mask this as “religious help” or “religious teachings”.

The reason why you need to be wary of this person is because this person is highly argumentative and combative. They try to fight people about their beliefs or way of living if those things don’t align with theirs. This person tried (or is trying) to emotionally confuse you, away from something that holds a lot of abundance or positive energy for you. I don’t like this energy at all. It’s like they want to try to brainwash you into following the path that they want you to take and they’re willing to make you feel like you’re confused or lost as a way of doing this. This person is fucking disgusting considering they’ve literally watched you go through a mentally challenging time already. They’re seeing you in this state and deciding that you’re vulnerable enough for them to manipulate and force their own personal beliefs and expectations onto. Very predatory energy - especially if this person is religious in some way.

Patreon

• Pile Three •

I’m not seeing anyone who you need to be wary of currently, Pile Three. At most, you need to be wary about what you’re exposing yourself to online - especially if you’re consuming things that make you feel angry or anxious. You’re nobody’s saviour apart from your own and you’re not responsible for trying to save the world. It’s not normal (or healthy) for human beings to be bombarded with human tragedies and everything wrong about the world all of the time. Apart from that, I’m seeing that you’re part of the group of people who’ve been really isolating yourself and entering contemplation. You seem to be the victor of battles that other people have tried to cause for you and now you’re highly defensive. It doesn’t seem like anyone can really come into your space/energy and negatively affect you.

Again, there’s a need to detach yourself emotionally from the internet in general for a little bit. Some of you may be physically alone and away from others but you’re filling your time with online activities. If you’re not part of the group of people in this pile who are already being introspective, there’s a need for you to detach yourself from the outside/online world and sit in silence for a period of time. There’s some type of mental awakening that you’ll have about your personal beliefs and morals. These things may be swayed or blocked from realising by what you’re consuming online. There’s a need to figure out personally what you’d like to focus on and direct a lot of energy into for your PERSONAL life. Try not to be so distracted by everyone else’s life - especially people who you don’t even know personally. If you’re feeling mentally tired or defeated despite not doing much throughout your days, then this is the reason why. Your brain needs a rest. Not constant stimulation from social media.

Patreon

[vamphorica]

MellodraMattic and Queerness: An Essay

Before I begin, I need to make it clear that my thoughts on this subject are directly inspired by this post by overkeehl. I not only recommend but insist that you read it before continuing, as I am going to be exploring a small component of the greater idea that they have already established. Essentially, I am taking the idea of Mello's character being queer-coded and developing it in regards to how MellodraMattic becomes a very validating ship in the context of marginalised sexual and gender identities.

I am also going to touch on internalised queerphobia, so consider this as a warning if that's not something you fancy reading about.

Anyway.

Mello is a distinctly queer character. I don't say this from an entirely projective approach because I think there are plenty of examples throughout Death Note where Mello's visual presentation and characterisation signifies it. His androgyny is the most explicit indicator of nonconformity in relation to traditional gender expression. I fondly remember when I first read Death Note, aged ten, and was convinced that Mello was a girl for several pages. Suffice to say, Mello's appearance is rather ambiguous, making him an adaptable character for one to project queerness onto. We will go into more depth on this later on.

It is also worth mentioning that Mello's style is quite camp. I love the way he dresses and only wish I had the confidence to pull off his outfits, but they are also very ridiculous and inconvenient. One of my Top 10 Mello Moments Ever is when he tails Mogi and Misa, wearing this:

Those sunglasses are doing absolutely nothing to keep him out of sight, but I appreciate the fact that he obviously thinks otherwise. He simply must serve cunt to the detriment of the task at hand.

If I have not convinced you that his style alone is a good hint that he is a queer character, even in the most general sense of the term, there's plenty within Mello's character context that isn't exactly subtle in how he is portrayed as evidently nonconformist. I do think you have to be careful not to equate certain traits with queerness when it may not be appropriate to do so (after all, there's many characteristics relating to neurodiversity that can be identified in those who originated from Wammy's House, and while I won't get into the whole discussion about the overlap there because it's not my place to do so, I also think it would be an interesting subject to explore).

However, it is completely understandable why a lot of queer people see themselves in Mello. As a child, around the age that I think many begin to explore their sense of self, Mello's identity is ultimately threatened by L's death. He is confronted by the prospect of working with (accepting) Near in order to catch Kira. Instead, he runs away, and the narrative that follows is of a man tied up in complex feelings relating to his identity as a 'runner-up'. To put it simply, it conveys queer grief very well — Mello struggles with the fact that who he is as an individual does not align with the expectation that Wammy's House instilled in him from a young age. Similarly, some queer people may find that they must contend with accepting an identity they had been discouraged from exploring as children.

I think for many queer people seeing themselves in Mello, this sense of shame that can be identified as internalised homophobia or transphobia is unfortunately a common experience. It can take a long time to recognise, let alone challenge the societal standards that have been deemed 'normal' or 'correct'. Mello encapsulates this disconnect well in the sense that his goal to defeat Near as a means to prove himself as a worthy successor to L is doomed from the beginning. He was never meant to be the one to become L, and yet he runs straight to his demise in his desperation to receive recognition from an institution that he could never succeed within. I am not suggesting that all queer people go through this level of intense self denial when exploring their identities, but I think it ought to be appreciated that through Mello, there are a plenty of parallels that reflect the complexities of discovering your sexuality and gender identity.

Additionally, if you'll excuse me posting two rather grim examples of objectification in the manga, it is worth noting that Mello, in close proximity to two naked women, does not seem remotely interested in their bodies, which might suggest a queer identity on a very shallow level. I do think, given how misogynistic almost all the male (and some of the female) characters in Death Note can be, Mello is notable in the sense that he doesn't actively discriminate against the female characters. He treats both genders like shit. Feminist icon.

Mello is very easy to project an assortment of queer identities onto. For what it's worth, I headcanon him as bisexual and FtM, but I know you are not reading this essay for my personal projections. You can consider Mello as MtF, asexual, gay, nonbinary — all of these identities can easily be validated within the canon context because Mello is so versatile while still being a developed and nuanced character. His story mirrors so much of the struggle that queer people contend with, and while I think it is a massive shame that it isn't resolved, I think that in itself only exemplifies the complicated nature of identity.

So, where does Matt come into all of this?

It is important to remember that Matt as a character was created for Mello. In the main series, it isn't even mentioned that Matt is a Wammy's kid, this information only being revealed in 'Death Note 13: How to Read'. However, this is crucial knowledge because it conveys the very essence of what makes MellodraMattic so great.

