#split fiction yuri

[miosbinder]

when did YOU pick up on Mio and Zoe flirting?

I need someone to draw out a timeline so i can see who made the first move. My prediction is Zoe.

[pzyii]

So I’m currently playing split fiction…. They’re… they’re so special 2 me❤️

[selenevassos]

splition......

[butchedemup]

in split fiction everything they experience was real enough to them, that when the [player] died zoe/mio both got to see the other one die repeatedly and whether or not u ship the two or consider them friends it’s gotta be some good good angst fuel that they come out of the simulated experience just to have a lot of trauma from dying, and watching their counterpart die to a mistake the other made. ooh. i love angst <3

[thefoxineer]

disappointed in yall at the lack of split fiction yuri

[possibly-evil]

I just started playing Split Fiction but like.... yuri.

[olderthannetfic]

Opinion on the comments in some of the the @ao3topshipsbracket polls: a wildly popular ship is not the same as one that had an actual impact on fandom history. Most popular ships have little to no impact outside their own fandom. Which isn’t to say that ships can’t have impact on their own fandom history, just that they don’t have much impact on general fandom history as a whole.

I understand that the polls aren’t actually measuring fandom history but this got me thinking about what has actually and I think these are the ones:

Spirk - origin of slash fandom shipping and laid the groundwork for fandom/shipping in general

MSR - responsible for the term ‘shipping’ and was the driving force behind the beginning of fandom/shipping on the internet and the creation of fanfiction.net

BTVS - (unfortunately) gave rise to the idea of being ‘anti’ something and ship wars

Harry Potter - most affected fandom on livejournal by the censorship which led to the creation of ao3

Thoughts? I couldn’t think of another fandom/ship that has huge impacts outside of their own fandom.

--

Strikethrough made people more eager for AO3, but the original inspiration was a for-profit fic archive made by venture capitalists.

The X-Files' big archive was Gossamer. Was MSR really influential in the creation of FFN? I don't remember that.

What ships have a big impact really depends on era and how you're looking at things. K/S and MSR are the obvious ones from long after the fact, yes.

Starsky/Hutch was what really split Media Fandom from literary SF fandom. Star Trek started the split, but it was people getting into a buddy cop show that made it clear that fanfic zine types weren't just about science fiction anymore, not even "mass media" SF in place of book SF.

Bodie/Doyle was the moment people stopped being media fans and started being Slash Fandom specifically. The US fandom had barely even seen the show: they were there for the slash zines.

Jim/Blair fandom gave us sentinel/guide AUs. The Sentinel as a canon sure as fuck didn't.

Ranma fandom set the pattern for every dumb "which girl will he end up with?" fight in anime fandom forever after.

IDK if we can blame 1x2 as opposed to Gundam Wing fandom for inspiring people to many other incomprehensible math equation ships in every anime fandom with dumb number names.

Popslash popped a bunch of prudes' RPF cherries, then LOTRiPS did, then J2 did, then hockey did, then BTS did.

Free! and then Yuri on Ice started the long slide from anime fandoms mostly refusing to leave FFN to newer anime fandoms being on AO3. YOI also lured a lot of people into anime for the first time.

Wangxian got a bunch of "Ewww, no anime ever! Western fandoms 5eva!" people into Asian fandoms at long last. (Whether this was a good thing is a matter of opinion. Hahaha.)

--

I really think it depends on frame of reference.

[slunkopunk-kresli]

it's yuri you guys!!!

a low effort split fiction fanart for you

[honeybunchesobees]

Shifted Fiction (My Split Fiction Horror AU)

Instead of fantasy and sci-fi, Zoe and Mio's chosen genres are both kinds of horror. Rader's machine goes...a lot worse.

Features include: toxic yuri. lots of blood. codependency. so. much. arguing. maybe even a werewolf!

Zoe Foster (Psychological/Supernatural Horror): Zoe is always ready to talk about her interests, most times talking over others. She can be quite elitist at what 'real' horror is, and will die on the hill of what the true themes are in one movie or another. She's slightly gothic, has a wide vocabulary, and honestly believes ghosts exist. Zoe is petty, pushy, and vindictive.

