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somepsychopomp · 2 months ago

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Tips for Writing a Good Fic Summary:

I firmly believe that no writer should ever have to say "I suck at summaries", "my summary is bad but my story is good", "idk what to put in my summary" etc.

Why?

It makes you seem unconfident or disinterested in your own writing, which therefore puts off a lot of potential readers

It can come off like you didn't try

When tons of people say "I suck at summaries", it lowkey lumps you in with all the other writers who also don't know how to write summaries, and can make the premise of your fic seem less interesting or unique as a result

And quite frankly, I think every person who's ever slapped this kind of disclaimer on their fic absolutely can write a good summary if only they had some guidance and practice!

So, here are my go-to strategies for how to write a summary that functionally conveys the premise of your fic while also making it sound fun and interesting:

(Disclaimer, a lot of fellow fic writers out there have already internalized at least a good portion of what I've written below. This guide is designed for fanfic newcomers who may or may not still be learning how to write, largely because I most often see them posting the dreaded "I suck at summaries" as a shield, excuse, or preemptive defense of their works. I also want to say- no shame. We all have to start somewhere, and I just want to help out as much as I can.)

1) The In-Universe & Out Strategy:

I'm explaining this one first because if you've ever spared even a passing glance at Ao3, you've definitely come across this summary archetype before. And I'm super guilty of using it, too. But hey, if it works, it works!

This strategy is actually two summaries in one, the first being a blurb explaining the plot in a way similar to those you'd find printed in published books, with the goal of highlighting the drama or central conflict in the story and/or main character(s).

But it's also combined with an "out of character", typically much shorter summary that explains the premise by referencing its tropes or general format. The example below is one of my own fic summaries:

Let's start with the easier "out of character" component of this two-parter, that being the very last line of the example summary. This portion is technically optional in any summary, but has its many uses. The most important of which is that it offers clarity and guidance for your readers, and informs them of what exactly they're getting into if they were to click on your fic.

Also, it always comes second because the technical, "out of character" component is not you as a fandom participant trying to sell your story in an engaging way, it's you as the author explaining what it is you've made using familiar terms like "pre-canon"/"AU", etc.

And to be clear, I personally believe it's always better that your potential readers' first taste of your story (that being your summary) is immersive and enticing rather than plain and technical. So this smaller blurb should always go after your actual summary. Think of it as the cherry on top.

And you can make this portion of your summary very easily. Just state if your fic is an AU, if it's a "5 times X happened and the 1 time Y happened" fic, etc. All you have to do is tell your audience plainly what the main draw of the fic is, and all that takes is 1 sentence.

Aside from that, why does this format work and why is it so common in fandom spaces?

Well I referenced it before, but it offers something that most summaries in published books do not: clarity.

Yes, a good fic summary should tell you who the central character(s) are and a general idea of what happens in it. But summaries are also often used to build intrigue. You want your audience's curiosity to be piqued, so if you make your summary (and by extension your story) sound cool and mysterious, or full of adventure, or intensely cerebral and thought-provoking, readers will be inclined to click on your fic to find out how it ends.

But also, mystique offers uncertainty. And some readers might not like a fic if they can't quite parse out what exactly it'll be about. So, having an additional line or two after your "real" summary to explain the premise the way you might quickly explain it to a friend, gives that balance of intrigue and clarity.

But how do you write that first part? The actual summary?

2) The Cheater's Strategy:

It sounds a little dramatic, but honestly I consider this my "cheat sheet" way of making a summary because it's very much a shortcut that works.

And that strategy is: you sum up the first chapter of your fic. Nothing more. You do not allude to what the overarching plot is, you act as if chapter 1 is all you've got. But why would you do that?

Here's the thing about fanfics, based heavily on my experience in both writing and reading them. When you've got a fic that's more than 5-8 chapters long, or it stretches beyond 10-15k, oftentimes the first few chapters are all set up for your premise and the real meat of the story (the solving of the mystery, the big battles, the winding adventure, the burning portion of the slowburn) will come after.

When it comes to the cheater's strategy, you're going to ignore all the best portions of your story just so you can explain the boring set-up period where you position all your characters in the right places so they're ready to go on their (mis)adventure.

If you think that sounds like a bad idea, let me ask you this: When you pick up a mystery novel at the bookshop, does the summary give away who did it?

No! And you're not going to, either.

Also, it's implied and expected that the longer your story is, the more it will develop, change, and grow. So if you can sell your initial concept idea enough for a reader to click and read the first chapter, you very well could hook them and keep them seated for the rest of your story.

And remember what I said about building intrigue? This strategy is designed to build intrigue by suggesting there's more than what meets the eye.

Here's another example:

That might sound dense. And it's long. And it sounds like maybe a lot of stuff goes on in chapter one, but literally all I've done is explain the initial premise of my fic. (Note- this summary is for an Epic the Musical fic, which is a musical based of the Odyssey. Would highly recommend but that's beside the point)

The point is, this is an AU. But I didn't employ the Out of Universe strategy this time around and say it's an AU because it's obvious to anyone in the Epic fandom and it does not need to be further clarified.

What mattered to me in this scenario is that my potential reader sees my summary and knows that Odysseus the main character is a man who is married to the goddess Calypso, and is currently living in paradise. But in canon (both in Epic and in the actual Odyssey), Odysseus rebuked Calypso's advances because he wished to remain faithful to his actual wife Penelope.

The suggestion or implied understanding here is that something bad happened that caused Odysseus to discard Penelope in favor of Calypso. (Spoiler alert: the bad thing was him being brainwashed by a woman who would eventually become his abuser.)

And in this case, it's the suggestion of something gone wrong that builds the intrigue and curiosity for me without me having to add anything extra.

In the bulk of King of Ogygia, Odysseus goes on a strenuous mental journey to rediscover his true self with the help of various Greek gods, while also physically fighting back against his abuser. That all sounds pretty important to the story, right?

And it is! But I didn't want to include any of that and risk spoiling the overarching story. Anyone who'll be interested in chapter 1 will probably willingly continue reading to see how the story develops because that's just what you do when you find a story you like.

But let's say you're not writing an AU or a complicated, multi-chapter story spanning tens or hundreds of thousands of words.

If your fic is short and sweet, your summary should be as well. Next up,

3) Keep it Simple Strategies

(Yes, plural. This section is more like two different ideas lumped into one sum, but it made the most sense to put them together so please bear with me.)

Maybe you've got a neat little one-shot or a short fic (like 10k words or less) and you're not sure how to write it's summary precisely because it's so short. Or maybe you just prefer simple, direct summaries as opposed to the lengthy, dramatic kind.

Here's my next example from a 3k one shot I once wrote:

To be clear, this is a NOT an ideal summary. Far from it. But it's from a fic I wrote 6 years ago and I've definitely grown and changed as a writer since then. Let's dissect and rewrite this summary together.

Firstly, it does the bare minimum of telling you who the main character is (Kirishima), who he's being shipped with (Izuku), and the setting (a gym). And from a technical standpoint, that's almost all you have to write in order to reach the textbook definition of a summary.

But I didn't even really explain what the conflict or actual plot is, only suggested that that plot would be Kirishima trying to get together with another character who, in this setting, is a personal trainer.

