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dduane · 4 months

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Is there an alphabet or lexicon of the human version of The Speech? And if so, where can I find it?

No, there's not.

(And as I've been asked about this before, I'm just going to paste the answer in here—since though the original post is buried in the depths of Tumblr somewhere, I do have my saved draft.)

Per these, which came in very close to each other:

@melbetweenstars

This is something I’ve always wondered but never realized I could actually ask about until I read through that long meta response. (go me.) How much of the Speech do you have fleshed out? Do you create it as you go on more of a need-to-know basis, or do you have vocabulary and grammar structures ready to go? Basically I’d be really interested to hear any Speech-related meta if you have the chance because fictional languages are hella cool!

and:

@sansa–clegane

I just read your post on dark wizards and field terminologies, and am totally loving the Speech translations you provided! Now I’m wondering, though, how much of the language you actually have mapped out or established? I’m very curious as to what, for example, the standard “I - you - he/she/it/etc. - we - you plural - they” conjugation endings would be– or if there even are any in a language as complex as the Speech. I’M JUST REALLY INTERESTED IN FANTASY LINGUISTICS AAAHH

Linguistics is a big deal for me too, as people who read my stuff will have guessed. And needless to say, the Speech is on my mind a lot (along with other “magical languages” and their history/histories).

So let’s take a moment to first to make it clear what the Speech is not. It’s not what’s sometimes referred to as an Adamic language (whether you take the meaning that God used it to talk to Adam, or that Adam invented it to name things.) It’s also nothing whatsoever to do with Enochian. It’s not an occultic language, or anything invented by human beings.

The basic concept is that the Speech is the language, or the very large body of descriptors, used to create the universe (and very likely others, but let’s leave that to one side for the moment). Such words are also assumed, having been used in the building of the universe, to be able to control the bits they’ve built. Every word, therefore, when used ought ideally to sound as if it contains some tremendous power.

Writing something like that every time the Speech is used, even for a much better writer than I am, would be very, very hard.

(We need a cut here. Under the cut: Ursula Le Guin, C. S. Lewis, J.R.R. Tolkien, J. K. Rowling, and others. ...Also a fair number of beetles. And a bear.)

It’s worth mentioning as a matter of information that I met the concept of secret / divine magical languages in Le Guin’s Earthsea long before I ran into it in C. S. Lewis. (I came pretty late to Lewis’s non-Narnian work.) Yet here Lewis, as more than occasionally before, is my master, having been over this ground right back in the mid-1940s.

There’s a point in the final novel of the so-called “Planetary Trilogy”, that big fat (now endlessly problematic but still fun-in-the-right-moods) book That Hideous Strength, where Elwin Ransom—philologist, unwilling visitor to Mars and Venus, unnerved conscript into the wars in Heaven, and Lewis’s take on both the Pendragon and the wounded Fisher King—is instructing his friend and co-linguistics scholar Dimble on how to behave in a meeting with the newly awakened, and potentially quite dangerous, Merlin Ambrosius. (The POV in this passage is that of a lady named Jane who's just recently fallen into company with the group supporting Ransom.)

“You understand, Dimble? Your revolver in your hand, a prayer on your lips, your mind fixed on Maleldil [just think “Christ” for the moment: surprise surprise, that’s the parellel Lewis is using here]. Then, if he stands, conjure him.” “What shall I say in the Great Tongue?” “Say that you come in the name of God and all angels and in the power of the planets from one who sits today in the seat of the Pendragon, and command him to come with you. Say it now.” And Dimble, who had been sitting with his face drawn, and rather white, between the white faces of the two women, and his eyes on the table, raised his head, and great syllables of words that sounded like castles came out of his mouth. Jane felt her heart leap and quiver at them. Everything else in the room, seemed to have become intensely quiet: even the bird, and the bear***, and the cat, were still, staring at the speaker. The voice did not sound like Dimble’s own: it was as if the words spoke themselves through him from some strong place at a distance—or as if they were not words at all but present operations of God, the planets, and the Pendragon. For this was the language spoken before the Fall and beyond the Moon, and the meanings were not given to the syllables by chance, or skill, or long tradition, but truly inherent in them as the shape of the great Sun is inherent in the little waterdrop. This was Language herself, as she first sprang at Maleldil’s bidding out of the molten quicksilver of the star called Mercury on Earth, but Viritrilbia in Deep Heaven.

Now if that’s not like being hit over the head with a hammer, I don’t know what is.* That moment has been before the eyes-of-my-mind for a long time as I’ve worked with the Speech.

Note, however, that Lewis does a very wise thing here. He doesn’t actually spell out any of the words out for you. Because in the reader’s mind, there’s always the six-year-old saying, “Go on, say the word: see how it sounds, see what happens…!” And when you recite the magic spell, it doesn’t work. The words come out sounding, well, like any others. And maybe not your interior six-year-old, but your interior twelve- or fifteen-year-old—the ego-state that’s about keeping you from getting hurt or looking stupid in front of other people who aren’t privy to or supportive of your dreams—says, “See, it was just another word, just a bunch of nonsense. You got fooled. Dummy!” No wise writer, I think, willingly sets their readership up for such easy and constant disappointment. It's tough enough to weave, and hold in place, the spell that is prose. Handing the audience a potential spellbreaker, over and over again, is folly.

And by rights the Speech ought to be like Lewis’s example above. If in reality you were to hear the words used to restructure matter or undo gravity, they ought to shake the air in your chest like a Saturn V launch, they should raise the hair on the back of your neck to hear them used; they should freak you out. But a long string of invented syllables isn’t going to do that. I’m stuck with using English to produce even the echo of such a result.

Which means I have to go Lewis’s route… mostly. Here and there I’ll add in a Speech-sourced word or phrase when it supports the narrative or makes it easier for characters to talk about what’s going on—as, when working with wizardry, you do sometimes have to call in precisionist-level language for words that have no casual English cognates: just as you would if you were working in particle physics or organic chemistry at the molecular level. But that’s all I’m going to do… because if you do too much linguistic work in this regard, you constantly run the risk of your readers being distracted from the real business at hand, which is the interactions between/among the characters.

The tech inherent to a work of fantastic fiction is always an issue in this regard. Ideally L. Sprague de Camp’s very useful definition of science fiction, tweaked here for fantasy, ought to be a guideline: “A fantasy story is a human story with a human problem and a human solution that could never have happened without its fantastic content.” Yet inside the definition, there’s still a lot of ways to go wrong. Too much merely human stuff, and a work of fantasy turns into a soap with some casual magical gimmickry—all too often these days labeled as “magic realism”, when it’s not publisher code for “We’d call this fantasy if we had the nerve and we didn’t think it was going to tag us as ‘genre’ and keep us off the best-seller lists”. Too little human-problem-and-human-solution, and it turns into a modern version of what James Blish (God rest him), when writing as the gently merciless science fiction critic William Atheling Jr., used to call “The 'Greater New York and New Jersey Municipal Zeppelin Gas Works’ school of speculative fiction”, where you tour your readership through the Wonderfulness Of Your Tech (magical or otherwise) until they expire of boredom while waiting for someone to fucking do something.

You have to find a centerline between the extremes—indeed pretty much a tightrope—and walk it with some care. I’d guess that J. K. Rowling ran into the need for this balancing act; while never having read the Potter books, I nonetheless get a sense that you get the occasional Wingardium leviosa without also being burdened with long strings of magical Latin. (Though I confess that the answer to the question “Where does the magic come from? And what’s it for?” as it applies to her universe could be of some interest. I have no idea whether this ever gets explicitly handled.**)

Anyway, it’d be way too easy for the YW books to become long discourses on the Speech and its use. This aspect of the “tech”, I think, gets more than enough time onstage. Having once established that words are a tool, indeed the tool for a wizard, the ur-Tool, making every spell they build a resonance between what they do and the initial/ongoing work of Creation—my business is to stay focused on the challenge of driving plot forward by interactions between human beings (and all kinds of others) who have conflicting agendas.

…So much for the tl;dr. I do have some very basic grammatical structures tucked away, but they’re not in any fit state for other people to look at. The Speech, I think, is really best treated as an ongoing mystery that unfolds a little at a time, as required, and leaves everybody wanting more.

HTH!

*It also leads into one of numerous affectionate nods in this book toward Tolkien, as philologist, fellow novelist, and Lewis’s good friend. It's no accident that when Ransom meets up with Merlin himself, a little later in the narrative, the question of this language—the proper name of the Great Tongue is “Old Solar"—comes up again. When discussing what language they’ll speak with each other during their upcoming negotiations [they apparently start out in a rather beat-up and denatured medieval Latin], Ransom says to Merlin about the language he’d prefer to be working in, "It has been long since it was heard. Not even in Numinor was it heard in the streets.”

The Stranger gave no start … but he spoke with a new interest. “Your masters let you play with dangerous toys,” he said. “Tell me, slave, what is Numinor?” “The true West,” said Ransom. “Well,” said the other.

Yeah, “well.” Better scholars than I have dealt with the relationship between these two, as scholars and writers and friends, so enough of that for the moment. But it’s very sweet to see Lewis do something in his books that I’ve done with mine.

**It’s always possible, of course, that in the HP universe this issue is a surd: like asking “where physics comes from”. (Well, not a surd precisely, if your spiritual life tends a certain way. Mine tends toward “Whoever or whatever made the universe, that’s who made physics. And they must really like it, because they made a metric shit ton of it!” (This answer also works for beetles, though that's a slightly different issue.) :)

But if there’s a most-fundamental difference between my wizardly universe and Rowling’s, it might be best revealed in the third question that came up for me directly after “What if there was a user’s manual for human beings/the world/the universe?” and “If there was, where would it have come from?”: specifically, “And why?”

