#this is not realistic at all

[moondoorssqueen]

Obsessed with the posts about Steve comforting The Party after Eddie introduces DnD monsters they’ve “encountered” and now I’m just thinking about a scenario pre-s4 where maybe one of the kids mentioned in front of Steve that there was a demogorgon or a mindflayer or whatever in Eddie’s campaign and how it freaked them all out but they didn’t want to say anything to Eddie because they didn’t want him to think they were babies who couldn’t handle “scary monsters” and Steve ends up having Nancy sneak him Mikes copy of the monster manual and makes a list of every monster that even vaguely resembles something from the upside-down that they’ve encountered and then “runs into” Eddie somewhere just to make vague threats that if he ever so much as /hears/ that Eddie is including any of them in a campaign with “his kids” that Steve will prove that the rumors about his lack of fighting skills were greatly exaggerated, while Eddie is just looking over this list like “why the fuck does Steve Harrington know what any of these monsters are????????”

[bixels]

As gen-AI becomes more normalized (Chappell Roan encouraging it, grifters on the rise, young artists using it), I wanna express how I will never turn to it because it fundamentally bores me to my core. There is no reason for me to want to use gen-AI because I will never want to give up my autonomy in creating art. I never want to become reliant on an inhuman object for expression, least of all if that object is created and controlled by tech companies. I draw not because I want a drawing but because I love the process of drawing. So even in a future where everyone’s accepted it, I’m never gonna sway on this.

[syntheticpaperd0ll]

date idea: we run off into the forest never to be seen again and make a new life for ourselves in a little forest house. every day we wake up to the wonders of nature and the smell of whatever is growing and blooming.

[wanderingibon]

anya deserved so much better

[koobiie]

based on that one q&a... i'm a sucker for a pokemon crossover

[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.

[tchaikovskyed]

"Realistic take on arthurian legend" uhhhh no thank you. I would like my arthurian legend to be full of whimsy and unserious gags. Stop giving us that zero lighting game of thrones-esque gritty nonsense and give us more arthurian legend in all their extravagant colours and silly quests!!!

[wasyago]

tango doodles

first you make up a guy and then you struggle to draw him correctly

[tippenfunkaport]

You know, it would be amazing if Hollywood learned the right lesson from the success of Nimona. Something like "Hey, maybe don't throw out a nearly done movie as a tax write off" or "people want queer stories" or even "don't be afraid to take some storytelling risks and be original" but you just know they're going to come away with some absolutely batshit takeaway like, "next time delete all the evidence and burn it to the ground so the gays can't make us look bad!"

[chloesimaginationthings]

Have you ever drawn withered chica?

My beloved horrifying monstrosity...

OF COURSE, she’s just a silly gal,,

(Original comic here)

[oblique-lane]

Another take on the TF2 Clone Theory:

Continuation to this.

When I was talking to people about the clone theory, they were always asking me about who were originals and who were clones. I didn't understand why that matters; they're all same people with the same memories of their pre-service past, right?

What I didn't understand is that people had entirely different take on how clones are made than I do. I've never even thought about the fetus tubes until someone specifically pointed out that scene in Emesis Blue... (I also didn't know cloning was a real life thing?? Not just sci-fi trope??)

So yeah I've always thought cloning was instant because it would also explain how respawn works. Classic "resurrection" either isn't the thing (lame) or just takes too much time to commit. However, the super cool very scientific respawn machine will use your remains + storage bio supply to quickly rebuild a new body (as it was at the assigning day) and put your consciousness into that body so you feel like you're living nonstop.

(at least that's the theory)

Also, to answer these questions:

They do remember their connections, their past and their memories. Memories of the past are the same.

Their families were not cloned, they aren't involved in this business in any way. They don't know.

However, to keep this secret from the mercs... Of course if both of the clones will speak to their families they will soon spot some weird things and inconsistencies (talking about things that seemed to never happen). Not even talking about visiting family on holidays, that's an obvious no-no.

So... First of all, a big deal is to make REDs and BLUs lives and experiences here as similar (ideally identical) as possible.

And second: I think their connection to the world is just very limited/prohibited. The telephone connection is entirely controlled by the Administration (Sniper has to drive far away to sneak talk to his parents). Letters are monitored, censored and withhold if necessary (or copied if they are FROM the family). No going home until the contract is due (many years??) etc...

Which contradicts comics in s lot of ways but you know what? I don't even care. Comics are an unreliable narrator anyways. I mean uh... I uh. I'll talk about it some other time.

[lutheban]

None of them are equivalent to eachother but you get the point

[bixels]

The final TF2 issue really got to me. Spoilers, but it’s the reveal that all of this suffering and murder and war over gravel and shitty land was for nothing but senseless, bottomless hatred. That the administrator can’t even remember where this revenge plot started as she flashes through different false memories of her parents’ deaths. There was never a tragic backstory or justification, only terrible people doing despicable things. And despite how crass and stupid and unserious TF2 is, the story subverts every expectation by showing the survivors and inheritors willingly breaking the cycle. Ms. Pauling lies to the administrator and chooses not to save her, and finally lets her die. (Hurts even more if you read into the subtext that Ms. Pauling is in love with the administrator.) She lets the final cache of Australium go and walks away from the burden and legacy of a century-old bloodfeud. Hale lets Gray’s daughter go and live her life freely. Spy is the first to arrive at Scout’s house and meet his big family, finally takes off his mask, and helps with the kids. Even Merasmus exhaustedly makes peace with himself and Soldier and chooses not to curse him or something. There’s nothing to finish, no promises to keep, and no one to avenge. The only thing to do is break the cycle and walk away.

It feels odd how happy and warm everything is, but it feels so right and earned. These bloodthirsty, awful, violent men were expendable cogs in a machine of endless violence, and they found a way out. It’s a genuinely great message about letting go the past that burdens you and finding the will and a way to hit the bricks, change, and be happy. Maybe they don’t technically deserve happiness, but they’ve got it nonetheless, and they’re not gonna let it go to waste. They’re still all crazy and violent, but on their own terms now and with people who love them! Smiles.

[oscorp-lawsuit]

Headcanon that all spider people get what’s called the “Spider-Zoomies” (which is a sudden burst of energy but it’s expressed through Spider-like behavior) except for Miguel because he didn’t get bitten, so every time he makes the mistake of going to HQ in the middle of the night, he gets jump scared by at least one Spider-Man:

Scuttling across the ceiling (Pavitr)

Hissing into the void (Miles)

Bench pressing a building (Peter B)

Jumping fifty feet into the air without warning (Margo)

Building some intricate contraption in complete darkness (Hobie, emphasis on trap)

Running extremely fast without making a sound so you don’t know they’re there until it’s too late (wtf Mayday)

Or crouching into a corner, completely still like a predator watching its prey, and the moment he gets close to them, they whisper “Hey” making him scream so loud that he throws his empanadas in their face (Gwen)

It’s essentially like you’re walking through a building full of eldritch horrors, and you don’t know where any of them are, but they all know exactly where you are, and they win bonus points if they scare the shit out of you. Miguel hates it here.

[undertheredhood]

the rest of the justice league: hey man, we get that he’s your son and all, but shouldn’t you do something about him?

bruce ‘that’s my precious baby boy’ wayne: i’m sorry, did you have to hold your son as he was dying in your arms? did you almost k*ll yourself trying to follow him to the afterlife? i don’t think so.

[thereweredragonshere]

Idiot moron dumbass forgets to eat and sleep for like three days. Passes out like a stupid fuck