#you don't need any background. you don't need any context.

[srslylini]

I'm so sorry to tell you this OP, a micro expression that I need to pause the show for to see does not equal good writing. A show, and media in general, has to take our hand and guide us through it, I hate this stupid fucking sentence "you just want the show to take your hand" YES I DO, YES MEDIA NEEDS TO.

I don't want it to put everything infront of me and just carry me through it, I want it to fucking MAKE SENSE and GUIDE ME AS IT SHOULD. I do not want to sit here and decipher some weird fucking ass background to see "oh look the curtain split in the background indicates how this character is actually split in their decision🥺". That is NOT how this is meant to work. It is a nice addition but should not take away from actual character development.

Saying people rightfully calling this madness out "have an inability to read in between the lines" when what you are doing is adding your own context the show never gave or just straight up ignoring how "character" in media works

Them fucking in a cell was quite disturbing and disgusting. I'm a lesbian. I should be glad we got a lesbian scene. Yes, it has weird as fuck implications. Why are you talking as if your interpretation is the only one that can be right and now everyone needs to yield to it? Huh. Implications can and will happen unwillingly and willingly, by the way.

Caitlyn has war crimed her way through the Undercity, ruthlessly threw people into prison for no reason (they did actually show that, woah sick right), was ready to SHOOT someone with a child on their person that either would have hit the child or would have left the child with serious trauma, HIT VI INTO HER STOMACH AFTER SAID FACT, TOLD A PERSON WHILE SHE DIDNT YET WANT TO, SHE WOULD THROW HIM INTO THE DEEPEST DARKEST DUNGEONS, called people of the undercity animals, etc.

and you say 🥺actions mean more guys uwu🥺 shut up, genuinely.

Oh plus glorified suicide is never justifiable, wtaf. Do NOT dare to even say "but she lived". They SHOWED HER, a suicidal character, WILLINGLY JUMP WHILE PLAYING THE MUSIC SHE PREVIOUSLY TRIED TO KILL HERSELF WITH. They also made the other 2 characters that attempted sacrifice themselves. I watched this shit. I saw them imply a suicidal characters worth is to die as a sacrifice. This is not redemption. Redemption means a character getting better and hey, I think a character getting better kinda means they have to live, woah insane concept, right? I do not owe anyone any kind of private information about my person to talk about this, BY THE WAY.

They acted as if classism is a thing that simply disappears 🥺when faced with a bigger fiend guysssss die with us in our clothes, ignore how we treated you for years and years and how we killed and imprisoned you injustly and acted as if you were less🥺 yes, they fucked up Implications between Caitlyn and Vi never being addressed is insane. No "actions" (literally huh) do not mean more than words here.

edit: I'm gonna repeat, implication happens and will happen unwillingly and willingly and implications will also not be the same for everyone. If people tell you the implications of episode 7 with Vi's death was weird then that holds as much value as what you say it implies to you.

I knew we would eventually reach a point where masses of people would misinterpret Arcane, but I never imagined it would be this bad.

Yes, I absolutely agree that season 2 was rushed, especially Act 3, and it is undeniable that the series would have benefited from at least one more episode if not an entire act. However, the current discourse about the show is so superficial that it's impossible to have a conversation about anything deeper but a mere synopsis of the characters and story.

So many of you expected this series to hold your hand and dumb everything down so you can understand it. But when it wasn't the case, you all started rioting and calling the characters vague, the plot bad, and the ships underdeveloped.

The amount of people who value spoken text more than the actions of the characters is worrying. And more worrying than that is the amount of those who interpret the said actions so superficially. I can't believe it needs to be explained that it wasn't Vi's death that led to the "good" timeline, but the lack of hextech. The result would have been the same if either of them had died. It wasn't about Vi, but about the child that died because of dangerous technology and that therefore that technology must not be used. The mischaracterization of Vi in general is insane. Call me biased and unfair, but the moment I hear you don't like her I will assume you didn't understand the show.

Also, the whole discourse around Caitvi scene in episode 8 is giving brainsmooth. No, Vi didn't choose Cait over Jinx, quite the opposite. No, Cait didn't plan all of it to fuck Vi. No, Vi didn't do it because she felt forced or because she is a horny animal who doesn't care about her sister. No, them fucking in a cell is not about the class difference, but about the fact that Vi felt an insane rush of emotions after realizing that Cait would let go of her revenge and help Jinx escape, all for her. Yes, I do agree that it would be nice if we got a longer conversation between Vi and Caitlyn and it would feel great to hear Cait apologize, but I'll always value actions over words. Her talking to Jinx, recognizing that she is just as bad as her, and choosing to trust Vi that her sister can change, thus letting Jinx escape will always mean more than any verbal apology and I'll die on that hill.

Also, it was Jinx's decision to let go and walk away. It was not about Vi trying to get to Vander, but about Jinx being tired of everything. Even if that fight didn't happen, the result would be the same: Jinx would leave because she knows that Vi couldn't do that. She knew that the two of them couldn't have a normal life together and that Vi would never give up on her. Jinx didn't "die" because Vi pushed her or failed her, but because she loved her too much. Whether you believe that she is dead or that she escaped, it's her decision either way.

Again, I agree that too much happened too quickly, but stop confusing your stupidity and inability to read between the lines with the quality of the series.

Arcane is flawed but still brilliant.

[inolienkiki]

OH MY FUCKING GOD DARK ONE FORGOTTEN im fuckingf sobbing what was that. why arent people talking about that. it was so good and im gonna have a headache tonight because i cried but i don't care because i heard this story. go listen to it now

and I had it in my notes! I had this idea in my notes!! (went and checked and it's not in my notes) ok but at some point I wrote down a character who uses a curse to their advantage, and then I read alcatraz and was like oh that's not what I meant but I guess it's fun, but THIS. THIS DOES IT. SO WELL. and at some other point I wrote a short story about a functionally invisible character and that was before i read the schwa was here and this is actually one of my favorite tropes but this is the best one. this is absolutely the best one. endorsing dark one forgotten as the best functionally invisible story

went on coppermind to find the actors and coppermind forgot about them tooooo chris and sophie don't even have coppermind pages wtaf why did no one listen to this

i think its rachel jacobs and sophie oda and i can't find much info about either of them but they were boht fucking amazing. dear god thank you rachel jacobs. the number of times you said the other actors were really good and then you completely blew them out of the water. you made me tear up at least twice and the other time it was sophie oda so points to all of you

the story. can't even explain waht thsi is. true crime horror mystery fantasy? and I don't even like the first half of that sentence but I don't care because the story punched me in the gut and I didn't even need to understand the worldbuilding. chris asked questions and consulted experts and ran experiments and she got my heart. skeptical about sophie but she was there the entire time. not her project, not her obsession, not her responsibility, but she stayed, and she helped. chris and sophie said they weren't a couple and I was immediately like "yeah if they weren't both women(, bitch) that would be foreshadowing" and IT WAS FUCKIGN FORESHADOWING istg. This. This is also the best romance. And I hate romance I'm arospec lmao but dear god this got me. the sheer dedication to stare at somebody for eight god damn hours straight and then the music box scene. the music box scene. I got to it and I knew it was going to happen as soon as sophie asked but it still blew my mind and broke my heart that she did. because sophie is the best person in the world.