***There's a bear in the Pendragon's kitchen. Thoth only knows what initially brought that on for Lewis, but it's a character insertion that pays off later, so (shrug) wtf.

#Young Wizards meta #Young Wizards #Ursula Le Guin #C. S. Lewis #J. R. R. Tolkien #the Speech #wizardry #errantry

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lovifie · 3 months

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I feel very sorry for the current situation, and the way I've seen writers I liked behave like high school bullies.

I understand the fandom's anger at the discrimination against Gaz, but I fail to understand what the point of the whole mess was. I often see (understandable) complaints that they're tired of being asked when they're going to upload more parts or asked why they're not writing X character, only to turn around and do the same thing.

If there had been a minimum of reading comprehension anyone would have realised that the original post was not excluding Gaz from a 141's post because the post was not about the 141.

At no point was Gaz being excluded, and neither was the author under any obligation to include him, nor even if she had done so on purpose is that justification for the treatment he has received.

I can't get my head around the amount of hate and disconnection from reality you have to have to think it's a good option to send death threats to someone over not mentioning a fictional character.

I'm not trying to send hate or ill wishes to the people involved, because even the person in the original post has made it clear that's not what they want. But I hope that from this mess we can learn for the future, that behind every blog is a person. And that actions have consequences.

Mental health and the freedom to post what you want is always on everyone's lips, but apparently only when it's convenient.

COD fandom being something that could be a healthy and safe place for everyone to share content and talk to people with the same tastes as you, I feel sorry for it becoming a place where you have to walk on eggshells so they don't wish you harm.

We are all adults to treat people with respect, let's not forget that you sow what you reap. And that the basis of being respected is to respect others.

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slugtranslation-hypmic · 5 months

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I Think Hypmic's Portrayal of Gender Roles is Kinda Refreshing: An Essay A.K.A. I'm Procrastinating on a Weekend Deadline :)

Hypmic's talking points on gender are hamfisted, corny, and melodramatic. "Maybe...we shouldn't have a wage gap," is not the hottest of takes. However, like most things in Hypmic, the writers have a lot more to say about gender and gender roles in the framing of the story itself that's much more nuanced. And honestly? It's kinda refreshing.

It's also something that went way over my head when I first became a Hypmic fan. Sure, I read manga and played Japanese video games--usually translated into English first--but I didn't have enough exposure to hundreds or thousands of pieces of untranslated Japanese media. I'm going to guess that most Hypmic fans don't either, which is totally fine and normal. We all exist within our respective cultural communities wherein we're bombarded with messages constantly telling us how to act, think, and speak. We tend to absorb these messages on subconscious levels and reflect them in the art we create and stories we tell, either by reinforcing them or challenging them. Thus, our stories don't exist in a vacuum, and divorcing stories from their cultural backgrounds can suggest the artist is the original thinker of a larger concept or hide their specific point of criticism. That is, if I wrote a story about a man who chooses to not catch fish, drink beer, and drive a Dodge Ram pick-up truck, we should be aware that I'm not the person who conceptualized the stereotype of dudes who catch fish, drink beer, and drive pick-ups. I wouldn't deserve the credit for dreaming up that exact image, and at the same time, it would be incorrect to read that as me targeting those three things randomly. The choice to not drive a Dodge Ram pick-up is not a commentary on Fiat Chrysler Automobiles. It's a stand-in for the notion of masculinity.

Thing is, we're hit with messages about masculinity, femininity, and other gender-related concepts on a daily basis. No matter where you live or what language you speak, every person on Earth is inundated with messages saying, "This is what you are, and consequently, this is how you should act." Our relation to these messages is complicated, and this complexity is compounded by different cultural communities preaching different messages in their stories, marketing, and human interactions. For instance, the US's massive global cultural influence means that those outside the US can still easily recognize what I mean by catching fish, drinking beer, and driving enormous American pick-up trucks. But the location and cultural differences may add or subtract nuances. A person living in, say, Munich is unlikely to have Dodge pick-ups advertised to them the way a person in rural Texas would. Our fictional Munich person does not feel the same social pressures to buy a Dodge and represent their masculinity with a Dodge the way our imaginary Texan would. In turn, the Munich person likely sees a Dodge with an element of absurdity--who the hell needs such a big truck in a European city?--and foreign Americanness. The Texan wouldn't have that concern--why worry about navigating your enormous truck down narrow streets when you live in the countryside?--and sees Americanness as their local default, thus removing any element of foreignness.

That is to say, gendered messages aimed at people (especially women) who live in Japan don't affect me the same way as they impact those who do live in Japan. Like, it's not my dog in the fight, and there are plenty of people who are directly affected who write their own stories and commentaries on gender roles in Japan. Japanese women don't need a random guy in the US to stand up and say, "Damn, your gender roles are fucked!" 1) They already know. 2) They're already saying it. So I come at this from an angle of someone who already has deep, primary frustration with the gendered messaging in my culture and secondary frustrations when similar messages appear in other cultures. I don't have a bone to pick with Japanese media in particular. Plain and simple, reading and working on hundreds of pieces of Japanese media is what I do for a living. It's in my face constantly, and as a result, I am also perpetually bombarded by messages about gender roles in Japanese media.

It's not a hot take to say that Japanese media, like the media of every single other culture around the globe, has a lot to say about gender. There's a lot of slotting people into boxes and telling people what to do. It's chafing, as we see all across history in art produced in reaction to gender roles. In the past couple of decades, global shifts in gender roles have caused media to shift the messages they're pushing, but it's not controversial to say that Japan has lagged behind other countries like the US.

Many, many stories push arbitrary notions of how to be a girl or how to be a boy that don't necessarily come from the author themselves. The authors probably aren't even fully conscious that they're making these choices. If an author writes a story about a library and makes every female character a romance fan and every male character an action fan, it's likely a reflection of endless messaging that says action is for boys, romance is for girls. In turn, this story becomes yet another reinforcing message. If no fictional girls like action, and no fictional boys like romance, it becomes alienating for real girls and boys who don't follow these same rules. These rules are everywhere and have so much to say about gender that it's hard to know where to begin. Girls must like cute things. Boys can't like sweet food. Women must not express sexual desire. Men can't be shy. On and on and on.

Which is why, when there's a relative lack of this in Hypmic, it's kind of a breath of fresh air.

Wrong Ways to Be a Man

Actually, Hypmic does have a few moments where characters claim there are certain things men or women should do, but the writing always frames these messages as incorrect.

Take Samatoki, for instance. After Kuukou and Sasara leave MCD, Samatoki tells Ichirou, "Men shouldn't cry when they lose their friends. Men should only cry when they lose a family member."

(TDD chapter 10)

This line usually appears via Ichirou's perspective. In the stage play, it's told during a song Ichirou narrates, and as shown above in panel 3, the manga frames the line from the angle at which Ichirou sees it. In such moments, the audience is meant to read this as a cool line from a strong mentor figure to Ichirou. That's how Ichirou sees it, and he's a seventeen-year-old with too much on his shoulders who idolizes Samatoki. He is incapable of seeing how much pain Samatoki struggles with.

However, when the manga focuses on more intimate moments of Samatoki's life, we see that Samatoki does struggle quite a lot.

(BB/MTC+ chapter 6)

This isn't a cool, attractive figure meant to be idolized. While Samatoki's cigarette usage and aggressiveness are often framed as sexy or enticing, the juxtaposition with dirty laundry, overflowing ashtrays, and empty bottles make him a sympathetic and struggling figure. Therefore, we should understand that his notion that men don't cry is flawed. It's a means to distract himself from emotions he doesn't want to feel.

Later, as Samatoki begins to process his emotions and open up to his teammates, the unhealthy coping mechanisms recede. Samatoki is more confident, mature, and happier as a result of being more emotionally vulnerable.

We see a similar transformation with Kuukou. As a teen, Kuukou is reluctant to accept help or truly let anyone in. In a conversation with Hitoya, he says (and I am still completely unable to take this seriously), "A man's got to wipe his own ass."

(DH/BAT chapter 4)

However, over the course of his character arc, Kuukou learns that he cannot exist as a good leader or individual without the teamwork of his newfound "family." Only rejecting this classical and toxic notion of masculinity brings Kuukou joy.

In fact, most of the first-line characters have very similar arcs. At the start of the story, Ichirou is insistent on doing everything himself. He has to learn to be able to rely on other people (Kuukou, Samatoki, Ichirou and Jirou) to be happier and unlock his true strength. See below, his final attack and Ability use in the 2nd DRB, which is only possible when his brothers figuratively and literally support him through it.

(BB/MTC+ chapter 25)

Sasara struggles with emotional honesty and trust in favor of using humor to gloss over discomfort. It takes multiple heart-to-hearts with Roshou before he can let humor take a backseat and say how he really feels. Ramuda has difficulty trusting other people and being honest with his emotions when faced with stressful scenarios. Only through Fling Posse is he able to open up and ask for help instead of driving people away when the problems are too big for him to face alone. Jakurai struggles to connect with other people, work through and acknowledge his complicated feelings, and not place himself on a pedestal. Through Matenrou, Jakurai is able to ask for help, be more open, and ultimately be less hard on himself.

The second- and third-line characters follow similar arcs, and this repetition creates a core message for Hypmic: Trust and rely other people. Be open with your feelings. There's a wrong way to be a man, and that's to hurt yourself and other people.

Right Ways to Be a Man...Are Infinite!

But with that being said, there is a surprising lack of commentary on how else to be a man. Hypmic as a whole doesn't do much to constrain the male characters in terms of gender roles.

Sure, some characters do fit into more traditionally masculine roles--Ichirou, Samatoki, Riou, etc. The messaging makes it clear that it isn't wrong to play into masculinity provided it doesn't become toxic. (See above.)