It's succinct, I can at least give it that. But it's so short and plain that it doesn't really spark much imagination, does it? In all honesty, if I saw this exact summary posted at the top of Ao3, I'd skip right past it because it's so unimaginative and bland 😭

But the fic itself is only 3k, how do you build intrigue for a story that most readers can digest in about 30 minutes or less?

Let's start by identifying the main character and make a short list of their most important emotions or characteristics. Here, I would characterize Kirishima as being hopeful (that he can score a date), in love, and active (in a physical sense).

So I should try to channel these primary components into my summary. I could say something to the effect of:

Kirishima has been hitting the gym a lot more often, but it's not to improve his strength. There's a new personal trainer and he's got Kirishima's heart rate spiking better than cardio day. But can he work up the nerve to actually ask Izuku out?

Obviously, he'll ask out the cute trainer and they'll go on a date, but that's not what's important to a ship fic. It's the journey to the inevitable getting together that we want.

What makes this summary a little more engaging is that it's a lot more playful than the original. The gym pun and usage of "strength", "heart rate", and "cardio" really emphasizes the setting and premise. It helps sell the idea that this fic is a lighthearted romp while also hitting all the basics of who we're supposed to care about and where they are.

Here's a marginally better example summary:

Same fandom, different ship, similar premise. One character has a crush on the other, their crush is unaware of their affection at first, and the name of the game is winning them over.

But what makes this summary better than the previous example?

Well, it explains itself quite well by hitting all the minimum details. With four short sentences, it introduces who the two most important characters are and what their deal is. One of them is a god, the other is a mortal. It's a fantasy setting. The romance is one-sided.

But those minimum details coalesce into something greater than the sum of its parts. You also get the sense that Katsuki is dangerous and hot headed because he's the god of war, and you know that the object of his affections is more bookish and not quite interested in the brutish type.

How will they ever get along?

You thereby implicitly understand that the conflict of the story is figuring out how the ship will inevitably become a ship despite their initial differences. We could call this the Opposites Attract strategy, where the summary focuses on the juxtaposition between the two characters in the central ship, and makes that the central defining feature of the story. Got all that?

Good!

But making lists or divvying up character traits might seem confusing or tedious for some. (IMO if you're a new fanfic writer just starting out, it's worth a try to treat these simple strategies as writing exercises for your stories/summaries, even if you end up not using/posting them.)

If you as a writer want a more direct approach, try:

4) The Excerpt Strategy

All that stuff I said earlier about generating intrigue and hiding the meat of your story?

Well, you're still sort of doing that with this strategy, but not really. Instead, you're going to let the fic do the talking for you.

And by that, I mean your summary isn't really a summary at all, and is instead a brief excerpt from the fic itself. Here's some examples from various fandoms I've written for, including some where I've let the fic speak entirely for itself and others that I've combined with Strategy 1:

But how do you choose the right excerpt to represent your entire story?

In my opinion, a good excerpt needs to fulfill a few key requirements:

It has to convey who the main character is or what the plot is, so it will probably be from early in your fic.

Likewise, it can't give away the ending/big reveal because it looks careless. (And does not build intrigue!)

It can't be too long or else it'll seem bloated and readers might skip over it.

It also can't be so short that it ends up being confusing.

And most of all, it can't be so out of context that it ends up being baffling. Like if my fic's summary was just the line "And then all the kangaroos got wet" sure that could convey that my fic might be wacky and/or crack, but it's also distracting, uninformative, and doesn't really convey anything about your characters or plot.

Yes, oftentimes all of the above can be a hard checklist to fulfill, I know from experience. Hence why a lot of writers, myself included, combine it with a brief out-of-character explanation of the fic to cover all our bases.

The third and shortest example is arguably too brief for a proper summary, but it does one thing I really like by establishing the tone. It's sensual and a little sarcastic, offering a hint of danger, and is cushioned from failing by not fulfilling requirement #4 b/c of its supplementary summary.

So, why choose this strategy over any other?

Well, it advertises your writing style and unique voice more than a typical summary would. Sure, a regular summary kind of reflects who you are as a writer already, but I've definitely noticed in my own experience that the way I write a summary might be more formal, less formal, more dramatic, less dramatic, or just plain different from the voice/tone/perspective used in my actual fic.

And remember- that's because a summary is designed to GRAB attention. A fic is designed to MAINTAIN attention. They aren't quite the same and each has its own needs & goals.

And last but not at all least:

5) No man is an island

You really want to learn how to write good summaries?

Read more fics. Read more books. Read their summaries.

Go to your local bookstore or library, or visit your own book shelf, and study how others have written their summaries. What's important to each story in order to make a publishable summary? Is it the character's powers, the world they live in, the time period, the setting, their relationships, their enemies, their conflicts? Or something else? Or is it a combination of the factors above? And how do you make each factor as enticing as possible?

Does a sci fi novel have the same summary structure as a Jane Austin novel? Probably not! So if you have a sci fi fic in mind, it might do you some good to see how sci fi authors characterize their works. (Or maybe think outside the box and do take inspiration from an Austin blurb? Anything is possible in the world of fiction.)

Alternatively, go to Ao3 (or your preferred platform) and read how others in your community portray their fics. Comb through the fics you've bookmarked and study their summaries. Did they entice you? If so, try to figure out how and why. If not, what compelled you to click on the fic regardless?

And don't be afraid to draft out your summaries and revise them the same way you'd do so with your actual fics. Granted, I know there's lots of people out there that post fanfics without editing them, and that's fine. This should all be for fun, after all.

But if you want to put your best foot forward and give your story a strong advertisement, experimenting with the wording and structure of your summaries might do you some good!

Ultimately, when I say no man is an island, I mean it in the sense that artists study other artists all the time, and have been doing so for thousands of years. Crafting an effective and compelling summary is arguably an art itself. So, learn from those around you. Take advantage of your predecessors and the fellow writers in your community.

And that's that!

But we're not quite done here. My parting gift to you all is one last strategy, one that can be readily combined with nearly all others. It's called the Try & Try Again Strategy:

Start with a shitty first draft of your summary. It can be as bad and uninformative and bland as you want because it's just for you and no one else will ever see it. In fact, it should intentionally be as simple and plain as possible. Something like "Percy Jackson goes to the store"

Then tack on an extra detail, something to make it a little more exciting or elaborate. Maybe you've identified that your summary needs to convey what the initial premise or inciting incident is, as opposed to something like a romantic pairing or the setting. So you write a newly revised summary: "Percy Jackson goes to a store and a bomb goes off inside."

But you want to add a few more details to make it just a little more exciting and informative: "Percy Jackson thought he was about to have an ordinary day when he's framed for a pipe bomb explosion inside a deli market." (Now we have the central conflict- Percy is being framed for a crime! But how can we make it even better? How do we build even more intrigue?)

Keep trying: "Percy Jackson's day went from mediocre to horrible as he's framed for an explosion inside a New York bodega. Follow his misadventure as he runs from the local cops, finds the perpetrator, and most important of all- gets his groceries home by dinner time."

But wait, you might say. That's not a strategy. That's just doing the same thing over and over again to varying degrees of success.

To that I say yes, it most certainly is. And that's basically all writing is. It's trying to bring your idea to life, identifying what's not working along the way, and fixing it.

But starting with a seed is how you get a flower.