Mio Hudson (Body Horror/Torture Porn): Mio sneers at anyone who she finds weak, mostly anyone who doesn't want to look at people be brutally mutilated. She takes joy in grossing out people, thinks the idea that a kill needs to have a 'deeper meaning' is stupid, and has always wanted to pour a vat of fake blood on someone. She's combative, often to her detriment, and will never back down from a fight. Even if there really is no fight.

They get along like a house on fire. That is to say, bad for both of them. From the moment they lock eyes, they're always snapping and insulting each other. The only times they're civil and calm is when faced with mortal danger, and even then, they'll be trading jabs between screams.

The only people they're worse too than each other is...well, everyone else. God forbid you state that you don't like horror around them, because then they'll join forces to show (force) you to love it like they do.

By the end of the game, none of the above has gotten any less true, but they also know each other more, now. They love being together (even if all they do is argue, still) and become nearly codependent. After all they've seen and done, simulation or no, can you blame them? They have regular movie nights where they nitpick films together.

Here's a playlist about it!

[lunareiitic]

CANTO 4 SPOILERS BE WARNED

I think it's really interesting (and clever) that we're a third of the way through Limbus' plot (theoretically. 12/4 = 3 after all) and we've split the focus characters in half based on who is actually growing because of their Canto and who isn't, while also showing multiple narrative ways to show that progression (or lack thereof).

Gregor and Rodya have already done their growing. Gregor's a war veteran whose traumatic past should be long behind him, and his character didn't shift after his Canto. His refusal with regards to the whole Yuri thing wasn't a shocking twist, it was the culmination of years of rejecting the life that his mother made for him.

Rodya rejects the idea that she has to develop as a character entirely. Canto 2 is mostly a celebration of Rodya- she makes her own luck and doesn't require these things like "character growth" and "dynamics". She was a one woman wrecking crew then and she's one now, plans and friends be damned. It's why she's able to reject Sonya's olive branch: he's predicating his entire plan on the idea that Rodya would have learned from the Tax Collector Incident. But she didn't, and she knows that.

Sinclair's Canto 3 marks the first Canto where we're actually examining the failings of a member of the team. Sinclair's immaturity, fawn response and unwillingness to take responsibility did directly lead to all of the bad shit that happened to him. Even if Kromer would have done it anyways, Canto 3 takes Sinclair to task for what he did, but in the end, he can't follow through. It's beautiful and tragic that he needs Demian to bail him out of what should have been his cathartic moment of triumph. Sinclair's growing is actively still happening. Canto 3 is only the beginning.

Which brings us to the most recent Canto and Yi Sang. Yi Sang in hindsight is the perfect character to follow up Canto 3 with because Yi Sang is essentially Sinclair if Demian wasn't around. Yi Sang's narrative is about apathy and passive suicidality- he doesn't care what happens to him because life has lost all meaning to him. Sinclair still has some fight in him, all Yi Sang has is ashes. Or so he thinks. Dongrang and Dongbaek are characters who will never move on from their past, despite what both of them think. Yi Sang, through mirroring them, ends up with the most radical character development we've seen so far: true catharsis. Unlike our three previous characters, Yi Sang's Canto manages to get down to the core of his issues and he's able to understand what he must do to get better and does. He conquers Dongbaek (embodiment of rage) and Dongrang (embodiment of despair) and ascends to a place of healing away from them. This is a very conventional, classic character arc structure seen in fiction since the dawn of time, it's classic because it works. But it feels so refreshing and new here in Limbus Company because we waded through three quagmires of difficult regrets, abuses, and traumas that refuse to be handled so easily. Given that our remaining characters are based on murderers (Hell Screen, The Stranger), self-saboteurs (The Odyssey, Moby Dick, Don Quixote, Faust), and the legacy of racism (Wuthering Heights), I'm betting that Hong Lu's might be our brightest spot moving forward. (But who knows. They could give us another goofy Canto out of nowhere like they did in Canto 2. Limbus Company contains multitudes.)

[apotheoseity]

Tell me about the funny neighborhood guy….

I HAVE MULTIPLE ocs that fit this description but I'm going to assume you mean either 1) Deify or 2) Homebrew. Soo I'll talk about BOTH!

