#realistic stories

[adhdtimelord]

I am so tired of stories where everything works out in the end.

The main character discovers that if they just hung on long enough, or believed in themselves, or took charge and embraced being a leader, or trusted the process, or blazed their own trail, or found their unique gift, etc and it turns everything around.

For most of us, the world doesn't work that way.

It may help us through a rough day but it may also send us leadlong over a cliff.

The truth is we aren't all destined to be winners.

Some people get great inspiration from the examples of others. But far more get their hopes up only to have them crushed again.

If they're lucky, they're right back where they started but, perhaps, a bit wiser.

But for others, it leads them to further depression, tragic mistakes that take their lives, more evidence in their minds (true or not) that they are a loser and should just quit trying before they kill themselves.

There's the saying that so many live lives of quiet desperation but often the more they try to eleviate that desperation, the more it's reinforced.

Where are their stories?

Where is the admission that no matter how much the world changes, most of us will continue to be nobodies?

And where are the people who help us find ways to continue on in the world even though that's true?

[lackadaisycal-art]

I'm getting so sick of major female characters in historical media being incredibly feisty, outspoken and public defenders of women's rights with little to no realistic repercussions. Yes it feels like pandering, yes it's unrealistic and takes me out of the story, yes the dialogue almost always rings false - but beyond all that I think it does such a disservice to the women who lived during those periods. I'm not embarrassed of the women in history who didn't use every chance they had to Stick It To The Man. I'm not ashamed of women who were resigned to or enjoyed their lot in life. They weren't letting the side down by not having and representing modern gender ideals. It says a lot about how you view average ordinary women if the idea of one of your main characters behaving like one makes them seem lame and uninteresting to you.

[aethersea]

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

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

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

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

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

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

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

however.

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

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

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

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

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

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

[koipepo]

That omake of little Kabru not being able to show off his howetown sweets because of Misril gets to me a lot so...

Here's a happier Kabru (and Lairu)

[dykedvonte]

I think depictions of Anya being cruel to Curly or drawing out his suffering are artful and chilling but completely miss the point of the story and her character.

I'm not saying she doesn't deserve to have that "I told you so" moment with him but not in something callous or cold. Even if that is how it happened, she'd immediately feel guilty cause at that point she's not tormenting her tormenter or even the person truly at fault. She's doing something cathartic, similar to how Jimmy likely hits Curly to release rage he can't against the rest of the crew. She'd see herself as no different when she'd come back from the moment and see Curly cowering at her. She wants someone to take responsibility but how does being cruel to the defenseless help? Why would she want the power Jimmy has over her over Curly?

The idea of her extending someone else's pain is just so against the struggles she already faces and how she can't even bring herself to cause someone pain even to help them. Her very desire is to release herself from her own suffering and I doubt she'd even fine some sort of guilty release in being cruel to another.

[weirdlyweilder]

I’m so proud of my progress.

I almost want to take a bite out of them…

[lotus-pear]

finally finished nana and i fear i will never be able to emotionally recover

[rosalinesurvived]

“The ADA don’t care about Dazai!!!!!!”

They have a detailed plan on how to literally fucking defy death and bring him back to life, a plan which Yosano is heavily involved in

Kunikida routinely calls and cooks for him. They fight in perfect sync after four days of them meeting

Fukuzawa trusted Dazai ON HIS WORDS ALONE with Atsushi’s entrance exam and getting him used to the Agency and didn’t get involved just because he put his faith in Dazai

Atsushi hallucinates Dazai when he’s in distress and looking for help, the fear he had for the Headmaster was once the strongest force in his life was replaced with his gratitude and love for Dazai

Fukuzawa says during the Guild Arc that he wouldn’t even consider allying themselves with the PM, but he’s still fine with Dazai, the Demon Prodigy, joining the Agency’s ranks

Ranpo knew from the start that Dazai was an executive for the fucking Port Mafia, the Demon Prodigy and just went “sure fucking whatever” and let him go through his entrance exam to join DESPITE THAT THE AGENCY WAS MADE FOR RANPO AND AGAINST CRIME

Dazai trained Naomi. This was never elaborated on but it did happen

As Ranpo and Kunikida state while debating on whether to rescue Atsushi: the Agency doesnt interfere with someone’s personal issues or unless Fukuzawa tells them to ig

Stories are always more fucking interesting if there’s conflict between characters, ‘good’ or ‘evil’. The Agency are full of clashing characters, complicated backstories and nuances and they’re going to clash against each other. That’s human.

He’s proven time and time again that he won’t kill himself, that his plans are good and strong and for the Agency. He can handle himself and they trust in that

[tea-cat-arts]

What a great round guys. So glad Mizi got everyone out and hit some people with chairs.

Thanks to @zevfern for finding the reference image

[uncanny-tranny]

To my fellow US Americans: If you are planning on arming yourselves because of the election results and what might be on the horizons, I urge you to be a responsible gun owner.

Take as many classes as you can. Get certified in gun safety, even if it's not required to own a gun in your state. Get a gun safe. A good gun safe. Lock your gun up. Don't leave it armed. Don't wave your guns or gun-owning status around and don't pose with guns like they're toys. I'd say not to make gun buying an impulse purchase, either. You are investing in something that holds great potential risk to yourself and others - treat it like a responsibility.

I'm not here to argue about if Americans ought to exercise the second amendment in the way it currently exists. That's not the point - we have always had the second amendment, and I doubt it's going anywhere. I am more interested in making sure we don't see a surge in accidental, negligent gun ownership.