I love Mello, I really do, but he is cruel and selfish, in addition to being arguably one of the most dangerous characters in the series. For those who might relate to him for any of the reasons I have given thus far, it is still important to understand that Mello is not a decent person. He is deeply flawed, and as much as I like to joke that his crimes are perfectly fine actually, I can still appreciate that he is not meant to be regarded as an 'good' character, even if he is on the right side as far as Kira is concerned. His behaviour is very much correlated with his sense of inferiority, so in this case, his identity struggles do not excuse his behaviour, but they can explain it.

Yet, despite all of this, Matt remains by his side, regardless. While there's a general consensus that the two were separated for some time after Mello ran away, they eventually reunite and work together. In these brief moments, we can still gain a good insight into their relationship dynamic from the way they speak to one another. For instance, Matt is cheeky in a manner that the reader would not expect Mello to tolerate. Yet the patience in how he responds to Matt's insolence almost appears uncharacteristic. I am of the belief that Mello is not a highly reactionary character, despite how the series tries to portray him as such, and this calm composure he is capable of can best be seen through his interactions with Matt.

There is a real familiarity between the two men that I don't think is comparable to any other relationship in Death Note. For example, in the image below, Matt is complaining about a task Mello has assigned him, one that isn't exactly difficult, and yet he's already distracted. Rather than get frustrated, a response we would expect from Mello, he answers Matt gently.

I appreciate these moments are few and far between (for fuck's sake, there's only two panels that feature the both of them) but I don't think I'm reading into it too much. I think they're genuinely suited for each other, which is, of course, because Matt was written for Mello. Their chemistry is dependent on the latter canonically.

Matt brings out the more approachable side of Mello because Mello does not see Matt as a threat that he must remain guarded around. If we as readers have become acquainted with Mello through his act of cruelty, albeit as a means of survival, we must assume Matt is familiar with this side of Mello, too. However, it doesn't deter Matt, nor does it scare him. Matt is completely loyal to the very end, and while such writing is perhaps a little superficial, I think it does emphasise the point that Mello has someone who will put his life on the line for him and God, I don't know. I think you have to read that as love to at least some extent.

Mello is a complicated character, with plenty of attributes suggesting that he is queer. This only further contributed to his plot line that centres an identity struggle, which speaks to those who fall outside of cishetnormativity. Unable to reconcile his sense of self with the expectations placed upon him, Mello becomes ruthless. Yet, in spite of these flaws, he has Matt. He represents a kind of hope, I think, that those who connect to Mello through his queerness and subsequent struggles can gravitate towards. A hope that there's someone who will accept every aspect of your identity regardless, that there will be someone you can be yourself around.

To me, MellodraMattic is my favourite ship because I love Mello and Matt, and the way in which they interact with one another. It is also that initial identification with Mello, that makes Matt's character and their relationship more meaningful, an example of the fact that there'll always be someone who not only accepts, but loves you, regardless of the mess.

I think that's beautiful. 🍫🎮

[rosesnwater]

Content Warnings and A Lesson From Lore Olympus

As some of you may know, I write a comic, which i occasionally post about here. I'd like to address a conversation around creators and content warnings in this post as well as the general tremd of authors overstating whats happening in their story. I've seen it come up recently in webtoon discourse within my own comic.

So first off, right after my three page prologue I have an authors note that details all the topics my comic will be going into throughout the course of the story.

It follows:

These are ALL the issues I tackle within the comic and I leave it here so people can decide whether they want to continue with the story. I have labeled my story as mature. There is a warning when anyone accesses the comic for the first time on both Webtoons and Tapas. I also have warnings that come in three degrees that I place before each episode that handles one of the mature themes I mention. However, what I don't do is tell the reader what they're going to see before they see it. I don't like doing this for a couple reason, some of the most important being, I think makes the story redundant because it's already explaining what's going to happen and this in turn disrupts the narrative.

I understand why people feel strongly about warnings and making content safe on a platform with a young audience. However, seeing as this is a work I have invested a considerable amount of time in, that I'm offering for people to enjoy (which i enjoy doing), I believe it is important I tell the story in my own way.

When you pick up a book you may get a warning in the synopsis (although I find this is rare) or in other people's online reviews of the book BUT you have to go looking for those reviews. As a creator I can only testify to my own experience, but like novels, comics are stories and in my own work, the story should NOT be bisected by warnings expressly stating what's going to happen in each episode.

I feel this speaks to a general increased uninvolvement in the material readers are reading and a lack of reading comprehension to the point authors think it necessary to guide their audience through their story.

There has been a decent amount of discourse in the UnpopularLoreOlympus reddit thread about readers reading comprehension. It is now common practice to have images like the one bellow before an episode.

On more than one occasion Rachel has put warning paragraphs at the end of her episode stating without any subtext what EXACTLY a character meant during the episode, even though readers would ideally understood the subtext as communicated by the narrative.

And before that she would have warnings signs like this before episodes where the content would be present:

The above warning is actually quite common amongst comics but it should NOT be required by the audience. If an author is doing their job, they'll have the proper box ticked off when submitting their webtoon

SPOILERS FOR MANY WORKS OF FICTION.

No one tells you at the beginning of jane Eyre that there will be violence, death of children, and abuse, let alone where these incidents will occur.

The hunger games won't warn you before the start of a chapter that there will be starvation or gruesome depictions of character death or content describing mental illness.

Most movies will have warning before the whole movie but they won't briefly cut out of the narrative to tell you what's about to happen and people shouldn't expect comic artists to do this either.

As a comic creator i am rellyng upon my audience's discretion to decide on whether or not a story is safe for their consumption. However, I'm adamant in my own work that that's where my required involvement ends.

I will explain things in the comments or answer reader questions, i will be happy doing so because i get to engage with people on something Ive spent hours creating. I will go onto my discord and jump into the deep world building or explain a particular scene, but this should not be required.

Holding authors accountable for going thoroughly over the controversial issues every episode they post is unreasonable and honestly (for me) damaging to the creative work. We end up with situations like lore olympus where authors are there to explain every warning and subtext to the audience without any work on the readers part.

I know this may be controversial to some, but as a creator, it's something that's bothered me for a while and something I think we should be able to talk about in the artistic community.

[mariacallous]

A famous parable revolves around the troubled relationship between a scorpion and a frog. A scorpion needs to cross a river. Unable to swim, the scorpion asks a frog to carry him on his back. Listening to the request, the frog responds that he is hesitant because he fears that the scorpion will sting and kill him. After the scorpion assures his new friend that he would never do that, the frog agrees. Halfway through the journey, the scorpion stings the frog. Slowly dying, the frog asks, “Why did you do this?” The scorpion responds, “I’m sorry, but it’s in my nature.”

