#without providing a proper alternative

[thatrandomblogsays]

Hiccups mom was so nothing: “don’t attack the dragons that are burning down your house! It’ll make things worse!!!!!”

Okay Ghost of Trotsky’s no war no peace policy, that’s going to go the same for you as it went for the Russians. BAD.

[sabertoothwalrus]

so I’ve been gaining a lot of insight into the animation industry recently, especially in regards to pitching & the creation of new shows. There’s a few ways to go about it.

First, there’s pitching to a studio. When you pitch, it has to be SHORT and CONCISE. You may write a lovingly detailed pitch bible that perfectly breaks down episodes and characterizations, and it might barely even get read. First impressions, first impressions, first impressions!

Most peoples’ first projects don’t get picked up. I’ve heard a few stories from directors that said they tried pitching a story they’d had for years, which got rejected, to then spend a week or even several hours in their car coming up with a new idea, only for that to get greenlit.

But that’s not the end of it. Just because a show gets greenlit, doesn’t mean it will ever get finished. There’s lots of things that can happen. Sometimes, unexpected major world events (like… a global pandemic) can cause projects to get chopped. Sometimes, a CEO change or studio merge means a single person can decide a project “no longer fits with the company’s brand.” Sometimes, the one producer that was rooting for your project gets laid off, and no one else cares enough, so it gets shelved. Sometimes, a streaming service decides to create an animation department, and then they decide they don’t want it anymore. Sometimes, the studio will be simultaneously be developing another project that was too similar to yours and they just didn’t think to tell you until they decide yours is the one with less potential.

On top of that, almost everyone in the industry is saying that “studios just don’t pick up original content anymore.” Studios want something they can franchise, something that will bring in money. New content is risky. Established fanbases are safer.

However! Studios can still be a very good thing. They can be unionized. They can provide better benefits and resources. They can have connections and infrastructure and a larger volume of workers. At a studio, you can divide the labor and produce more in less time. Longer episodes, longer seasons, more consistency in quality.

But this comes with all of the disadvantages of having more in the kitchen.

The alternative is indie animation.

With indie animation, you have total freedom. Full artistic control. It doesn’t even matter if your idea sucks ass, because there’s no one to tell you you can’t make it. You could make it anyway, and you can make it whatever you wanted.

The thing is, making animation is hard. In my production class last semester, the average maximum animation one person could make in that timeframe was 30-60 seconds, and that’s not even counting background design, sound design, or cleanup/color. To make a 5 minute animated short, you should probably have at least 5 people.

And it is CRUCIAL you have a production manager. Ideally someone who’s not already doing art for the project. Most projects without a production manager will fall apart pretty quickly. Once the adrenaline and impulse-fueled motivation wears off, you need someone to hold you accountable and enforce deadlines and proper time management.

Speaking of time, that’s also hard to get. The more people you have, the more likely schedules won’t line up. Most people will have school, or other jobs.

And it costs MONEY!!!!!! You either have everyone work for free and volunteer their time & energy, or you establish a business as a proper indie studio, with people who may or may not have experience on how to handle paying someone else’s salary. And the money has to come from somewhere, so you have to rely on crowdfunding like patreon or kickstarter. (This, by the way, is why I could never fault an indie animation for releasing merch with their pilot.)

And like, maybe you wanna do a series, and all your friends agree to volunteer their labor and time to make the first episode, but it was unanimously not sustainable. Deciding not to produce a second episode until you can raise enough money is not being suddenly greedy, it’s attempting to compensate people rather than expecting them to be continuously taken advantage of.

You have to consider your output as well. There are some outliers like Worthikids, who afaik does all his animation himself, and afaik can work on it full-time thanks to his patreon subscribers. And he still has only produced a total of 30 minutes of animation (for Big Top Burger specifically) in the past 4 years. This is an IMPRESSIVE feat and this is with using a lot of 3D as part of his pipeline!!

Indie animation also has the complication of being more accessible for fandoms. When you’re posting your Official Canon Content on youtube, it doesn’t look a lot different than the fandom-created video essay in the sidebar next to it. What’s canon vs what’s fanon becomes less distinguishable. The boundaries are blurrier. When the creator is just some guy you follow on twitter, it’s easier to prod them for info regarding ships and theories and word-of-god confirmation. They don’t have a PR team or entire international tv networks to appeal to. And this is when creators get frustrated that their fans snowball and turn their creation into something they don’t recognize (and no longer enjoy) anymore.

So it’s tricky.

Thankfully, the threshold to learn animation is fairly low nowadays!! There are TONS of resources online to learn it on your own without forking over a couple hundred thousand to a private art college. There are conventions and discord servers and events where you can network, if you know where to look.

I know it can seem discouraging in the face of capitalism, but I think that’s all the more reason why it’s so important to BE DETERMINED about animation!! We’re already starting to see the beginning of an indie animation boom, and I think it’s a testament to humanity’s desire to tell stories and create art. Even if there’s no financial gain, we do whatever it takes to tell our stories anyway.

[reallyromealone]

this may be insane but Bonten takes their omega out for vacation accompanied by they're pups, each member having their own pup so that'd be like 8 pups in total😅

Title: vacation nightmares

Fandom: Tokyo revengers

Pairing: Bonten x reader

Warnings: reader insert, male reader, omegaverse, Omega ready, mpreg, angst, Bonten sucks, shitty husnands

🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️

(name) LOVED his pups, he really did... But he was hoping for a vacation without his little army.

(Name) With the help of two nanny's and his husband's when they got home, took care of right pups, all ranging from five to infancy and it was taking a toll on him. His husband's worked long and hard to care for them and he loved that they worked hard to provide and when he was told they would be going on vacation, he was excited to have a break.

When they spoke of having children, they promised to be there for him and even help alternate since there were going to be right children but here (name) was, making sure his pups went to bed instead of going to do fun resort things with his mates because he had a ten month old and toddlers, wanting to cry a bit from the stress.

Thankfully the pups had their own connected room so (name) could collapse on the bed, feeling like he was drowning and he felt ugly and god! When was the last time his mates touched him!

When they came home in the dead of night or on the rare occasions at a reasonable hour, they were either exhausted or dad mode or both! The occasional kiss on the cheek but (name) hadn't felt loved in forever!

The Bonten men noticed (name) was distant during the vacation, during family adventures and such he seemed like he was drifting further away as the kids pulled for his attention.

When they got home, (name) was robotic as he walked to the bedroom and locked it before plopping on the bed and falling asleep, the smell of distress pungent in that part of the house as he slept for 13 hours.

"So let me get this straightened out, you guys told your over worked Omega that you were taking him on vacation to a resort that's famous for its couples activities and you brought the children be is watching 24 seven instead of having your nannies watch them and letting your omega unwind yet you are asking me why (name)s mad" Emma said over the phone as Mikey called her, (name) refusing to open the door "we thought it would be fun for the family!" Sanzu grumbled and Emma sighed over the phone at their lack of understanding.

"(Name) Rarely has a moment alone, he can't even pee by himself and you guys are rarely home! Do you know what toll that takes on a person! Theirs eight of you and yet you guys never considered taking the reigns and just letting (name) go do things by himself! Or just did things as adults!" Emma scolded them and the men eventually ended the call, thinking about it... When was the last time they gave (name) some proper loving?

Like outside of a heat?

... Holy shit it had been almost two years.

They hadn't had sex with him since their youngest was conceived.

(Name) Knew he had to go out there eventually but curled into the blankets and the exhausted expression and tear stained face spoke another story, he knew his pups were in capable hands with the nannies and questionable hands unfortunately with their father's whom he did not want to see at the moment.

He was just so done.

Just once...

He wanted a break.

Instead he felt like a single parent despite being mates to not one but eight alphas!

He felt like some 50's Omega and he hated it.

It wasn't until the following day that (name) stepped out of the room, the lack of child sounds or cartoons worried him as he went to look for his pups only to see his mates looking stressed and worried "where are the children?" (Name) Asked softly as their heads snapped up "baby! Your up! The kids are with the nannies, they're going to be with Emma and Draken for the day" ran said softly as he went up to the Omega who nodded as he looks at the for once spotless house "can we talk?" Koko asked softly and (name) sighed before nodding, better face this.