I have not been making sanderson reread update posts, and I read rithmatist and all of reckoners, but I'd already read most of those and there's nothing notable about lux except the plot holes and they didn't hit me hard like fucking dark one forgotten did. i barely knew this existed. It came out during the year of sanderson and yet nobody includes it in the book count. (There were 8 books/stories released, cowards, not 5.) but also I feel the need to mention that I thought dark one was quite good as well, but also that it feels like only the first chapter of a story so I can't say much else as of yet, I guess? I need more dark one. now. anything mirandus. why is nobody talking about this thing

also I feel the need to mention that there were she-ra references? like, references to the reboot, which is hands down my #2 favorite show (can't compete with dark but nothing can lol). and they were good references and they made sense. I started laughing hysterically when sophie said "hey adora". has brandon sanderson watched she-ra and the princesses of power? is this canon? I mean he definitely needs to

[the---hermit]

Not me adding annotations to a book to make it more accessible for my mom when she will read it

[cursedthing]

[stumbles into the room covered in blood all scratched up and disheveled] hey guys so i just finished playing pesterquest. what the fuck

[litnerdwrites]

This reminds me of a video I watched by Rachel Oates, called 'How much does intent matter in Art?' that covers this nicely. She discusses a theory I learned about in Media studies called 'the medium is the message', by Marshall McLuhan, which, suggests, to put simply, that art or media (including books) are encoded with messages, and views, even if you don't realise it, and when the audience consumes them, they decode it, and perceive it. While she doesn't mention SJM or her books, applying the theory to poetry to try and educate people about intention and outcome in art.

Rachel basically explains (better than me, since I'll keep it short for brevity) that if an artist, of any kind, hones and utilises the techniques and skills that come with their craft well, then the audience perceives the message as intended. However, if they utilise their techniques poorly, then the audience will intemperate a different message.

You can still like it, enjoy it, or say you personally think it's really good, because art is inherently subjective, but searching for techniques and their utilisation in art is how a critique critiques them. It's why critique review and audience review of movies and tv shows differ. A critique rates it based on cinematography, writing, directing, and a other factors that may very depending on if it's a tv show, live action animation, etc. Meanwhile audiences rate it on entertainment, relatability, and how impactful it is, etc.

Of course, objective critiques can be argued, with evidence. One person could take a quote from any of the ACOTAR books and use it to argue why ACOTAR is a feminist story, while someone else could take a different, or even the same quote, and argue otherwise, with the artist's intention becoming irrelevant.

Rachel, also explains, art needs to be able to stand on it's own, without needing background about the artist or other context, for it to have meaning or to affect people, to which I agree. Especially in this context.

Take the hike scene. SJM intended it for it to be therapeutic, and healing for Nesta, while others, myself included, argue that it was poorly written at best, and example of abuse at worst. Often, people use SJM's real life hike to argue this point. However, if that context is needed for the scene to stand, then it was't well executed. At best it show's SJM's lack of skill, and usage of structure, plot and techniques, with a lack of true understanding of depression, and the state of mind people are in when they consider taking their own life, and at worst, it shows a very dangerous mindset surrounding the aforementioned subjects.

The point Rachel ultimately makes, is that intention doesn't matter if art, including literature, is offensive, or harmful.

If SJM failed to send the feminist message her books were advertised for having, then her intent doesn't amount to much. If someone is offended by your art, or criticises it for the way it handles certain subject matter, then that reflects a lack of skill on the author's part, at best. At worst, it reflects dangerous ideals and mindsets.

It's also important to understand that many people have different upbringings, and life experiences, which is another reason that there are such different interpretations of art. Every character in her books have said or done things worthy of criticism, some more than others. SJM has said, done and written things that need to be criticised, her handling of race, colonisation and slavery, to name a couple, outside of just how she botched feminism and abuse.

There are victims who relate to Feyre, Mor, Rhys, etc. There are victims who relate more to Nesta, Tamlin, Eris, etc. There are victims who condemn SJM's books and characters in their entirety. There are people, who aren't victims, that relate to Azriel, Emerie, Elain, tc. There are people, who aren't victims, that relate to Viviane, Tarquin, Gwyn, etc. There are people, who aren't victims, that condemn SJM and her writing in their entirety.

However, if SJM is called out for offending people, be it marginalised communities, women in general, or victims, then it's worth apologising, reevaluating why and trying to improve her craft to prevent doing so again. Also, editors and sensitivity readers wouldn't go amis, especially in stories that try to use themes of slavery, racial and gendered discrimination.

To wrap this up, SJM's intent doesn't matter. If people are offended, she needs to take accountability, apologise, and try to do better next time. Given her consistent failure to use incorporate race and slavery into her books in a way that handles the topics with the respect they deserve, I'd say she's failed on all three fronts there. In fact, it become clear that racial and queer representation are half-assed just to give her plausible deniability. If people like it, she can take the credit, if not she can deny it.

Ultimately, art is subjective. Just because she receives criticism, doesn't mean you have to hate it. You're free to have your opinions, but don't be rude, cruel, or otherwise bully others for theirs.

If you're going to try have a discussion with me about these books then I need you to bare in mind that I base absolutely none of my opinions or analyses on SJMs intentions

I have 0 faith that that woman even recognizes the absolutely horrid things she has written nevermind that she intends to actually go into much depth with any of it (Rhysand's abuse, the IC dynamics, the terrible ruling system, retcon retcon retcon for days, the Illyrians, Nesta etc). And people can say that's misogynistic if they want, I do not care. She has shown absolutely no evidence that she doesn't have her head completely encased by the Inner Circles asses or that that and her inability to self insert hasn't completely skewed the way she writes this series so sue me. I don't even believe she fully understands the characters she has written, it's as if she has written so much retconning and gaslighting behaviour in this story that she's somehow managed to gaslight herself at this stage

So anyway my opinions and my interpretations of the characters are based on their actions in the text not what SJM intended for them to convey or whatever bullshit she has the IC spout and if that's what you like to follow that's fine but go be a sheep somewhere else because I won't engage with it I'm sorry (not really)

[paragonrobits]

some important calvin and hobbes facts in case you haven't read the original comic strip in a long time or only absorbed stuff on it from memes and out of context bits on here:

Calvin's last name has never been given, and neither has any of his parent's names. This was actually why his uncle Max only showed up for a brief storyline; the creator of the comic, Bill Watterson, ultimately felt that while it was fine to have him as someone for his parents to talk to, it felt far too awkward to never have Max refer to them by name and he never made a return appearance.

The general tone of the comic is fairly light-hearted, with a big emphasis on goofy slapstick comedy contrasted by clever wordplay and often surprising adult-centered jokes that'll hit you like a slap. A big part of the comedy is, as Watterson put it (paraphrased) "It's really funny to me when people express deeply stupid ideas with really fancy terminology." One notable example you might have seen is that one bit where Calvin asks his mom for money to buy a Satan-worshiping rock album and his mom replies that there's nothing genuine about them and they're just putting on the attitude for shock value, and comisserates with Calvin as he deplores that mainstream nihilism can't be trusted. He concludes that childhood is disillusioning.

There is a LOT of criticism of the extreme materialism and selfish mentality of the late 80s, when the comic was initially written. This may go a long way to explain how its aged so well; much of what it criticizes resonates well with people today.

Bill Watterson views comic strips a legitimate form of artwork, and repeatedly fought to have more space to draw more beautiful and artistic backgrounds, which was a very hard fight and unpopular even with other comic strip artists. He eventually did win some compromises and a lot of Calvin And Hobbes' artwork shows it, with the use of space to indicate time as well as a sharp contrast between the often plain environments of mundane life contrasted by the wildly beautiful imagery of Calvin's imagination (which often sports realistic depictions in an art shift of sorts).

Hobbes is explicitly not an imaginary friend, by word of Watterson himself. We don't know WHAT he is exactly, and Hobbes is apparently unaware of the strange nature of his reality; people look at him and only see an ordinary stuffed tiger plushie, but he has a tangible effect on the world that would be physically impossible for Calvin to do on his own. He's apparently been around for a while, and was apparently around when Calvin was a young baby.

On that note; Hobbes has implicitly killed (notably treated as both a gag and also with the vibe of 'he's a tiger, duh') and while he doesn't do it again on-screen, he doesn't have any moral issues about it. Calvin claims that he's never had trouble bringing Hobbes to school because the last time he did, Hobbes killed and ate a bully named Tommy Chestnut and simply comments that it was gross and he needed a bath. Calvin's tried to repeat this again, but Hobbes was grossed out at the thought having to eat a kid raw and not being allowed to use an oven first, or complaining that children are too fattening.