The story is a classic lesson about how dangerous people don’t usually change. Even when promising that they will act differently, the likelihood is that they won’t. It is also a tale about taking warning signs seriously. The frog understood the risks that he faced, yet he chose to ignore them.

U.S. presidential elections frequently involve warnings signs. Over the course of a campaign, voters learn a great deal about the candidates running and the potential costs of putting someone in office. Sometimes, a majority of voters decide to heed those warnings, yet there are other times in U.S. history when voters end up the frog.

In 2024, there are more warnings signs than usual about one of the major candidates: the Republican nominee, former President Donald Trump. There are big red flags from both his first term in office and his post-presidential years waving over and over about what Trump 2.0 would bring. Another one came on Wednesday, when the Washington, D.C., district judge handling the federal election conspiracy case against Trump unsealed a 165-page document with the fullest picture of what special counsel Jack Smith had found.

To understand how voters have the capacity to cover their ears to avoid hearing alarm bells, look back to 1972, when President Richard Nixon won reelection in a landslide victory against Democratic Sen. George McGovern. Too often, the story of Nixon’s reelection in 1972 and Watergate are treated separately. The thing is, there were, in fact, many people warning of who Nixon was as a politician and what he would likely do when freed from the restraints imposed by having to worry about reelection.

The familiar narrative on the 1972 election is that, riding high on diplomatic breakthroughs with the Soviet Union and China, Nixon defeated McGovern in a stunning victory that rivaled President Franklin Roosevelt’s coalition-building reelection win in 1936. There were many Americans who didn’t like Nixon or his policies, but it wasn’t until investigations in 1973 that his severe abuses of presidential power were revealed. Had the country only known more, so the story goes, the electorate could have averted the disaster they collectively faced on Aug. 9, 1974, when Nixon stepped onto a helicopter, leaving the White House in the middle of his second term.

In fact, numerous representatives and senators had been trying to expose Nixon’s nature even before that election. After Nixon announced on April 30, 1970, that he had secretly deployed troops to Cambodia and conducted a massive bombing campaign, there was a fierce outcry from Democrats about how he had lied and threatened the balance of power to accelerate a disastrous war. Idaho Sen. Frank Church and Kentucky Sen. John Sherman Cooper began drafting a bill to prohibit the president from using congressional funds for operations in Cambodia. Congressional critics railed against Nixon’s turn to impounding funds that they had appropriated and which he failed to veto. Soon after the break-in at the Democratic National Committee headquarters at the Watergate building in June 1972, Democratic Rep. Wright Patman, a Texas populist, attempted to launch an investigation into the connections he suspected between the burglars and Nixon’s reelection campaign. The effort, covered by the press, was undercut by Nixon and his allies on Capitol Hill.

Journalists and public intellectuals were on Nixon’s case long before most voters cast their ballot. In 1971, the administration’s efforts to prevent the press from publishing the Pentagon Papers, a secret Defense Department study exposing the lies told to justify the war in Vietnam, required the Supreme Court to intervene, culminating in the 6-3 decision in New York Times Company v. United States, which allowed publication. The media praised the decision as a blow to a president who was intent on stifling the press. In March 1972, Life published a story based on a nine-month investigation that accused the Nixon administration of having “seriously tampered with justice” to insulate supporters in San Diego from criminal prosecutions involving illegal campaign contributions. “The administration has in several instances taken steps to neutralize and frustrate its own law enforcement officials,” the magazine noted.

By mid-October 1972, the Washington Post, the New York Times, and Time were publishing stories about an FBI investigation into whether Nixon’s reelection team was involved in sabotage operations, including the break-in at the Watergate building, against the Democratic campaign. On Oct. 16, Bob Woodward and Carl Bernstein published a blockbuster story about how Nixon’s personal lawyer, Herbert Kalmbach, revealed that he “was one of five persons authorized to approve payments from the Nixon campaign’s secret intelligence gathering and espionage fund.” Nixon campaign manager Clark McGregor was so frustrated with reporters that he accused the press of acting politically, stating, “the Post has maliciously sought to give the appearance of a direct connection between the White House and the Watergate, a charge the Post knows—and a half dozen investigations have found—to be false.”

And then there was McGovern, who made Nixon’s corruption a major theme in his final months on the campaign trail. In his acceptance speech at the Democratic Convention, McGovern said, “From secrecy and corruption in high places, come home, America.” In late September, during visits to three states on the East Coast, McGovern called Nixon “scandal-ridden” and “corrupt.” Speaking to labor leaders in Atlantic City, he warned that “If we let this Nixon-Agnew administration have another four years, I think they’ll make Warren G. Harding look like a Sunday school teacher.” McGovern called the Nixon administration the “trickiest, most deceitful” in U.S. history. On Oct. 17, he told a rally in Fort Worth, Texas, that Nixon was attempting to “escape responsibility” for the break-in and, in the process, “polluting the faith of the American people in government itself.”

McGovern’s emphasis on corruption intensified in the final weeks of his campaign. “As the net of truth closes tighter and tighter around the president himself,” he said, “they try to persuade us that the spying, and lying, and burglary, and sabotage will not affect the election because people expect these things of politicians.” If voters chose Nixon, he said, they would be selecting four years of “Watergate corruption.”

The problem was that McGovern was running against the wind. In mid-October, Gallup found that a minute percentage of Americans ranked corruption as a top issue; only 52 percent had even heard of the Watergate affair. The public concluded that both parties were equally corrupt, so it didn’t matter who was in office.

Nixon defeated McGovern by winning 49 states, including a sweep of the South, and 60.7 percent of the vote.

Today, the warning signs about Trump are all in broad daylight.

The first threat is Trump’s embrace of election denialism. The former president demonstrated that he is willing to destabilize the democratic system when election results don’t go his way. Multiple investigations have unpacked the systematic campaign by Trump and his allies to overturn the 2020 election, which culminated in the violence of Jan. 6, 2020. Since the insurrection, Trump has continued to deny the outcome—as did Sen. J.D. Vance during his debate against Gov. Tim Walz, when he refused to acknowledge that Joe Biden won. Moreover, the Trump campaign has made several strategic moves, such as supporting a change of rules by Trump-allied members of the Georgia State Election Board that will make it easier for local officials to question and delay the counting of ballots; this could easily create a certification crisis.