First of all, both of these characters are AUs of my other OC, Maya!

Deify is an split timeline version of Maya where she gained Godlike abilities and knowledge of her own status as a fictional character. Because of this, she has all of the same memories of her, up to a point - She wants nothing more than to help people, but she's not the best at knowing the best way to do so. She has a habit of getting frustrated and lashing out when people refuse her help, too. She's a little self destructive at times, and clings to her role in the story even if it doesn't always align with her actual feelings.

Homebrew is a little.. harder to explain. It's the physical manifestation of the Infinite Neighborhood, made out of retired and scrapped Maya AUs. Not in the cut-apart-put-together Frankenstein way, but more like if they were all made of clay and you smushed them all together and then sculpted something new out of it. It has all of the individual parts' thoughts and memories, and it doesn't consider itself its own person. It was made by Deify to be an extension of her will, and doesn't want to be anything more than that. ...But it obviously is, whether it likes it or not.

Deify, Homebrew, and Maya have some crazy toxic yuri shit going on too. By the way. Deify and Maya hate each other (because they hate themselves), Maya used to be dating one of the AUs of herself that was used to make up Homebrew and both of them recognize that, and Homebrew so so badly wants to be Deify's everything but Deify doesn't even consider it a person. Yuuup

[chuckeroo777]

Frieren Liveblog- Chapters 33-36

Welcome back! Last time, Fern and Stark started to realize that they do, in fact, like each other. Lets see what happens as they make their way further north.

Huh, I didn't realize Frieren had any living friends outside the hero's party. This dwarf must be pretty cool to have Frieren nostalgic like this.

Also, confirmation that dwarves live for 300 years. I'm curious how old elves can get. We know Frieren is over 1000, but she shows no signs of slowing down.

I wonder how old Voll was the last time Frieren saw him. She isn't shocked at his age the way she was with Himmel.

You're one to talk. I suppose honor isn't too important when you're mostly fighting demons.

"Oh come on Fern, we've been having a misadventure, like, every chapter. A little time off would be nice."

"I wouldn't call 32 notable events over 4 years particularly strenuous. Spy X Family has over 100 chapters, and barely a single semester has passed."

Seems Frieren isn't the only long-lived person to have trouble making friends.

I can't tell if vanity is a core trait of Himmel, or if he's just really bad at flirting.

So, is he actually senile, or is he just a jokester? It's hard to tell when so many fictional badass old dudes like to pretend.

So, what are the odds Sein actually ends up falling for Frieren? I'd hope not, but you never know.

Eh, I've heard worse names.

So, what are the odds we find him this chapter? Law of foreshadowing suggests that bringing it up means it's relevant.

Frieren asking the real questions.

Frieren isn't present, so it's probably safe.

Huh. I genuinely didn't think he'd be relevant again.

Ah, is Sein gonna split from the party? Then again, it couldn't be that hard to get from Auberst to Tur, could it? Gorilla has been gone for ten years, and Frieren isn't in a hurry, so surely we can visit both, right?

An important image.

Ah yes, that's where the best stuff tends to be. And never underestimate the value of a good cleaning spell. Never know when you'll have to deal with oil traps or poisonous moss.

It keeps happening.

Also, did their cabin rental not include furniture?

God, these two are adorable. Makes me wonder if their relationship is actually romantic, or if it's more of a sibling bond.

Then again, I'm the one who took forever to realize "The Monster who Wants to Eat Me" was, in fact, yuri, so take my romantic assessments with a grain of salt.

Yeah, this was the guy who one-shot a dragon.

Ah, I see Sein sees it as on the romantic side of things, while Frieren remains blissfully ignorant.

Hmm... I had the feeling Sein would leave the party, but this feels a bit abrupt. We'll probably see him again, but I wonder if it's imminent, or much further down the line. Maybe next chapter? Guess I'll find out in a minute.

What's stopping Frieren from getting a copy of the scriptures? Do they require special enchantments? Can you simply not use them if you don't have the "talent" they talked about a while back?

I've made plenty of mom-Fern jokes, but seriously. Frieren really did become Fern's step-mom, didn't she.

Amen to that.

How much medicine do you need? And where did you even get that thing?