"We fucked up" kakucho said simply and (name) just stared "I just... Why do you guys only care for the kids when it's the fun stuff? Why do you guys not clean their puke-- I'm constantly CONSTANTLY with the children all the time and you guys promised! You promised to help! You guys said you would take turns being here to help and you lied! You're never home and I hate it! I feel like a single parent get im mated!" He said crying uncontrollably, curling into himself "you guys don't even look at me anymore! I know pregnancy fucked up my body but can you be a little less obvious!"

Fuck.

They really fucked up, like holy shit.

"You think we don't find you attractive?" Mochi whispered as the alphas crowded the Omega "baby, we fucking suck... Fuck we didn't even realize we were doing this" Rindō said genuinely as Mikey went to hold him "please don't, I'm sorry but I am constantly being touched or holding a tiny person and I am deeply overwhelmed especially because I just spent a week watching our children while you guys had fun-- by the way never do that to me again" (name) seethed out "you took me on a vacation and had me be the sole watcher while you guys got tanked" it would take a long time for (name) to get over this one.

"You haven't taken me on a date in over a year and yet you fucks went partying on a family vacation yet I babysat our children! Seriously what the fuck is wrong you guys!"

"Yeah, that wasn't our shining moment" takeomi said honestly and (name) scoffed "we will be better, we are so fucking sorry" Koko said genuinely and (name) just stared "I'll believe it when I see it"

Who would have thought a family vacation would have eight men sleeping in the guest rooms.

[literaryvein-reblogs]

Writing Notes: The Ending

The perfect last line will:

Immediately make the reader want to re-read the novel from the beginning

Hook the reader into reading your next novel

Leave your reader chewing on the last scene long after closing the book

Types of Endings

The Perfect Loop

This ending back to the beginning. It can bring the reader back to the opening scene or first line, but provides added depth.

It requires planning and editing to craft both an ending and a beginning that feels easy and authentic, not forced or artificial.

The Surprise Ending

Completely switch up the story and take the reader by surprise.

Maybe a new detail is revealed or the narrator is proven unreliable.

It’s unexpected, but it should always make sense upon reexamination.

Remember this: All endings should be satisfying.

If you choose to twist the ending with a surprise, be sure that there’s plenty of foreshadowing spiced throughout your story.

The Moral of the Story

Sometimes, the last line should just spell out what you really want the reader to get from the story.

It doesn’t have to be in the preachy tone used in children’s fables, though.

It can be a realization of the narrator or protagonist.

The Cliffhanger

Sometimes, you don’t want to give away everything about the character. Perhaps you’re not even certain yourself.

Or you may have a sequel in mind, and there’s no sense in tidying up the lives of characters you’ll revisit in the future. In these cases, rely on the trusty cliffhanger.

This ending feels like the close of a chapter, and gets the reader excited about the next story.

The best way to create a cliffhanger ending is to tidy up the main plot points you’ve introduced within the course of the novel, but let the reader know there’s still more to explore with these characters.

The ���Happily Ever After”

Alternatively, we may call this one the “crystal ball”, because not all endings of this type are happy.

In this ending, you’ll explain what happens in the future.

Follow the eventual lives of the characters you’ve introduced.

Oftentimes, this type of ending occurs as the finale in a series.

A way to tie up loose ends without writing a new book.

Happily ever after endings can feel rushed, if you don’t write them correctly. Each character’s story arc should be foreshadowed within the text.

Example: A prim and proper Southern belle who, in the epilogue, has run off and joined the travelling carnival doesn’t make much sense unless you’ve planted seeds along the way.

The Vagueness of It All

Some authors choose to provide a vague and murky ending.

This is the type of ending where things are left unsaid.

An ambiguous ending is often exasperating.

Readers oftentimes don’t want to take your story and come up with their own conclusion. They want to know what you, the writer, think.

They want a chance to say goodbye to the characters.

By leaving important plot points up in the air, you rob the reader of a rewarding end. Avoid this type of uncertain ending and rescue your readers from the agony of unanswered questions.

Edit With the Ending in Mind

When you first set off to write your novel, you probably have no idea where it’s headed. You may know where you’d like to go, but the characters often take off in their own directions and instead of being the dictator, you become the record keeper.

So, how do you have the ending in mind when you don’t even know what the ending will be? Easy. Take care of that with the editing process.

Editing is essential to writing because the first draft will always be just that—a first draft. It merely helps you blurt out the words and get everything down.

The second draft, and so on, helps you mould those words into something masterful and worthy of your reader’s time.

Once you start to edit your draft, start shaping it so that the ending seems inevitable from the beginning.

Remember: Inevitable, but not obvious.

Threaded throughout your novel should be a foreshadowing of the ending that’s only revealed in retrospect. While you don’t want the reader to predict the ending from the beginning (how boring is that?), you do want the reader to go back and look for clues to how this ending was always going to happen.

Examples of Great Last Lines

The Great Gatsby, F. Scott Fitzgerald:

“So we beat on, boats against the current, borne back ceaselessly into the past.”

This is one of the most praised last lines in all of literature.

In one sentence, it perfectly captures the mood and underlying theme of the novel.

It poetically describes the human struggle to improve one’s condition even when it’s only an illusion.

Nineteen Eighty-Four, George Orwell:

“He loved Big Brother.”

This heartbreaking end to a biting social commentary will likely leave the reader with feelings of hopelessness, but the truth is this ending was inevitable from the beginning:

The crushing tyranny of Big Brother leaves no survivors.

The House of the Spirits, Isabel Allende:

“Barrabas came to us by sea…”

What stands out about this last line is that it’s also the novel’s first line.

It brings the reader back full circle to the story’s beginning.

Even in its simplicity, this line carries much more weight than it did when the reader first began the novel, because the reader now has a deeper understanding of what this line means.

The Book Thief, Markus Zusak:

“I am haunted by humans.”

As narrator, Death offers this profound insight on humans.

What’s so astounding about this line is that most humans are afraid or haunted by death, but in an interesting twist, Death is actually scared of humans.

Write an ending that makes the heart ache and then ponder. Craft a line that echoes in your readers’ minds for a long while after. The last line is your elusive entrance into literary immortality.

Source ⚜ Writing Notes & References

[thewriteadviceforwriters]

Mastering the Art of Plotting a Well-Paced Novel

In this post, I'll delve into the essential skill of pacing, and explore how pacing can make or break your novel. By understanding the impact of pacing on your story's flow and tension, you will be able to create a well-paced narrative that keeps readers engaged and turning the pages. I'll be unlocking the secrets of pacing and learn how to master the art of plotting a well-paced novel.

Pacing is a critical element in storytelling that determines the speed and rhythm at which events unfold in your novel. It encompasses the tempo, timing, and sequencing of scenes, dialogue, and action. Proper pacing ensures that your story moves along smoothly, building suspense and maintaining readers' interest.

Imagine

Imagine reading a book where everything happens at a breakneck pace, with no time to pause and absorb the crucial moments. Alternatively, consider a book where the plot drags on, leaving readers disengaged and tempted to put the book down. Both scenarios highlight the importance of pacing.

For aspiring writers and authors, mastering the art of pacing is key to creating a captivating story that resonates with readers. It involves skillfully balancing action scenes with quieter moments, strategically revealing information, and strategically varying the pace to maintain tension and anticipation.

Throughout this blog post, I'll help you explore various techniques, tips, and strategies to help you unlock the secrets of pacing and plot a well-paced novel. Whether you're just starting your writing journey or looking to refine your storytelling skills, this guide will provide you with valuable insights and practical advice to help you develop a story that keeps readers hooked from beginning to end. So, let's dive in and uncover the mysteries of pacing.

Setting the Stage: The Power of Pacing

Pacing is the rhythm and tempo at which your story unfolds. It's like music for your reader's mind, setting the tone and guiding their emotions. It determines the speed at which events occur and plays a crucial role in maintaining reader interest. Think of pacing as the heartbeat of your novel, keeping your audience eagerly turning the pages.

But why is pacing so important in storytelling? Well, imagine reading a book where nothing exciting ever happens, or one where everything is rushed and there's no time to breathe. It's like having a roller coaster with no thrilling drops or a movie without any suspenseful moments. Pacing is what keeps your readers engaged and invested in your story.