During his time in office, Trump refused to accept that there were limitations on what a president could do. Surrounded by advisors who believed in the unitary executive theory, Trump did what he wanted to do until someone was able to stop him. Formal or informal guardrails were not his thing. Trump’s expansive, and dangerous, views of presidential power were clear during the first impeachment trial when the United States learned how he had threatened congressionally appropriated aid to Ukraine if Ukrainian President Volodymyr Zelensky did not agree to help dig up dirt on Biden and his son. Trump and his supporters were very clear that he will flex even more of that muscle should he be given another chance to do so. He has often spoken in public about collapsing the firewall that has separated the president from the Justice Department since Nixon’s downfall, and he has threatened to use that prosecutorial power to go after his opponents. In one Truth Social post about Smith’s investigation, Trump said that there would be “repercussions far greater than anything that Biden or his Thugs could understand.” Written by many high-level officials in Trump’s operation, including Stephen Miller, Project 2025 is a 900-page road map to a massive expansion of executive power.

Finally, Trump poses a serious risk to human rights. Between 2017 and 2021, undocumented immigrants were subject to intense and inhumane punitive measures, such as the separation of families, in an effort to disincentivize border crossings. In response to #BlackLivesMatter, Trump asked former Defense Secretary Mark Esper about shooting civil rights protesters in 2020. He famously had peaceful protesters in Lafayette Park cleared out with tear gas all so that he could get a photo-op. Finally, he was the instrumental force behind the creation of the 6-3 majority on the Supreme Court that overturned Roe v. Wade.

The United States paid a high price for its decision in 1972. Nixon’s second term was consumed by the Watergate scandal, which rocked U.S. politics, traumatized and divided the nation, and resulted in decades of deep distrust of government. In 2024, will voters heed the warning signs?

[dailyadventureprompts]

As someone overburdened with ideas it's SO hard figuring out what campaign I'm going to run next. I've got a group of players slowly coagulating but I'm still trying to figure out exactly what I'm going to put infront of them for session 0. The problem is that while I have no shortage of raw narrative material the vast majority of it doesn't easily snap together to coherent campaigns, to say nothing of those ideas that seem fun but haven't yet developed enough to fill out all of my checklist.

Decisive intro: One of my must haves is the idea that there's an initial concept/motivation baked into the campaign pitch that the players can latch onto when building their characters. It's so much easier than my earlier days of " Alright people we're playing d&d make your characters on your own and we'll see how the group sorts itself out by the first session."

Central gameplay mechanic: An understanding of what the players are going to be doing most of the time to progress the plot. Mysteries involve investigating, pirate games include naval battles, sprawling political epics involve diplomacy and spycraft. Just like with the intro, this lets your players create characters who are conceptually and mechanically relevant to the game as it unfolds. Likewise it's a good idea to have the central mechanic reflected in some way in the intro adventure. If its a heist game, make them steal something.

Bulletproof first act adventure: Carrying through on the momentum of the intro, dealing with its consequences, confronting its villains, getting the party tangled up in various other plot threads but tying off neatly at the end.

Strong idea for future arcs of the campaign: To provide those previously mentioned plot threads and enough background worldbuilding. No idea what adventure hooks the party will bite down on but It's my policy to always pack a full tacklebox.

Touchstones: Another unexpected but absolutely necessary inclusion is to give your players a smattering of different pieces of media for them to reference as to the tone and boundaries of this campaign. Is your classic medieval fantasy Lord of The Rings gravity, Narnian wonder, or Montypython absurdity? You HAVE to get the whole party on the same page about it.

What drives all this frustration into actual absurdity is that most players don't even have strong opinions about which campaign they're playing, they're just happy to show up and play whatever amazing thing I've made for them. You think that'd make this easier but it doesn't!

Please, if you're ever in one of my games, have opinions and be loud about them. Be flexible, yeah, but be forward with your likes and expectations.

[magerywrites]

magery hello,,!! i hope this isnt too forward but i discovered you via _maiqo on twitter a long while ago and have been absolutely enamored by your works ever since — your writing is an enormous inspiration to me and i sincerely hope that my works can one day match the same level of excellence.

you absolutely dont have to indulge me at all, but is there any advice you can give in terms of writing character studies? :’D if not its totally ok !! and anything works !! i just figured it’s worth a shot haha

Thank you very much! It's always lovely to learn that what I've written has meant something to someone. I appreciate it.

In an attempt to answer your question, I'll talk about how I think about and approach character studies. It may be that much of what I say fails to be useful to you, but I hope to be of some small aid regardless!

To begin, I think the most fundamental element of writing a character study—as a piece of fanfiction, though much of this can be applied without significant difficulty to orginal works—is to have a firm vision of who the character is to you.

This is separate from having a firm vision of who the character "really" is. Nobody can have that—every way we engage with media is coloured by our own values and perspectives, and that bleeds into the way we think about and write characters. This is sometimes a difficult dichotomy to balance against the principle of "they would not fucking say that", but to borrow some old and too-simplified physics, I think it can be useful to consider that a character is in many ways like an electron in an electron cloud. Their precise and perfect characterisation is not something that we can ever truly locate, but we can identify the area of narrative space it is most likely to be in.

The task of the character study, I feel, is to hammer down on the part of that narrative space that you find most compelling. To take the meat of their character and cook it the way you would want it served to you. A character study is not to please anyone else. A character study—or, at least, the kind of character study I write—exists for you to get your feelings out about the character you have been rotating in your brain onto the page. It also exists, of course, so that you can try to show those feelings to other people and hope they feel them too, but you will never succeed in actually capturing those feelings in the first place if you don't allow yourself to write your authentic vision of the character.

They don't have to be your blorbo, or your problematic fave, or your three corners of the OC design triangle, or whatever, but when you write them, for that space and time they do have to be yours. Otherwise, what's the point?

Once you have that vision, you can put them in practically any situation you like and as long as there's something in it for them to bounce off, you're going to be able to tell a story that reveals something about the character. If you look at the "plots" of a selection of my character studies, we have "one guy folds sheets, another guy asks him questions" as a plot, we have "a pair of exes talk across a tabletop after a party", we have "oh LAWD they FAWKING" like four and a half times, we have "retelling the plot of something else" twice, and we even have "two people on a helicopter flight for an hour". It's not really complicated stuff. It doesn't need to be. The character, or characters, just need to be in a situation where they're going to have some reason to think about, and maybe even talk about, whatever conflict or idea or relationship you find most compelling about them.