Sein is gone, but not forgotten. Even if I've been reading it a lot slower than I normally do, this manga has been very nice. Very chill, very somber, very funny. I think that's why I stopped reading MHA. Stakes were just getting too heavy with no downtime.

Next time, we finally reach AuBerst. I wonder what makes it so magical?

[phanyu]

anyone know if there is fr yuri of those two split fiction characters asking for a fruhhhhhh yeah asking for me

[cannibalisticdespair]

🔥 Ultra Despair Girls

My favorite game in the entire franchise. Very much dealing with subject matter that few things are willing to deal with in so much depth, with more compassion for abuse victims than the majority of fiction, and with a lot of hidden depths people don't see like the whole "yeah capitalists are violent predators that will commit genocide to maintain power and enrich themselves". Favorite protagonists, favorite antagonists, favorite themes, favorite messages, just all time favorite.

And for people who are like "but the Kotoko stuff is problematic!" Like... y'all, your negative reaction is the one they're looking for, you just don't understand that art isn't only supposed to make you feel good things. Think about it for a moment: the stuff with Kotoko is all common anime tropes that generally go unquestioned. But they're also not employed in this sort of situation normally. The dissonance is intentional. It being in this situation is specifically creating a dissonant reaction on purpose. It's like calling Alma's nudity in F.E.A.R. 2 "fanservice". That's not the fuckin' point. Like come on, she's wearing fucking bloomers. They're covering as much as actual shorts. They're goddamn Pre-Victorian underwear popularized by American puritans before the American Civil War. They split the difference and went with the most unsexual underwear possible while doing the framing in an extremely dissonant location on purpose. It's like when happy cheerful music plays over mass murder.

If it was supposed to titillate you, it wouldn't be big poofy shorts, you know? Heck, anyone who's modded L4D2 with Danganronpa models knows that the 3D models have proper underwear. Monaca's got the same panties as Mukuro (although she lacks an official 3D model, DR1 School Mode), they're just impossible to see in UDG. If you're looking at bloomers and thinking that's indecent exposure, congrats, the 1850s agrees! Komaru's underwear is there to titillate, and that's a fight with one of her two future girlfriends. That's a yuri fight. That's what fanservice underwear is. Not goddamn bloomers.

[justforbooks]

Season of the Swamp by Yuri Herrera

This frustrating novella by a star of global fiction imagines the formative years of Mexico’s first Indigenous president, exiled to New Orleans in the 1850s

Every novel by Yuri Herrera teaches you how to read it in the opening scene. His debut, Kingdom Cons, begins with a musician watching a king shoot a drunk man in his court. The victim’s offence? He refused to pay the musician for his song. The novel unfurls into a parable of patronage and art, cartels and complicity. Signs Preceding the End of the World opens with a young woman named Makina witnessing a sinkhole swallow a man, a car and a dog. I’m dead, Makina thinks, and the novel plunges into a journey from Mexico to the United States to find her brother, its chapters modelled on the underworlds of Mexican mythology. The Transmigration of Bodies starts with a hungover man stumbling out of his house in search of water. He notices the silence first, then “a dense block of mosquitos tethering themselves to a puddle … as though attempting to lift it”. The puddle is blood, and the silence is death. A plague has arrived in the night.

Like his previous novellas, Season of the Swamp follows a nimble, reluctant interloper as he learns to navigate a dangerous new environment. It also calibrates our attention in the opening scene, but even before teaching us how to read it, this novel teaches us why to read it. In a preface, Herrera writes: “1853. Benito Juárez has served as a judge, deputy, and governor of the state of Oaxaca. But he has yet to become the man who will lead his country’s liberal reform, first as minister and then as president, and he is certainly not the hardheaded visionary who will lead the resistance against France’s invasion of Mexico and restore the republic.” In his autobiography, “Juárez says not a word about his nearly eighteen months in New Orleans … despite the fact that it is there he evolved into the liberal leader who would transform the trajectory of his country”. Benito Juárez, orphaned at the age of three, would one day become Mexico’s first Indigenous president, prying his country back from the vice-like grip of the aristocracy and the Catholic church. Biographers agree that his exile in New Orleans was formative, but no one knows what, exactly, happened there. Who could bring this story to life better than Herrera? A novelist of unparalleled tonal agility and negative capability, one with a passion for archival research, who has split his time between Pachuca, his home town, and New Orleans for the past 13 years.