And if you've made it this far, I just wanted to say thanks for stopping by! Have fun writing! ♥️

#fic writing #writing community #writing advice #fanfic writer #fan fiction writing #fanfic ideas #writing tips #writers on tumblr #fandom culture #archive of our own #new writerblr #percy jackson and the olympians #epic the musical #BNHA #hadesgame

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j-richmond · 6 months ago

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Why aren't comics more common in TTRPGs?

(This is about game design and presentation) In school one of the things I discovered is that I have trouble absorbing info from a big text book. And most TTRPGs are presented as text books. Once I understand the basic information in the book (chemistry textbook or RPG sourcebook or whatever) I can deal with the book on my own terms. I can dive into individual parts and learn, and slowly absorb the book as a whole. But I need help to get there. I need an access port. Sometimes this comes in the form of someone explaining the book to me. Explaining the rules of the game or the outline of an essay. This is great, and gives me a way in so I can absorb and master the book myself. But I don't always have someone in my life who can do that. Interestingly, I don't have this problem with novels at all. Narrative feels easier to access, at least for me.

In school I also discovered Scot McCloud's Understanding Comics. This is a pretty fantastic book which I'd recommend to everyone. It helped me understand how I process information. More importantly, it helped me understand the different people process information in different ways. I hadn't realized that at age 16, although I was starting to suspect it. Before I started making comics or games I used to be a teacher. As a teacher I could see that some of my kids were struggling with the information I was giving them, in the same way I had struggled in school. I started using comics in class to help reach these students. I'd draw little comics on my handouts or on the whiteboard to explain what we were learning. The goal wasn't to provide an entire lesson in comics form. I'm not Scott McCloud! Instead, I was trying to find an access point for my students. An on ramp. A port of entry to the ideas and material we were covering so they could engage and eventually absorb the information. It worked so well. It worked like magic. Why don't we do this more in TTRPGs? I used comics in my early games, Panty Explosion Perfect and Ocean. These were narrative comics, not rules comics, but the goal was to provide both an example of what play looked like (from a narrative standpoint) and a point of access for players who weren't sure what the game was or how to engage with it. My thought was that if you understood what the game was supposed to look like it would be easier to approach the rules. (A short comic from Ocean. The book has a bunch of these)

When my brother Nick and I started working on The Magical Land of Yeld I knew I wanted to use comics more directly as a teaching tool. Especially because part of our target audience was new and younger players who might look at a big text book (Yeld is a giant 400 page hardcover) and just bounce right off it. Like I did in school and like I often do with big games. So I needed to teach with examples and illustrations, and especially comics.

The first comics you'll encounter in the Yeld book are narrative, and designed to get you into the ideas and themes of the game. But in the first few pages we also start sprinkling in rules comics. These are presented along side the rules text. They don't replace that text, which is important. The text explains the rules in greater detail, and includes information that just couldn't be added in a single page comic. Instead, the comic is intended to be a point of access to the rules text. A player can read the comic, understand the basic concept, and feel comfortable engaging with the text. That's the goal, to make players comfortable and to make the rules text accessible.

We use comics to teach basic game mechanics, but we also use them to explain specific player facing systems. Sometimes these are things that really do need a comic to explain them, but sometimes we use comics as lures to draw player attention to mechanics that we're afraid they might otherwise not engage with. For example, in playtesting we found that when characters died during a fight the player would just sit there for the rest of the fight and not engage. It turned out, since you don't do anything in D&D once you die (except slowly die more), most players assume that's how all games work! So they hadn't even noticed that in Yeld you become a Ghost and get to ghost around and do fun Ghost stuff! I decided to create a comic that not just explained this but drew attention to it and showed why it was a fun (and important) part of the game!

Structure of play isn't always obvious to players, especially if they're new to TTRPGs or have only played D&D. You pick up habits from the games you play the most, and since most gamers play nothing but D&D there is a tendency to assume EVERYTHING works like D&D. Yeld doesn't, so we decided to take nothing for granted and make comics that very specifically show what a session of play looks like. In this example, it may not look a lot different from D&D, but the adventure is specifically divided into 5 parts. The comic illustrates these parts in a way that is easy to understand. The accompanying game text explains each part in more detail and illustrates how they are important to play. The comic serves as a ramp that gets players to the info they need.

Not all of our comics are player facing. Yeld has a rotating GM (which is awesome, btw), and this means every player gets a chance in the Game Master roll. Which means every player needs to understand how this roll works. Comics like this one, which explain how to build monsters to use in your game, help make the process easy to understand. Again, its about building a point of entry for players. A player might say "I don't want to GM, it sounds to complicated!" But its not. You just need to make it easy for them. Make the mechanics and responsibilities easy to understand. Show why they're fun! In Yeld, its important that each player takes on the GM role from time to time, since we're building a story together. Making it look fun is important! Comics help with that. What's more fun than comics?

Narrative comics are important too. At least for Yeld. I don't think every game benefits from them (although I always love seeing them). Narrative comics show players what the game is supposed to look like. What the characters do and say. What environments they visit. Narrative comics set a tone. Narrative comics let new players understand what a game is about immediately! We can hand a Yeld book to a new player or customer and they know what's up in seconds, just by reading a short single page comic. That's a powerful tool. So why don't more games use comics? Part of it is that game creators are usually not comic creators. There's not a lot of crossover. That always surprises me, but both disciplines take a lot of work. Who has time for both? Even when you have game designers that are comic creators, they often don't include comics in the games (Lancer???). I don't think this means game designers don't recognize the value of comics. I've had this conversation with so many game designers, and they usually agree that comics are useful tools. But if you don't know how to make comics, making comics for your game can be daunting. What rules should you focus on? How do you present that information in comic form? How many comics should you make? How do you hire someone to make comics, anyway? Hiring artists is expansive, btw. You know that, of course. Hiring an artist to make a set of comics for your game could cost you thousands of dollars (or more), depending on what you want. Of course, you can try to make your own comics. And you should! Really! A poorly drawn comic is not necessarily a bad comic. The point is to get your information across to your reader. to provide a point of access. You don't need great art for that (although great art can help attract people to your game). Stick figure work just fine. Here's an example, the layout for the Tea Dragon card game. Another artist took this layout and redrew it in their own style. But my goal here was to be simple and concise with my explanation of the rules. To make the game accessible.

There's a few more pages of this, but you get the idea. The purpose is to explain, and make the player comfortable with learning more. The art matters to the extent that it serves this goal. In fact, flashy or complicated art can get in the way! You'll notice in that most of the Yeld rules comics I posted above the art is pretty simple, with solid color backgrounds. You want to make your comics as easy to read as possible, and that includes avoiding clutter, overpacked word balloons and messy layout. Readers are easily distracted. It doesn't take much for them to set down a book at all. A complicated phrase or hard to read font can often be enough. And once they set a book down they may not every pick it up again. That's more true for a big text book than it is for a comics, but its still true for a comic. So our goal is to make our comic the easiest, smoothest point of access it can possibly be. So easy and smooth that the reader can slide right into the rules text without noticing! Here's my general process for creating a rules comic. This is from my friend Brian's game Scofflaws. I start by taking the basic mechanics that need to be illustrated and breaking them down into panels. The goal is to make each panel readable and not overwhelm the player. At this point I'm just doing a rough sketch. It may not eve=n be readable, but that's fine!

Next, I refine the text and art. I decide on the exact language I'll use, and I finalize where characters and other elements will be placed. As you can see, the actual layout didn't change much here. Sometimes it changes a lot!