Even then, however, these especially masculine characters are associated with less masculine traits that are either portrayed positively or not portrayed as a joke. Riou is an avid cook, but the joke is never that he wears an apron and knows his way around an outdoor kitchen (tee-hee, men don't cook!). It's that he cooks with horrifying ingredients. Samatoki is a fashionista, but the joke is framed as a counterpart to Ichirou's nerdiness.

(DoD chapter 1)

Here, it's funny that neither of them can shut up (the ペラペラ/blah blah SFX, the long bubbles filled with lots of text that's cut to indicate they kept going for longer), but the object of their attention--a model toy and a pair of jeans--are treated in the same neutral light. It's very common for stories to touch on, even defensively, the social taboo of men being into clothes. Hypmic doesn't even acknowledge that such a taboo could exist.

This is subtle but extraordinarily effective in giving characters the same consideration and weight. The more feminine characters are always treated just as sincerely (or, if there's a joke to be made, irreverently) as the more masculine characters. Take Ramuda, for instance. In Japanese media, a love of sweets is often characterized as feminine and will often be remarked upon, even in LGBT+ media, as atypical for men. Again, there's zero acknowledgement of such a thing in Hypmic. Whenever other characters talk about Ramuda's food intake, it's always framed as a concern about the lack of nutrition.

(FP/M chapter 11... I don't have the source lying around on my computer, so here's the old-ass scanlation lol)

It's also given the exact same weight as anyone else's junk food habits. Here, MCD goes out for burgers (a neutral to masculine-coded food due to the meat and high calorie count) while Ramuda opts to try a sugary Starbucks-esque drink. The parallelism in the comic's framing suggests that the two objects are functionally the same, and there is no comment that a sugary drink is feminine and therefore "inappropriate" for Ramuda. There's also no indication that MCD's preferences are in any way better. They simply happen to be the characters' personal preferences. The punchline is two groups splitting up, only to awkwardly run into each other again moments later.

(DoD volume 4 bonus comic)

Similarly, Ramuda's interest in clothes or fashion is never treated negatively--in fact, the discussions of clothes as a means to find identity and happiness make it a positive!

In ARB cards and promotional materials, Ramuda sometimes wears dresses. It's, again, portrayed in parallel to other characters wearing more masculine clothes and is never commented on as something "unusual." It's just who Ramuda is.

Hifumi is another interesting case. Like Ramuda, his playful personality often doesn't as stereotypically masculine. (To be clear, I read much of this as "gender neutral with a strong emphasis on youth" versus "feminine" in a way that I'm not sure has a good US equivalent...metrosexual/yuppie men's fashion, maybe? In the sense that it's a youth subculture that defies some masculine gender roles but is still focused mainly on men. I wish I was more well-versed in Japanese men's fashion and could give an exact term, but I'm what I'm thinking of is definitely an established thing--young, trendy dudes whose styles focus on poppiness vs. the rugged manly man or "idk, I'm just some guy" subcultures. It's a thing that pisses off old Japanese conservative men in the same fashion as people getting up in arms about "the gayz!!!1!" and their androgynous clothing lol.) Their personalities are often the butt of jokes, but only in the same way that Dice or Doppo are--that is, that they're exaggerated and over the top. There's no commentary on masculinity or lack thereof.

There are also moments when Hifumi, Gentarou, or other characters play feminine characters in roleplay moments, which is usually (but not always) not the sole joke. The audience is supposed to find it funny, but the humor is almost always centered on the absurdity of the scene as a whole. For instance, in a moment where Hifumi and Doppo are pretending to be two drunk karaoke-goers, the humor comes from the composite set-up of Hifumi's hair twirl, Doppo's untucked shirt and tie, Doppo and Hifumi's exaggeratedly flirtatious poses, the spotlights and sparkles, and the same font as used on classic karaoke machines.

(FP/M+ September 2022 oneshot)

Hifumi and Doppo do not perform traditional gender roles in their homelife, and while it's easy to see and often commented on in the English-speaking fanbase when it comes to Hifumi, I find it just as prevalent on Doppo. It's true that Hifumi is taking a feminine role by doing the majority of the household's cooking and cleaning, but if we were to assume Doppo has the masculine role in the household, he would have the breadwinner duty. However, he isn't the main source of income for their household, and he's just as unassertive in finding a (female) romantic partner as Hifumi is. Japanese men are bombarded with media messages stressing the importance of taking an active role in career and romance. That Doppo does not would, in many stories, make him the butt of a joke for not living up to masculine gender roles. But he isn't; instead, Hypmic portrays him as a sympathetic character. It's tough, Hypmic says, for people to get good jobs and maintain friendships/relationships as an adult.

Similarly, it's noteworthy that Hifumi's self-appointed term "Gigolo" is consistently portrayed as a good thing in Hypmic. The meaning of the English term aside, the Japanese word ジゴロ (jigoro) is almost always used as an insult for a man who is financially dependent on one or multiple women. In the strictest sense of the term, Hifumi is a jigoro in that his income derives from his female clients. However, there is never any shame associated with that, and as a whole, Hifumi's career as a host is shown to be a positive thing. I can't express enough how rare that is in any sort of semi-serious media. Certainly, Hypmic acknowledges that his job requires too much drinking (Doppo's verse in Hoodstar), but the overall portrayal is overwhelmingly positive. Hifumi and his coworkers are never treated as uneducated, boorish, or pathetic for "failing" to find other work that does not require flirting with and entertaining women. (This is partially due to the overlapping judgment with sex work.)

All the various harmless preferences and personality traits of the male characters are treated equally with no judgement over what's masculine or non-masculine. Within the broader context of Japanese media, this absence of judgment stands out and reinforces one of Hypmic's core themes: Differences make us better, not worse. In the end, Hypmic suggests, there's no one right way to be a man.

Right Ways to Be a Woman...Are Just as Infinite!

But what about women? This series is, after all, marketed mainly towards women, and while female audience members can no doubt extrapolate the lessons learned from the male characters, it's worth taking a look at the female characters too.

The female characters do receive much less screen time than the men and are not the focus in the series; I'd argue that's less an issue of overt sexism and more that they fall out of focus in the story the writers want to tell. (There's a broader discussion to be had about inherent sexism in the writers' focus which goes hand-in-hand with rap industries across the globe favoring men and rap being an example of exaggerated masculinity, but that's a topic for another day.)

Even so, the framing of the female characters is interesting in a couple key respects. The individual character arcs and motivations of the main female characters are, in my opinion, some of the weakest parts of Hypmic--many times, Otome and Ichijiku do things because the plot demands them to, making them look incompetent or needlessly cruel for characters we're supposed to sympathize with. Nemu's story seems to be handled with more care and takes an interesting twist, wherein she openly acknowledges that she's disenfranchised as a woman in modern Japan but rejects the notion that she needs to find strength on either Ichirou or Samatoki's (male) terms. By choosing to be strong in "her own way" (whatever that means...it's not well-defined), the authors are using Nemu to reject the notion that strength and power are inherently masculine.

What I find to be far more interesting is the character design for the Chuuouku women, both in what is said and what is not said.

To begin with, the characters and their portrayals run the gambit from highly sexualized to completely non-sexual. Some characters (especially Ichijku and Honobono) have conventionally attractive, curvy body types and are often drawn in ways that highlight their bodies.

(FP/M+ chapter 4)

(FP/M+ chapter 14)

In some cases, especially Honobono's, the enticing nature of the illustrations is framed as the character's choice; in the above, her words indicate that she wants to seduce the off-screen listeners. The images included above are largely representative of these characters' raps, regardless of illustrator.

But on the flip side, other characters with large breasts or hips are never drawn in a sexual fashion. By way of comparison, here are two shots of Nemu rapping.

(BB/MTC+ chapter 12)

Even in shots with dynamic poses, no attention is drawn to Nemu's figure in any sort of provocative sense. Nemu touches her chest, drawing the reader's eye there, but the artist does not emphasize the size of her chest--they're allowing a chest touch to be no more than an emphasis of the self. At the same time, Nemu's body isn't downplayed. We can see in panel 2 on page 2 that Nemu has a small waist and wider hips, but once again, she isn't being sexualized. The action lines draw the reader's eye to Samatoki and thus put the action first and foremost. This creates the idea that not only can characters portray themselves sexually, but they can just as easily choose not to.

We see similar with Otome, who does not wear any sort of revealing clothing and is never shown in a sexual fashion. However, Hypmic doesn't equate revealing clothing to sexual portrayals either! While I wouldn't call Tsumabira's outfit revealing, she does have more visible cleavage than most Chuuouku figures. However, her bare chest is never sexualized like Ichijiku's.

(BB/MTC+ chapter 4)

Compare the non-emphasis on the chest and the power stance to any of the many shots of Ichijuku where her breasts are front and center in the camera. Speaking of power stance, Tsumabira remains confident in her power stance without being sexy--that is, no stepping on the camera and showing her whole leg.

Which isn't to say that Tsumabira is a sexless character. She's drawn visibly turned on by the male characters in such a way that is cartoonish but not, in turn, overly sexual. Were this supposed to be titillating to the reader, I would have expected to see a larger close-up on her face and tongue. However, the artist (who is no stranger to focusing on tongues!) devotes the majority of the panel to Tsumabira's body language (which, again, doesn't absurdly exaggerate any of her proportions or focus on her chest) and covers part of the mouth with text bubbles. Tsumabira is drawn as engaging in sexual behavior without being sexualized for reader entertainment.

(FP/M+ chapter 4)

The juxtaposition of such different views with little to no judgement attached to any of them suggests that it's perfectly okay to want to be sexy or not, to wear revealing clothing or not, to be involved in sexual situations without being the object of sexual interest, or to simply exist with an attractive body type without sex ever coming into the equation. Just as some characters choose to tie bodies to sexiness, some don't whatsoever--and either is perfectly fine!