Like his previous novellas, this one begins with its protagonist witnessing violence. Benito and his brother-in-law watch “badges” (policemen) drag an enslaved man from a ship, thwarting an escape. The badges club the man and order him to drop the compass he’s cradling to his chest. Herrera wrote much of Season of the Swamp during pre-vaccination Covid-19, and when I read these lines, I can see the white officer kneeling on the neck of George Floyd, killing him on a public, daylit street as he asked for his mother. Season of the Swamp is about the galvanising power of witnessing. It’s about a revolutionary finding his compass. It also, unfortunately, suffers from an uncharacteristic, unignorable vagueness: vagueness of syntax, character and scope.

Benito and his fellow exiles spend the book wandering Herrera’s meticulously researched reconstruction of 1853 New Orleans. They witness bear fights, poor sewage systems, operas, dead bodies, sex work, duelling pianos, horse races, public executions and numerous parades. They find and lose housing, get drunk, discuss politics. Benito finds work at a printing press, then a cigar shop. He becomes infatuated with a Black woman named Thisbee who sells the best coffee in town. Her true vocation, however, is helping enslaved people escape to freedom. Benito befriends the Cuban poet Pedro Santacilia, who takes him on a harrowing tour of a market that sells human beings. New Orleans was the epicentre of the United States slave trade, and Herrera animates Benito’s experience with factual details of slavery’s daily horrors. Mexico outlawed slavery in 1837 – 16 years before the real Benito Juárez arrived in New Orleans – and the novel suggests that it was his encounter with the American slave trade, above all, that transformed Benito into the leader he became.

Herrera’s exceptional sensitivity to language, penchant for neologisms, ear for regional dialects and dexterous shifts in register make him uniquely challenging to translate. Fortunately, Lisa Dillman has risen to every occasion, brilliantly sailing all of Herrera’s work into English. While she has described him as “astonishingly hands-off”, their dynamic is more collaborative than most; Herrera is fluent in English, and the two maintain an open channel of communication as she works. Despite his propulsive plots, I don’t read his work to find out what happens, but to find out how he (and Dillman) will describe it.

The thick linguistic fog of Season of the Swamp is therefore aberrant. The English translation keeps Benito unnamed, referring to him only as he and him, which is especially confusing in a novel with a large cast of men and very few women. In addition to the pronoun slippage, the diction of the novel can be disorienting. Season of the Swamp is cluttered with the vague syntax of a rough draft, paired with culturally and temporally dissonant phrases. I delight in thoughtful anachronism, but it was jarring to encounter an abundance of contemporary American vernacular. Often, I felt I was watching a McDonald’s bag tumble-weed on to the set of a period drama. When semantic haziness obscures characterisation, the damage is more consequential. Season of the Swamp instructs us to read Benito’s inner life as the stage of its primary drama. Unfortunately, very little is visible in this theatre. When we meet him, Benito is 47 years old and he has already made a political impact substantial enough to get him exiled. In place of an interior life, however, we find notes toward an interior life. Even his encounters with the kidnapping and sale of human beings are rendered in bizarrely flat language; from both Juárez and Herrera, I longed for more than prosaic reflections on the general badness of slavery.

As I tried to identify the fundamental software bug of this novel, I kept returning to the opening of the second chapter, a curious cascade of language: “The most pivotal thing to happen in the weeks that followed was the drumming; no, the most pivotal thing in the weeks that followed was the dances; no, the most pivotal thing in the weeks that followed was the concerts; no, in a way it was kind of the hippodrome, which was fun and also pivotal though in another way …” Further candidates for most pivotal thing to happen in the weeks that followed include the “inner courtyard”, meeting “the canaille”, learning “what funk was”, and “more or less” figuring out “what Thisbee might or might not have done”. On my first read, I read this as an unsuccessful form of linguistic play. By my fourth reading, however, its rapid descent into absurdity began to register as the author’s confrontation – conscious or not – with the formula he has chosen. He decided to write a novel about a chrysalis of time in which a regular man transforms into a Great Man. But what if he fundamentally rejects the Great Man trope of history? What if Herrera – who chose to write about a leader’s pivotal months in exile – rejects the most pivotal thing as an organising force of identity and narrative? The opening of the second chapter seems to say: look how ridiculous this formula is. From the start, it was clear to me that both Herrera and Benito are too interesting to collapse 18 months into three-act structures, tidy conclusions, lessons learned. Regrettably, Herrera never offers an effective alternative. The novel was built on sand. Or perhaps more accurately: on a swamp.