With that said, it should be noted that it's... well, for me, with the way I do things, it's very very difficult to conceive of writing a character study in any situation without a clear and central conflict the character or characters are grappling with. All of my character studies revolve around a problem a character has and how they react to it. And yes, "having a conflict" is, like, the quiddity of a story, the most basic plot diagram there is. But what I'm trying to say here is that even in the story I mentioned where two people sit in a helicopter and talk to each other, the story is intensely focused on the internal struggle one of those characters is having with the choices that led to her sitting in that helicopter and how much they do, or don't, make her like the person she's sitting opposite (both more and less than she knows). And that's the sort of thing that I think is key. The conflict, in my eyes, needs to be philosophically central to the way you view the character and what you want to say about them. It needs to be tightly intertwined into what you find most compelling about them—the thing that you just want to sink your hands into and squeeze, for good or ill. That's how you get to really show the world who they are and why you care about that.

After that, I really think that in a lot of ways it just comes down to the prose. How deeply can you write into your character's head? Are you colouring even your description of the world around them with the way they would see it—or are you taking the opposite path and presenting the character entirely through someone else's eyes, so that you can characterise them through the distance between what the other person thinks about them and how they present themselves? You don't need frame-perfect metaphors or the Inanna-Ishtar LGBTQIA+ sharingan-coloured prose to do that, but you do need to focus on writing in a way that expresses the character.

This does take focus. How much focus depends on how specialised you are into that style of prose, but it is focus nonetheless: you need to think of your sentences, each and every one, as tools to communicate something about your understanding of the character that you want the audience to know. Some of them will inevitably instead become vehicles to reach a point where you can communicate that understanding, but something as simple as what a character notices first when they walk into a room tells you something about them. Lean on that. Lean into that. After all, if you're writing a character study, the writing should study your character.

(Colour this advice with the fact that I am, as you've probably realised from reading my writing, very much a prose-focused writer. I have spent near on fifteen years, since before I even graduated high school, honing my prose for poetry of language and interiority so that I can write in the way I most enjoy reading. That affects what I value in writing, and it affects my opinion on the way people should write. I believe what I am saying is true and good and useful, because I have faith in the way I engage with my art, but my advice does not chart the sole and singular course to the ever-distant utopia.)

To tl;dr myself, my advice for writing character studies fundamentally boils down to to the idea that I think a character study is most potent when it presents a vision of a character that the writer has clearly obsessed over. That they have layered with their thoughts, their perspective, and their heart to the degree that it drips even from their prose. A character study with the confidence to say this is what I think is compelling about this character, and I want you to see it too.

I may not agree with it, I may think "They Would Not Have Fucking Said That", I may even think the writer has just invented an unsustainable interpretation of the character that demonstrates startling reading incomprehension and I can't believe I have to share the same fandom as these people.

But at the same time, I know people have thought and said that about my own works—and I'm still happy that I wrote them.

I have far more respect for someone who's written an entirely committed and deranged interpretation of a character that I think is Flatly Fucking Wrong than I do someone who presents me with the most milquetoast interpretation I can't disagree with. If I choose to read a character study, it's because I want to see you study the character. That's, as the meme goes, why I'm here.

So, really: focus on determining who you think the character is, write them the way you want to see them written, keep your prose tight to who you think the character is (not just "would they say that?" or "would they think that?" but "how would they describe that?" and "what would they see in that?"), and commit to the bit.

(If you've managed to read to the bottom—thank you for entertaining my rambling, and I hope it helped!)

[elvendorx]

The Remus and Sirius height discourse has become so loaded. Today I saw a post claiming that viewing Sirius as taller than Remus means that one supports jkr? (What?)

Canonically, Sirius is taller than Remus. That's just a fact. And I understand that some people don't care about canon, and that's cool!! But even if you don't give a flying fig about canon, that does not make the view that Remus is taller than Sirius any more valid than the reverse, and you can't go around telling other people that they are wrong, or worse, bad people for not agreeing with a version of the character that exists in your head?

Look I get that it would be annoying to have people inject an "ahem actually..." on posts that are clearly based on headcanons. I get that. But that is the natural consequence of taking the names/tags of characters from popular fandoms and using them for your own OCs, and the fact that these fans jump to "they must be horrible people!" as opposed to "they might be confused about my relationship with canon" is... something.

As someone who is neurodivergent, I find that the fandom that claims to love diversity has very little tolerance for people who don't understand the unwritten rules about when canon is and isn't allowed to be used as a reference point. (Somehow, we still hate Snape because canon, but all other canon is garbage?) Sorry for the rant, I'm just tired and confused.

don't be sorry at all, i think this kind of thing needs to be talked about because at its worst, this rhetoric is an attempt at emotional manipulation and censorship. nobody is ever going to 100% agree even with the exact same words on a page - this is the entire literary criticism field, most of the time variation in readings are a good thing but this isn't even a "reading", because it has no bearing on the characters, they just are or aren't a certain height, so it becomes a tool for personal agendas - "if you think sirius was tall, you're a fascist". even though those two facts are not connected, because sirius' height is never anything more than a physical description of him. and it's glaringly obvious that the people who fixate on this aren't interested in sirius as a character, just as a vehicle for their own fantasies/validation.

this is the problem that comes from people trying to put dynamics & personalities that they want to see onto characters who don't fit those moulds. the height thing doesn't actually matter, it doesn't change anything in the narrative, but it summarises the attitude towards canon which for me summarises critical reading & reading comprehension as a whole within hp fandom. i don't think canon is perfect and i don't think it's sacred but i don't understand why you would engage with something that you have to twist out of recognition in order to enjoy it.

part of the fun of fandom, for me, is finding the limits and boundaries while maintaining recognition. at the very least, even if you change everything else, character has to be consistent. you have to recognise who you're working with otherwise what are you doing here? other authors are writing and have written exactly what you want, so why do you need this character with a history and motivations and a distinctive personality to be the ideal version of you/the partner you want (because lbr, that's it!). i'm not saying that people can't use their imaginations and bend things, i do it, and people can do that by bending characters out of recognition if they want. i don't get any enjoyment out of that or see the point in it but i'm not going to try and stop people. it's the flagrant dismissal of logic and evidence that i think is a more dangerous stance when applied more widely.

it's ALWAYS the people who want remus to be taller and sirius to be tiny who have 10 million personal reasons why they need it to be that way around despite it being clear that sirius is specifically tall, and remus is of such average and nondescript height that it's never mentioned. it's nobody else's responsibility to validate anyone's projections onto a fictional character, and your personal reasons for wanting a character to behave in a way that they wouldn't isn't anybody's responsibility. i don't think these kind of people see the irony in how they're trying to force their view on everyone else even though there's direct contradiction to it, yet are claiming that people who go with that feature from the text are violent fanaticists or something.