Finally, I create the finished art. Honestly, the previous step was just fine. It explanans the rules I wanted to explain. But this last step allows me to add in some narrative flavor. The first panel contains a complicated background in order to present the game's setting. The characters look like the kind of characters you'll play in the game. This isn't nessacary for presenting rules, but it helps present the game as a whole. You want players to engage with every part of your game. The last thing you want them doing is picking up your dungeon crawling game and going "Oh, this would be great for playing Star Wars!"

(I probably shouldn't have chose than shade of red for the background. It makes the text a bit hard to read!) So again, why aren't we seeing more comics in games? Its not as if they don't exist at all, and I'm personally always excited to see them. I recently opened the Final Fantasy RPG box set and was so happy to find the rules were accompanied by cute comics. And there's lot of other examples (maybe you can post some in the comments). But I think comics are a clearly underused tool in game design and presentation. And as a comic person, let me tell you that you're leaving a valuable tool on the table if you're not considering using comics. Are they right for every game? Maaaybe not? But I think MANY MANY MANY games could benefit form them. Are they expensive? They can be. Are they hard to make? They can be. Are there people you can go to for advice? Hey, my door is open.

#game design #ttrpgs #ttrpg design #ttrpg community #ttrpg #roleplayinggames #comics in games #comics as a teaching tool #teaching with comcis #put comics in your game for fucks sake #yeld

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the-borgias · 5 months ago

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Hi, could you please tell me how to do this slanted layout? the-borgias*tumblr*com/post/695485491217334272/one-chicago-appreciation-week-day-one-favorite

Hi, Anon! I'm sorry this took me a few days to answer but I struggled making this tutorial (not because the process itself is difficult but it is difficult to explain it properly.) Anyway, here's the gifset Anon is asking about. I hope this is easy to understand and I also included a .psd file of the layout :)

PSD FILE OF THE GIF ABOVE & TEMPLATE

What you'll need:

Basic Photoshop knowledge (I use Photoshop 2023)

Basic knowledge on how to make layouts (here are a couple of tutorials: x x)

Basic knowledge about layer masks (tutorial)

STEP 1: Make a basic layout

You can do pretty much any layout you want but for the sake of the tutorial I tried to recreate the same template I used in that gifset. I'm assuming you already know how layouts/templates work so I created a 540x540px canvas and went to View > Guides > New guide layout. I used these settings:

And this is how my canvas looked like:

Now I pressed (M) to use the Rectangular Marquee tool and create the rectangles I wanted. This is my end result:

STEP 2: Tilt the layout

This is actually pretty easy. First we're going to select all our layers. I paired mine in groups so they looked like this:

Once we've selected all of them (groups, layers, whatever you're working with) press Ctrl + T. Your canvas should look like this:

And we're going to tilt it by changing the angle to -2.00 in here:

Now our layout is slanted! But as you can see we have transparent spaces we need to fill. I don't know if this is the easier method to do it but I use the Polygonal Lasso tool (L). I'll use the first orange box as an example:

As you can see I use a ridiculously big zoom so I can be as accurate as possible but it's basically impossible to create a perfect box, so this will work. Once we have selected our desired shape we'll use the Brush tool (B) to paint in the layer of our original orange box:

You have to do this with every box so it's a bit tedious but that's the way I did it 🤷‍♀️ This is the end result:

STEP 3: Place the gifs (using Layer Masks)

But now, how do I know which size my gif should be? Our initial measures won't work because our final boxes are bigger so here's what I do. I'll select the Polygonal lasso tool again and make sure I select a little bit more of the box I'm measuring, like this:

It's a little hard to see it but the dots are just a little bit bigger than the orange shape. To be more accurate, my original box was 178x87px and the shape I selected is 174x100px. So I'm going to make a 174x100px gif and place it right above the background, like this:

Now we're going to select the layers of our gif (I'm assuming you're working with a Group because it's easier) and click Ctrl + the orange box. You should see this in your canvas:

And now create a layer mask in your gif group (if you don't know how to do it check out the tutorials I liked at the start of the post.)

Now you can delete the orange box. And, once again, you have to do this with every box and write down the measures (and remember that all your gifs must to have the same number of screencaps!)

I hope y'all don't mind that I didn't create 8 different gifs lmao I was too lazy so I just used a big gif as a background and made 4 small gifs. This my end result:

For the background I merged the remaining boxes and used that to create the layer mask. I'm not going to explain it since I believe it's much easier if you check out the psd file.

And that's pretty much it! It's the same as making a standard layout you just have to be careful with your gif measures. Oh and also see how my gifset shows those white marks between the gifs under a dark background?

Well, that can't be avoided since we aren't working with straight lines (you can see the same effect in the 2nd gif of this set, different layout but also not straight lines) so we'll just ignore them.

I hope this was helpful (I lowkey feel like this tutorial is a mess) and if you have any questions feel free to ask :)

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orphiclovers · 8 months ago

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The next Big Arc I'm excited for the webtoon to adapt is Kaizenix arc for multiple reasons but one of them is that I'm VERY curious about what they will do about heesung.

because heesung have a romance arc in kaizenix right. I don't think I need to prove it's canon like a fujoshi talking about her favourite M/M ship, red yarn and cork board style - we're all on the same page here, this is a completely uncontraversial take on the token het couple in orv, right? kim dokja sees them in kaizenix and thinks "damn I'll have to allow interpersonal dating in kimcom now" I don't think anyone is arguing for a platonic explaination here (het ship advantages etc) HOWEVER.

Jung Heewon looked like a man at the time.

"She's mentally a woman so it's fine and not gay" is a much easier pill to swallow when it's words in a novel and her appearence isn't described, and the flashbacks appear as disconnected lines of dialogue so you don't really think of them as looking like Erich and Bilston and imagine them as Jung Heewon and Lee Hyunsung regardless of their actual appearence.

But the webtoon is a visual format and that won't fly. They physically can't be non-committal about this, they have to draw SOMETHING and I can't WAIT to see what it will be, because whatever they decide to do will be massively entertaining to me.

Do they say fuck it, heesung yaoi canon? I can't imagine they want on screen (apparent) gayness in their male power fantasy manhwa, but they might bet on the 'she's a woman on the inside' cognative dissonance 'it's anime bullshit, don't question it' logic will win over in most dudebro heads, as with it did in the novel.

Or they might decide that it WON'T fly with the dudebros actually and they shouldn't risk it and-this is where it gets really funny- try to make heesung less gay.

They could tweak their scenes to downplay the romance aspect (make them more humorus or cut some parts). They could keep Jung Heewon's face and hair the same as usual except she's in armor don't worry about what's under it ok. To 'keep her recognizable' even though they're not usually afraid to make the designs temporarily unrecognizable (KDJ's YJH cosplay moment for example), or some combination of both, which is what I'm betting on.

Just friends-ing their scenes...... changing her design to a woman's...... All of this would be, and I can't believe I'm saying this, gay censorship.

heesung about to be the first het couple to experience gay erasure. that's awesome I love orv

That's why I NEED all of us to have a countdown to heesungs schrödinger's yaoi event the same way some people had for joongdok demon king stabbing scene. the POTENTIAL IS THERE OPEN YOUR EYES PEOPLE!!!