Hobbes became gradually less human-like in body language and more like an actual cat in both body language and behavior; this was due to Watterson drawing more inspiration from his cat, who also inspired a lot of Hobbes' running gags, such as pouncing on Calvin when he got home. Several years into the syndication of the strip, Watterson's cat passed away, and he did a tribute to her with a comic strip of the two of them agreeing to try to dream together so they can keep playing when they have to sleep; Watterson's commentary (if I recall right), remarks on his cat: "We can see each other again in dreams."

[annabelle--cane]

"the magnus protocol had a whole ARG beforehand? what?"

yes! it did!

"oh so I need to have participated in this whole big thing to actually understand the podcast?"

not at all! from the official post-mortem put out by RQ, "while the ARG was not something that was necessary to participate in to understand the magnus protocol, it was designed to contain a wealth of background story and context that would enrich any player's listening experience."

"a wealth of background context that would enrich my listening experience 👀👀👀 how can I learn about this?"

SO glad you asked. sadly, many of the materials made for the arg have been taken down since the game ended 😔 (ex., the official OIAR, magnus institute, and bonzoland websites. (edit ii: I found partial wayback machine captures! see below) though @strangehauntsuk is still up!), so we're a bit low on primary sources, but in terms of learning about what happened:

for a starting point, I would really recommend this video by @pinkelotjeart

it's super accessible, it was made in real time as the game progressed and follows the solving and revelation of clues as they happened, it hits all the major points of the mystery and moments of community insanity while eliding some of the nitty gritty puzzle grinding, 10/10 would recommend.

here's the official summary put out by RQ, and I'd recommend reading through this once you've already gotten a basic handle on the flow of the story and the basic connections between major clues and events. it's got some fun behind-the-scenes info and lays out the thought process behind the puzzles in simple terms

here's the full masterdoc of all puzzles and resolutions put together in the statement remains discord server. masterdoc my absolute BELOVED, masterdoc my bethrothed, masterdoc my soul mate. I'd recommend this as a second port of call after the above video as it either contains all details about the puzzles or links to other expanded docs that do.

here's the narrative summary doc that lays out all the plot and lore discovered in three pages of plain prose. if you just want to get to the good bits as fast as you can and get blasted directly in the face by contextless lore bombs, this is the doc for you. if you don't want to start with the video, I'd say this is another good entry point.

once you've got the lay of the land, some of the game materials that I found particularly interesting include:

the in-universe east germany expat usenet forum, with all content translated into english. most of it is irrelevant space filler with occasional extremely sus lore, but I still found it fun to read through. love to soak in some fictional forum drama.

chdb.xlsx, the spreadsheet of the names of all the children the protocol 'verse magnus institute was studying/experimenting on. EDIT: here is a version of the sheet without any annotations and with all of the names in their original order, kudos to @theboombutton for catching that the commonly shared copy had the order swapped around.

klaus.xls, a (very corrupted) spreadsheet with what looks like the classifications of a bunch of old OIAR cases.

EDIT: have a few more saved materials from the game that I forgot to include.

an in-universe audio ad to apply to the OIAR that ran before archives episodes and kicked off the whole game.

an in-universe video ad to apply to the OIAR, this one is an official upload that's still up from the game itself. you can subscribe to the OIAR's official youtube channel today, if you so chose.

the robo-voicemail greeting from the OIAR's phone line.

EDIT II:

here is a wayback machine capture of the OIAR's official website.

here is a wayback machine capture of the bonzoland website.

(pretty sure both of the above captures just archived the home pages, though I haven't tried clicking all of the links. I'd say they're still worth looking at, the home pages give a good window into the vibes.)

once you start poking around in these documents, you'll find a bunch of links to others with further information, the materials I've included here just contain what I feel to be the most relevant details to getting a broad feel for the whole game. once again, huge shout out to the statement remains server, I was barely in there as the ARG was in progress and only ducked my head in every so often to find links like these. true mvps of the fandom.

[elumish]

I've been reading Iron Flame by Rebecca Yarros, and it's gotten me thinking about how worldbuilding is multilayered, and about how a failure of one layer of the worldbuilding can negatively impact the book, even if the other layers of the worldbuilding work.

I don't want to spoil the book for anyone, so I'm going to talk about it more broadly instead. In my day job, one of the things I do is planning/plan development, and we talk about plans broadly as strategic, operational, and tactical. I think, in many ways, worldbuilding functions the same way.

Strategic worldbuilding, as I think of it, is how the world as a whole works. It's that vampires exist and broadly how vampires exist and interact with the world, unrelated to the characters or (sometimes) to the organizations that the characters are part of. It's the ongoing war between Earth and Mars; it's the fact that every left-handed person woke up with magic 35 years ago; it's Victorian-era London except every twelfth day it rains frogs. It's the world, in the broadest sense.

Operational worldbuilding is the organizations--the stuff that people as a whole are doing/have made within the context of that strategic-level world. For The Hunger Games, I'd probably put the post-apocalyptic nature of the world and even the existence/structure of the districts as the strategic level and the construct of the Hunger Games as the operational level: the post-apocalyptic nature of the world and the districts are the overall world that they live in, and the Hunger Games are the construct that were created as a response.

Tactical worldbuilding is, in my mind, character building--and, specifically, how the characters (especially but not exclusively the main characters) exist within the context of the world. In The Hunger Games, Katniss has experience in hunting, foraging, wilderness survival, etc. because of the context of the world that she grew up in (post-apocalyptic, district structure, Hunger Games, etc.). This sort of worldbuilding, to me, isn't about the personality part of the characterization but about the context of the character.

Each one of these layers can fail independently, even if the other ones succeed. When I think of an operational worldbuilding failure, I think of Divergent, where they took a post-apocalyptic world and set up an orgnaizational structure that didn't make any sense, where people are prescribed to like 6 jobs that don't in any way cover what's required to run a modern civilization--or even to run the society that they're shown as running. The society that they present can't exist as written in the world that they're presented as existing in--or if they can, I never could figure out how when reading the book (or watching the film).

So operational worldbuilding failures can happen when the organizations or societies that are presented don't seem like they could function in the context that they are presented in or when they just don't make any sense for what they are trying to accomplish. If the story can't reasonably answer why is this organization built this way or why do they do what they do then I see it as an organizational worldbuilding failure.

For tactical worldbuilding failures, I think of stories where characters have skillsets that conveniently match up with what they need to solve the problems of the plot but don't actually match their background or experience. If Katniss had been from an urban area and never set foot in a forest, it wouldn't have worked to have her as she was.

In this way (as in planning), the tactical level should align with the operational level which should align with the strategic level--you should be able to trace from one to the next and understand how things exist in the context of each other.

For that reason, strategic worldbuilding failures are the vaguest to explain, but I think of them like this: if it either 1) is so internally inconsistent that it starts to fall apart or 2) leaves the reader going this doesn't make any sense at all then it's probably failed.

[tinystepsforward]

autocrattic (more matt shenanigans, not tumblr this time)

I am almost definitely not the right person for this writeup, but I'm closer than most people on here, so here goes! This is all open-source tech drama, and I take my time laying out the context, but the short version is: Matt tried to extort another company, who immediately posted receipts, and now he's refusing to log off again. The long version is... long.

If you don't need software context, scroll down/find the "ok tony that's enough. tell me what's actually happening" heading, or just go read the pink sections. Or look at this PDF.

the background

So. Matt's original Good Idea was starting WordPress with fellow developer Mike Little in 2003, which is free and open-source software (FOSS) that was originally just for blogging, but now powers lots of websites that do other things. In particular, Automattic acquired WooCommerce a long time ago, which is free online store software you can run on WordPress.