when you question why it makes such a difference to the "big strong remus and baby boi sirius" people, it comes down to "it's cuter" or "it allows me to simplify m/m relationships into tough and cute and use physical attributes as symbols rather than thinking complexly about personality traits and dynamics." the height thing is basically one step away from top/bottom discourse and just because someone identifies as queer or relates to a character doesn't make it unproblematic. if you need to see a character who represents your specific circumstances, find one or make an original one, imo. it's not an entire fandom's job to validate individuals and it's manipulative to suggest that someone else seeing a character according to the way that character is explicitly described is an act of hatred or violence or something.

apologies if this turned into a rant of its own - i don't CARE that sirius is tall but the attitude towards minor, basic facts is wild to me. it makes no difference to me but idk why you would take being taller than snape away from sirius bc he clearly enjoys being able to tower over him. if i did want to argue that sirius' height makes a difference in the text, i'd say that sirius is tall because padfoot is also a large creature and there seems to be some kind of reflection of the human in animagus forms, whereas the whole werewolf thing is something inflicted externally rather than something that comes from within the person so remus' human height isn't reflected by his lycanthropy. but that's a whole other question i would have to research more.

[archandshri]

23rd Feb '24 - [arch] OH RISO my beloved!!!!!! ft. cyberpunk hermitcraft soup group

A cliffhanger!!!! And now I have to wait a month for you to upload the second half?? How will I cope :’’0

For real, it’s so awesome to see your process and the sheer amount of inspiration you take! In particular, I thought ‘Sit on Two Chairs’ and ‘This Was Our Pact’ were particularly yummy. 

I think book covers are really hard. You have to sum up a book’s energy in one image, make it stand out and show just enough so people want more. Exploring the narrative through those full pages is really interesting - though this is something you did for fun, it could be a really useful technique for getting to know a narrative. When I’m designing my comic covers, I always do it last - that way I’ve had practice with the visual style and I’m thoroughly familiar with the themes, so I guess spending a bit of time with the characters and narrative in this way helps for standalone book covers too. Of course, it helps if you have the time for that XD

Okay!! Onto what I've been up to!!! [warning this is a beefy post I'm sorry for your poor reading brain]

The past two weeks have been really enjoyable! I’ve been playing a lot with slow world-building, in sketchbooks, google documents, and voice notes to friends. Letting myself really sit with concepts, think about the characters, let them play in my head with no expectations. With this relaxation and lack of pressure, some beautiful narratives and interactions have been developing. I’m starting to need a name for a world/ the story. I’m not quite ready to give them a full introduction to the internet - I know it doesn’t but it feels like there’s some accountability to *produce something* and this slow development is really important for the quality and my skill building. It’s really hard to take on, but we actually don’t have to make the perfect thing now! In fact, it’s impossible. Pressure on ourselves makes it so hard to make something good if we’re always grasping at the final result.  In the meantime, while those characters develop, I have been working hard on my basic skills. I wrote about characterization last post, but this week I focused on setting and colour. I was inspired (once again) by Hermitcraft. I’ve seen some really incredible illustrations of Minecraft builds in the fandom, and it seems like a great exercise.

Bdouble0's Season 10 Base illustrated by @applestruda [source] and The Red Zone, built and illustrated by Bdouble0 [source]

One of the creators on Hermitcraft, ImpulseSV, created this build in a recent episode. It takes inspiration from the last season of Hermitcraft, where he was part of the ‘soup group’ with two other players, and his current base concept - a cyberpunk city.  I also LOVE his new character design, so I wanted to place him in the scene.

Screenshot from Impulse's video and new impulse design by @maxx-doodles

Here are some initial thumbnails I did, trying to figure out the composition. I wasn’t sure of the vibe yet, so I tried some rough thumbnailing, and drawing on an isometric grid and other perspective techniques. I’m going a bit mad for characters at the mo, so I wanted to place some in the scene. I found the angle of the isometric grid steep to place characters comfortably, so decided against that.

Looking back at it, I love the second! But I believe I was struggling with the perspective. I decided on the last one eventually.

Now, I absolutely adore all of the players in the Soup Group, and I am BIG fan of redesigning their notable characteristics to suit different settings. So yes, I decided to put all of the soup group in the image.

PearlescentMoon (left) from my comic and GeminiTay's Hermitcraft Season 10 design [from this thumbnail] (right)

Here's the sketch of the final image. I really enjoyed coming up with cyberpunk versions of them all. I used the impulse design almost exactly, with a few extra interesting details since he's mostly viewed from the back. For PearlescentMoon (middle) I kept her fringe, dark hair and gave her a glowing moon symbol on her top. For GeminiTay, I kept her long ginger hair, antlers (but glowing!) and took inspiration from her new season 10 design - a dark blue jumpsuit to match her dark blue clothes in her new design, and the braids she is often drawn with. I also gave them edgy new hairstyles. And a robot arm. I don't have lore for that.

As usual, I filled each flat colour-to-be with black and lowered the opacity to play with the values. Then I added colours one at a time, aware might be riso printing it. Originally I stuck to trying to make it printable (making the colours out of ones I could make my layering 2-3 colours at different opacities), but as I went on, I decided to drop that and focus on the quality of the image in a digital format alone. I did keep the grayscale version above with all the separate layers in case I needed that if/when I came to riso printing it. Below are the main two digital colour schemes I tried out.

I settled on the one on the left, with the blue tones - the foreground characters really pop. I put a few details in Gem's hair, colour variations etc, and cropped it for Instagram. I actually much prefer the cropped version - it sits better in a rule of thirds.

Now the moment we've all been waiting for :'')

RISO!!!!!!!!!!!

I returned to Cardiff after a couple of months away and was delighted to spend my first day back at The Printhaus, an awesome shared print studio where I have basically made my home. A few of my awesome friends happened to be there, so I spent the day playing around with this image with their help! (please check them out they're very cool - Gavin helped me a lot (we hung out at Thought Bubble, remember? and Rhi gave good crits too!!)

For those who don't know, risograph is basically a shitty photocopier that can only print one colour at a time. However, you can play with gradients and opacities, and layer colours really nicely to combine. I've done a lot of single-colour tonal work with riso but this is my first go really layering.

First, Gavin showed me how to separate the channels in Photoshop, using the flat image uploaded to the 'gram. We copied and pasted these layers in grayscale and added blending modes to each layer to replicate what they might look like when printed.

With blending modes, the digital mockup looked like this!!