#“ill write a short heesung post. one paragraph at most” the post:#orv #omniscient reader's viewpoint #orv spoilers #jung heewon #lee hyunsung #heesung #omniscient reader #my posts #hyunhee #kaizenix arc

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miguxadraws · 1 year ago

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Hello, I hope you don't mind me asking, but I love your art style so much, and the way you draw Ragatha!!!

Would it be okay if I asked you for advice on how to draw Ragatha's hair?

Thank you!

It's perfectly fine to ask me for advice, but just so you know, I'm not the best at explaining my art processes tbh. I've never done an art tutorial or anything similar to that.

However, I tried making a small guide here on how to draw Ragatha's hair - well, how I draw it at least. It's sort of a rough sketch, but hopefully it'll be useful for you!

First off, I'd like to point out that when I began drawing her character, I used one of her official 2D artworks as reference to draw her hair, not her 3D model!

To be more specific, I used this one:

Another important thing to take into consideration is THE VOLUME her hair has.

If you have curly hair and it's long enough, you might know that to make it have that sweet sweet volume, you gotta style it in LAYERS! The same applies to Ragatha here, which you can actually see in the image above! If you wanna make her hair look voluminous, you need to draw it in layers (Assuming you'll be drawing it similarly to how it looks in canon - like dreadlocks)

Anyways, now onto the process!

1st step - Bangs

When drawing her hair, I will always start by drawing her bangs first. It helps me sort out where the other locks will be going for the most part.

I will always start by drawing the 4 locks that go on top of her forehead. The two in the middle will always be shorter than the ones on the sides, but that's just my preference.

Once that's done, I do the longer locks that go down along the sides of her face.

2nd step - Locks on top + bow

Bow is not mandatory, but I must admit it does make my life easier when i'm drawing her, because then i'll always know where to put the two locks she's got on top of her head - that being right where the bow begins - behind it.

3rd step - Superficial layer!

Once you get the two higher locks and the bangs done, this step becomes way easier. You just gotta fill the gap between them.

I'll normally draw 3 on each side, but of course that will depend on the thickness of the dreadlocks you're drawing. It's overall pretty simple.

I like making these 3 locks more droopy than the other 2 coming from behind the bow, but that's also just my own preference.

4th step - Secondary layer

As you can see in the two examples in the center, the shorter locks on top will sort of flow in the same way as the 2 smaller bangs in her front. They go up, then down.

The longer ones that go behind her neck will just go straight down since they're longer and therefore heavier, just like the two long locks on each side of her face.

Clean up + fixing asymmetry

In the top left example, some of the locks were asymmetrical, so I fixed that after cleaning up the sketch. Mistakes like these tend to be very noticeable once you clean things up, so try keeping each side as symmetrical as you can to one another, especially if you're drawing her front view.

Anyway, that's pretty much it for my process! I feel like I could've elaborated a bit more and made this more organized, but at the same time I kind of have no idea what to do lol sorry

Still, I hope this helps you out somehow!

#miga answers #art tutorial i guess?#art advice #sounds more fitting ig #also i loved how the one in the top right turned out #i'm saving it for life as a reaction img #my art #tadc #the amazing digital circus #tadc ragatha #ragatha

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kasagia · 1 year ago

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Dancing with the devil IV

Pairing: Na-Baron Feyd-Rautha Harkonnen x fem! royal!reader Summary: Unknowingly, you fall into a trap from which it will be difficult to get out. The only solution seems to be to make a pact with the devil himself. A devil who seems all too happy to finally get his hands on you. Feyd-Rautha Harkonnen's Masterlist ~•♤♤♤•~Main Masterlist ~•♤♤♤•~ PART III ~•♤♤♤•~ PART V ~•♤♤♤•~

“It's a refreshing change. Don't you think, Y/N?” Your friend inquires as you sit on the windowsill, gazing out at the landscape of Kaitain.

You hum, nodding your head, keeping your watchful gaze on the ramp where the next ships are landing. A shiver runs through you as you recognise the familiar black Harkonnen orb. Whoever designed their ships must have worked hard to even make them look... disquieting. Y/F/N notices what you are staring at.

"Don't worry." You comfort her and hold her hand. "I won't let you marry that brute. There is no worse fate than being Harkonnen's wife."

"It's not that… just if it was someone else. Na-Baron, for example." You tense slightly at her mention of Feyd. Your eyes follow hers, and you notice her staring at him longingly as he walks out, surrounded by his soldiers. You feel bile rising in your throat.

"Na-Baron?" You ask stupidly, trying to ignore the sudden, unexpected feeling of jealousy. Which, of course, was a pure act of stupidity on your part. Because how could you be jealous of Harkonnen? And yet, you felt like gouging out your friend's eyes for staring at your Feyd for too long.

"He... isn't that bad at all. Despite what they say about him. He cared about me there - on Giedi Prime. In their crazy way... but thanks to him, the stay there wasn't so... terrible." You tense up and roll your eyes at her words.

As if there could be angels on Giedi Prime. As if HE could be something more than the cunning devil who breaks hearts, takes the souls and lives of innocent people. As if he could be something more than a bloodthirsty sadist raised by the most disgusting man who ever lived.

"Believe me, it's just a facade. The moment you let your guard down, he will show you his true colors. And this is a far cry from the image of his personality he painted in your head. He wants you to consider him your ally. This way, it will be easier for him to use you for his own benefits. Spying on his brother or something like that, I'm not sure yet. Maybe he's also looking for sexual release after his harpies are dead?"

"Y/N!"

"What? I'm just thinking out loud." You reply with a shrug. Your gaze remains focused on Na-Baron. Princess Irulan welcomes him and his brother rather reluctantly. She behaved quite similarly towards you. Except for her special coldness and malice reserved for you, to which you had become accustomed by now.

"You must know him very well to see through his intentions so quickly. I also remember that as children you were often in the company of him, Paul Atreides and Princess Irulan."

You flinch when Na-Baron's gaze suddenly turns to the palace. But you know it's impossible for him to recognise your silhouette among the palace's many windows... or at least you hoped so. Regardless, you decide not to tempt fate and walk away from the window, turning around to face your friend.

"That was a long time ago."

"But you must know him very well. Or at least the child he was."

"Trust me, he was never a child." You reply, pouring yourself a glass of wine. You don't want to tell her anything else.

You don't want to explain to her exactly when Feyd lost his childhood, when he stopped being your friend and the boy you played with, when you lost him, when the place of the charming boy from Lankiveil was taken by the bloodthirsty, psychopathic, brutal Na-Baron of Giedi Prime. Because only you knew the Prince of Lankiveil. And the memory of him will follow you to your grave.

Because you knew there was no salvation for him, that the boy you gave your heart to was dead, and his murderer was none other than the Baron. And all you have left of him is a shell. The one he gave you and the shell of who he once was were a living and painful reminder of what you lost because of the Baron and Princess Irulan. And because of your own fear.

"I'm bored." You tell Feyd as you sit next to each other in the feast hall.

Your parents, his brother, and his uncle are celebrating with the other great families the birth of the Emperor's (another) daughter, and you and the rest of the children are forced to attend the event until your maids take you away.

And this has been going on for you for ages.

"Act like a lady and don't whine." Feyd responds to you, rolling his eyes at you slightly. You punch his arm, causing him to gasp and look at you indignantly.

"Act like a child and don't talk to me like you're my mother."

"What do you want to do?" He sighs, shaking his head at you.