The former idea ("I can choose to be sexy") may not sound especially revolutionary to US audiences, where sexuality is thrust upon women willingly or otherwise, but I find it fascinating because it lets the main characters embrace this idea without associated slut shaming. So much of Japanese media insists that women should be sexy but are also wrong for wanting to indulge in their own sexuality. Therefore, having characters who run virtually every iteration of take on the topic (I want to engage in sexuality and be sexualized, I want to engage in sexuality without being sexualized, I don't want to engage in either) with multiple body types (ie, Tsumabira isn't automatically not sexualized because she has a smaller chest; Nemu isn't automatically sexualized because she has a bigger chest) and no judgement involved feels like another breath of fresh air to me.

As a whole, I find the diversity of the Chuuouku uniforms and character appearances quite interesting. They're undeniably all feminine and relatively militaristic, but different characters wear entirely different wardrobes. Skirts vs pants, blouses vs dresses, high heels vs boots... Since every character has her own take on the common theme, it once again feeds into the idea that each character is her own individual and perfectly valid for defining femininity in her own way.

Haircuts, too, range from longer and more feminine hairstyles to pixie cut-esque looks.

(BB/MTC+ chapter 16)

Again, nothing of the framing suggests this short-haired woman is in any way different from her longer-haired counterparts on the edges of this screenshot.

Finally, while most Chuuouku women are conventionally attractive, I find it extremely compelling that Haebaru is a stereotype of an unattractive Japanese woman. To be extremely clear, I do not think these stereotypes should have weight, but the combination of chubby and/or muscular build, freckles, rounded nose, and non-glossy hair is often used as a visual shorthand for unattractive or otherwise undesirable women.

Sure, it's not fantastic that Haebaru is a scheming, two-bit villain. However, so is virtually every other female character in the series, and in particular, Haebaru is (the conventionally attractive) Tsumabira's counterpart. Both are treated with the same respect or lack thereof, suggesting that one's appearance has nothing to do with your ability to be a no-good baddie. Ha ha ha.

It would be lovely if the female characters were fleshed out further and given intelligent choices and diversity outside of the realms of physical appearance. However, I do think the writers' choices are limited by virtue of all women automatically being antagonistic side characters (which, again, is another discussion altogether). What the writers can and have accomplished is further reinforcing a celebration of differences. Just as there's no one right way to be a man, there's an infinite number of ways to be a scheming snake of a woman HAHA.

Intersection with LGBT+ Topics

Unfortunately, this is a very binary look at gender and gender roles, which, while largely representative of the current state of Japanese media, can be disappointing.

Hypmic appears to want to steer shy of LGBT+ topics as a whole, which is a bit of a shame. In a story so focused on gender and acceptance of diversity, it seems the natural next step to explore the notion of those who experiences don't align with a strict gender binary. Such stories are growing in popularity in Japanese media but have yet to be anywhere near the mainstream acceptance in US media (which is still in a fledgling stage at best). I would imagine Hypmic's writers are unable or unwilling to take a definite stance on these topics in the work due to fears of financial or career backlash. If nothing else, the sexuality of the main characters needs to remain in a limbo in order to have plausible deniability for both self-shipping and shipping with other characters. (Some deniability may be more plausible than others.)

The few instances in which Hypmic does wander into this territory are usually clumsy. I am no fan of the handful of scenes where male/male attraction is supposed to be funny purely by virtue of being male/male.

The inclusion of Urumi, the one minor character explicitly LGBT+, is not stellar either. I am hesitant to apply any definite label to her, as the real-life people her stereotype portrays self-identify as everything from trans women to cis men--or refuse to use these English labels at all! Still, we know from her profession (proprietor of a bar heavily implied to be a gay bar by the neighborhood it's in), appearance (poofy permed hair, exaggerated make-up), and demeanor (feminine speech style, a bit flirtatious) that she's AMAB and choosing to present herself in a feminine fashion. By writing Jirou to ask, "Aren't you a man?" in an exasperated fashion, the writers have put her gender presentation in a boke role--suggesting she's over-the-top, exaggerated, comedic. It's not great. I completely understand why readers find it offensive (and it is) even while I don't think the writers intended it that way. Ultimately, it would have been great to see other explicitly LGBT+ characters portrayed without the joking angle.

With that said, I'm not entirely unhappy with her character. She is a stereotype, but the authors have chosen to take only the visual elements of the stereotype and leave the rest on the cutting room floor. In other works of fiction, characters like Urumi are often hypersexual to the point of being in-universe creepy, especially towards underage boys. Other times, characters like her may be eccentric or off-putting in other ways. However, that's not at all the case here. Urumi seems to play a helpful big sister/aunt role in Jirou's life, and he's clearly comfortable enough with her to spend the night at her bar.

(BB/MTC+ chapter 17. "Sorry, but can I shack up here again tonight?" "Of course you can.")

While she seems to engage in some sort of a bohemian lifestyle, as evidenced by the alcohol and smoking, it isn't anything outside of what many of the other characters do. Additionally, while she isn't drawn in a flattering fashion in scenes where she's playing up her persona (which is par for the course with any character in this series, regardless of gender), there are plenty of neutral shots of her being serious. Finally, the art is never outright rude--that is, she isn't drawn exaggeratedly masculine or flamboyantly...snakey? I don't know how to describe this to anyone who's lucky enough to have never seen this--clearly LGBT+ AMAB characters drawn with noodly limbs and huge, overblown lips winding around male characters.

Maybe because I see so much worse continuing to be produced in this day and age, I feel like Hypmic could have done a much, much worse job with this character. She overall plays a positive role and is treated with much the same care as other side characters. It's unfortunate, then, that the writers have chosen to make her gender presentation the subject of a joke.

In other frustrations, I heavily dislike the unnecessary gender divide in background characters. All punks and other background baddies are male, whereas all adoring fans are female. (But Rhyme Anima has done an interesting job of subverting this!) The vast majority of other background figures fall into strict gender roles, which is likewise disappointing. It appears that diversity may be an accepted trait for none but a lucky few that form the main Hypmic cast.

All in all, I don't think Hypmic's portrayal of gender roles is groundbreaking, nor do I think it's fair to suggest that all Japanese pop culture plays into strict gender roles. There are certainly many Japanese works, popular or otherwise, with much more interesting things to say about gender. However, when compared to the vast majority of the titles that cross my desk on a regular basis, I notice and appreciate the level of care put in to Hypmic's commentary on gender roles. The work consistently reinforces the notion that it's okay to be your own individual, no matter how that plays into your gender, and I find that freeing. That's a message we could all do to hear more often, regardless of culture and language.

TL;DR: Oh no, my rapidly approaching deadline. :)

#not a translation #analysis asks

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emrowene · 11 days

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Webserials and Why You Should Read Them

Welcome to a short primer on webserials! The concept behind them is pretty simple: webserials, also called webnovels or webfiction, are serialized online novels. If you read long fanfics OR webcomics, you're probably already familiar with the concept. Authors release new chapters on a fixed basis, usually one chapter a week (but sometimes more, sometimes less).

You can find webserials in several places: on big platforms like tapas and royalroad, on individual authors' websites or patreons, or on newsletter platforms like substack.

So now we know what webserials are, but why should we support them?

Because webserials are fun. Because webserial authors are sharing amazing works online for free! Because the publishing industry is disproportionately hard to get into for queer and marginalized folks, and those are the people writing webserials.

To climb a little higher onto my soapbox, I believe webserials are the future of accessible and diverse publishing. There's been more and more discussion about the problems with traditional publishing: how publishers are turning it into a "fast fashion" industry, spitting out books while overall book quality decreases. Regardless of whether you believe that, it's true that the industry prioritizes "marketability" over anything else. Experimental books, passion projects, books that have a lot of heart but no pithy "tropes" -- they stand little chance in the world of traditional publishing, and self-publishing is incredibly inaccessible for most of us. It's expensive, but more than that, it takes an incredible amount of time and effort. It's a business, and at the end of the day, some of just want to share the stories we love with people we hope will love them too. And that's the beauty of webserials!

One complaint I've seen about webserials is that "you never know what the quality will be like" - and I've seen this from people who regularly read fanfiction! Like fanfiction writers, we have our beta readers, we have our editors, we pour our hearts into developing our stories. So give us a try!!

Some recs and places to get started under the cut:

My webserials:

Fractured Magic - A queer epic fantasy series about a broken hero’s hunt for redemption and an elven prince’s quest to rescue his kidnapped king. The two estranged friends are racing against time - and dead gods - to achieve their goals. Will they make up and work together before it’s too late? (This story is currently ongoing)

The Case Files of Sheridan Bell - An old-school detective mystery set in Tamarley, a fantastical city with magical murders and doors to other worlds. Basically (queer, autistic) Sherlock Holmes but with more faeries. The first mystery is complete; the second will be published soon!

Some other webserials I follow/followed from start to finish:

What Manner of Man by @stjohnstarling - a queer gothic romance novel about a priest and a vampire.

The Warthog Report by @warthogreporter- this substack contains a selection of nonfiction writing, misc. fiction writings, and Battles Beneath The Stars, a serialized story about a tournament in a fantasy world, styled like a fighting game script/walkthrough.

Kiss it Better by DogshitJay - A (definitely 18+) queer adult romance about the messy endings and messier beginnings of love.

Warrior of Hearts by Beau Van Dalen - a queer slice of life romance following an online friendship that blossoms into something more. (Beau has lots of other great webserials as well!)

More places to look:

Tapas (Community novels page)

Royalroad (mostly known for its litrpg scene, but you can find other novels and genres here as well!)

The ao3 "Original Works" tag!

#writeblr #writing #webfiction #webnovel #lgbtq books #this primer is mostly so I can link it in future posts but boosts are appreciated!!