One of the key aspects of pacing is its ability to increase tension. By carefully controlling the speed at which events unfold, you can build anticipation and leave your readers on the edge of their seats. Whether it's a nail-biting chase scene or a climactic confrontation, pacing can make these moments all the more exhilarating.

Pacing also allows for crucial moments to be savored. It gives your readers the chance to fully immerse themselves in the emotions and details that matter. By slowing down during these pivotal scenes, you can create a deeper connection between your characters and your audience, making the experience more impactful.

Additionally, pacing can be used to maintain tension throughout your story, even during quieter moments. By varying the speed of your narrative, you can keep your readers engaged and curious about what's to come. This ebb and flow of tension will keep them hooked from start to finish.

So, by understanding the power of pacing, you will be equipped to create a well-paced novel that captivates your readers. Stay tuned as we dive deeper into specific techniques for creating suspense and savoring crucial moments in the upcoming sections. Your journey to mastering the art of plotting a well-paced novel starts here!

Speeding Things Up: Techniques for Creating Suspense

Suspense is a powerful tool for keeping readers on the edge of their seats. As a writer, you have the ability to control the pace of your novel and create nail-biting suspense that will captivate your readers. In this section, we will explore techniques for speeding up the pace of your story and intensifying the suspense.

One effective technique is to use short, snappy sentences. By keeping your sentences concise and to the point, you can create a sense of urgency and make the action feel more immediate. This will keep your readers engaged and eager to find out what happens next.

Another technique to consider is the use of cliffhangers. Ending a chapter or section with a cliffhanger leaves your readers hanging and desperate to know what happens next. This can be achieved by introducing a sudden twist, revealing a shocking secret, or leaving a crucial question unanswered. The suspense created by these cliffhangers will keep your readers turning the pages.

Plot twists are also a great way to speed up the pace and create suspense. By introducing unexpected turns of events, you can keep your readers guessing and on the edge of their seats. These twists can be major revelations or small surprises that add intrigue to your story.

Lastly, foreshadowing is a technique that can heighten anticipation and create suspense. By dropping subtle hints or clues about future events, you can build tension and make your readers eager to uncover the truth. Foreshadowing can be done through dialogue, descriptions, or even symbolic elements in your story.

By mastering these techniques, you will be able to weave a thrilling narrative that keeps readers hooked from the first page to the last. So, grab your pen and get ready to speed up the pace of your novel, creating suspense that will leave your readers breathless.

Slowing Down: Savoring Crucial Moments

While it's important to maintain a fast pace in your novel, it's equally crucial to slow down and allow readers to savor crucial moments. These are the scenes that make your story come alive, the moments that leave a lasting impact on your readers. By creating breathing room in your narrative, you give readers the opportunity to fully immerse themselves in poignant scenes and important character development.

One effective way to slow down the pace is through the use of vivid descriptions. Paint a picture with your words, allowing readers to see, hear, smell, and feel the world you've created. By providing rich sensory details, you transport your readers into the heart of the scene, making it more memorable and engaging.

Internal monologues are another powerful tool for slowing down the pace. These moments of introspection allow readers to delve deeper into your characters' thoughts and emotions. By revealing their innermost desires, fears, and conflicts, you add depth and complexity to your story.

Reflective moments also play a crucial role in savoring crucial moments. These are the pauses in the action where characters contemplate their choices, reflect on their past, or ponder the future. These moments of introspection not only add depth and texture to your story but also give readers a chance to connect with your characters on a deeper level.

By finding the right balance between fast-paced action and slower, introspective scenes, you will create a well-rounded narrative that captivates readers on multiple levels. So, take the time to slow down and savor those crucial moments in your novel. Your readers will thank you for it.

The Art of Variation: Maintaining Tension Through Pacing

In this section, we will dive deeper into the art of variation in pacing and how it can maintain tension throughout your novel. As a writer, it's crucial to understand that pacing is not just about maintaining a consistent speed throughout your story. It's about strategically alternating between faster and slower-paced scenes to create a rollercoaster effect that keeps readers engaged and guessing.

By varying the pace of your narrative, you can effectively build and release tension, keeping readers on the edge of their seats. Faster-paced scenes filled with action, suspense, and conflict propel the story forward, while slower-paced scenes allow for character development, introspection, and reflection. This ebb and flow of pacing creates a dynamic reading experience that captivates your audience.

Strategic placement of high-intensity scenes is also key to maintaining tension. These scenes should be strategically scattered throughout your novel, serving as climactic moments that heighten the stakes and keep readers invested. However, it's equally important to provide moments of respite, where the pace slows down, allowing readers to catch their breath and process the events unfolding.

By mastering the art of variation in pacing, you can create a well-paced novel that holds readers' attention from start to finish. So, as you plot your story, remember to carefully consider the pacing of each scene, alternating between faster and slower moments, strategically placing high-intensity scenes, and providing moments of respite. This will ensure that your readers are taken on a thrilling and immersive journey through your narrative.

Beyond Words: Enhancing Mood and Atmosphere

Pacing is not just about the words on the page; it has the power to enhance the mood and atmosphere of your narrative. By understanding how the speed of pacing can influence the reader's emotional experience, you can take your storytelling to the next level.

One technique for using pacing to set the tone is to vary the speed of your narrative. By slowing down during introspective moments or important scenes, you can create a sense of depth and allow readers to fully immerse themselves in the atmosphere you're trying to convey. On the other hand, speeding up the pacing during action-packed sequences can generate excitement and keep readers on the edge of their seats.

Pacing can also be used to create tension. By gradually increasing the speed of your narrative, you can build anticipation and make readers feel a sense of urgency. Conversely, slowing down the pacing can create a sense of unease or suspense, leaving readers hanging on every word.

Furthermore, pacing can evoke specific emotions. By carefully choosing the speed at which events unfold, you can elicit feelings of joy, sadness, fear, or even nostalgia. Experimenting with pacing as a tool to guide readers through important plot points and evoke desired emotional responses will add depth and richness to your storytelling.

Remember, pacing goes beyond words. By mastering the art of pacing, you can enhance the mood and atmosphere of your novel, captivating readers and keeping them engaged from beginning to end.

Plotting with Purpose: Pacing and Story Structure

Pacing is not just about speed; it's also about structuring your story in a way that keeps readers hooked. In this section, we will delve into how pacing works hand in hand with story structure. We will explore how to strategically escalate and release tension, ramping up the pace during pivotal moments and allowing for quieter moments of reflection. By aligning your story structure with the pacing of your novel, you will create a cohesive and engaging reading experience that leaves a lasting impact on your audience.

To plot with purpose, it's important to understand the relationship between pacing and story structure. Your story structure provides the framework for your plot, while pacing determines the rhythm and tempo of your narrative. By carefully crafting your story structure, you can strategically place high-tension moments and slower-paced scenes to create a dynamic reading experience.

Consider the rising action, climax, and resolution of your story. These key plot points should align with the pacing of your novel. As you approach the climax, the pace should quicken, building tension and excitement. This is the moment where readers are on the edge of their seats, eagerly turning pages to find out what happens next. After the climax, the pace can gradually slow down, allowing for reflection and resolution.

By understanding the relationship between pacing and story structure, you can create a well-paced novel that keeps readers engaged from beginning to end. So, as you plot your own story, remember to consider the purpose behind each scene and how it contributes to the overall pacing of your narrative.

Conclusion

Mastering the art of pacing is a journey that requires practice and experimentation. As a writer, you have the power to control the ebb and flow of your story, guiding readers through a rollercoaster of emotions and keeping them engaged until the very end.

By understanding the impact of pacing on your story's flow, tension, and emotional resonance, you will be able to create a well-paced novel that keeps readers hooked from start to finish. Whether you choose to speed things up to create suspense or slow down to savor crucial moments, pacing is a tool that can enhance the overall reading experience.

Remember, pacing is not just about the speed of your story. It's about finding the right balance, the perfect rhythm that suits your narrative. Experiment with different techniques, play with the pacing of your scenes, and pay attention to how it affects the overall structure and tension of your novel.