This bit goes into technical details for replicating what the print might look like for those who might want it - feel free to skip :)))

I copied and pasted the Cyan, Black and Magenta layers as greyscale (as you can see above)

I made all of the greyscale layers multiply layers since risograph ink is transparent and we wanted to see how it layers. The ink usually comes out a bit lighter than you think, so it's good to bear that in mind. I used a clipping mask over each greyscale layer and a blending mode. WHEN YOU PRINT, PRINT IN GREYSCALE, NOT COLOUR.

Here's how I split the colours from CMYK to the riso colours, their hex codes and the blending mode I used to replicate the colours:

Cyan - Mint [HEX#82D8D5] Screen Magenta - Fluorescent Pink [HEX#FF48B0] Screen Black - Blue [HEX#0078BF] Overlay Yellow - scrapped for colour scheme purposes

Blue, Mint and Florencent Pink layers in greyscale in Procreate.

Riso printed Mint and Florescent Pink layers on separate paper, followed by the two layered together.

We always start with the lighter colour inks first, because sometimes the rollers can pick up the ink and cause extra marks where you don't want them. The first two colours came out great!

The first time we printed the blue, it came out very dark (left, first image). I have had this issue before - my last book, Winter Wellbeing, came out much darker than I wanted. Now I realise that the blue ink is super sensitive. All the 'white space' that is covered by a low-opacity blue on the left is only 2%, and yet it has come out pretty strong. We tried printing it on one of the misaligned images just to see, but it took all of the brightness out of the neon soup sign at the top of the image (second image). So I changed the values and pushed them way lighter, so it just pushed the values of the darker bits slightly, and brightened some of the lineart (right, first image)

And this is the final riso printed version!! I'm so so happy with how this came out. It's so different from the original digital version, and I actually love that.

I didn't create new colours in the way that I intended to - I wanted to play with overlaying purposefully to create specific colours eg. orange for the hair etc. But!!! I'm really happy with how it came out. That will have to be a project for next time.

Also, many copies are slightly misaligned, so in future I think I'd do flat layers for the colours a more blobby style with the linework on one layer only so there's less of a chance for obvious misalignment. design for the riso, rather than riso the design.

Overall though, this feels like a super cool step up and a milestone for me. Super happy with how it came out!! And I'm excited to play with colour some more. Can't wait to see the rest of the Lionheart brothers! Enjoy your weekend :)))

Archie 🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺 <3

[softer-ua]

It absolutely kills me that Deku is never shown thinking about the river scene, he thinks they just began naturally drifting apart when he didn’t get a quirk, but for Kacchan it was this whole story of betrayal & never ending mockery to /him/ 💀💀💀

Like that’s the thing about the bullying that gets me and the antis always seem to miss, Kacchan legit thought the hate was mutual and that Deku was constantly and consciously making underhanded slights at him for the last 10 years

Bk legit lost sense of reality at 5 and didn’t clock back in until 15

5yo him couldn’t tolerate the idea that he may not always be the best at things, kindness/empathy is a strength(one he struggles with), & that a helping hand is not something you necessarily have to need or deserve to accept

And that intolerance was reinforced over and over again by the continued praise and lack of constructive criticism from the adults around him, the envy & admiration his peers held for him, and from the ridged criticism of his parents

But Deku challenged all of that everyday by merely existing. Empathy & kindness come as easily to him as breathing, they’re obvious strengths coming from him.

His ability to put himself in another’s shoes strengthened his ability to think outside the box, come up with clever ideas, and desire to help others at any cost to himself

Remember Deku knew full what he was going up against with the sludge villain

He’d already barely survived an attack from them, received no medical attention for it, went jetting over skyscrapers, had his dreams crushed by his idol after a lifetime of having them mocked

And his feet still managed to not just move but doge 6 pros, then he came up with a successful plan of attack to hit a moving target

Because unrecognized by everyone but Kacchan, Deku was trying to be a hero, it wasn’t just a wild dream, he had made efforts

But what was passive unintentional challenges on Dekus part were taken by Kacchan as direct threats to his greatness, which is just absolutely wild, love that for him

Kacchan is the drama, he is the problem, but he manages to do something very few people ever accomplish, he gains self awareness!!

Do y’all realize how rare that is?? So many people will let their capacity to hold onto multiple complex thoughts pass through their fingers and never have it fully develop

As we enter our teen years we gain the ability to simultaneously hold a focus on the future, workshop our personal goals, and questions the beliefs and behaviors of the adults around us in full nuanced ways for the first time

But many take the path of least resistance and don’t stretch their minds and push the boundaries of those new skills to workshop their position in those systems

And when we don’t that skill stagnates & grows weaker with time, it takes a lot of intellectual prowess to conceptualize all those moving pieces

You have your actions, theirs, your beliefs, what you’re able to gather as their beliefs, the nuances of societies beliefs and how they influence you and them, and circumstances in and out of y’all’s control

Then you have to add all that up, walk it back from their point of view, and then see if adds up the same

Kacchan was 15, spent 10 of them totally delusional, and still managed to rewrite his whole narrative in a years time

I know grown as adults in the mental health field who struggle to do that on a much smaller scale

Disclaimer: this isn’t an excuse for Kacchan’s previous behavior being unkind and violent is still not okay, I just find it very interesting and impressive how his development works and the added nuances about how he thought him & Deku were on similar pages but where actually light years apart

[nerdygaymormon]

Therapy Session 10/3/2023

I'm writing about today's therapy session because there's some things I want to remember. This blog also acts as a journal for things related to being a queer Mormon, and going to therapy for an eating disorder is related.

———————————————————

I shared about the hard time I had while in Utah when two lovely people had come to meet me. My leg had fallen asleep and I couldn't get up. A strong Samoan guy had to help. I was so embarrassed. All the feelings of shame about my body, my weight, my eating disorder, of worrying how others view me and wanting to be accepted and loved, all of that came rushing in.

I also shared about this past weekend and General Conference and the homophobic messages and the suggestion that addictions to food are offensive to God. The strong feelings caused me to give into my disordered eating. And even as I was binging, I was mad about it.

He helped me reframe how I think about those instances, highlighting the progress I've made. Being mad as I was binging is an indication that I'm wanting to choose a different destiny, to effect change, and that desire will help me do so. He took it as a very positive emotion in that moment.

We also talked about ways of defusing those emotions and thoughts. We reviewed some pages in a book which I think were helpful.

I shared that when I write about those feelings, it takes these big, amorphous feelings and defines them. They're still powerful but now I'm pouring them into a blog post or onto a page, and that's where they live.

———————————————————

At the end of our session, he surprised me. He remembered that I'm a gay Latter-day Saint and he was doing some research and wanted to talk about something he found with me.

He shared that Jesus said, "Whoever would save his life will lose it, but whoever loses his life will find it." He asked me what my thoughts are on this.