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oikyskau · 1 year

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seeing kenji muto, the director of trigun stampede, reading an article about the portrayal of women in media made me want to take a little bit of a closer look at the women in trigun and as i was rambling about this earlier to my partner, they told me to write it down LMAO

as most of us know, in a lot of fiction, women are mostly characterised through common tropes, leading to a lack of complexity and a one-dimensional portrayal: as the doting wife, the femme fatale, the mistress, or the virgin. Their role only amounts to an Other, an extension of the male hero. they’re either the whore or the madonna.

for female characters in anime that usually means they’re either the sexy femme fatale, big badonkers and all to be gazed at, the mother, the helpless damsel in distress, or the child (yet, still sexualised despite the fact that it is a literal child); they’re portrayed through the way they are being perceived by men and mostly sexualised beyond belief.

tristamp doesn’t do any of that.

in fact, the female characters in stampede achieve something that you don’t often see in anime: they are people. and stampede makes that clear in its very first episode by decidedly not going the route that you would usually take with the female characters they introduce:

of course, the biggest example here would be meryl, who i’d argue is the biggest driver of the plot, despite the fact that the plot of stampede is technically determined by vash - vash is an entirely passive character, he doesn’t make things happen, things happen to him and they mostly happen to him because of meryl. she’s the one who unties him, she drags them to the city, she makes them stay with him after ep3, she drives over wolfwood (rip my man), she stops for them to find rollo, she makes them follow the steamer.. you get it. she does all of this, despite being introduced as the newbie, the innocent person who would usually be the damsel in distress, who is helpless and shy and easily manipulated and who will probs be sexualised in her role as the “virgin” (sexually naive young girl who just doesn’t get all this adult sexuality yet hehe)

but she’s not – she wears a non-sexualised outfit, she only gets called out for being a newbie, or for being small height-wise by wolfwood, but not for being a “girl”, she determines the action despite the fact that she does have a mentor figure and is therefore still in a position of a student – she still isnt an extension of roberto, vash, or anyone

in fact, the other characters – Rosa, Elendira, Luida, Rem – all take up roles that would in other media be portrayed in very specific ways: Rosa could just be a pregnant mother, who is also a divorcee, Elendira could be an innocent child beholden to her caretaker, Luida could be the loving motherlike figure and rem the Madonna figure, symbolising all the virtues a woman should aspire to have. – Rosa is a leader, her pregnancy is mentioned one single time and never made a bigger part of her character, Elendira is young but powerful, making choices by herself that are not inherently based on any kind of innocence, Luida doesn’t coddle Vash or prioritise him over her own work and mission (which also serves to inspire another woman, meryl!!), and rem is also just a non-perfect person, with secrets and questionable morality

none of these women are judged on the basis of their gender, none of them experience gender-based violence, none of them are made into a joke, none of them are sexualised (or desexualised – if you compare them to the male characters, who also do not ever make jokes about sexual promiscuity or similar stuff), they have different body types (rem has a very pronounced chest, and yet stampede doesn’t ever focus on it or give her cleavage) – note also that when presented with the perfect opportunity to call a female character a “bitch”, they chose to go with a “witch” instead, in both original japanese and english dub

their femininity is not used as a weapon against them, nor are stereotypical hypermasculine elements used to define characters’ positive traits (vash not being our traditionally hypermasculine hero for example) - the only time we see a semblance of gender-based violence is, you guessed it, at the very end, when knives forcefully takes control and bodily autonomy away from vash and inseminates the plants against their will (also interesting to note that knives, as the character that does exhibit that kind of violence, is the only character to be shown incredibly buff and all muscle)

the women in tristamp are written for women, with the goal to be women that we can recognise, that represent the women that we are and know

anyways, i love all women in tristamp and have not once felt uncomfortable or said “oh look, a panty shot” and honestly i just find that pretty neat

#trigun stampede #trigun #meryl stryfe #rem saverem #trigun meta #ramblings #dont take this too seriously its just me being very nerdy for female characters LMAO #a lot of anime that i like fall into the trap of writing female characters for men and in relation to other male characters and i honestly #expect it at this point but PHEW was i going help WOMEN??? during tristamp #also do i need to add a citation bc im technically just citing my own thesis..... LMAOO

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ahsoka-in-a-hood · 2 months

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I don't. The thing is I am a Star Wars Prequels fan first and foremost, here. I like the original trilogy, it's fine, but that's not what keeps me awake at night.

I don't give a shit about the sith. I don't find them interesting. I was always here for the impossible situations the jedi and the protagonist senators and other kinds of heroes were finding themselves in. The ones without an obvious answer. The ones they could get wrong. The ones they would get wrong because it's a tragedy, and sometimes I like to cry my eyes out over made-up people.

And even after several years of fandom, that's still basically what I want. I want the jedi (and other characters) to be put in the situations. I want them be unsure what the right path is. I like watching them make mistakes.

Some call it nuance, some call it flaws. I'm tempted to just call it being people. That's the sweet spot I'm after: not saints, not devils, just people. People fuck up. People are very varied. They have a culture- does every aspect need to be dissected for faults? Can it not exist even in a state of imperfection?

It can get complicated, maybe. I've encountered plenty the attitude that the jedi are evil because they are humans but are meant to be more than that. I have blocked absolutely relentless commenters of this who would show up on every post with this exact philosophy

… But it can become a subtle distinction. For some time I was blissfully unaware of Filoni's views on the simple basis that the jedi in the clone wars were more real and human than the generic antagonists I tended to see in fanfic.

It is a distinction, though. Human (derogatory) and human (empathetically) are different approaches, which does show up here and there.

The thing about star wars, and the prequels, and the jedi, is that no matter how you try to slice it, the story of a genocide is inextricably woven into a story about jedi. Every one of your #shots fired about their eventual downfall is accompanied by…. a systemic extermination campaign by a nazi allegory……….. and even if that's not something you're willing to contemplate, that's just going to make people uncomfortable. Especially if you start adding talk about a shadowy cabal secretly controlling everything who also steal children etc. Listen, I know that the jedi are fictional. That's not what you should be considering when you say these things.

So you end up with these two fundamentally diametrically opposed stories:

Here's this religious minority who are literally in touch with their divine force. This does not make them gods, so they have flaws, weaknesses, and make mistakes. They are murdered. This is the beginning of an imperial age. (compassion is at the centre of their philosophy. anyone can be compassionate, with or without the force.)

Here's this bunch of corrupt overpowered secret police who hold their position by maintaining a mythology of super-humaness, but psyche! Wealthy elites are also degenerate humans, which is of course forgivable in US, but not THEM. They were supposed to be the model minority. KILL THEM

#look i started out with the intention of being all measured and the like #but I lost concentration so here's what you get

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howtofightwrite · 1 year

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Speaking of martial competence, do you have any examples of characters that are actually written with this in mind?

Loads. Some actually even make good on that.

So, there's different kinds of martial competence. There are characters who are proficient in combat directly, there are well written strategists, there are characters who excel at military leadership, and when they're written well, you can actuallylearn some things from them.

I'm going to give some examples, and at least one cautionary example.

For, just, raw combat prowess, I still go back to Robert E. Howard's Conan short stories. It's easy to meme on the character, especially 90 years after the fact, with the cultural persona that's grown around him, but Howard's original writing is excellent. The character would not have survived Howard's early (and, frankly, tragic) death if it was just the one note gag you might expect, if your only exposure to the character was through cultural osmosis and the films.

Howard's fight scenes were shockingly well written. To the point that it is still absolutely worth reading if you want to write a fantasy fighter.

For strategists, three characters come to mind, but only two are literary, and all are Science Fiction.

Grand Admiral Thrawn is probably one of the best villains Star Wars has ever produced, it's part of why he's one of the few characters that's migrated from the original EU to the Disney era. My personal take is, as a character, he's lost a lot over the years, but the original incarnation from the early 90s novels is a very solid model for a strategist. Particularly in how he takes time to understand his opponents while looking for potential weak points to exploit.

His practice of studying a culture's art to understand their psychology might sound a bit goofy, but the concept does have a real basis. (At least, until it metastasized into a superpower, in later adaptations of the character.) Being able to psychologically assess your foe is an incredibly valuable element of strategy, and one that you probably want to consider when you're writing a character who is supposed to be a “strategic genius.”

When writing fiction, you want to consider all of your characters as if they were people, rather than as hollow, plastic toys. And, yes, the obnoxious villain who knows exactly what your heroes will do because of authorial fiat is going to be a more compelling character than the ambulatory goldfish villain who exists as a prelude for your heroes showing off how badass you think they are.

Granted, even in Heir to the EmpireThrawn was already drawing strategic insights that strained credibility, but understanding your foe is an element of strategic thinking that is often forgotten in literature. So, even as a villain in a tie-in novel (we're not done with tie-in fiction yet), he is worth looking at. At least when written by Timothy Zhan, Thrawn was a well written character, and even if he bordered on a Mary Sue at times, he escaped a lot of that stigma by justifying his competence.

It's also probably worth mentioning in passing that he's one of the few Imperial leaders in Star Wars who isn't also criminally incompetent.

The non-literary example of a strategist would be John Sheridan from Babylon 5. Unlike Thrawn, Sheridan's main strategic focus is on situational exploitation. A little of that comes from his knowledge of enemy procedures and psychology, but at lot of it comes from a rather ruthless approach to technical limitations. An alien race is using technology that blocks human targeting systems? Set up a nuclear mine and then send out a fake distress single to lure them in. Need to deal with a significantly larger, more dangerous ship? Lure them into a gas giant and and let the planet's gravity well drag them past crush depth. Bruce Boxleitner's performance helped sell the character, but Sheridan is a really solid science fiction strategist, who really exemplifies how technical limitations can have enormous strategic considerations.

I'm not citing Sheridan as an excellent example of a leader per se,it's certainly there, but it is harder to unpack from Boxleitner's performance. It does have some good payoffs much later in the series when he starts making some orders that cause his subordinates to sit up and stop what they're doing. And that is a consistent theme even back to his introduction, but, it's a tangible consequence to an intangible cause.