FOSS is... interesting. It's a world that ultimately is powered by people who believe deeply that information and resources should be free, but often have massive blind spots (for example, Wikipedia's consistently had issues with bias, since no amount of "anyone can edit" will overcome systemic bias in terms of who has time to edit or is not going to be driven away by the existing contributor culture). As with anything else that people spend thousands of hours doing online, there's drama. As with anything else that's technically free but can be monetized, there are:

Heaps of companies and solo developers who profit off WordPress themes, plugins, hosting, and other services;

Conflicts between volunteer contributors and for-profit contributors;

Annoying founders who get way too much credit for everything the project has become.

the WordPress ecosystem

A project as heavily used as WordPress (some double-digit percentage of the Internet uses WP. I refuse to believe it's the 43% that Matt claims it is, but it's a pretty large chunk) can't survive just on the spare hours of volunteers, especially in an increasingly monetised world where its users demand functional software, are less and less tech or FOSS literate, and its contributors have no fucking time to build things for that userbase.

Matt runs Automattic, which is a privately-traded, for-profit company. The free software is run by the WordPress Foundation, which is technically completely separate (wordpress.org). The main products Automattic offers are WordPress-related: WordPress.com, a host which was designed to be beginner-friendly; Jetpack, a suite of plugins which extend WordPress in a whole bunch of ways that may or may not make sense as one big product; WooCommerce, which I've already mentioned. There's also WordPress VIP, which is the fancy bespoke five-digit-plus option for enterprise customers. And there's Tumblr, if Matt ever succeeds in putting it on WordPress. (Every Tumblr or WordPress dev I know thinks that's fucking ridiculous and impossible. Automattic's hiring for it anyway.)

Automattic devotes a chunk of its employees toward developing Core, which is what people in the WordPress space call WordPress.org, the free software. This is part of an initiative called Five for the Future — 5% of your company's profits off WordPress should go back into making the project better. Many other companies don't do this.

There are lots of other companies in the space. GoDaddy, for example, barely gives back in any way (and also sucks). WP Engine is the company this drama is about. They don't really contribute to Core. They offer relatively expensive WordPress hosting, as well as providing a series of other WordPress-related products like LocalWP (local site development software), Advanced Custom Fields (the easiest way to set up advanced taxonomies and other fields when making new types of posts. If you don't know what this means don't worry about it), etc.

Anyway. Lots of strong personalities. Lots of for-profit companies. Lots of them getting invested in, or bought by, private equity firms.

Matt being Matt, tech being tech

As was said repeatedly when Matt was flipping out about Tumblr, all of the stuff happening at Automattic is pretty normal tech company behaviour. Shit gets worse. People get less for their money. WordPress.com used to be a really good place for people starting out with a website who didn't need "real" WordPress — for $48 a year on the Personal plan, you had really limited features (no plugins or other customisable extensions), but you had a simple website with good SEO that was pretty secure, relatively easy to use, and 24-hour access to Happiness Engineers (HEs for short. Bad job title. This was my job) who could walk you through everything no matter how bad at tech you were. Then Personal plan users got moved from chat to emails only. Emails started being responded to by contractors who didn't know as much as HEs did and certainly didn't get paid half as well. Then came AI, and the mandate for HEs to try to upsell everyone things they didn't necessarily need. (This is the point at which I quit.)

But as was said then as well, most tech CEOs don't publicly get into this kind of shitfight with their users. They're horrid tyrants, but they don't do it this publicly.

ok tony that's enough. tell me what's actually happening

WordCamp US, one of the biggest WordPress industry events of the year, is the backdrop for all this. It just finished.

There are.... a lot of posts by Matt across multiple platforms because, as always, he can't log off. But here's the broad strokes.

Sep 17

Matt publishes a wanky blog post about companies that profit off open source without giving back. It targets a specific company, WP Engine.

Compare the Five For the Future pages from Automattic and WP Engine, two companies that are roughly the same size with revenue in the ballpark of half a billion. These pledges are just a proxy and aren’t perfectly accurate, but as I write this, Automattic has 3,786 hours per week (not even counting me!), and WP Engine has 47 hours. WP Engine has good people, some of whom are listed on that page, but the company is controlled by Silver Lake, a private equity firm with $102 billion in assets under management. Silver Lake doesn’t give a dang about your Open Source ideals. It just wants a return on capital. So it’s at this point that I ask everyone in the WordPress community to vote with your wallet. Who are you giving your money to? Someone who’s going to nourish the ecosystem, or someone who’s going to frack every bit of value out of it until it withers?

(It's worth noting here that Automattic is funded in part by BlackRock, who Wikipedia calls "the world's largest asset manager".)

Sep 20 (WCUS final day)

WP Engine puts out a blog post detailing their contributions to WordPress.

Matt devotes his keynote/closing speech to slamming WP Engine.

He also implies people inside WP Engine are sending him information.

For the people sending me stuff from inside companies, please do not do it on your work device. Use a personal phone, Signal with disappearing messages, etc. I have a bunch of journalists happy to connect you with as well. #wcus — Twitter I know private equity and investors can be brutal (read the book Barbarians at the Gate). Please let me know if any employee faces firing or retaliation for speaking up about their company's participation (or lack thereof) in WordPress. We'll make sure it's a big public deal and that you get support. — Tumblr

Matt also puts out an offer live at WordCamp US:

“If anyone of you gets in trouble for speaking up in favor of WordPress and/or open source, reach out to me. I’ll do my best to help you find a new job.” — source tweet, RTed by Matt

He also puts up a poll asking the community if WP Engine should be allowed back at WordCamps.

Sep 21

Matt writes a blog post on the WordPress.org blog (the official project blog!): WP Engine is not WordPress.

He opens this blog post by claiming his mom was confused and thought WP Engine was official.

The blog post goes on about how WP Engine disabled post revisions (which is a pretty normal thing to do when you need to free up some resources), therefore being not "real" WordPress. (As I said earlier, WordPress.com disables most features for Personal and Premium plans. Or whatever those plans are called, they've been renamed like 12 times in the last few years. But that's a different complaint.)

Sep 22: More bullshit on Twitter. Matt makes a Reddit post on r/Wordpress about WP Engine that promptly gets deleted. Writeups start to come out:

Search Engine Journal: WordPress Co-Founder Mullenweg Sparks Backlash

TechCrunch: Matt Mullenweg calls WP Engine a ‘cancer to WordPress’ and urges community to switch providers

Sep 23 onward

Okay, time zones mean I can't effectively sequence the rest of this.

Matt defends himself on Reddit, casually mentioning that WP Engine is now suing him.

Also here's a decent writeup from someone involved with the community that may be of interest.

WP Engine drops the full PDF of their cease and desist, which includes screenshots of Matt apparently threatening them via text.

Twitter link | Direct PDF link

This PDF includes some truly fucked texts where Matt appears to be trying to get WP Engine to pay him money unless they want him to tell his audience at WCUS that they're evil.

Matt, after saying he's been sued and can't talk about it, hosts a Twitter Space and talks about it for a couple hours.

He also continues to post on Reddit, Twitter, and on the Core contributor Slack.

Here's a comment where he says WP Engine could have avoided this by paying Automattic 8% of their revenue.

Another, 20 hours ago, where he says he's being downvoted by "trolls, probably WPE employees"

At some point, Matt updates the WordPress Foundation trademark policy. I am 90% sure this was him — it's not legalese and makes no fucking sense to single out WP Engine.

Old text: The abbreviation “WP” is not covered by the WordPress trademarks and you are free to use it in any way you see fit. New text: The abbreviation “WP” is not covered by the WordPress trademarks, but please don’t use it in a way that confuses people. For example, many people think WP Engine is “WordPress Engine” and officially associated with WordPress, which it’s not. They have never once even donated to the WordPress Foundation, despite making billions of revenue on top of WordPress.

Sep 25: Automattic puts up their own legal response.

anyway this fucking sucks

This is bigger than anything Matt's done before. I'm so worried about my friends who're still there. The internal ramifications have... been not great so far, including that Matt's naturally being extra gung-ho about "you're either for me or against me and if you're against me then don't bother working your two weeks".