So go ahead and unlock the secrets of pacing, and embark on the exhilarating adventure of plotting a well-paced novel that captivates readers and leaves a lasting impression. Happy writing!

[merriclo]

i’m 100% vagueposting here but so many very popular BSD analyses are essentially just huge reaches that can be easily disproven, made due to a deep misunderstanding of the narrative and a lack of genuine respect for the process of analyzing.

i’ve seen entire essays on how Dazai didn’t abuse Akutagawa, and how Akutagawa doesn’t abuse Higuchi. i’ve seen post after post discount the importance of the trust that rests within Double Black. i’ve seen people argue over whether or not Kunikida’s ideals are healthy.

and half the damn time, sources aren’t cited whatsoever: there’s no quotes or manga panels used anywhere!! scenes and moments will be referenced, but without a proper citation there’s so many different ways you can present and misconstrue what actually happened. and with a series like BSD, where so many aren’t able to read the light novels or watch the movie or read the manga, that can change so much.

and then it’ll be revealed that the author only spends like,, 3-4 hours max on the entire process behind one post. the information gathering, the writing, the formatting + aesthetics, and then the posting. if you’ve never gotten deep into analyzing media before, just know that 3-4 hours is a painfully short amount of time to give an analysis.

it boggles my mind, too, because it will be these exact kinds of posts that are written with nothing but contempt for the readers. their words will be laced with pure annoyance and distaste for the audience and general fandom. i’ve even witnessed people publicly insult commenters who praised them, calling them stupid sheep for being hyperbolic in their compliments. it’s cruel, and incredibly mean-spirited.

speaking of which, there’s also a conversation to be had about how bigotry impacts these discussions. several character analyses i’ve seen have been nothing but poorly-masked attempts at discounting popular queer ships, or ignoring the abuse present in heterosexual ones to provide an alternative. but that’s… its own entire can of worms that i’ll crack open at a later date.

tl;dr, think critically, and always for yourself. an analysis shouldn’t be trying to end a conversation, they should always be seen as an addition to them. the author attempting anything else is a major red flag. you should always be trying to find the parts of analyses that you agree and disagree with!! don’t let anyone tell you want to think, that is for you and you alone to decide.

i know this is honestly seems like a non-issue, but media literacy is an incredibly important skill to have in the real world, and it starts with the very media (and commentary of said media) you consume. stay critical chat ily

[anghraine]

Okay, breaking my principles hiatus again for another fanfic rant despite my profound frustration w/ Tumblr currently:

I have another post and conversation on DW about this, but while pretty much my entire dash has zero patience with the overtly contemptuous Hot Fanfic Takes, I do pretty often see takes on Fanfiction's Limitations As A Form that are phrased more gently and/or academically but which rely on the same assumptions and make the same mistakes.

IMO even the gentlest, and/or most earnest, and/or most eruditely theorized takes on fanfiction as a form still suffer from one basic problem: the formal argument does not work.

I have never once seen a take on fanfiction as a form that could provide a coherent formal definition of what fanfiction is and what it is not (formal as in "related to its form" not as in "proper" or "stuffy"). Every argument I have ever seen on the strengths/weaknesses of fanfiction as a form vs original fiction relies to some extent on this lack of clarity.

Hence the inevitable "what about Shakespeare/Ovid/Wide Sargasso Sea/modern takes on ancient religious narratives/retold fairy tales/adaptation/expanded universes/etc" responses. The assumptions and assertions about fanfiction as a form in these arguments pretty much always should apply to other things based on the defining formal qualities of fanfic in these arguments ("fanfiction is fundamentally X because it re-purposes pre-existing characters and stories rather than inventing new ones" "fanfiction is fundamentally Y because it's often serialized" etc).

Yet the framing of the argument virtually always makes it clear that the generalizations about fanfic are not being applied to Real Literature. Nor can this argument account for original fics produced within a fandom context such as AO3 that are basically indistinguishable from fanfic in every way apart from lacking a canon source.

At the end of the day, I do not think fanfic is "the way it is" because of any fundamental formal qualities—after all, it shares these qualities with vast swaths of other human literature and art over thousands of years that most people would never consider fanfic. My view is that an argument about fanfic based purely on form must also apply to "non-fanfic" works that share the formal qualities brought up in the argument (these arguments never actually apply their theories to anything other than fanfic, though).

Alternately, the formal argument could provide a definition of fanfic (a formal one, not one based on judgment of merit or morality) that excludes these other kinds of works and genres. In that case, the argument would actually apply only to fanfic (as defined). But I have never seen this happen, either.

So ultimately, I think the whole formal argument about fanfic is unsalvageably flawed in practice.

Realistically, fanfiction is not the way it is because of something fundamentally derived from writing characters/settings etc you didn't originate (or serialization as some new-fangled form, lmao). Fanfiction as a category is an intrinsically modern concept resulting largely from similarly modern concepts of intellectual property and auteurship (legally and culturally) that have been so extremely normalized in many English-language media spaces (at the least) that many people do not realize these concepts are context-dependent and not universal truths.

Fanfic does not look like it does (or exist as a discrete category at all) without specifically modern legal practices (and assumptions about law that may or may not be true, like with many authorial & corporate attempts to use the possibility of legal threats to dictate terms of engagement w/ media to fandom, the Marion Zimmer Bradley myth, etc).

Fanfic does not look like it does without the broader fandom cultures and trends around it. It does not look like it does without the massive popularity of various romance genres and some very popular SF/F. It does not look like it does without any number of other social and cultural forces that are also extremely modern in the grand scheme of things.

The formal argument is just so completely ahistorical and obliviously presentist in its assumptions about art and generally incoherent that, sure, it's nicer when people present it politely, but it's still wrong.

[ancnymcnzjy]

Patience

Part One , Part Two

⋆｡𖦹°⭒˚｡⋆ ˚ ༘ ೀ⋆ ˚ °❀⋆.ೃ࿔*:･✩₊˚.⋆☾⋆⁺₊✧ ⋆౨ৎ˚⟡˖ ࣪ ⋆⭒˚｡

Following a step behind Y/N as we walk to the library, I keep my strides short and slow to match her pace.

I don’t make an effort to talk to her or try to make her laugh, knowing it’ll only upset her more.

Y/N is usually fine when she sees people she used to like or date, but this week has been particularly hard.

She found out three days ago that Jake has a new girlfriend. It was surprising news, not just for Y/N, but also for me, since I was practically a third wheel whenever the three of us hung out, given how close they were and how they acted.

I, along with Y/N and our other friends, assumed that Y/N and Jake would eventually get together.

But since Jake started dating his current girlfriend, he hasn’t been around as much, and it’s clearly taking a toll on Y/N.

We enter the library and are greeted by Heeseung and Jay.

I’d informed them over text about what happened, and they came straight here to meet us.

As Jay goes to comfort Y/N, Heeseung stays by my side.

“When do you plan on telling her?” he whispers subtly as we take our seats at the center of the library.

I shake my head and reply, “Not anytime soon.” Heeseung just nods in understanding.

He knows I’ve liked Y/N since our second year of high school. We’re now in our third year of university, yet I’ve made no move to confess to her.

I’ve barely even expressed my feelings—nothing more than prolonged stares and lingering touches when we’re together.

To anyone else, my actions are perceived as what best friends do. They’re not exactly wrong, since Y/N considers me her best friend, while I, on the other hand, consider her so much more.

So while I’d love to tell her how much I love her, how I’d love to take her on dates, and how I’d already vowed to cherish her until my last breath, I’ve also sworn to keep my feelings to myself until I know she’s ready.

I’m aware that she’s only ever considered me her best friend, but oh, how I wish I’d one day have the chance to show her that I’m willing to be more than friends—that I’m willing to be more than partners in crime, but also partners in life, in every alternate universe.

I want Y/N to know that I’ll choose her in every lifetime and in every narrative that demands the virtues of love and patience.

Because what are my virtues if my main principle is nowhere to exist?

⋆｡𖦹°⭒˚｡⋆ ˚ ༘ ೀ⋆ ˚ °❀⋆.ೃ࿔*:･✩₊˚.⋆☾⋆⁺₊✧ ⋆౨ৎ˚⟡˖ ࣪ ⋆⭒˚｡

© ancnymcnzjy - All rights reserved.