The last example is a negative example, both for strategy and leadership. And, as much as it pains me to say this, at least Orson Scott Card understood that Ender was a bad leader. At least in the original novel. To be blunt, Ender is a mediocre strategist at best. His highlights in the book involve, “inventing armor,” and creative movement in micrograv. That's setting the bar exceptionally low, and while it is reasonably within the range of what you could expect from a pre-teen, that's not much of a justification.

Again, I'm not a fan of Card, and I'm reallynot recommending Ender's Gameto anyone. However, if I didn't mention it, you know there'd be a reblog going for twelve hundred words about how Andrew Wiggin is the best strategist in literature, which, yeah, no.

Do you want a goofy, tie-in fiction, literary suggestion for the best leader in sci-fi? Too bad, because I'm pretty sure Ciaphas Cain is not that person. The Ciaphas Cain novels by Sandy Mitchell are unusual as leadership recommendations, because of how much Cain internally processes the social manipulation involved in military leadership. He's not a great leader, but he is exceptionallygood at explaining to the reader how he's creating that illusion to motivate the soldiers around him. In fairness, some of that is an intrinsic character flaw, he is incredibly insecure, and desperately trying to hide that fact. And the difference between being a great leader, and effectively creating a comprehensive illusion of a great leader is: There is no difference. As a serious complement, it is one of the few times I've seen an author treat leadership as an actual skill, and not simply an extension of a character's charisma. Which is why I'm singling this one out. It might sound like a joke inclusion initially, and the books are quite funny in a Warhammer 40k kind of way, but there is quite a bit of value to be had.

-Starke

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#writing advice #writing reference #writing tips #how to fight write #starke answers #Babylon 5 #Grand Admiral Thrawn #Ciaphas Cain

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autisticempathydaemon · 2 years

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Hello! Are you hyperfixated on RedactedAudio?

Do you want (need) to know who to follow to cultivate your dashboard and feed your gremlin brain good, good boyfriend roleplay content?

Cool, I’ve got you, and I’ve got hyperlinks. Buckle up.

(Note: This is by no means a comprehensive, objective, or complete list. I've only been in the fandom for six months or so. I have biases and favorites and limited time. I hope to update this list periodically, and if you feel I've missed someone, please feel free to reblog with your additions! I just would have loved a guide like this when I got into the fandom back in August and wanted to spread some positivity~!)

Fanfiction:

@angelnoodlesoup: she/her

Sophie is just one of the sweetest David stans that's ever existed who writes, like, the sweetest things about him. Her posts are just going to make you feel warm, fluffy, soft things in your heart area; give into the sweetness. Highlights: Sophie writes this adorable timestamp series of vignettes exploring Davey and Angel's day, but I'm particularly attacked to their David/Angel neighbors to lovers AU~

@arrowfleur

I was actually going to put Max in the visual content portion of this post, because they post delightful Redacted edits on Tiktok (under the same username, highly recommend~), but then they made a uquiz that gave me an existential crisis, so here we are. Highlights: This quiz sent my whole server for a loop and has made me reconsider my relationship with Lovely as a character and kin; it's a great time.

@batch-of-pengwings: robin/bird, she/her

Robin, an absolute sweetheart who makes all the fun ask games that keep the community interconnected and thinking and talking which is just really sweet and fun in the best way. Highlights: The Winter Wonderland game is the one who went around most recently, and it’s so fun to engage with the fandom and discuss who we think is stupid enough to get their tongues stuck on a telephone poll~

@bicyclepainting: they/them

Clover, the fandom's resident Smartass, doing the lord's work and reminding us all how fucking smoochable Aaron is on a regular basis on top of being the coolest astrology nerd don't give them your birth chart you will be perceived /lh Highlights: No one is doing Aaron/Smartass like they are; like, read and absorb the delicious, domestic delight that is them. I also recommend their deep dives into the Redacted bois signs, if you're into that; they're very thorough and fun to read!

@cashandprizes: she/they

My Lexi, my queerplatonic soulmate… She is on a quest to dissect and critique fandom brick by philosophical brick, and I both love her and fear her in equal measure. (That’s a lie, I love her infinitely, more than anything, but she is in fact incredibly intelligent and intimidating.) Highlights: Come for the scathing insights into gray-morality and DD:DNE’s place in fiction, stay for the stripper!Gavin fic they’re working on and their sequel to Lasko’s SexTember audio because she really wanted to make him cry

@ejunkiet: she/her

EJ, the very first of my Redacted loves~ Not only is EJ an endless well of kindness and positivity, but she also writes fucking bomb ass everything. You get angst, you get smut, you get fluff- We stan a multitalented, ace queen. (She also writes really cute CastleAudios fanfiction and original stuff as a cherry on top.) Highlights: EJ writes just some of my favorite David/Angel smut; she captures Angel's little shit nature perfectly. She's also written the sweetest thing of Damien meeting Huxley's moms that I can't get enough of~

@dominimoonbeam: she/her

Domini, truly one of the pillars of the fandom. I don't know what'd we'd be without her fantastic fics or her original novellas or her fantastic, beautiful, rarepair-creating brain. Highlights: God, there's too many to choose from! There's the Sam/Darlin fake dating AU that has us all gripped by the proverbial balls. There's the David/Darlin tattoo shop AU that has me frothing at the mouth because tattoo artists are stinkin hot. That's not even getting into their Cam/William fic, because god, that is such a good rarepair. We love two immortals finding love with one another, we really do. My personal favorite has got to be their Huxley/Darlin piece though, because Darlin gets to be cute and awkward and so, so loved in it.

@frenchiefitzhere: she/her

Frenchie, the fandom's unofficial (but basically official) Marie Greer, not only a gorgeous writer but also the creator of the most fantastical and unique fansongs (who makes original audio content to boot~) Highlights: We would be nowhere as a fandom without the Marie/Colm greer backstory and saga or her audios as the Greer Matriarch herself, but personally? Her Imperium!Lasko/Adam fic kind of changed my life, I'm kind of obsessed with it.

@friendlyfaded: he/him

Miles, the king and professor of the rarepairs! Beware, you will leave his blog wishing for fics for a ship that doesn’t actually exist yet. It’s unavoidable when you read the careful, creative, thoughtful way he considers seemingly silly pairings and makes them gorgeous. Highlights: I recommend his whole rarepairs with prof tag for a snack and his Sweetheart/Lasko/Milo fic for a whole meal~

@gingerbreadmonsters: she/her

Ginger, literally one of the sweetest, friendliest people in the entire Internet. I cannot adequately describe the absolute magnificent poetry of Ginger's prose, so you just have to read it for yourself. You will not be disappointed. Highlights: Ginger's Milo/Sweetheart series is for if you're feeling sweet, and her Vincent/Lovely/Gavin/Freelancer foursome fic is if you're feeling spicy~ Or if you're like me and are longing for an character we'll never see again, you can read her gorgeous, Doctor Who-inspired look in Marcus's mind.

@glassbearclock: she/her

Beans, also known as the best Milo/Sweetheart writer in the game. Their banter is taken from the mouth of god and first name Erik last name Redacted himself, and you could not convince me otherwise. Highlights: I’m a big fan of her sweet, wholesome, Jewish!Milo sick fic, but aYO her Milo/Sweetheart first date fic is so good y’all like goddamn Sweetheart phases through their door and makes Milo faceplant it on accident man that shit is so good

@horrorscoupes: they/he

My beautiful, darling Lotus, my gloriously deranged brother in arms (affectionate). The way they write each and every d(a)emons is just so -chef kiss-. Highlights: I think about their Regulus/Doll fic, like, literally every day, it's just yummy and depraved. Though, for a true taste of genius, for a galaxy brain treat, you've got to read his Shark!Vega/Pet masterpiece.

@k9rage: he/xi

My beloved Calico, our helpful Image Description fairy. He is just so cool and writes the most glorious smut like the world has ever seen. As of publishing, he's writing a Vega/Lasko street racing AU that's gonna be just smoke ash cinder fire hot. Highlights: You need to read his Damien/Gavin waxplay fic; like, this changed my life, I think about it daily. Ooh, AND his Aaron/SmartAss/Gavin threesome fic, because he didn't do all that thinking and imagining for us to not appreciate it. I'm also reccing @calicostorms, his other blog and spotify, so you can get at his stellar Redacted character playlists!

@lovelylonerliterature:

Lovely, absolute stand-out writer in the fandom! Would you believe they have a whole (as of posting) 95 works for the RedactedASMR fandom on AO3? There’s <2000 fics, which makes Lovely a whole five percent of the fanfiction on their own. That’s wild and so hella cool. Highlights: Literally everything they write. Explore their extremely well done masterlist, it’s beautifully put together, and you’ll find something you love. (I’m particularly fond of the Darlin/Vega fic they wrote based off of one of FriendlyFaded’s posts~)

@romirola: she/her

Dr. Romi, the one and the only and one of the legitimate sweetest goddamn people that has ever existed. You've never met a more polite, darling person in all your days. How did she write all these thousands of words of art while getting a doctorate? God, I wish I knew... if only we could also be so beautiful and wonderful and accomplished. Highlights: You haven't existed until you've read her Milo/Sweetheart Tangled AU; like, what are you doing here? GO. (I also deeply recommend her found family Shaw Pack + Sam fic, if you're looking for something that's still ongoing!)