Despite everything, I like WordPress. (If you dig into this, you'll see plenty of people commenting about blocks or Gutenberg or React other things they hate. Unlike many of the old FOSSheads, I actually also think Gutenberg/the block editor was a good idea, even if it was poorly implemented.)

I think that the original mission — to make it so anyone can spin up a website that's easy enough to use and blog with — is a good thing. I think, despite all the ways being part of FOSS communities since my early teens has led to all kinds of racist, homophobic and sexual harm for me and for many other people, that free and open-source software is important.

So many people were already burning out of the project. Matt has been doing this for so long that those with long memories can recite all the ways he's wrecked shit back a decade or more. Most of us are exhausted and need to make money to live. The world is worse than it ever was.

Social media sucks worse and worse, and this was a world in which people missed old webrings, old blogs, RSS readers, the world where you curated your own whimsical, unpaid corner of the Internet. I started actually actively using my own WordPress blog this year, and I've really enjoyed it.

And people don't want to deal with any of this.

The thing is, Matt's right about one thing: capital is ruining free open-source software. What he's wrong about is everything else: the idea that WordPress.com isn't enshittifying (or confusing) at a much higher rate than WP Engine, the idea that WP Engine or Silver Lake are the only big players in the field, the notion that he's part of the solution and not part of the problem.

But he's started a battle where there are no winners but the lawyers who get paid to duke it out, and all the volunteers who've survived this long in an ecosystem increasingly dominated by big money are giving up and leaving.

Anyway if you got this far, consider donating to someone on gazafunds.com. It'll take much less time than reading this did.

[slayingfiction]

Mastering the Art of Dialogue

Dialogue is the lifeline of any narrative. It brings characters to life, propels the plot, and creates depth in the story. However, writing dialogue that feels real and engaging can be challenging. Here are some tips to help you refine your dialogue-writing skills:

1. Listen to Real Conversations

The foundation of great dialogue is authenticity. Spend time listening to how people speak in real life. Notice the flow of conversation, the interruptions, the ums and ahs, and the unfinished thoughts. Real speech is rarely grammatically perfect or fully articulated. Incorporating these nuances can make your dialogue more relatable.

2. Each Character Should Have a Unique Voice

Your characters should be distinguishable by their dialogue alone. A teenager will speak differently from an elderly person; a doctor will use different terminology than a street artist. Think about their background, education, and personality. These factors should influence their speech patterns, vocabulary, and even the rhythm of their dialogue.

3. Use Dialogue to Show, Not Tell

Dialogue is a powerful tool for showing the reader what’s happening without explicitly telling them. Through conversations, you can reveal your characters' thoughts, feelings, and intentions. For example, instead of narrating that a character is nervous, you could show it through their stammering dialogue or their avoidance of direct answers.

4. Keep It Concise

In real conversations, people often meander through their thoughts. In written dialogue, however, it's important to be concise. Every line of dialogue should serve a purpose, whether it’s moving the plot forward, revealing character, or creating tension. If a piece of dialogue doesn’t add value to your story, consider cutting it.

5. Read Your Dialogue Aloud

One of the best ways to test your dialogue is to hear it. Reading your dialogue aloud can help you catch awkward phrasings or unnatural speech patterns. Better yet, have someone else read it to you. This can provide insight into how your dialogue will sound to your readers.

6. Use Subtext to Your Advantage

Not everything needs to be said explicitly. Subtext—the underlying meaning behind the spoken words—can add depth and complexity to your dialogue. Characters might say one thing but mean another, based on their emotions, relationships, or situations. This layering of meaning can make your dialogue more engaging and thought-provoking.

7. Balance Dialogue with Action and Description

While dialogue is critical, it should be balanced with narrative description and action. This balance helps maintain the pacing of your story and ensures that your scenes are visually and emotionally compelling. Action and description can also provide context that enhances the meaning and impact of your dialogue.

Conclusion

Great dialogue can transform a good story into an unforgettable one. By applying these tips, you can craft dialogue that captures the essence of your characters and engages your readers on a deeper level. Remember, writing is a craft that improves with practice. Keep experimenting with your dialogue, and don't be afraid to rewrite until it sounds just right.

Writing dialogue is a skill that can be honed over time. The more you practice and read, the better you'll become at capturing the essence of conversation on the page.

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[thydungeongal]

There's this idea floating around the general TTRPG space that's kind of hard to put one's finger on which I think is best articulated as "the purpose of an RPG is to produce a conventionally shaped satisfying narrative," and in this context I mean RPG as not just the game as it exists in the book but the act of play itself.

And this isn't exactly a new thing: since time immemorial people have tried to force TTRPGs to produce traditional narratives for them, often to be disappointed. I also feel this was behind a lot of the discussion that emerged from the Forge and that informed the first "narrativist" RPGs (I'm only using the word here as a shorthand: I don't think the GNS taxonomy is very useful as more than a shibboleth): that at least for some TTRPGs the creation of a story was the primary goal (heck, some of them even called themselves Storytelling games), but since those games when played as written actually ended up resisting narrative convention they were on some level dysfunctional for that purpose.

There's some truth to this but also a lot of nuance: when you get down to the roots of the hobby, the purpose of a game of D&D wasn't the production of a narrative. It was to imagine a guy and put that guy in situations, as primarily a game that challenged the player. The production of a narrative was secondary and entirely emergent.

But in the eighties you basically get the first generation of players without the background from wargames, whose impressions of RPGs aren't colored by the assumption that "it's kind of like a wargame but you only control one guy." And you start getting lots of RPGs, some of which specifically try to model specific types of stories. But because the medium is still new the tools used to achieve those stories are sometimes inelegant (even though people see the potential for telling lots of stories using the medium, they are still largely letting their designs be informed by the "wargame where you only control one guy" types of game) and players and designers alike start to realize that these systems need a bit of help to nudge the games in the direction of a satisfying narrative. Games start having lots of advice not only from the point of view of the administrative point of view of refereeing a game, but also from the point of view of treating the GM as a storyteller whose purpose is to sometimes give the rules a bit of a nudge to make the story go a certain way. What you ultimately get is Vampire: the Masquerade, which while a paradigm shift for its time is still ultimately a D&D ass game that wants to be used for the sake of telling a conventional narrative, so you get a lot of explicit advice to ignore the systems when they don't produce a satisfying story.

Anyway, the point is that in some games the production of a satisfying narrative isn't a primary design goal even when the game itself tries to portray itself as such.

But what you also get is this idea that since the production of a satisfying narrative is seen as the goal of these games (even though it isn't necessarily so), if a game (as in the act of play) doesn't produce a satisfying narrative, then the game itself must be somehow dysfunctional.

A lot of people are willing to blame this on players: the GM isn't doing enough work, a good GM can tell a good story with any system, your players aren't engaging with the game properly, your players are bad if they don't see the point in telling a greater story. When the real culprit might actually be the game system itself, or rather a misalignment between the group's desired fiction and the type of fiction that the game produces. And when players end up misidentifying what is actually an issue their group has with the system as a player issue, you end up with unhappy players fighting against the type of narrative the game itself wants to tell.

I don't think an RPG is dysfunctional even if it doesn't produce a conventionally shaped, satisfying narrative, because while I do think the act of play inevitably ends up creating an emergent narrative, that emergent narrative conforming to conventions of storytelling isn't always the primary goal of play. Conversely, a game whose systems have been built to facilitate the production of a narrative that conforms to conventions of storytelling or emulates some genre well is also hella good. But regardless, there's a lot to be said for playing games the way the games themselves present themselves as.

Your traditional challenge-based dungeon game might not produce a conventionally satisfying narrative and that's okay and it's not your or any of your players' fault. The production of a conventionally satisfying narrative as an emergent function of play was never a design goal when that challenge-based dungeon game was being made.