Compared with his previous work, Season of the Swamp reads like notes toward a novel rather than a final manuscript. It is distracted, muddled with placeholders, declaring its purpose every few chapters while desperately searching for one. It is my love for his work – along with Dillman’s delicate, adept translations – that forces me to notice the perfunctory nature of this novel. Herrera’s rough drafts are better than most people’s final drafts, and many descriptions within this book – of languages and crowds, music and ecosystems, tenderness and violence – sing. Perhaps it is unfair to hold a genius to his own standards, but Herrera is a sublime astrological event that will never again occur in my lifetime. I can’t hide my disappointment when he behaves like an average star.

Daily inspiration. Discover more photos at Just for Books…?

[honkycat-reviews]

Stephen Trask- Hedwig and the Angry Inch

listened on CD from 2001

summary: stop what you're doing and go watch this movie. this movie is raw, it's drag, it's rock, it's fun, it's devastating, it's ugly, it's pretty, it's camp cunt and couture! one of my roman empire films. this soundtrack has the same cult-favorite energy as rocky horror picture show, but the songs rewired my brain at 15. hot take but i don't think this film is about being transgender- i think it's about autonomy. :)

background: hedwig and the angry inch is about a fictional genderqueer person who escaped east berlin (pre-berlin wall falling) that then starts a rock band!? so so good. fun fact! this movie was written, directed and starred john cameron mitchell, who i knew because he was the visual inspiration for viktor vikiforov from yuri on ice.

tracklist:

tear me down: "don't you know me kansas city? i'm the new berlin wall, baby! try and tear me down!" compares a human being to the wall making a person split in two between east and west, man and woman... while still being a banger? i love life.

origin of love: "we wrapped our arms 'round each other trying to shove ourselves back together" i remember translating this passage in latin class! trask wrote it as if it were a dr. seuss picture book.

angry inch: "six inches forward and five inches back!" i'm dancing around my room i'm flipping my hair i'm singing every lyric. gives hedwig's story through the guise of rock

wicked little town (tommy gnosis version): "and there's no mystical design, no cosmic lover pre-assigned" this is my roman empire song that made me feel deeply at peace when being a gay teenager in the christian american south.

wig in a box: "suddenly i'm! miss punk rock! star of stage and screen!" how i feel every single day putting on my new wave inspired makeup on my way to class.

the long grift: "your cool, seductive serenade was a tool of your trade" not actually included in the movie but included in the stage version. still really ouch.

hedwig's lament: "he took the good stuff and ran" the track that made me realize this isn't a film about being transgender this is a film about autonomy

exquisite corpse: "i'm all sewn up! a montage!" something about a female singer doing a rock scream instantly makes a song cooler and more punk rock

midnight radio: "and you're shining! like the brightest star! a transmission on the midnight radio!" slow ballad about fuckin holding on for dear life

nailed: "by the gold light of your halo i wanna nail ya" without spoiling plot there's a super emo little problematic white boy and this is his song. male manipulator music written by an actual male manipulator!

sugar daddy: "oh, the thrill of control like the Blitzkreig on the roll" why am i really living for this country beat?! toe tappin and everything

we are freaks: "and my other has a friend who has three tits! t-t-t-true story" this is so fun and punk rock. not to be that bitch but rip eddie munson you would have loved this song

in your arms tonight: "try not to be strong" emo little problematic white boy ate with this one tho

wicked little town (hedwig's version): "the fates are vicious and they're cruel, you learn too late you've used two wishes like a fool" i'm in a lot of emotional pain and it's the best kind because you understand big feelings but it's the worst kind cause this song has haunted me since age fifteen