@sealriously-sealrious: they/them

Chrys who writes- no contest I think we can all agree- the best Huxley that this fandom has ever seen. He is just so well-explored and so multifaceted, just the top-tier himbo content we all need and deserve. Highlights: Huxley and Freelancer at the aquarium, Huxley and Freelancer going camping, sfw, nsfw, whatever you want, we've GOT. (There's even some imperium!Huxley, if you're so inclined >:))

@starlitangels: she/her

Starlit, another absolute powerhouse of the fandom. Just look at this masterlist, I think there’s something here for literally every character. That’s what babes call RANGE. Highlights: The way they explore the Shaw pack is so fun; I’d highly recommend her fic exploring Gabe and his backstory or her fic exploring the Shaw’s future pups~!

@taelonsamada: she/her

A pillar- or should I say fence post?- of the fandom and just an utter peach. Always has a nice word to say and says the best nice words about Sam and Darlin- Highlights: Her nsfw Geordi/Cutie fic holds a special place in my heart (the blindfold? the gag? Be still my beating heart), but you haven’t lived until you’ve read her Shaw-centric Ranch AU~!

@teasandcardigans: she/her

Mads, another lovely creator that could be in either section of this post- that's how talented she is! Not only is she a lovely writer but she also designs the most fun Redacted stickers! Also, she's got the only Redacted fan tiktok that Erik has confirmed seen and liked, can't not mention that it's so cool Highlights: Honestly, there's too many to mention! A really popular of hers is a "What If" echo-esque reimagining of everyone's stories which is so fun, and my personal, biased favorite is her Alexis & Gavin fic hear me OUT-

@the-sugar-crash

Cait, out here doing the most and the best. They’ve run the Redacted Winter Gift Exchange for the past two years, connecting blogs who might have never spoken to each other, inspiring creativity, and spreading holiday cheer~ Highlights: I recommend taking a look-see through the “Redacted 2022 Winter Gift Exchange” tag- much thanks to Cait for making it possible- to consider if you’d like to join next year! Until then, there’s a compilation of their cute headcanon posts to inspire you!

@zozo-01: she/her

Zo, one of the sweetest people in the fandom~ Not only is she a fantastic writer, but she is also one of the friendliest people in the space! Constantly excited and supportive and positive and a joy to follow and befriend. Highlights: Her Sam/Darlin Deity AU is going to change the world and break some hearts, I just know it. (Just like her Alexis and Darlin meeting fic broke mine-) If you're not up to getting your heart broken and just want a friend, I recommend asking her about her Powerpoint of Bollywood scenes that could be Sam/Darlin moments~!

Fanart:

@andr0leda: she/they

Androleda’s art is so gorgeous in that most of them are uncolored or working with a smaller palette, and it just makes those colors stand out and the line work all the more elegant. Highlights: Their wolf!Darlin piece got so popular, and you can see why! It looks like the cover of a really cool YA fantasy novel. Also, her Sam/Darlin art just melts the heart- the gentle hand, the key around the neck-!

@artbykays

Kays, a fantastic artist who plays around with the prettiest, brightest colors and has the prettiest (hottest) fem listeners. They also have super fun Redacted playlists! Highlights: Their Sweetheart, Valentina, is kind of smokin hot, I mean look at her, but also good lord, have you seen their Warden like lock me up anytime hello-

@belovedbow

Bow’s art just makes me so soft and gooey inside I dunno. Their art is so pretty, and they always have the most expressive faces. Not to mention the colors- like, Bow uses the simplest but most emotionally evocative shades of pinks and blues that make me inexplicably feel things, and I love it. Highlights: Literally all their Davey/Angel is the sweetest, but I also have this deep fondness for their imp!FL and Vindemiator pieces, because look at these deep, mournful blues, they’re beautiful!

@cascadiiing: they/them

Atlas creates the most beautiful, squishable, smoochable characters on top of being the most beautiful, squishable, smoochable (platonic) sweetie in existence~ they’re so sweet and friendly on top of being so talented at such a young age, and I would protect them with my life. Highlights: Their Sam kind of makes me so lovesick, I could barf- he’s just that pretty. Their Alexis/Christian art is fanart of my own fic, I’ll grant you, but it’s also so fucking pretty look at the dreamy colors and it MOVES-

@claracatlady

Where would we be without Clara, like honestly- What really stands out about their art is- other than the overwhelming talent- the obvious thought and joy that went into designing the outfits. Only the best from our resident fashion design student! Highlights: literally everything. If I must be specific, the David design pinned to their blog is utterly ahdhkakshdjsk, and I am particularly partial to their Alexis design, because I love my beautiful, possibly complex lady okay-

@fregget-frou : he/they

Mal has the prettiest Listeners; I’m lowkey in love with all of them~ I love the way he does such fluffy, voluminous hair, and I dunno, all their listener OC’s have this fashion model-esque glamour and posture about them that’s really attractive. Highlights: Of their listeners, Mal’s Angel has got to be my favorite. Look at this fluffy-haired cutie! Look at this menace! I would also propose to them, they’re gorgeous!

@gwenifred: she/her

Gwen draws the most gorgeous, swoon-worthy Huxleys and is just a big sweetpea to boot. Her and Pali sharing OC’s and art trades here and on Twitter is a testament to how friendly and sweet the fandom can be! Highlights: Everything she draws is gorgeous, but you haven’t lived until you’ve seen her animation work!

@ice-palace-art: They/It/He/Dae

Darby has some of the most beautiful designs, I can hardly stand it. He creates the most gorgeous, realistically proportioned characters and listeners, and they’re just really smoochable okay let me live- Highlights: It has this one piece of Gavin and Lasko having a sleepover that fills me with the warm fuzzies every time I see it, and their Aaron design fills me with longing I am hopelessly in love with their dad-bodded Aaron.

@itsdaifuku: she/her

Y’all don’t even know the little happy stim storm Fuku’s art sets me on; like, all her art is so cute and joyful and somehow colorful even when it’s in black and white? It just gives the vibe of life and vibrancy constantly? How does she do that? Highlights: Literally, everything she draws is gorgeous and sweet, though her designs for the Shaws and their mates are so S-tier and so cute. (I’m also particularly fond of her designs for Love and Alexis, my favorite characters, I’m biased, sue me)

@mr-laveau: he/they

Laveau, my favorite Milo kinnie~ (Yeah, I said it out loud; I’m callin you out.) Charming, thoughtful, friendly, much more talented than they have any right to be when they’re also so funny and sweet, AND also writing at their other blog @bratty-telepath. You’ve never seen such a double threat. Highlights: Literally, everything he makes. All his designs are colorful and gorgeous and filled to the brim with deliberate, intentional details (though I am incredibly partial to their Alexis and Darlin designs and the parallels he included between them.)

@nais-doodles

Nai is a fucking blessing unto this fandom, and we are not worthy. You haven’t really lived, haven’t experienced all the pure, positive silliness that this hellsite has to offer until you experience Nai’s Redacted Actor AU. It’s pure serotonin, and we’re all here listening to Boyfriend ASMR, I know we could use it. Highlights: Other than said AU posts (which really are so fuckin good), have you seen their drawing of Vincent and Sam’s Monarchal ball? Ooh, and if you go to their tiktok under the same username, you can see some of the really cool dating sim they’re working on!

@nanowatzophina: any pronouns

Na’no is not only a must follow on tumblr, but I also highly recommend their tiktok if you wish to wade through the horrid cesspool of that app (I say with tiktok as one of my top social media sites- we have a codependent relationship) Their art is super cute and expressive, and I get massive gender envy from the way he draws hair and teeth. Highlights: Her aspec Freelancer is just so close to my heart; I adore Avery so deeply. Also, the way they draw imperium!Vega and Pet makes my heart fucking melt and want to jump out my chest- the size difference, my god

@obsessivedino: they/them

Mint’s contribution to the fandom cannot possibly be overstated. Their art style is just so clean and neat and with the cutest expressions, and I love their designs so much, especially for the d(a)emon bois I just ahhhhh Highlights: If you’ve joined the official unofficial Redacted Discord server, you’ve seen their adorable stickers reminding you to kick that ass or hydrate unless you want to die-drate, and you haven’t truly embraced life unless you’ve seen their two-year anniversary masterpiece. Ooh, or pocket caelum!

@palilious: she/her

There is no Redacted fandom or fandom list without Pali, and we’ve all accepted that. Her style is so uniquely and instantaneously recognizable as hers, and everyone adores it, including but not limited to GBA, Nomad, and Cardlin! Highlights: Literally everyone she draws is so pretty, though I have a soft spot for her Vincent or her Nomad drawings if you’re looking for more VAs to listen to!

@pearl-kite: she/they

Kirehn has the most huggable humans and the most awe-inspiring d(a)emons. The way she draws the d(a)emons with constellations worked into the designs and color palettes is just so gorgeous and purposeful and thoughtful. Highlights: Their Vega is so frightening but beautiful, you just can’t look away from him. I’m also particularly in love with their Darlin!

@queendread

Do y’all ever do this thing when you see an ethereally beautiful person and you have no words, all you can do is giggle like a vapid schoolgirl(gn)? That’s me with all of Anna’s paintings: no words, just awe. Highlights: I don’t even really like Gavin, okay, he’s not my type, but lord above, Anna’s Gavin is something else. Their Sam also has those Captain America, boy next door good looks I imagined, it’s like they took him right out of my daydreams.

@ryokoaoi : they/them

Ryo has the absolute cutest, most adorable art style, one can barely handle it! Everything they draw is just so pretty and so colorful and detailed and sweet. (Except the sad things, those are less sweet but gosh they’re still so pretty.) They also have this Magic Swap AU that they design that is so fun to read about! Highlights: Their swapped! Gavin and Avior designs are so fun, I adore them deeply, and if you need something to cheer you up, you can always depend on their DAMN pieces that always include a little invisible Caelum to bring you joy~!

@slushrottweiler: she-they

There is nothing like seeing Slush’s signature blue linework on your dashboard, it’s such a sweet treat- or spicy. There are also very good, very spicy treats. Her blog is a magnificent roulette wheel of blue surprises. Highlights: I love their Sam/Darlin stuff, especially this one because wowee them shoulderblades, but their HuxDami BA piece takes the cake.