All content provided is the original work of the author and is protected by copyright. Reproduction, distribution, or use of any part of this work without proper attribution is strictly prohibited and constitutes plagiarism.

[cryptidclownz]

updated ref of my oc naryn!

no bg + scarred alternate

i tried my hand at writing a little scene of the whole naryn/lamb backstory!! im not super proud of it but i dont usually share my writing so i figured i might as well!

—

Another crusade through Darkwood gave the lamb time to think. To unwind. Slaughtering beasts and heretics was a favorite pastime of theirs, but their followers grew ever needy. Demanding. They dreaded a request for materials that would be better spent on medicine and worship, but the scolding their god would give them if they refused was just as infuriating. A leader must provide, he would tell them. Your followers will dissent without proper care. Coddling, more like. Lambert was not a gentle leader, and they had no intention to be one. As much as they wished they could toss their flock to the wolves and go on about their life, The Lamb knew Narinder was right. Their flock would be rewarded for hard work and good behavior, any recruits would find their new life comfortable as long as they behaved. If they didn’t, The One Who Waits had no issue if a follower appeared in his realm in the middle of the night now and then.

Although they were out to gather camellias for a follower desperate to win one of their disciple’s affection, Lambert felt right at home in the dungeons. They handled heretics and monsters with relative ease, well acquainted with the tricks enemy cultists thought would fool them.

The Lamb walked, bored, through another few clearings, only sometimes remembering their original task and picking a few flowers to toss into the crown’s infinite storage. A soft rustling in the trees, the telling shuffling of feet on the ground. The Lamb’s sword was drawn before the ambush had even landed around them.

Boring. Predictable.

They went after the boldest attacker first; a smaller hooded figure than the others who carried an unproportionately large axe. It swung at them, but the weight of the axe slowed it down. The blade of The Lamb’s sword hit the axe’s hilt, slamming it down just inches away from their hooves with unexpected power. The heretic wasn’t given the time to pry its weapon out of the dirt before the Lamb swung at its neck, slicing past muscle and bone with a sickening slap.

The Lamb didn’t behead it, leaving the near-dead heretic to scream in agony for a few moments before it finally died. They were unphased by the rest of the troop storming toward them, having learned by now that heretics don’t take the time to mourn their fallen.

The sword almost seemed to move on its own; slicing through the throats of some and gutting others. Lambert cast a curse in the direction of the two remaining, though the tentacles that rose from the ground only caught one. The Lamb didn’t mind. They preferred to do the work themselves, anyway.

They gripped the handle of the crown’s sword tightly, taking chase after the last remaining heretic. The Lamb moved with powerful, calculated steps, letting the runner think it had a chance to get away. It wasn’t every day that an attacker would try to run, after all.

–

The heretic bolted.

He ran with all of his might, adrenaline willing his trembling body forward despite the gash in his side and the blood of his troop that stained his person. The uniformed hood he wore fell back with every desperate leap forward, and the cold air that rushed past his fur made the tips of his ears burn. He didn’t dare look back, too afraid to see the figure of that monster behind him. The heretic hardly noticed the tears that whipped past his cheeks, wet and sticky like the rest of the blood that coated him. Not his blood. He was alive, even if his friends weren’t. Gods, they were gone, weren’t they? They were-

His foot caught on a slippery root. The cat was flat on the ground before he could feel the sharp sting of pain from his ankle.

“No,” He choked out, voice hoarse. “No, no, no, no-”

Slow, heavy footsteps cut off his thoughts. The heretic kicked and clawed desperately at the dirt beneath him, but his movements were frantic and uncoordinated. The Lamb would have found it funny if they weren’t irritated by the sticky residue coating their arms and fleece. They approached the hooded figure so slowly it was cruel, listening to the panicked breaths and gasps that came from it.

“Rise, heretic,” Their voice was horrifyingly level, and the hooded figure could spot the glint of their sword out of the corner of his eye as they lifted it towards him. He was going to die.

“P-Please,” The voice that sounded from the heretic was quiet and shaky, but his limbs trembled more violently as he propped himself up on his forearms and cautiously turned. With his ankle still caught on the root, the cat was forced to twist his body to look up. His hood slowly fell from his ears, no longer casting any shadows on his face. He was going to die. “Please, spare me.”

The Lamb froze.

They stared down at the heretic before them, eyes widening in a state of shock that was entirely foreign to them.

A black cat stared back, the dark amber of his tear-filled eyes glinting red in the sparse lighting of the Darkwood forest. His long, pointed ears pinned back against his skull, the tips nearly pressing together. His fur was blood-splattered and matting in the direction of the drying redness, but the Lamb could still see that perfect black beneath it. Their eyes shifted to the heretic’s forehead, where a discolored splatter of blood stained the fur. At least, that’s what they thought it was.

Their eyes narrowed.

The Lamb moved closer, stepping over the root that the cowardly heretic was trapped underneath. They stood in front of him, sword lowered but still pointed near the cat’s head. Unsatisfied by what they saw, the Lamb lowered to a squat, causing him to gasp and flinch back. His eyes screwed shut, awaiting the same agonizing pain that he’d just witnessed his troop suffer.

And yet, it never came. Instead, he felt a hand on the top of his head, firmly planted but not suggesting any malice. The Lamb took a moment to feel his fur. Soft, they realized. Such a familiar texture.

Their hand moved further down, landing on the red blood on the heretic’s forehead. They pressed down and slid their hand to the side, expecting it to smear or crumble off entirely. When that didn’t happen, their breath quickened. The cat didn’t know why. He pried his eyes slowly open, pupils dilated about as far as they would go. He searched the Lamb’s expression warily, but he was about as lost as they were. It was hard to distinguish exactly what this was. Excitement? Fear? Confusion? Maybe it was a mix of everything. The source of their confliction, however, was no question.

This heretic was the spitting image of The One Who Waits, down to the most subtle stripes in his fur and the red in his eyes. The red mark on his forehead was distinctly eye-shaped, like some sort of mimic of their god’s divine features. It was almost revolting, the fact that a lowly heretic would be blessed with such features–- such mockery. The Lamb’s expression hardened, and the heretic noticed. He wanted to pull away, to scream, to plead for his life, but the heretic’s throat ran dry. He could only watch as the Lamb continued to inspect him as if they were searching for just one inconsistency; one reason to kill the vile mimic that tried to fool them. There were none.

“You...” The Lamb began, dropping their hand to the underside of his jaw and jerking his head up. There was no telling what went on in their head, even as their sword warped back into the shape of a crown and sat atop their head. Their glare seemed to soften a moment later. “Where have you been?”

[valerileygreen]

Sometimes I just get blown by how much of what Arthur does is motivated by his sense of protectiveness. Even more than his loyalty, though they go fairly hand in hand.

Loyalty means he would never sell or otherwise betray his teammates, nor abandon someone he considers a friend or a job/mission/goal he has already committed to. But protectiveness is his driving force, the real motive to all his hard work behind competitiveness and perfectionism, the thing that informs and shapes how his behaviour and choices during said job. And there are so many instances of it during the movie, how he readily and kindly checked on Ariadne's well-being and tried to reassure her after she was first killed by Mal; how he was the one who tested the new compounds; how he freaking flipped when Eames got shot at even while believing there was no actual danger (though that is symptom of other feelings too); how after all cards were on the table on that first level he immediately sprang up to action to defend the fort and everyone inside; and just about everything that happened in the hotel hallway, his concerned how do I drop you without gravity? and how carefully he handled his sleeping team.

I'm willing to bet, even if it was never shown, that he does all sorts of little things to make the jobs go as smooth as possible and make sure everyone is comfortable. Just look at the warehouse he found, spacious and with a lot of light and well furnished. And he's also very attuned to when the others are flagging and need a break, even though he's crap at following his own advice.

And yes, most of it can be ascribed to his role as a pointman, but I'd argue that it's this basic trait of his, this protectiveness, that drove him to fill in those shoes. It's an extremely important job, research and security, but it's certainly the less glamorous and the most fastidious. I imagine that in normal circumstances, with other teammates, while people would end up being grateful for his thoroughness at the end of a job well done, they would also kind of resent him during the planning stages as he always has questions and finds holes in their plans.