[bubblegumbarbie33]

the great thing about Derry girls is that the audience doesn't know shit

like, I'm sure if you're an Irish or English viewer you have a bit more context for some of the historical jokes and holidays and the like

but plot threads like James' mother, micelle's brother, and the fact that Erin's sister just sort of exists in the background are barely explained but they don't need to be

because the point of the show isn't to espouse upon every little mystery of Derry, each character's inner turmoil, the backstory of every extra- hell, we don't get much of a backstory for the main characters! I don't think we even meet Michelle's father- and we never see the inside of any of the main five's houses besides Erin

this show is slice of life in its purest form

we are dropped into the first day of school in Derry in season one, and we leave on the day of the vote in season 3, when the girls are thinking about going off to college or university, that's it. we're merely a viewer. these characters aren't performing a show for us, we're peeking into their lives.

anyway its really late and I love Derry girls

[moonydustx]

A not so funny story

requests | mastelist

Summary: With Uta controlling everyone and the marine attacking, you needed to contain an unconscious Law who was looking to join the fight. Now, you need to deal with the consequences of him finding out about this.

Pairing: Trafalgar Law x F!Reader

Warnings: blood, Law hurts Reader (not on purpose), they both love each other, but they are idiots who don't know how to talk. Law doesn't know how to express his feelings in this one. Angst, kinda fluff/happy ending.

W/C: 3.6k

A/N: I just saw the movie Red and the idea came to my mind. I need to shake off the rust and get back to writing, I thought it would be a good solution. Despite being linked to the film OP Red, there may be some things that differ from the canon.

For those who haven't seen the film, a spoiler-free context: in the film, we see a singer called Uta, who Bepo is a fan of and, together with Law, go to the show. Problems happen, she puts everyone to sleep and with her power, she manipulates these sleeping people to fight with other people who want to stop her.

italics apply to flashbacks and thoughts

Part 2 | Part 3 (NSFW)

The cold stone beneath you contrasted with your hot, sweaty body. You could feel the wounds burning on your body and if you reached out your hand, you could find the cause of them, your captain.

In the distance, you could hear someone calling your name and it didn't take long for Penguin to appear in your field of vision.

"Are you okay?"

"He gave me a hard time, but I'm fine. And you?" You grumbled, sitting up and taking in your surroundings. Apparently everyone had gone back to sleep.

"We're tired but fine. You're bleeding, do you need any help?"

"Everything is fine." You stood, with his help. "We need to get them out of here, I doubt the marines will miss the chance to catch so many pirates gathered in one place. At the very least, this will end in a fight."

You chose to help carry Bepo back to Polar Tang. Even though he was big, sharing the weight would be much easier than carrying Law alone. As soon as you entered the submarine, you disappeared from sight, leaving all of Uta's fight behind.

"Do you guys need help? I can see some pretty bad injuries from here." Ikkaku approached, already stopping the blood on your forehead. "Are they both okay?"

"We should take them to the infirmary and keep them under observation." you warned, seeing two other crew members carry them out of sight. "Can we get away from the fight?"

"Yeah, off their radar." someone answered you in the background.

"Perfect, keep us at this depth, keep an eye on the radios, any sign of change, if Law hasn't woken up, you look for me." You leaned against one of the tables, trying to ignore some of the pain in your body.

It was supposed to be just a quick show, at least that's what Bepo had said. Unfortunately for Law, he ended up being the polar bear's requested companion.

"Sure you don't want to change places with me?" Law appeared next to you, while you finished cleaning the kitchen.

"No captain, I'll be right here, with my duties." You smiled at him and, despite being frustrated, he let out a sideways smile.

"You know that I'm the captain right? That I can give the order and you have to go and I don't."

"You wouldn't be so mean, would you?" you asked indignantly and on one of the few occasions, you heard him laugh, even if it was low tone. "Captain!"

"I'm kidding. Just keep an eye on everything, okay? Don't let Shachi and Penguin cause any trouble."

"Yes, sir. And you, enjoy the show."

You were almost regretting not accepting the proposal. Law would certainly be much better at containing you and preventing you from getting into a big fight than you would be doing the opposite. But you liked the idea of ​​him trusting you.

"Everything is alright?" Ikkaku took you out of your reverie, noticing your body slightly bent and the blood falling on your forehead.

"Try holding back a furious Trafalgar Law from wanting to get into a fight and tell me if that's okay." You laughed, even though it took some of the air out of you. "Just a few bruises, nothing major."

"Come on, I'll help you take care of this." Ikkaku gently pulled you by the hand.

"Boys, do you deal with them?" you asked and they both nodded. "If Law wakes up, don't say anything to him about our little fight."

"You mean, about the big fucking beating he gave you?" Shachi teased you, earning a push.

"Exactly. He has bigger problems to worry about than dealing with this."

You and Ikkaku headed towards the dorm you shared. Your friend made a point of supporting you at every step, even if you insisted it wasn't necessary. She sat you down on the bed and grabbed a small first aid kit hidden on one of the shelves.

"Why not tell the captain?"

"Outch" you mumbled with one of the stitches she had on your face. "I have a feeling he's not going to like that we got into this fight without his presence."

"I think he'll be more resentful that you were the one who held him back." You laughed at her silly observation, then grumbled with another needle. Damn fight. "Don't act stupid."

"What you mean?"

"I'll let you choose. Between you being the only one who can steal books from him without him complaining or about every time we disembark, you having to be on his side. Should I mention that time he freaked out because Kid wanted to take you to the crew from him?" she laughed to herself, at her own memory. "What do you need to see that he likes you too?"

"And who said I like him?"

"Okay, you still want to keep hiding your feelings for him, just hide it better." she laughed again. It was clear to her - and anyone else who saw - that there was something between the two of you. You just prefer not to feed this illusion. "Still, I agree that he won't like all this one bit. Let's try to keep out of his sight."

Law was still trying to assimilate everything that happened. Uta's show had turned into a war scene and in the end, even he had become a puppet. That idea would haunt him for a long time.

Despite recent events, Polar Tang was quiet, too quiet. He could hear some buzzing, nothing he could identify. Another thing he couldn't place was you. The last time he saw you, he had tried to bargain for your presence at the show, even though he had asked to change places with you, he didn't think the idea of ​​going with you was bad. You'd probably hate the song, but he'd enjoy your sarcastic comments about any awkward situation. A small laugh crossed his lips when he thought about what you would say to see little Bepo.

At dinner, he observed Shachi, Penguin and Bepo, talking to each other. The concerned expressions denoted the seriousness of the matter, but that could come later. Even though he slept through it all, he still felt tired.

At lunch the next day, again, nothing from you. Ikkaku was also missing. It was impossible for the two of them to have disappeared together and without any justification. He tried not to think about the worst-case scenarios, but no matter how much he denied it, he wasn't such an optimistic person.

It only took a few seconds of your three companions stalling for him to know that you and Ikkaku were up to something or had already been up to something. He left them behind, following with firm steps to your room.

"I didn't see you two at lunch or yesterday at dinner, I wanted to know..." you two found Law leaning against the door of your room. His relaxed position disappeared in seconds when he looked at where Ikkaku's hand joined your forehead. "What happened?"

"Just a few scratches, nothing major." your colleague replied before you could open your mouth. She knew - actually, you weren't that good at hiding it - about your feelings and how easily you could wrap your head around your own words.

"Yeah, they're from yesterday, some scratches." you tried to complement, the captain's serious expression made it clear that that hadn't helped at all.

"Nothing much and that's why you haven't shown up since yesterday?" he grumbled and before he could continue his lecture, he felt his body being pushed forward, with Bepo, Shachi and Penguin falling beside him. "What the fuck?"

"We just wanted to know if you already know that she was the one..." before the bear finished speaking, the other two covered his mouth.

The grey eyes trailed from you to Ikkaku, to the group lying next to him, and back to you again. The small stress that was forming inside Law turned into concern when he saw the small trickle of blood dripping from your eyebrow.

It only took a few moments away for you to appear like that and he would never tolerate that, you didn't need to know about his feelings or how he was already thinking about taking revenge on whoever had done that, he would deal with it after taking care of your wound .

"Everyone out." you made to follow Ikkaku, stopping a few meters away. "Not you, I need to see this."