@spookybeandoodle

Spooky has my whole heart and wallet and my other heart if I had one I fell in love with their rich color palettes and shading and Alexis right away and had to commission them. Could not recommend enough, they were a treasure to work with~ Highlights: I’m not biased- okay yes I am but not now their Alexis is fuckin smoking hot but also their Cam might be my favorite Cam look at that smile-!

@sri-rachaa: she/her

Rae is such a treasure to this fandom, we hardly deserve her. Her art is so ethereally pretty and delicate? The way she draws hair and noses and silhouettes- her line work is just phenomenal. Everything she creates is just a delight to look at. Highlights: The Southern Siblings AU is a gift, a treasure, a boon that cannot be ignored. I’m also a big fan of her Lovely OC who is ridiculously pretty~

@tankwolf : she/her

June has been posting fanart for only two months, but I’m already absolutely obsessed. I just find her monochrome character portraits so visually engaging and interesting. I would love so badly to be friends with her listener OC’s… Highlights: …or more than friends, because her Sweetheart is something else good lord. I would just love it if June could stop putting the hot people in crop tops please (but also don’t cause whoa)

@terrazaurio

All the fanart Terra creates is so bright and vivid and colorful and expressive, they’re really such a treat to see and experience. I’m a sucker for the colors they use, cause it makes my lizard brain all happy and go “shiny pretty happy.” Highlights: Everything they draw with the Shaw Pack is pure dopamine, like this one of the bois and their mates hanging by the pool. I am particularly attached to this piece from Milo’s HBS, because they’re so fucking in love, your honor, I love them.

@thefablefoxart : she/her

Angelina’s Redacted couple series is one of the truest delights of the fandom; like, they’re so colorful and cute and just adorably designed. I’m also deeply in love with the way she does hair. Everyone just has really fucking good looking hair, and I can’t get over it-Highlights: On top of the aforementioned couple series, I just want to bring attention to this adorable chibi Sam that she drew- it brings me so much serotonin- and their Darlin, Kai who I wish would just give me a shot okay I have a Southern accent too-

If you’re reading all the way here, I hope you found the post helpful and smiled while making your way through it! Or both! The RedactedAudio fandom is truly one of my favorite spaces on the internet; it’s so intimate and creative, and I’ve found some amazing, perfect friends here, so I hope you will too 💖

again playing around with the formatting please stop hurting me tumblr I’m trying to be nice

If you can see this, I love you, and you’re watching me try to format this post so tumblr doesn’t cut off the bottom of it please ignore the Android behind the emerald curtain go about your day

#redactedasmr #redactedverse #redacted asmr #redactedaudio #redacted audio #redacted

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emmebearpaw · 2 months

Text

Ok. I’m just going to say this is going to be a very long ramble about incredibly minor Genshin Impact lore and design choices that fill my brain. It’s loosely inspired by this prompt on the Genshin 2024 prompt meme, but this is not written in fanfic style despite being mostly headcanon. And Amber not being in it. And also a different belief in the world building of them than the prompt suggests. It’s a lovely prompt though if I ever think of how to make what I’m about to write an actual story I might claim it.

p.s: most of this ramble is just my genshin worldbuilding as related to wind gliders. Thus mostly textiles.

I’m obsessed with Wind Gliders. I fully understand they run on magic, and that attempting to design ones that don’t are nigh impossible (as explained in Sumeru wing’s). However I’m not interested in the magic that fuels them. That’s the hand waving. Necessary, yes, but boring. I’m interested in how they are made in universe.

Now. This is not something the game is interested in. So I’ve made. A lot of stuff up. I’m not surprised Genshin doesn’t really care, it’s an open world game. The basis of fabric production is something the game only lightly touches upon with the assertion that Silk Flowers can make fabric. It’s just called “fabric” in game but I am going to presume, based off its description of being “silky smooth”. That it’s silk. Which would make sense for the region of Liyue and silk has had use in parachute material, so I’m not going to rule out silk as a material wind gliders are made from.

However silk flowers only grow in Liyue, and surely Liyue is not the only country in Teyvat that can make fabric. So it’s time for my work of fiction number one. What kind of fibers are found in Teyvat? Despite everyone in this game looking like they have invented polyester, with its superior dying and fabric printing range, I don’t think Teyvat is a world that process petroleum. Only Fontaine has a level of technological development I would think would be conducive to oil and they have their own renewable energy source in indemnitium. So we will be sticking with natural fibers.

The major varieties of natural fibers that I think are most conducive to wind glider construction include: cotton, hemp (makes canvas and rope), silk, and flax (makes linen).

The locations in game these would be cultivated based on their real world cultivation histories (source is Wikipedia):

Cotton: warmer regions. Primarily Sumeru and Natlan (cotton is an old world and new world crop! We domesticated it more than once), maybe some around the chasm in Liyue but that region does not seem to be doing a lot of agriculture.

Hemp: Hemp is an old world crop. It was imported into South America but only grew well in Chile. Cultivation is a little hard because of the fact that Hemp is the same plant as Marijuana and is thus just sometimes illegal. Probably grows pretty much everywhere but is not commonly found in Natlan. Doesn’t seem like a lot of middle eastern countries grow a lot of it either, so probably not a lot in Sumeru?

Silk: Historically? Liyue and Inazuma. Sumeru has gotten into it more recently. This one is harder to think about though as a plant would have much different growing condition than insects. Plus Inazuma is a more similar climate to Sumeru jungle than Liyue. Honestly it’s 1 am I’m tired I’m not thinking about soil water logging right now.

Flax: Most prominently grown in Mondstadt and Fontaine (once again I’m not thinking about the water table).

Ok. So with the in game lore tying wind glider creation to Mondstadt the sail material being a linen originally would probably be the most likely. Sumeru’s wind gliders also specifically mention a history of attempting to create realistic wind gliders. Those would probably be cotton or maybe silk.

TLDR: different fabrics might be used.

——————

Ok but what about construction? Well to begin with, windgliders seem to have a construction style more similar to a parachute than a plane. This is evidence by the deploy animation! Go jump off a cliff in game and pop out those wings and you’ll see them bend upwards from the middle and then level out. It can also be seen by their shape! The wing tips point downwards a little bit. An internal frame would likely lead to less bowing of the wings, and is thus unlikely as part of the structure.

This, however brings us to the point that I think the wind glider frankly has more parts than they show us in game. If the wings have no internal frame, they would need strings to keep the wings level and to steer them, like a paraglider. Additionally, the game literally doesn’t depict a way that the glider connects to your character’s body. I personally think it is something similar to a parachute harness and that wind gliding posture leans far more forward. Almost horizontal instead of the near vertical posture depicted in game. Mostly because I don’t know how you could rig a vertical posture in and strap it to yourself without adding lots of extra weight.

Now onto production of wind gliders!

The basic wind glider Amber hands us at the beginning is basically the only style of wind glider that is produced ready for purchase. It’s basically only available in Mondstadt, as Mondstadt is the only region with a high enough rate of adventurers, a culture that promotes gliding and an environment conducive to gliding that is safe enough for most people to consider it a reasonable activity. Gliding is a sport in Mondstadt! Especially around the coastal cliffs, where updrafts can keep you airborne for long periods of time! In Inazuma it’s a thing insane people do (I can not imagine that a place with frequent unexpected rain storms and lightning as I imagine in Inazuma would think about a sport where if it rains people might die because the thing keeping them airborne absorbed water and got heavy). When not in the air they hang down. They don’t just disappear like in game, you actually have to pause and take them off and fold/roll them back up when you are done using them. The traveler just wears a backpack with big wings draping off their back like a cape a lot of the time.

The wings of first flight are pretailored, and can be purchased directly through the knights. It is up to the purchaser to adjust the attachment straps and steering strings as necessary to ensure they are taught and secure no matter a person’s proportions. They come in the brown and black we see in game, though color may vary slightly depending on when in the year the wings were produced as a different dye may be substituted. The color was chosen to be very visible against many surfaces, including the sky, the stone color of the area and even the soils most prevalent in Mondstadt! That way if an adventurer crashes and needs rescue they are the most visible.

There is a small craft factory that produces them by hand. They are not made directly by the Knights but are commissioned by them for sale to adventurers and sport gliders. In terms of production, there are two ways I figure gliders are made.

More reasonable due to their high variation in coloring, each “feather” is a separate piece of fabric sewn together (typically by hand, i don’t know how many places in Teyvat have sewing machines. Fontaine probably does). This style would probably have an inside fabric layer of a less breathable fabric, which is one solid piece and is the thing actually doing the work, and then a fashion layer surrounding it. More pieces of fabric sewn together introduces more possibility for air to pass through and cause a lack of drag. I figure most wings in the game are this style.

There is no inside + fashion layer. The glider is one layer that is 1-2 solid piece(s), decorated with decorative stitches and details along the center of the wings where drag production is less important. The Wings of first flight are the most likely to be this style.

“But what about other wing styles?” I hear you ask. Simple. I think those are all artisan one off productions made for the traveler. The Steambird commissioned a wind glider for you from a local artisan to repay you for helping out the city so much. They got you a wind glider because you, the traveler, are known for using a wind glider. This was less notable in Mondstadt but is much more notable as your travels continue. Yes I know the Fontaine wings description indicate you don’t know the source of them. I think the in game description of the wings is written in universe. The artisan who created your wings know things about the world and tell you things about the world in their backstory for the wings. This isn’t a great answer but this is just how I interpret it. The non reputation wind gliders I don’t know how to justify how you receive them in game. I also don’t know how the Frostbearing Tree gives you a craft project.

Anyways all this to say I still don’t actually have an answer for the prompt.

#my post #genshin impact #Wind glider

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