But he took it upon himself anyway. He chose it, preferring to have teammates a little frustrated with him but healthy and safe than the alternative, needing to provide that care for them - maybe because of past trauma when he couldn't protect someone and blamed himself, maybe because he's used to take care of others and actually likes it (the mom friend), maybe because he's just wired this way.

I actually headcanon that he sort of tailored the pointman role for himself, gave it a proper shape and definition, distinguishing it fromother roles, and then it took and spread as an 'official' role after the dreamshare community saw how much smoother things went without having to split research and security among the others.

And maybe he doesn't get to indulge often in other more creative areas of dreamshare even if he has the skill (I love the quite popular headcanon that Arthur makes a fine architect too but filling both roles is too demanding, at least on the bigger jobs we saw him performing), but though he sometimes misses it, it's worth it when the sight of everyone safe and sound puts such a relieved smile on his face.

[darkdemeter]

𝑺𝑰𝑹𝑬𝑵, 𝑩𝑬 𝑩𝑶𝑼𝑵𝑫 𝑻𝑶 𝑴𝑬

COMING IN 2025 (OFFICIAL RELEASE DATE TO BE DETERMINED, ESTIMATED TEASER/RE-RELEASE CHAPTER SOMETIME IN APRIL. DATES AND COLUMN CONTENT IS SUBJECT TO CHANGES)

A COMPLETED SERIES ↳ Siren, Be Bound to Me will become a full and completed series from beginning to end. There are prior projects that I have either temporarily paused or retired for my own personal reasons as well as to make room in order to commit to this series. "SIREN GENESIS" (PROLOGUE) CHAPTERS ↳ A precursor storyline that explores the dangerously sensual and captivating origin of siren!reader and Captain Barnes that has been briefly mentioned/envisioned through SSBTM's finale chapter. Here is a small excerpt from chapter 1's Siren Genesis:

" -- And who exactly are you?

Why, you’re the Siren Queen’s own blood. The spitting image of her every younger scale, the personification of her commanding melody. A Siren Princess of all the seven seas. Next in line to succeed her mantle and carry on the sea’s eternal song. To evilly sustain balance between the world above as below. 

  Sunlight shines in blotted patterns through the watery veil, shimmering like gems found amidst the sunken merchant ships brought to their end in the heat of oceanic combat. And by the fresh state of the wood, still yet to rot in the salted biome and become overtaken by the reefs, pods of siren scavenge the wreckage in search of gifts for you. 

 You have no need exactly for these trinkets, but today is not just any other day. On the setting eve of today, you will finally initiate yourself amongst your kind with your first hunt. At the now turned age of 121, it is tradition that calls for you to make your first and proper kill. To paint your lips with the crimson paint of his blood and to taste it on your tongue, to lust after it. It is time that you claim your first heart of a man. -- "

ORIGINAL CHAPTER 1 RE-RELEASE WITH BONUS CUT CONTENT + SBBTM ASK SUBMISSIONS AND QUESTIONAIRE ↳ Though many readers were pleased with the quality of writing and the storytelling of the first part for Siren, Be Bound To Me -- (reading those comments have kept me strong and have served as kindling to resurface my passion for this project) -- there was additional content cut out due to the belief that readers would lose interest. This content explored some and smaller details of siren lore within the AU, general (almost slice of pirate life) content and as well as more sexual scenes. + Readers can send through ask submissions for the AU. These can be read and featured as more personal fillers and tied loosely to the actual canon storyline, providing a bit more of a personally curated experience for readers. + Inquiries that readers have about the story, the AU itself and anything else related to SBBTM are free and welcomed to ask in a mini questionnaire fashion. RELEASE OF THE OFFICIAL 2 ENDINGS ↳ The previous "finale" was used as a cut off point and was not the intended ending at all. With the opportunity to finally draw out the tale of Siren, Be Bound To Me to its fuller potential as a series, instead of sticking with one canon ending, there will the 2 official endings that readers can choose from depending on their own experience with the story and furthermore, regard as the other being the alternative. These endings were thought about and roughly noted down at the same time. Unable to choose ONE as the finale and to further provide a bit more agency to readers, the choice to have 2 endings became the plan.

"SIREN, BE BOUND TO ME" TAGLIST IS OPEN/TAG IN ADVANCE AVAILABLE!

Below the cut is a bit of a writer's rant. If you're not here for that then feel free to stop reading here. Thank you so much for tuning in with this update! xx

I am still pretty angry with myself about how the story came to its end. It was abrupt, unfinished, and like many of you - it was not the ending that I wanted. Without getting into the deep nit and grit, my mindset had shifted elsewhere quite negatively and thus affected the quality of both the story and the writing. And that is on me. I made the decision to write something of poor quality than what myself -- as both writer and reader -- as well as other readers deserved.

The story felt rushed, messy and all around it did not have the passion behind it. Each chapter became more of a chore as the saying goes and I lost love and passion for the world that I adore. I won't bore you with the whole BTS stuff, but overall and shortly, Siren, Be Bound To Me was a spiritual and altered revival of a fictional pirate story I wanted to write but never finished. So this fic was to I guess heal that sore wound mostly while also providing readers something that they might potentially enjoy. (I honestly never expected the fic to reach 1k notes. Not even 800 notes). But if you go back and read the first chapter, for me I can see so much love put in behind every word. I can see that I wrote it for myself and others just so happened to adore it just like me.

I guess that is the lesson I am learning. That it should really come down first and foremost to the writer's love for the story and how that's the not-so-secret key to it. I always thought that the whole "write with love" shtick was a bit of cheesy advice. However, I have come to realise that it's true. The moment that I lost that love for this fic, the story went downhill even when I tried to keep the passion for it going. In fact, it faded quicker. And then that fucking cop out of an ending happened because I drained myself and I thought: "Shelf it. Forget about it, it's another broken bottle alongside its unfinished parent. Move on."

So I did. I gave myself some time to write other things, the idea of coming back to it at a later time was a distant "eh, maybe" thought and I'm now circling back around. I'm rereading my work for SBBTM, finding the flaws in it's later chapters and finding again what I loved so much about the original one shot. What world I had in mind for it, how much I loved this pirate aesthetic and how much I anticipated the whole reveal and the ending/s. You might have been able to tell from my author notes how differently I felt too.

It became scary to write honestly because I fell deep into the writing for audiences pool. I was no longer allowing myself to express my ideas fully because I was scared with how it would be received. Quickly gonna say: this isn't a dig at readers or anything! This is solely on me because I let myself fall into that pit and shrunk away from the actual material I was working with. I personally feel like I was taming the the explicit themes that the fic was originally representing.

There have been so many times I wanted to delete those chapters. Still do, but for the meantime I think I'll keep them for legacy sake and perhaps to serve as a reminder to myself what it is I'm trying to achieve, what I'm trying to fix and what it looks like when lose my interest, my love and absolute passion.

Alrighty, I believe that is it for my writer's rant.

If you stuck around to read all of that then wow... for real thank you so much x. I rarely allow myself to rant but I think it was necessary in order to wipe the slate clean and move forward with writing for this fic.

[secriden]

SIMM and Dao's Love Language

I'm going to get emotional about KluenDao again because I realised something about how Kluen shows his love for Dao.

(I have a theory that) Dao's primary love language is Acts of Service:

It's the main feature of what he describes when Typhoon asks him what his "type" is.

It's how Dao shows his love for Kluen: doing Kluen's art homework for him and offering to make Kluen's mom's birthday present. It's not (just) about doing art, but specifically because it meets a need that Kluen has.

It's also how Fah and his closest friends show their love for Dao.

So lets take a look at how Kluen shows his love for Dao throughout the show:

Kluen in the "wooing" stage:

From early in the series, Kluen consistently shows his attentiveness and care via 'food/drinks as a metaphor for love', which is also a clear example of Acts of Service because he's providing for needs Dao has in the moment.

These are also both great examples of Acts of Service as Kluen either identifies and addresses a burden that Dao has or preempts a potential source of stress and offers an alternative.