The door to the small room knocked subtly behind Law, who waited for a few seconds to approach you. The two of you already had a considerable height difference, but when you felt Law's cold, tattooed fingers on your chin, you felt even smaller. He turned both sides of your face, despite the cold touch, you could feel your skin burn beneath his fingers.

"You're warm, but I don't see any trace of infection." Not this one, you thought. "Give me the name?"

"Name?"

"Which idiot did this?" he replied without much patience, his fingers leaving your face behind.

"This is going to be a funny story." you laughed, stopping immediately when you saw him look deep into your eyes, his expression serious in an almost irritating way.

"Someone decided to hurt one of my crew. I don't think it's such a funny story. Who did it?"

"Captain of the Heart Pirates, Trafalgar Law." your answer didn't seem to catch him instantly, with each word that left your mouth, you could see him getting paler and paler. "I believe you already know, but Uta managed to control everyone who was asleep to attack the pirates and the marines and with that, you and Bepo were also controlled. The boys held Bepo and I had to deal with you, but everything is fine. "

"They told me about Bepo..." he seemed lost for words, taking a certain distance from you and leaning on the small table in your room. "So you restrained me, alone?"

"You, actually Uta, didn't have access to your Devil Fruit powers, it ended up being easier. After all, our mission was just to keep you two away from the navy." you explained, leaning on the opposite side to where he was, seeing his crestfallen expression. "Like I said, it's okay captain."

"Where else did I hurt you?" the question took you by surprise, making it difficult to hide your reaction. "I know my strength, I have a feeling it wasn't just that. I could see it myself, but I trust you, so please."

With your fists clenched and your gaze following your every step, Law could see your hand go to your ribs, along with a grumble, as you bent down to pick up a small cloth and fill it with something that smelled similar to alcohol. As much as he noticed you trying hard, he could see you limping. He watched you smear the contents on one of your cheeks and your arm, revealing some bruises.

You stopped in front of him, letting him analyze. Despite the pain throughout your body, Law's proximity was almost like an anesthetic. If he stayed there, you wouldn't mind spending the day under his gaze. Law took your arm, gently sliding his fingers under the bruise, watching you flinch in discomfort. His hands practically put your arm back in place and placed themselves on the zipper of your jumpsuit.

Your hands placed themselves next to his, pulling the device and opening the entire piece. Of all the times he had dreamed of touching your skin, none had felt like this. He liked to imagine how soft it would be, to think about how your body would shiver, to feel with his own lips every piece of exposed skin, while he heard you ask for more. All the purple spots he had dreamed of leaving on your skin were nothing like the one he saw. Thoughts would need to be put aside at that moment.

His hand knocked down one side of your jumpsuit, showing the large bruise on your rib, which made him hold his breath for a few seconds.

"What else?" his voice was barely audible. He knew there was more to it, but he didn't want to be invasive.

"Just this cut." you took off the other strap of your jumpsuit and let it fall below your waist, showing the wound on your thigh. It wasn't that big, but when you both looked at the place, you understood where all the warmth in your body was coming from. "Shit. It wasn't like this last time I looked." actually it was, you just wanted to spare him the worry.

You adjusted your jumpsuit, leaving the top hanging around your waist. Your eyes searched for Law's, but he seemed to be far away, even just a few centimeters away. For some time, he didn't say anything. His eyes followed one point you had shown and others, looking for other signs. His hands prostrated in front of his body, why had he done that? Why hurt you?

"Law?"

"I...I..." the words seemed stuck somewhere inside him. His hands placed themselves next to your face, a gesture you hadn't received from him yet. "I don't know how to apologize. Forgive me, I didn't want any of this to happen."

"No need, Law, really. I was doing what any of us would do, taking care of our crew, taking care of our captain."

Again the words seemed to have escaped him. He just wished he could hold you and apologize a thousand times, hold you there and heal every little part of you and never allow anything to hurt you again. Some conscious side of him screamed in the background that this wasn't anyone's fault, but the sound seemed so far away to hear, while the picture of what he had done was so close to him.

A few seconds passed, his hands were still on your face, while you just enjoyed the awkward affection you received. He didn't know how to deal with that feeling, it was a guilt like he had never felt. Along with a fear, a need to see you well. There were too many things to deal with and at that moment, he chose to be the most rational one.

"It's infected and may have broken something." Law let his medical side take control of the situation. "Room. Shambles."

Before you even noticed the blue dome surrounding you, the two of you had already been transported to the infirmary. You remained standing in your place as you watched the captain hurriedly walk around the room, collecting some materials and before you could try to get on the stretcher, the two of you were already being taken to another place.

The table full of books, the small window of the Polar Tang showing some little orange fish passing by outside, a cozy bed, even with the sheets spread out. That definitely wasn't your room. You watched Law leave the materials on the table and reach Kikoku. You saw the blue dome again, this time, you knew that he was using his powers to confirm that you had indeed presented all your injuries to him.

"I was worried about your rib, but apparently it was just the bruise. Now about your leg, I may need to redo those stitches and medicate you. I can't let the infection spread."

You knew he was nervous, bordering on anxious, but you had known him long enough to know that stopping him from treating you would be even worse. You had chosen to hide your injuries so that Law wouldn't feel guilty, now that he knew, you didn't have much else to do.

"Law." you called out to him carefully, as he prepared the medication. "Do you mind if I bathe first?"

"Sure, I mean, no problem. Just wait a second." He walked away from the table and piled up some things, which he handed into your hand. "Here's my towel, I also left some clothes in case you want to use them, if you don't want to, that's okay. I can ask Ikkaku..."

"This is perfect, thank you Law." you hugged the small bundle of clothes close to your body.

"Room." again, in a matter of seconds, you were at the bathroom door. "I'm sorry, but your leg is really hurt, you shouldn't force it while walking."

"Okay" unlike the time he had taken you to the infirmary, now he had transported you close to each other, which made the air disappear from your lungs. "Can you wait for me? I mean, you said I wouldn't I should force my leg and..."

"I'll be outside, just call me and I'll be here." Please call me, Law's inner voice practically screamed.

Your shower was much quicker than you expected. Just knowing that he was waiting for you outside made butterflies fight in your stomach. You gently dried your body and took the clothes he had given you. Something that looked like shorts - it might have been underwear, but you didn't worry about that right now - and a black button-down shirt. As soon as you button the last button, you can pay attention to the smell of the fabric. Something soft, woody, you wondered if that was his scent.

"Law?" All it took was a small call and he soon entered the bathroom. Not as discreetly as he expected, his eyes roamed your body. "Can you help me?"

"Of course" your feet left the floor, giving you a few seconds to assimilate that he had picked you up and carried you back to the room. He hadn't done this before, but you preferred to just enjoy the sensation, locking your arms around his neck.

With a few steps inside the room, he placed you lying on the bed, pulling a rod further to the side, only then did you notice the hanging IV.

Law bent down, reaching your arm level, cleaning it with a small piece of cotton. He looked at the wound on your leg. In silence, he cleaned the area and took some bandages, placing them across the entire length of the wound. The contrast between your warm skin and his cold hands was strangely comfortable. You wished they would last a little longer there.

"I think we can leave these stitches for another day, but I need you to take this medicine. It's an antibiotic, the infection is small, but I'd rather take care of it soon." He pulled the small needle, seeing your face pale. "I'm sorry darling, but it's the best option we have."

Darling.

That word would echo in your mind for a long time. The fear of the needle that was about to come into contact with your skin eased when you saw the care he took with each gesture.

"Just don't look, okay?" He waited for you to close your eyes. "Just a few seconds and that's it. You'll feel sleepy, but that's normal. As soon as you wake up, I'll bring you something to eat."

He got up and started to adjust the pillows on the bed, the ones that were around and under you. His hands rested around your body, his body was on top of yours, even without any immediate contact. It was inevitable not to get lost in his eyes, or see him do the same with yours. You would like to engrave that in your memory, forever.