If he had to list his weaknesses, you would definitely be the first of them on his list. He was always waiting for the moment where he could free himself from Giedi Prime and his uncle's gaze to spend a few minutes with you. You gave him... a sense of freedom. With you, he didn't have to worry about how he acted—whether he was too soft or too lenient.

He could have just been a child for a while—a boy from Lankiveil he had almost forgotten about. A boy you seemed to like quite a lot. And he tried his hardest to show you that he was still able to find in himself nooks and crannies that weren't polluted by the Baron. Mentally and physically.

"To sleep. But I don't have my teddy bear and blanket." Feyd tries his best not to laugh, but he allows his mouth to open slightly, making sure to keep it closed.

He didn't want to scare you with his black teeth—an addition recently introduced on Baron's orders. Feyd couldn't quite get used to them yet. He remembered breaking all the mirrors in his chambers the first day he saw his new row of black teeth. Over time, however, he got used to them, like everything else on Giedi Prime.

"What?" You ask as he stares at you for a few too many seconds or minutes. Feyd clears his throat and manages to lower the corner of his mouth.

"Nothing. I may be not as soft as your precious teddy bear and blanket, but I can keep you warm. And my cloak is... possibly the coziest thing I have." He answers awkwardly, already taking off his coat. He wraps it around you without waiting for your response, remaining in his black military armor.

He knows that the next day he will have scrapes and bruises from too tight armor. He should have gotten a bigger one a long time ago, but the Baron seemed to insist that Feyd keep his old clothes for as long as he could.

"You allow me to nuzzle up to you?" You ask, surprised, as he wraps his arm around you.

Feyd didn't particularly like physical contact; sometimes he flinched when someone's skin touched his—a reaction he tried to hide. However, apart from you, there was one other person who also noticed it. And while Feyd should have hated the Atreides, he would remain forever grateful to Letto Atreides, who had invited him to spend the summer with his son, you, and Princess Irulan shortly after Rabban and he had moved to Giedi Prime. It was the best summer of his life since leaving Lankivieil. A moment of respite.

However, with you, sometimes he could afford to feel your body a little closer to him. Most of all, he WANTED to feel your body press against his. Which, over the years spent on Giedi Prime, was a very rare, even unheard of feeling for him.

"I allow you to rest on me and take a nap. My mother... my mother did this a lot with my father when she was pregnant and had to sit in on these meetings." Feyd says he has vague memories of his mother being pregnant with her third child and how his father acted towards her—before all hell broke loose on Lankiveil, when he could still be... normal.

"But I am not pregnant. And we are not married." You point it out maliciously, but your head is already falling onto his shoulder. You wrap your hand around his waist and snuggle into him. Feyd suppresses a blush as you unconsciously nuzzle his neck and inhale his scent. You were too innocent to know what it did, and he was too tainted for his body not to react to it. Despite everything, he controls himself and holds you, making sure you don't fall out of your chair.

"But you are tired, aren't you?" He hums against your ear, fully aware that you're about to drift off into his arms. And that he would rather kill himself than let anyone take you away from him.

"I am. And I also never miss a chance to hug you, my grumpy Na-Baron." He furrows his hairless eyebrows, unconsciously tracing patterns on your arm with his finger. He relaxes, seeing that his uncle has left the party. So did the young servant who served him. A shiver runs through him, but he ignores it. His focus is on you. On your slow breathing, on your smell, on your warmth, on how perfect you feel next to him, as if you were his missing half. And Feyd allows himself to believe for a moment that this may be the case—that you are truly written in the stars for him.

"I am not grumpy." He says, rolling his eyes at your taunt and completely ignoring Princess Irulan's glare from across the room.

"You are. Like those funny green creature from Paul's book. You know, the old one with weird pictures."

If Feyd could, he would forbid you from meeting Atreides. Unfortunately, your parents seemed to insist on this special closeness to this family. And you loved reading. Same as Paul. Feyd's only consolation was that when Atreides didn't have a book in his hand, he lost any interest in you. Unlike him. He had your attention, regardless of what he was doing or what he might be giving you at that moment.

"Sleep." He mumbles and presses a kiss to your tample.

"Don't tell me what to do. I am not your wife." You mumble, half asleep, but you give in to him anyway and fall asleep on him. You press your cheek against his shoulder, and he begins to worry that his hard armour might accidentally leave a scratch on your cheek. He gently lifts your head and places his hand under your cheek to make sure you don't feel any sharp, protruding metal decorations.

"You are not... but you will be." He promises, fully convinced that you're already asleep and don't hear his little promise. He tightens his hand around you and listens to your calm breathing and heartbeat, wishing that he could listen to this beautiful music every day. Not only during boring balls that you both hate.

You sigh, wiping the sweat from your forehead. Your maid gives you a horrified look as you lunge at the mannequin in the training room. Stabbing the puppet several times with your blade, taking out your frustration and energy on him.

When you feel the air moving behind you and the added presence, you don't hesitate. You turn around, your blade colliding with Feyd's, and glare at him in response to his cocky smirk.

"I see that old habits die hard. Why don't you accept a real challenge instead of taking out your anger at this motionless pile of threads?"

"Why don't you do it instead of tormenting Atreides' drugged soldiers? At least I don't get dirty while playing with my motionless pile. Not like you." You say, stepping away from him. You let the hand with your dagger fall as you walk over to the table for a drink of water. You freeze, feeling the cool tip of his steel against your throat.

"How many times have I told you not to turn your back on your opponent? Besides..." He steps closer, his chest pressing against your back as he leans in to whisper in your ear. "Did you have the same fun with my harpies? Didn't you want to get dirty, and that's why you chose poison to kill them? And you accuse me of being a bloodthirsty, jealous beast... I guess we're more alike than you want to admit, my little, beautiful, dangerous, jealous swan."

"I… I have no idea what you're talking about." You whisper, tensing in his arms. Out of the corner of your eye, you notice that you're alone in the room. He must have gotten your maid out of there somehow. You suddenly feel very vulnerable.

"You do not have? And that's funny. So why did I find a poison in your things the day after they died and just before your departure?" You frown and push his hand with the blade away from you. You turn to look him in the eye, too surprised by his accusation to do anything but say the truth.

"I have no idea. Whatever happened to them, it wasn't me. You know very well that I wouldn't kill anyone." This clearly catches him off guard, and you feel offended that he could be so sure that you took someone's life just because they had the opportunity to fuck him. You roll your eyes at him in annoyance and raise your blade in challenge. You might as well exercise a little while he does his investigation.

"Well… after all, swans don't like getting their beautiful feathers dirty with blood… but who else could do it?" He responds, dodging and blocking all your attacks.

You work harder, jumping away from him and trying to break through his protective shield. You sigh as you manage to get the blade close to his skin, but no telltale shield appears around him. The son of a bitch didn't even put his shield on when fighting you. No one could piss you off and humiliate you at the same time more than him.

"I don't know. I don't care." You growl, pushing against him and trying to draw his black blood at all costs.

You manage to kick him in the stomach, but when he falls, he drags you with him. You land on top of him, but he quickly changes your positions and pins you to the floor beneath him, keeping your wrists in a tight grip as he presses his blade to your neck.

"Do you? Doesn't it make you jealous just thinking that someone could be madly in love with me enough to get rid of the women who give me pleasure? What if you're next on my secret, deadly admirer's little list?" He whispers in your ear, and you shiver as he bites his lobe. He throws his blade aside, his other hand lazily exploring your body, abusing your breast as he squeezes it tightly and digs his fingers into it.