Of course I had to add these moments! Making sure Dao sleeps in a proper bed, re-doing his ankle dressing, the pen + post-it note for his anxiety, and unbuttoning his sleeve so Dao has something to focus his nervous energy on. Note that 3 out of the 4 of these Acts were without (as far as the audience sees) Dao even knowing what Kluen is doing for him.

There's a reason why I find Kluen so very attractive, and it's because Acts of Service is also my love language and damn does Kluen do an amazing job of showing his care for Dao in that way!

Kluen as a boyfriend:

As soon as they become official boyfriends Kluen is constantly finding ways to do things for Dao: walking Dao to class, carrying his stuff, feeding him -- its all very sweet. I had to delete several screenshots because of the image limit jsyk. :( Kluen really does go all out in this way.

Kluen's Acts of Service only seems to escalate in Sky in my Heart. Cooking for Dao, organising a night out for Fah because Dao is worried about Fah, nursing Dao when he's not feeling well (+ the hand feeding TuT).

The cherry on top comes in the Special Episode: Is there anything that encapsulates Acts of Service more than planning to build your boyfriend his dream home, located on the beach because he loves waking up to the sea; promising that he'll have everything he needs to pursue his love of art; even planning to plant a big tree so your boyfriend won't be too hot as he paints outside??

There's so much genuine thoughtfulness and specific consideration for what will make Dao the most happy in this plan.

It's so lovely to see Dao recognise that. He's so grateful, so overwhelmed by Kluen's love (the way you can hear the tears in Dunk's voice when he says his lines - he's such an emotive actor!), not just because it's genuine and means the world to Dao after going through the pain of thinking his love was unrequited, but also because Kluen has learned specifically how to love Dao the way he understands it the best. Kluen literally learned to use the language of love for Dao - both verbally and through his actions.

And this is why I really do think Star in My Mind is genuinely quite a beautiful love story.

[bg3-npc]

Asexual Awareness Week and BG3

Below the cut is 1,100+ words of interpreting Wyll Ravengard as demisexual. As an asexual person, I relate to many of Wyll's desires and experiences. That relation has lead me to this interpretation of him as a character. Interpretation is the key word here. This is simply another way view this character and gain insight. It's obviously extremely biased, which is why I put the word count first. So if your interested in analysis that is probably more projection than interpretation, I bring you this.

Wyll is portrayed as an almost incurable romantic. He constantly references stories, tales, fables, and myths when discussing his romantic desires. Romance heavily influences his sexual desires as well. It is practically inherent to his sexual attraction. While this can be viewed as idealism, I want to propose an alternative outlook. One where he hasn’t conflated romance and sexuality, but rather one where romance is vital to his sexuality.

Wyll talks little of his sexual habits outside of when romance is being discussed. These quotes are about dancing, but they happen while you’re romancing him.

“Don't worry! It's not really about the dance, it's about who's we're dancing with.”

“I had years of lessons but in truth it's all about your partner.”

Like when you’re romancing most companions, many things said have multiple meanings or implications. He’s telling you that while he does enjoy sex, it’s who you’re doing it with that makes it truly pleasurable. I think Wyll desires the intimacy that comes from sex more than the act itself. He’s drawn to the connection it brings rather than the pleasure.

At one point he describes his sexual history as “tight-laced” when he’s talking with Shadowheart.  He says, “I was never one to sew my wild oats.” Apparently Wyll hasn’t had to practice and exercise much sexual restraint in his life. It’s easy to control one’s sexual desires when you don’t really feel them to begin with.

While he can understand people’s various sexual habits, I don’t think he can relate. He doesn’t see the appeal to casual sex. Sex doesn’t feel satisfying to him without connection. He has impulses, and sometimes he wants to act on them, but they don’t seem worth it. He doesn’t derive enough pleasure from the act alone to pursue it. Romantic relationships already provide sex, and he values love above all else. Why would he want anything else?

“Eh-heh, well, give it some time! Develop a bond, and…maybe I'll show you a move or two.”

“Hm, think of love as a strong ale, or a warm fire. Is the clang of steel on steel not made more satisfying by the pleasures that come after?”

Doesn’t sex feel decidedly better when you’re having it with someone you care for? How satisfactory can it be without attachment? How truly enjoyable is it without a bond?

“I value affection, over fun. A lasting memory over a passing fancy.” 

“But I’ve always been a bit old-fashioned on these matters. I find more pleasure in a courtly dance, than a loveless fling.”

Isn’t it more fulfilling to love someone than lust for them? Do you not feel more fulfilled from loving someone than sleeping with them? Is sex even worth having without love?

“Gods I want you, but I can't take your body without taking your heart.”

Can Wyll even give you his body without giving you his heart? They seem to go hand in hand for him. Love is essential to his sexual enjoyment, he doesn’t seem to experience sexual desire without it. Love might be the only way he can desire it. Here is an interaction between him and Astarion.

Astarion: "You didn’t kiss anyone until you were fifteen?! Gods. What a tragic, sheltered life."

Wyll: "Sheltered? Not at all! I was exposed to all manner of riot and revelry. Hells, my father even urged me on once or twice."

His romantic tendencies don’t come from inexperience or prudishness. Wyll isn’t oblivious or naive when it comes to sex. He’s been exposed and even encouraged to have it. While he might call it “proper”, Wyll is aware his way of courting isn’t for everyone. Your sexual habits might not align with his personal wants, but he won’t respect you any less for yours. Wyll does not believe your sex life effects your worth. If anything, he feels his wants are regressive.

“But I still keep faith in the old tales of love. The ‘once upon a times’ and the ‘happily ever-afters’.”

“I'd, like to do this the proper way. The way of the old romances sung by the bards.”

“But I’ve always been a bit old-fashioned on these matters.”

He constantly uses the word “old” to describe his courting methods. He’s acknowledges these desires aren’t modern, and by referencing fairytales he’s aware they might even be fictious. He calls his sexual habits “tight-laced”, his romantic intentions as “old-fashioned”. They’re not exactly said negatively, but more with the acknowledgment that his wants come across as restrictive. When the habits of today hold no appeal to you, you feel stuck in the past. What are you supposed to do when fiction seems to be the only place where romance is done how you’d like?

If you have sex with Mizora, these are some of his responses.

“You shared your body with the fiend who holds my soul.”

“We danced! We made a connection…and you severed it for a single bite of the Hells?”

This next quote is how he responds if you say, ‘Can you blame me? It’s not like you’ve been putting out.’

“Is that what matters to you? Sex without union? Heat without heart? Did you not take joy in the dance?”

Now obviously the biggest issue is you slept with the being that holds his soul. However, he says these things because he thought you felt the same way about sex as he does. He thought sex was an act as precious to you as it was to him. He thought you also prioritized love over physicality. He thought you enjoyed the way things were going, clearly he was. Had he known you didn’t feel the same, he probably never would’ve pursued you.

Wyll doesn’t do casual, he doesn’t do “let’s see where this goes”. He seems like the type to pursue every romance with the intention of marriage. No, he won’t propose on the first date. He won’t even necessarily think either of you are compatible. However, that’s the whole point of courting! It’s to test the potential of forever. He likes agreements, he likes pacts. He wants certainty, reliability.

Yes, he probably hasn't had much firsthand experience with relationships. Yes, all these things can be seen as restraint. Yes, they can be seen as repression. They can also be seen as someone who knows himself and genuinely wants “happily ever after”. Someone who’s aware of what he’s asking and wants you to desire it as well. Maybe love is the only way he can connect to his sexual desires. Maybe love is important to him because it’s the only way he can truly enjoy sex. Love might be the only thing that lets him experience sex like everyone else. Maybe love is the only thing that let's him feel sex like it’s described in fantasy. Maybe he’s lost in that fantasy, or maybe he’s just demisexual.