"Are you comfortable?" his face still had the same tense expression from the first moment he found you in the room.

"I am, I promise." you replied, in a burst of courage, you brought your hand to his face, touching his cheek. "Law, what worries you so much?"

He walked away, sitting at the foot of the bed. You just straightened up so you could look at him. His tattooed hands took off his hat, fingers tangling against the dark strands.

"I can't deal with the fact that I did this. I did this to you. Of all the people that could have been there, I hurt you." he grumbled, turning so he could look at you. "You do not understand."

"Actually, I understand." your answer left him stunned for a few seconds. "But don't blame yourself, you didn't choose this, captain"

"I know, but at the same time..." he huffed, trying to find the right words, which scratched his insides every time he looked at your scourged face. "You understand me, huh? I mean, I don't just see you as a crew member and something tells me you don't just see me as your captain. And knowing that of all the things that could have happened, I hurt you. I promise compensate you for everything."

"About what you said, about what we see in each other." your thought was interrupted by a long yawn. "What should we do about this?" You made to get up, but the IV attached seemed to transmit drowsiness straight to your body. Your eyes were already starting to get heavy.

"That we can deal with this later. You took care of me, now it's my duty to take care of you. For that, you need to rest." His hands reached yours, giving a slight laugh when he saw you fighting with your own eyes, wanting to leave them open. "I promise not to hurt you again or let anyone else hurt you."

Before you fall asleep for good, you can feel his lips on your hand.

[mellosdrawings]

Hii!! So sorry for going on an absolute spree liking all of your posts ;; your art style is super expressive & I love the way you use crosshatching! As well as all your headcanons (you are so real abt cane user azul, i didnt realize how many cards he's sitting in!!)

I was curious, do you have any headcanons with Ruggie & Jamil? Especially with your N2 squad theories and their canon interactions durin GloMas, I'd love to see what you think of them~

First, never apologize for any liking/reblog/other spree, you have no idea how happy it makes me to have someone like what I do so much that they dig into my previous stuff!

And thank you so much for the compliments I'm ansbsjsbsjsn about them 💕

For Ruggie and Jamil, I have a whole bunch of different headcanons depending on the situations.

First their GloMas interaction gave me life. I found it so perfect, just the two of them finally letting their inner gremlins take over without worrying about their image. It was PERFECT !

I also love that their Signature Spells have the same "manipulation" base, but Ruggie is about the body while Jamil is about the mind. (I usually love adding Jade to the mix with his ability to force the truth out of others. I call the three of them the "Manipulation Gang". I'd love to see the three of them actually gang up some day.)

Jamil and Ruggie also have the same servants-to-spoiled-rich-kids background. I feel like they'd have the most terrible gossip while washing clothes or something. I just can't really imagine them not be friends of sorts. Just pestering about the latest wild nonsense their master has been up to, wondering if they should exchange their burdens (pre chap 6, Jamil would never agree after that) and just generally let the worst of them show to the other coz they don't mind.

In the context of the N2 Squad, Ruggie would definitely be a needed push for Jamil. The kind of "Please just date him, Leona’s mood is only getting worse and I'm tired and if I hear 'im moan about you once more I'm gonna murder you both" or something like that. Ruggie knows the inner workings of Leona, knows the inner workings of Jamil too from their laundry-gossip, and while I can imagine him strive in chaos he would immediately go complain to either Leona or Jamil if their turning around each other made his job harder. After the N2 Squad starts dating though, I can def imagine Ruggie try to profit off being friends with Jamil to get favors from Leona (and maybe Vil too coz why not?)

(Also Ruggie is def Jamil's first fan when it comes to cooking and always tries to have him give him spares from a previous party or whatever.)

[rottenpumpkin13]

Out Of Context Shit Heard On The SOLDIER Floor #7

Genesis: SEPHIROTH, STOP MEOWING AT ME.

Kunsel: Any loser twink can be a fem-boy, but it takes a real badass to be a fem-man.

Sephiroth: Did I "yee-haw" with joy, or did it convey depression?

Zack, holding up Cloud: BEHOLD.

Sephiroth, stealing a fry from Angeal's plate: A most generous offering. You will be spared. Angeal: FROM? Sephiroth: You will be spared.

Genesis, wearing sunglasses and holding a cappuccino: So there I was, gelato on my breasts—

Cloud: Aww, that's such a cute Halloween decoration. *pointing at Genesis sobbing in the corner*

Angeal: Who put a hotdog in the candy bowl?? Zack, in the background: Halloweenie.

Sephiroth: I could've sworn "motherfucker" was a compliment.

Angeal: IF YOU EAT THAT WEEK-OLD SUSHI PLATTER, YOUR INTESTINES WILL BECOME RADIOACTIVE.

Sephiroth: Zack, can I enjoy this steak dinner without you explaining A/B/O to me?

Lazard: I think we ALL need to beat our fathers with shovels, Sephiroth, you're not special.

Zack: NO! THAT'S MY EMOTIONAL SUPPORT BANANA!

Genesis: He manspreads to assert dominance, I manspread to create a barrier between myself and heteronormativity. We are not the same.

Sephiroth: I just sent Angeal an email describing my feelings for him. If he doesn't reply, I'll show up at his apartment and superglue myself to the door.

Zack: Give me a pen, paper, and three Adderall, and I'll write something better than Loveless in one hour.

Kunsel: Everyone is subjected to failure, but at least I'm not Roche, who thought the plural of ninja was ninji.

Sephiroth: I have exactly three crayons on my person right now, and they're all stolen from Zack.

Angeal, chewing with his mouth full: Don't make psycho-sexual comments in front of my cheeseburger.

Zack, narrating what he's seeing: 🎶 Look at Angeal 🎶 beating Sephiroth with a frozen chicken because he forgot to take it out the freezer. 🎶

Sephiroth: Please refrain from analyzing my deep-seated fear of abandonment linked to my mother's absence and its impact on my emotional regulation, it's seven in the morning and I still haven't had coffee.

Cloud: I'm about two mental breakdowns away from resorting to gang affiliation.

Genesis: COUNTER SPELL! *flicks his wrist* TRAUMA!

Roche: I often have nightmares about Sephiroth attacking me with a spork.

Sephiroth, in the presence of a spider: I feel anti-at peace.

Zack: Dear diary, today I committed tax evasion, and felt great. Tomorrow I'll try embezzlement and eventually vandalism!

Sephiroth: Can you read this death threat note and check if my handwriting is recognizable?

Zack and Genesis: *Loudly arguing over who gets to be the ring bearer at Sephiroth and Angeal's wedding*

Angeal, laying on the floor: Good luck trying to find my will to live, gang.

Genesis: I'm flashing you a tit to maintain our friendship.

Sephiroth: If I had a gil for every time someone compared me to a cat, I'd have enough to purchase that expensive human cat bed that has been on my wishlist for ages.

Roche: Is my discount wig a joke to you, Zackary?

Cloud, placing an "I miss you" letter from his mother in Sephiroth's line of view: Yeah, that's right. Fuck you.

Lazard: Someone pinned a death threat on my office door written in glitter gel pen.

Genesis, flirting: I own an air-fryer.

Angeal: T-shirt that says "I survived Zack's power point presentation on aliens that included a photo of Sephiroth on the fourth slide"

Roche: Cloud Strife's evil twin…Grass Peace.

Sephiroth: *Showing Zack pictures of baby cows while Zack sobs into his burger*

Genesis: PUT. MASAMUNE. DOWN. No one is stealing your crayons.

Sephiroth: Genesis, I feel inspired to compliment your ass.

Lazard: Take a good, hard look at Sephiroth wearing flip-flops and tell me I shouldn't be stressed.

Sephiroth: A most efficient weapon to add to my arsenal *wielding an entire streetlamp*

Zack, talking to Angeal: My insecure trooper and faceless info guy, versus your 6'7 cat and walking red flag.

Kunsel: Is the cure to male loneliness *incomprehensible screeching* ?