#spinning cans

[theboxfort]

Peace and love

[anxiousangerball]

I don't know who needs to hear this, but

YOU DO NOT NEED TO START A NEW HOBBY!

STEP AWAY FROM THE TEXTILES!

YOU DON'T NEED MORE YARN!

THAT FABRIC IS NOT CALLING TO YOU! LEAVE IT ALONE!

[jumaccans]

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[proxycrit]

LINKTOBER DAY 19! East Reservoir Lake

The Zora siblings gets that self sacrificing from somewhere, what can I say.

Anyways, the duo absconded with the crown prince. (Alchemist Yona, you’re going to stop them, right? RIGHT??)

This is a Totk au called Familiar Familiar, and it all started when Zelda didn’t get sent to the shadow realm (and everything fell apart from there). Here’s the masterlist!

Patreon here if you like my crimes and want to feed me a treat!

[samipekoe]

dungeon meshi if it was evil

[callisteios]

Would you like to find out what you would be the god of? Take my new uqiz to find out

[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.

[hayden-christensen]

HAYDEN CHRISTENSEN + the 'Obi-Ani' lightsaber spin

Hayden came up with a move when we did the second film that was like your move, like signature […] for me it always felt like your move because he was really good at it. — Ewan McGregor

[bigfatbreak]

Birds of a Feather previous / next

[chloesimaginationthings]

The FNAF Mikes with their (not so) little sisters

[poorly-drawn-mdzs]

Why are you running?

[First] Prev <–-> Next

[jumaccans]

Discover Jumac Cans & spinning cans, designed for efficient yarn making. Our high-quality solutions ensure smooth and reliable production. Contact us today

[a-most-beloved-fool]

I do think my favorite on-station Garashir dynamic is where Garak is just. painfully pathetic about Bashir. It's very funny to me.

Various Bajorans on the station will watch Bashir's and Garak's little lunches, and they'll be like, "oh no. the poor naive doctor is Going to be taken advantage of". And then they look a little closer and they see that actually Garak is fully whipped for that twink.

Like, sure, he's a former spy. He could kill you. But he's a little busy trying desperately to seduce Bashir without letting on that he's sad and also pathetic. He's making skimpy clothing in his shop that is Very Clearly Bashir-sized. He's arguing shamelessly. He put his hands on Bashir's shoulders during their very first meeting, for Prophet's sake!

Bashir is, of course, oblivious to this and, to their embarrassment, the watching Bajorans actually find themselves feeling bad for Garak. Is he morally dubious? Certainly! Was he a spy in the Obsidian Order? That's the rumor! Has he killed in cold blood? They'd stake their bets on it! But when a guy is pining that pathetically over the shiniest most naive Starfleet twink imaginable...

Well.

It's a little hard to stay afraid of him.

They figure that as long as they don't do anything to harm Bashir or Cardassia, they probably don't have anything to worry about.

[keferon]

“Mistakes on mistakes until” ch 69 spoilers below!

Ahahahahahahah here I go again

Mistakes on mistakes until until I can draw Jazz with my eyes closed

I woke up, checked my phone, woke up for real and decided that whatever plans I had for this day yeah no they can wait a little bit kfkgnfk

Also. Consider listening this while reading. Or don't who am I to tell you what to do~