[toons-and-doom]

Okay now I’m just craving craft siblings angst😭

OH MY GOD THIS IS SO EVIL I LOVE IT

Ask I may try to provide

So many ways you can go about it

Put under read for me a whole lot of angst + yapping + death mention + ichor / blood mention?… idk rather be safe than sorry

1. It’s clear from dialogue alone that scraps means a lot Goob. Let’s have scraps die! :D! The toons are running to reach the elevator. They are down to five seconds. Goob is in the elevator. Scraps is making the finale stretch towards the elevator. It’s clear she isn’t gonna make it. Desperate, goob uses his arms to grab scraps. He misses- wildly so. His arms return to him. The doors close before scraps can made it inside. At first there is silence. Then goob wails- he rarely ever cries-. But the elevator continues downward, not caring scraps is now alone on that floor with all those monsters, uncaring the two will likely never see eachother again. (Alternatively, the craft siblings were the only two left and now goob is TRUELY alone)

2. Based on Scrap’s dialogue, she feels some sort of protectiveness to goob. The two are extracting ichor machines and gathering research when one or both of them accidentally set off Twisted Rodger. It’s hard to get out of his line of sight with slowness- especially since both of them are on their last heart- but scraps manages to get out of sight, she reaches to grab Goob. She didn’t process the beam- she only processed the explosive of ichor that was once Goob. She is frozen. So many things are happening in her head at once. Most importantly, it’s that she failed she failed she failed she failed goob is dead and it’s all her fault

3. Goob is slowly turning into a twisted and it’s becoming increasingly dangerous to have goob around the other toons because he’s getting increasingly violent. But he will never hurt scrap. After a long discussion which goon was asleep for, it is concluded Goob needs to be left behind or else they will eventually all die. Scraps is left with the task of getting rid of Goob since she is the only one he will listen to. So she leads him off into a quiet, safe room. She tries to explain what has to happen as calmly as she can- her voice is horse. Goob… doesn’t understand at first, he’s scared, he doesn’t want to be alone! For a moment, he finds himself angry at the other toons… but that anger slowly fades. Acceptance comes over Goob. He understands. He knows the others are scared of him now and this is for the better. But it still hurts, he’s still scared- of what he’s becoming. They’re honestly both scared. But it’s not fair both of them die. I’d imagine the two share a good long cry and hug- maybe even scraps prepares a little crafted necklace for Goob to remember her by!! When it’s time to leave, Goob is still deeply hurt but he tries to be happy for the others for one nice goodbye- scraps is shaking. Part of her wants to run out of the elevator. A toons puts a hand on her shoulder, comforting her as the elevator shuts.

Several floors later… a twisted goob can be seen wandering about, a poorly constructed necklace around its neck.

4. Alternatively, scraps is slowly getting twisted but she knows what’s ultimately going to happen.so when the elavator opens she’s like ‘ you need to go ‘ and goob is all like ‘ not without you’ then the two get into a argument because scraps knows she won’t be able to hold herself back when she gets fully twisted about goob doesn’t want to leave her alone, which culminates in scraps accidentally lashing out and goob running off in fear- and thus never get a proper goodbye

5. On a lighter note, when scraps has nightmares about losing Goob she wakes up and goes looking for him. When she sees he’s still asleep she is relived and then goes to try and go back to sleep.

6. The two of them are twisted and see eachother. They want to go hug eachother but they can’t control their bodies anymore :3

That’s all I can think of at the moment :D!!!

[dandelion-wings]

On thing about Mondstadt’s government that bothers me is that everybody boils it down to just the Knights on one side, and the Church on the other. Which, sure, they’re what we know the most about…

But it completely ignores the ‘Community Representative’. Considering their signature is one of three needed to (legally) make use of the Holy Lyre, alongside the Grandmaster and the Seneschal, they must be pretty damn important. So assuming they have equal power to those positions, which are at the head of the Knights and the Church respectively, what actually is that power? Presumably it’s an elected position (the title is that of a ‘representative’, plus I would be severely disappointed if there wasn’t even a hint of democracy in the Nation of Freedom), but is there a structure under it similar to the Knights and Church? Is there a completely separate civilian, secular government that for some reason just barely comes up? If it is elected, how is that handled? If both Grandmaster Varka and the Seneschal are on expedition, does that mean they hold more authority than Acting Grandmaster Jean and whoever is Acting Seneschal (assuming an acting-title’s authority, though still above everything else below the proper-title, is still considered secondary to that of said proper-title)? But if so, why hasn’t it come up? Or is it just some guy elected to act as a more expedient alternative to something like a full referendum?

God, I have an education in history and political science that is just begging for some damn answers!

I mean, I don't have an education in those things and am not real good at working those things out myself, so I don't know that I can provide you too much useful commentary here. XD;; But while I'd love if Mondstadt did have some democracy, I... am pretty convinced that it's a theocracy, actually. The Knights and the Church (which tbh seems to exist under the overall umbrella of the Ordo, given that Jean says in her voiceline about Barbara that "the order also manages the Church") fulfill pretty much all the governmental functions we actually see happening at all, including the whole thing in Jean's quest where Charles expects tax forms from her.

I'll admit I also lean that way because I read into Mondstadt as a whole (its history but also our introduction to it, where Amber initially nabs us for unauthorized entry and then there's a whole early section about gliding regulations) a theme of humans repeatedly being given freedom, and gradually rebuilding restrictions upon themselves. Which I don't think is entirely a bad thing, in that I do think communities generally function better with organization and administration and such, but, like, Mondstadt has gone all the way into tyranny before and could again. Mondstadt building itself an increasingly restrictive theocracy feeds into the theme I like drawing from it, so of course that's the reading I tend towards! But, still, that's where I'm at about it.

(I draw a lot of my read of this national theme from the line, "Mondstadt is the City of Freedom, but unchecked freedom without any kind of rules only invites chaos and anxiety," in Jean's character details, and I haven't seen anyone else talk about it, ever, so it's entirely possible this is actually character brainrot I'm projecting onto the city as a whole. I'm fine with that.)

Presumably there is a further government apparatus, but I tend to believe it's probably under the higher authority of the Ordo. Maybe with checks and balances, maybe not (exactly how I arrange the setup for fic where it's needed is specific to individual fic, because the openness of canon leaves the kind of room that makes it easiest to go with what works for the plot). "Community Representative" on its own is very vague; looking at the line where it actually appears, it's talking about the Holy Lyre in the context of the Ludi Harpastrum, so it could even be a role specific to the yearly organization of that particular festival! That said, it does sound a bit more like it's a regular thing, and given my presumption of theocracy above, I think this:

Or is it just some guy elected to act as a more expedient alternative to something like a full referendum?

honestly is the most likely possibility. It would make sense given Mondstadt's ethos and history--you have a representative of the community to sign off on certain decisions (hopefully elected, as you said, but who knows exactly how it happens), like that one about the Lyre, to show that the people agree. Possibly it's a triangle with the Grand Master at the top and the Seneschal (given the above "manages the Church" line) and Community Representative as equals who have input but not ultimate power on the next level down, possibly they both exist largely to rubberstamp the Grand Master and Seneshal's decisions, possibly it's an area-of-authority divide. Regardless of the exact divisions, Jean does seem to have some fairly unilateral powers in the areas of domestic defense and peacekeeping, but that's... something you do want the head of your military-and-police order to have, generally, so who knows how broad her powers actually are to act without the Seneschal and Representative's approval in other areas. The game is, as always, frustratingly uninformative.

Anyway, tl;dr: my personal reading of Mondstadt tends to render the Community Representative as relatively unimportant, despite the equal billing in that quest, because over and over again in quests and lore and voicelines we don't see anything but "the Ordo handles things," and Mondstadt honestly makes most sense to me as a theocratic city-state. I think they're more likely a representative "voice" in the government than a significant power, and I don't think they represent any significant "third branch" other than possibly, given Mondstadt's history, a symbolic reminder that its people have toppled tyrants before and can do so again.

[fluffsnake]

Hello! I was wondering if you allow the personal usage of your beautiful drawings, so that we can print it by ourselves? I wanted a picture for my personal scrapbook, so I don't know if I have to pay for a physical print, or if you allow the personal usage just like that (printing them by ourselves). I wanted the page of the Destiel kiss in the garden or maybe the latest sticker you made, I'm not sure yet. :)

Hopefully, it's not a very dumb question. I'm kinda new here.

Ooh scrapbook, that sounds cute!! Sure you can for personal use, and thank you for asking first ^^

In theory I have prints and stickers but no proper way to sell them yet, sooo... 🙈 I couldn't forbid something so harmless either way, but especially not without providing an alternative :P go forth, my child! (and show me the results fjsjf)