"We have no connections." You moan as his lips move to your jawline. He sucks gently, leaving no trace except a trail of his black saliva as it moves to your exposed neck.

"Not in public. But in the quiet of the night, in your gardens, of my corridors, of the halls of this palace—all these places remember many of our connections."

Unfortunately, he is just as stubborn, maybe even more stubborn than you, and he will do anything to prove that he is right. You gasp, biting your lip, as his hand goes under the fabric of your pants. Your traitorous pussy welcomes his fingers like a permanent resident. You tighten around him, and he chuckles lightly, feeling you already wet. You dig your knee into his stomach, trying to fight back, but he just positions himself between your legs, casually pushing your leg away as if it were just an intrusive, insignificant obstacle to getting what he wants.

"And yet you run from one man to another… but it's my fingers that fill you while you wait for someone to put a ring on your pretty feathers, my little swan." He mumbles against your neck.

You shiver as he pushes his fingers deeper into you, his cold metal Na-Baron signet teasing your warm, wet walls, only making you clench tighter around him.

His hips grind against you madly, his hard length pressing into your thigh as you moan softly, trying miserably to keep from making any grinding sound when all you want to do is feel him deep inside you, splitting you open for him.

"And you… you're pathetic for always looking for me and coming back." You respond, feeling your pleasure building within you. You grind away from him, angling his fingers just right, deciding that since you were already in this position, you might as well show him that you were using him and not him using you. After all, you were always the one who came, not him.

"I am." Surprisingly, he nods, caressing your clit with his thumb as the rest of his fingers penetrate you mercilessly. "And you come pathetically beautiful with my name on your swollen lips. We are both humiliating each other. And we both love it." And that's exactly when he pushes you over the edge. You lift up and connect your lips in a kiss to stop yourself from screaming his name, knowing full well that the guards are outside and could… really guess what happened between you behind closed doors.

You admit to yourself that you loved his plush, soft, full lips on yours, the way he caressed yours, the way his tongue slipped in unnoticed, you loved kissing him. His kisses made you more addicted to him than the orgasms he gave you. That's why you made sure you had them very rarely. Because no one else's mouth has ever given you as much pleasure as his.

In the frenzy of the kiss, he releases your wrist and cups his hand around your cheek. You sigh, biting his lower lip. This is the only warning you give him before you plunge your dagger into his back.

He screams as your blade pierces his skin. Your fingertips are sticky with his thick, black blood, but you don't care. You look him straight in the eyes and rip the dagger from his body, giving him another wave of pain.

"How many times have I told you to never let your guard down?" You ask, using the exact same tone he used as soon as he held the knife to your neck.

You push him away from you and stand up, straightening your clothes a little. He laughs hoarsely and shakes his head in disbelief, still looking at you and ignoring the burning pain in his back. He had wounds worse than a swan's bite.

He comes to you on his knees and takes your fingers into his mouth, sucking his black blood from them and never taking his eyes off you. You dig your fingers into the skin of his pale scalp and tilt his head back, breathing quickly as you melt into the gaze of his cold, oceanic irises and dilated pupils. You can't fucking believe he got so turned on by your stabbing. And that you, too, felt hot again.

"You are sick." You whisper as he lets your fingers pull out with a loud pop. His now gray saliva had replaced his black blood.

"Just like you."

Before you can deny it, the door to the training room creaks loudly. You pull Feyd up, forcing him to stand up, and you wipe his saliva off your fingers on your shirt.

"Michael. You always know when to come. Na-Baron and I were training and unfortunately he got injured."

"Yhm... very unfortunately." Feyd mumbles sarcastically. When you go to Michael, you step on Feyd's foot. You pretend it never happened and join the man's side. He smiles at you, his two-toned eyes hypnotising you for a moment, and a huge smile appears on your lips. Out of the corner of your eye, you see Feyd frowning. There is no better feeling than rubbing salt into someone's wound.

"Always here for you, my love." He says and places a kiss on your forehead. "You should go to the healers, Na-Baron. We wouldn't want such a small wound to do a serious harm to your health. After all, soon we will be celebrating... important events." Michael says this and wraps his arms around my waist, pressing me against him.

"Of course." Feyd growls and nods. He walks away, leaving the two of us alone in the training room, and closes the door loudly behind him.

"He insisted that I train with him. Believe me, I would never…"

"When you will be my wife I won't allow you to do such things." He interrupts your attempt to explain himself and takes your dagger, which is covered in Feyd's blood, from you. He throws it into a box of various weapons and turns back to you.

"Excuse me?" You ask, both surprised and annoyed by his condescending behavior.

"No worry, sweetheart. You are still learning." You feel like he slapped you. He treats you so condescendingly, as if you meant absolutely nothing, as if your opinion was not important to him at all. This sudden change surprises you and makes you even more nervous. However, you cannot understand the reason for his sudden rude behavior. Was it jealousy?

"You know usually women after such a... blunt statment doesn't marry the man who said it."

"Oh, you think you will have a choice?" He asks mockingly and plays with your hair, fixing your hairstyle to his liking. You push his hands away from you and glare at him furiously.

"Won't I?" You ask defiantly, raising an eyebrow at him.

"After my people attack your home planet? I don't think so."

"I beg you pardon?" You ask, completely shocked. He lazily, casually reaches for your chin and lifts it to look at you closely.

Your brain races like crazy, trying to ignore the fatigue in your muscles from fighting the Na-Baron as you wonder if he's just joking with you or if he really means what he said. A shiver passes through you when his fingertip brushes against your cheek.

"I told you. I want to achieve something. To prove myself in the eyes of the emperor. As we speak, my troops are boarding the ships on my home planet. Tomorrow morning, your father will receive notice of the start of war with my country. And you, darling, you will be a beautiful spoil of war. The proof of my greatness."

"You... all those meetings with me on my home planet... you didn't want to marry me; you wanted to explore and review our fortifications and the training of our soldiers. Test the ground before sending your men on my land."

"Your father's lands. You may be smart, honey, but you're only a woman. All you have is a title and a royal pussy. Although your mind and beauty are a dangerous combination. Maybe I should make you my wife instead of a concubine?"

"You… you can't… you won't." You shake your head, trying to deny what he just said. He couldn't just take everything from you, your whole life.

You try to control your emotions and not give him the satisfaction of completely destroying your world. He makes you feel so guilty; after all, you were actually the one who let him onto your planet and showed him around all the places he wanted. How could you be so stupid and naive? How could you not sense that he was more interested in your military and the weak points of your planet than in you?

"Oh, honey... don't insult your own intelligence now. You know very well that I can. You have nothing. No allies, no strong friend. I am your only serious admirer since Atreides. You're lucky I'm a gentleman. I will not touch you until your land, crown, and title are officially mine. And I will give you a good future. You could always end up in a brothel. Don't be a brat and appreciate it, my beautiful war booty."

His touch burns you in an unpleasant way. You want to bite off his hand, but you need to get more information from him to prepare some kind of action plan. You need to lower his guard just as he lowered yours.

"Why are you doing this? If you had married me, you would have had it anyway. Without any war."

"I told you. I want to prove my worth. To achieve something. In small steps. First, I will conquer one planet, then another. You have the honour of being my first conquest. And who knows? Maybe you'll even become empress by my side. Now smile nicely, darling. Your depressed face is ruining my mood."