As a queer person in the US, I can understand the mindset behind people's spiked interest in arming themselves. I'm not arguing against that. As a child of gun owners, I know just how huge a responsibility it is to own a gun, and I hate the general attitude we Americans have about guns. Please don't contribute to that. If you own a gun, it is you inherent responsibility to take care of that gun (which is why I can't own a gun yet - I don't have the resources to pour into proper ownership).

[fictionadventurer]

Maybe the problem with Christian fiction is that it's non-denominational. People are just "Christian", with no effort put into showing what practicing that religion looks like for them specifically. No indication that there are other Christians who could have different beliefs. No wrestling with differing ideas and the struggle of how one should live out their Christian faith. And that makes it unrealistic and unrelatable.

[royalarchivist]

Richarlyson: You're skinny sir, are you eating well these days?

Pac: Not really. To tell you the truth, I've been eating... I stole, together with my son, we stole some cupcakes from the Federation. I ate some, but I know chocolate isn't the best thing to eat, right?

Richarlyson: 12 kilos D:

Pac: 12 kilos?!? No– what? My god. My god... Am I malnourished, Doctovo? Am I- Am I malnourished?

Richarlyson: You weigh less than a pitbull, sir.

Pac: Less than the singer? Damn... [Laughs]

Richarlyson: [Hits Pac]

[feroluce]

Not to make everything about my ship, but if I don't do it no one will, so today we are making meta analysis of Boothill's faceoff match about henghill, because the differences between Boothill's stand off with Luka and his one with Dan Heng- and what you can infer about Boothill himself and what catches his eye in a person- makes me chew concrete.

JUST. I loved the scene between Luka and Boothill so much. I love how wildly unrestrained Boothill is. He really just shoved the barrel of his gun in his opponent's face and put the fear of death into him as a way to test Luka's resolve. I utterly adore him. I hope he does it again. Anyway.

When confronted with all this, Luka freezes. His stress-induced hallucinations were already bad, but you can see how they really ramp up in this match, because before, they were always something familiar. Previous enemies became Silvermanes, or Belobogian automatons, or even Cocolia. Luka is far from home for the first time in his life, and he's so terribly homesick his brain is making everything familiar, because that is what he's desperately craving right now.

But Boothill.

Boothill is something so new, and unique, and horrific and terrifying, that he becomes something entirely unknown to Luka. His hallucination manifests as Something Unto Death, as the very fear of death itself.

And this stand off (which I love so much that this is how this match progressed, because like that's literally just Boothill's in-game skill; he locks the enemy into a one-on-one duel, so this was extremely in character for him) lasts long enough that Owlbert starts having to fill in the silence over the loudspeaker,

and even Boothill himself starts trying to push Luka into making a decision one way or the other.

Given that Boothill is a hunter by trade and is proven to have all the patience to track his prey and then some, this was more for Luka's sake than any impatience on his part, to try to shove him out of his freeze reaction.

And Boothill isn't really hard to read throughout this whole exchange, he all but says outright what he's looking for.

Boothill wants to see him surpass this test and come at him! You can see it in his face when Luka finally takes a step! And in how he congratulates him!

And then he fucking shot him snxhsjksjsn

Boothill admires courage, and bravery, and decisiveness. He admires a person's ability to put their life on the line and still fight in the face of danger and overwhelming odds. Those are the things that catch his eye.

And Luka does kind of get there eventually, but it is a stalling, halting motion that gets him there, and he fell to pieces immediately afterwards. This is his first time with this, and he's still figuring it out.

Dan Heng, on the other hand.

Boothill's stand off with Dan Heng from 2.2 is so fucking far in the total opposite direction that it is HILARIOUS.

Boothill literally breaks into the Astral Express, ambushes Dan Heng, and Dan Heng still has the balls to not only demand info out of Boothill- like doesn't even ask nicely, demands it- he also just straight up calls Boothill a liar. Right to his face! And he still isn't nice about it!!

By the way, that entire conversation? This is how it takes place.

Boothill, phrasing!!

Boothill has him at gunpoint! Dan Heng does not have his weapon with him! He does not flinch, and even stands there with his arms crossed seeming simultaneously pissed and utterly unimpressed. He looks like he should be irritably tapping his foot and looking down his nose at him. Dan Heng could not give less of a shit.

For that matter, Dan Heng even turns his back and walks away from Boothill- right in the middle of him talking, too! Not a single attempt to be considerate of the man who could decide any moment he feels like decorating the wall with Dan Heng's brains.

Dan Heng is brave and courageous and completely unflappable in the face of danger. He is ruthless and decisive in how he conducts himself, even when staring down the barrel of a gun. And through his efforts in Penacony, he shows the ability to put his life on the line and fight through overwhelming odds to save his once-in-a-lifetime companions.

No wonder Dan Heng caught Boothill's eye the way he did, no wonder the two of them were working together and bantering not even minutes after Boothill pulled a gun on him haha

[imnotfinebutimfine]

begging y'all to be mature if Nora doesn't make jerejean canon

[aloeverified]

there are not nearly enough au's about newly divorced and single father fiddleford moving in with ford to work on their project and both of them essentially co-parenting tate while dancing around the fact that they're in love.

[caffeine-and-computers]

Worldbuilding is crazy, like welp guess I'll write an entire wiki page on a rare disease I just made up