I talked about how if I try to live up to other people's ideas of who I should be and what my life should look like, that it's not my life, I'm living theirs. By trying to save the community and connections I have, I wind up losing myself. But if I am willing to risk losing my community and those who say I must live a certain, I get to live authentic to my heart and beliefs and to who I am, in that way I gain my life.

———————————————————

He had been thinking of the story I shared of having bilateral pulmonary embolism (blood clots in both lungs) and welcoming what I saw as a chance for death. Then deciding to go the hospital where I was put in intensive care and began a year of recovery.

This story helped him see the difference between fate and destiny. Fate is something that happens to us, destiny is something we choose. We can choose to give into our fate. I was fated to have a serious health issue and I wanted to give in and let it end my life. Destiny was deciding to deal with the circumstances, to make choices to move forward towards something different.

I think most queer Mormons do this. We have been fated to be queer, and we are taught a narrative which says we're defective and unworthy and offensive to God. But at some point we say this doesn't serve me, I don't feel this in my heart, and we start making choices to a different belief or a different path, and in that way we lose the life we thought we must have and instead gain a life true for us. We decide that it is better to live

[khalemchurstcomics]

TRIGGERED - Page 246

When I reflect on this time, I often second guess myself about how bad it was. After all, words are just words, right? Does what is said in the heat of the moment really matter, if afterwards they say they didn't really mean it?

But I am someone who really hangs onto words. The things she said to me felt so hurtful. I just couldn't imagine talking to someone I loved like that. Whenever she would come up with some new name to call me, I didn't have anywhere to put it - I had been isolated from my friends and family, not even allowed to use my own computer without her supervision. But even if I did still have contact - our relationship was a deep secret from everyone I knew. I couldn't make a cry for help without outing myself, and given that most of my support network was a part of a fundamentalist cult that actively despised gay people, that didn't feel like an option.

So she would keep telling me how awful I was. I would write it down, and revisit it, reading those words over and over. Slowly letting them become my narrative about who I was.

(for some context, I did provoke this particular outburst by telling her not to treat me the way she treated the other people she frequently yelled at - somehow insisting that I was different because I was her girlfriend).

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Apologies to anyone who saw the accidental mis-post I just did - I mistakenly missed a page. You will see that page next week!

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[spiridakos]

So Jason did an interview and spoke about how Hank is trying to be by Hailey’s side and look after her bc of everything Hailey is going through with Halstead even though she’s keeps saying “I’m fine” etc. He says he hopes it comes off as sweet and heart wrenching in a way. What are your thoughts on that? Do you think she hasn’t divorced Jay yet and Hank pushed her to do that? That would mean the only “change” she went through the last 6 month was moving out of the apartment. I can’t see that being the only change Gwen is talking about in her interviews. Here’s the link. You will have to quickly screenshot the page to be able to read it without paying to view it. If you screenshot and look at your screenshot you can change it to being full page so you can read it. https://www.journalgazette.net/living/entertainment/tv/chicago-is-back-in-action-with-exits-on-horizon/article_e0df7ed8-b0d3-11ee-a593-afa535efa273.html

The fact that they want to sell Voight "caring" about Hailey and these conversations being "sweet and heart-wrenching," is so concerning to me. The narrative that this show keeps trying to push with Voight and the way they try to convince their audience that he is a good guy is so insulting. And it's such a damaging storyline to put out there. All he's done is manipulate her, cause her more trauma, rip her life in half - and I"m supposed to believe this is how someone who cares about you? It's not. It absolutely is not. And if anyone in your life is treating you the way Voight treats Hailey, it absolutely is not love.

Onto the Jay issue....I guess I'm still feeling pretty hopeful on it all. Do I think she's divorced Jay yet? No. Do I think she's considering it or potentially found a lawyer? Yes.

But we know Hailey. We saw her take that ring off. That was not what she wanted. We know she wants Jay, despite the road they'll have to be on to get to a healthy place again, we know that's what she wants.

So, I do think she'll be on autopilot - maybe moving out, maybe trying to figure out the divorce issue, but I don't think that's what she wants deep down. I think she's making those choices because she feels like it's what she needs to do and what people expect her to do.

I think that's where we are going to find Hailey in the first episode.

[daydreamtofiction]

I just wanted to say I absolutely love your work and will always be the first person I’d recommend any BC fanfics to. I found myself the other day, like someone else has said, daydreaming over Father Benedict while at work and sighing haha. Bit of a random question, but I just wanted to know if you had any tips on motivating yourself to sit down and start writing? I’m doing a follow up to one I wrote recently, & have all the ideas wrote down, but I just can’t seem to start it lol

Thank you so much! Very proud to be the source of you guys’ daydreams 😛🤍

Motivation is such a hard one, especially with something creative like writing. You really can’t force yourself to write if you’re not feeling it! And there’s no real hack to make you get over a creative block or lack of drive. So I always say to just leave it alone if you’re not in the mood or if you keep hitting those blocks. Some people may be able to fight through it, but it’s likely not going to produce your best work. So close the document, leave it alone, don’t force it.

You can write without actually putting words on a page; part of writing comes in the daydreams, the mental planning, noting down moments of inspiration throughout the day. Take advantage of that, no matter how fleeting or inconvenient a time it comes, and keep a journal or your notes app for when those ideas come to you.

If you’re struggling to start your story, maybe try skipping whatever parts you feel no motivation to write. Make a quick bullet point or two of what will happen in that part and just move on to the next bit. You can always go back to it later. I always struggle with feeling like I have to write linearly; I will open a blank document and stare at it because I feel the need to write stories in order of how the narrative will play out, but sometimes I’m really excited to write one specific scene that comes later in the story/chapter and it can make everything that comes before it feel like a chore. So I’ve been reminding myself that there are no rules to how you get a story on the page or in what order you do it.

You may also find that you benefit from the ‘crappy first draft’ tactic. The first draft is never good, but it can be a really great way of providing yourself a skeleton that you can build onto in the redrafting/editing process. Sit yourself down and just write your story, don’t worry about making it flow or sound good, don’t worry about grammar or flowery descriptions or repetitive sentences. Write your story in its shittiest most un-writerly form, at least then you’ve broken the ice and got it on the page.

Lastly, try creating a space specifically for writing. For example, our brains associate our beds with sleeping and relaxing, so when we sit in bed with our laptops, it can be hard to get into a frame of mind to work. Sit yourself upright at a desk or table, or on the couch/in an armchair, maybe even try a public library or coffee shop if that’s available to you.

I hope this helps 🥴