So you smile. You put on a good face for a bad game and try to control your anger and despair. Because what can you do with them now? Nothing at all. You needed a different approach. Better. Smarter. You couldn't just give up your future without a fight; let him take over your country and do what he wanted to you. If you were going to be someone's property, wife, trophy, or whatever, you wanted to decide who it would be.

Michael was wrong. You had one secret ally who was much stronger than him. But you know very well that asking him for help will cost you a lot. Unfortunately, you were not in a good situation. You were in a hopeless position. So it required you to take desperate, risky, and embarrassing measures. This required making a pact with the devil himself.

" I need to talk with you." You say this as soon as the door opens for you, before you change your mind and run away. You tug at the sleeve of your silk robe and stare pleadingly into the ocean irises before you.

"At this time? What do I owe this pleasure to?" He mocks you, crossing his arms over his bare chest. You swallow, looking away from his muscles and back into his eyes.

"Feyd. Please." You say this seriously, looking around to make sure no one sees you at his door. He tenses a little, hearing the desperation in your voice. Wordlessly, he moves to the side, allowing you to step inside.

He closes the door behind you, and you shudder as you realise there's no going back. You close your eyes, taking a few deep breaths and trying to calm down. Feyd furrows his hairless eyebrows at your condition. He walks over to you and tentatively places a hand on your shoulder, not used to comforting... anyone. Not since the two of you were kids.

"Y/N. What happened?"

"I need your help." You reply and move away from him. Feyd sees you trying your hardest to control your emotions. The same way that even though he's happy about your late-night visit and the sight of you in that skimpy robe, you look terrified and disgusted that you have to be here.

"Y/N..."

"Michael wants to attack my home planet and dethrone my father. In the process, make me his whore or wife. He's not sure yet." You interrupt him and blurt it out before he says anything else.

This stuns Feyd for a moment as he takes in this new information. He would have smiled at the mockery and anger in your voice if his blood hadn't boiled at the thought that you could belong to anyone other than him. That anyone else would have the right to touch you like he did and has long dreamed of doing even more.

"Your duke that you've been parading around with and admiring for the last few months? The same one you hug and cling to at every recent party?"

"Yes."

"The one you gave the right to hold you and kiss you?"

"Yes."

"The one..."

"YES! This one!" You interrupt him, annoyed and embarrassed. You sigh, rubbing your eyes, and realise that screaming at him and venting your anger isn't the best idea right now if you want to ask for his favour. "Please, help me."

"And what I can do? You chose your fiancé. Or a lover. Whatever. What do you want me to do? Fight with him for your hand? And then get rejected by you? Thrown away when you don't need me anymore?" He mocks you, turning his back on you. He pours himself a glass of wine and sips it leisurely, making no move to turn towards you.

"Feyd. Please. I beg you. I... my people can't die just because of the whim of some man." You say, your voice cracking. Your throat burns from the dryness, and tears suddenly appear in your eyes. This is a very strange phenomenon considering that you have been crying for the last three hours in your chambers.

Your sniffling makes Feyd involuntarily turn back to you. This is a bad move. His heart clenches uncomfortably at the sight of your watery eyes and red nose. He wants to take you in his arms, run his hand through your hair tenderly, and sink into your touch.

"You know very well, little swan, that this is how most wars start. By the whim of one man." Feyd says, crossing his arms over his chest to somehow keep from touching you, from taking you in his arms and burying his face in your hair, whispering comforting words in your ear. He had to play this... unique opportunity well. If he won't have you willingly, he might as well have you by trick.

"I will do everything." He does everything not to smile, not to immediately make his demands. He has been waiting so long to have you that a few minutes more won't do a big difference to him.

"So get ready for the husband of your own choosing." He says icily, acting unfazed, as if the mere thought of someone else having you didn't make him want to murder every man who ever had the chance to touch you.

As if he didn't dream at night of having you by his side, of arguing with you every day, of having you with him forever on Giedi Prime, sitting on the throne next to him and being as terrifying as he is.

"Feyd..." You mumble and walk over to him. Feyd tenses, controlling all his muscles, stopping them from making the slightest movement towards you.

He watches your every move carefully as you approach him. The air between you is thick and full of tension. He swallows when you come within his reach and tries his best not to even touch you with his fingertip. However, all his control is put to the test when you stand directly in front of him and lean towards him.

Feyd clenches his fists tightly, so tightly that he feels the blood slowly seeping from where his nails dig into his abalaster skin. The familiar scent of you and your favourite perfume reaches his nostrils, and Feyd does the stupidest thing he can do at that moment. He closes his eyes and inhales deeply into your sweet, seductive scent.

"You can have me. Right now. Wherever you want. However you want. Wouldn't you like to? All you have to do is order some troops to my home planet and scare off Michael's army." You whisper into his ear, brushing your lips against his lobe. Feyd holds his breath as your lips trace his jawline and up to his neck, where you begin to kiss and suck his skin.

Feyd stands frozen, unable to move, allowing you to do whatever you want with him. He sighs as your two long, delicate hands slip under his black robe and caress his chest. His heart is racing as you play with his nipples, pinching them and twisting them in your fingers as you work tirelessly to leave as many marks on his neck as possible. He grunts, trying to stifle a groan as he feels his manhood respond to your caresses and begin to harden painfully.

He reaches for your hips and pulls you closer to him, and Feyd would probably give in to his desires if he didn't feel you tense up under his touch. He sighs and musters all his willpower to grab your arms and pull you away from him.

"You can't just... kiss me, come into my chambers dressed like that at this hour, and demand such things from me when all you show me is hatred and loathing. Don't act like a whore. I won't fall for it. I… not when I know you don't mean anything that you are doing right now." He says this without meeting your eyes, somehow unable to see your reaction. He lets go of you, as if touching you hurts him, and walks to the other side of his chamber, escaping to the balcony.

A cold breeze hits his skin. He sighs, gripping the railings tightly and holding on to them with all his might, as if crushing the marble in his hands would bring his full self-control back.

It doesn't take a minute for your scent to hit his nostrils again.

"And how I should act?! What do you think I can do?!" You shout after him, walking towards him. Feyd tenses, sensing your presence behind him, but makes no move to turn towards you. You sigh in defeat, and Feyd thinks you've given up when suddenly he hears your shaky voice and your pure panic as you try to convince him to help you one last time. "My people will die tomorrow morning, I… I'm begging you. Please, I will do anything, Feyd. Whatever you want."

"Then marry me." He replies, his back still turned to you as he stares into the distance at the Kaitain hills in front of him.

Even though he can't see your face, he can clearly hear the gasp of shock you let out. He imagines your beautiful, full lips falling open, your eyes widening, and you holding your breath as you process his words. He knew that this was the only way for now to ensure his right to you—to make a claim. He had too little time to try to change your opinion of him.

When you're finally "safely his", then Feyd can try to fight for your affections and prove that he is not the monster you think he is. For now, your anger will have to be enough for him. But he would eventually melt it. You loved him once; when you were kids, he might try to make you feel this way about him again.

"What?" You ask, shocked. Feyd slowly turns towards you, and this time he takes a step closer to you, making you both breathe the same air again.

"You have two options. You can agree to... your Michael's terms, marry him and be his property for the rest of your life... or you will marry me and I will protect you, your parents and your people from anyone's invasion." He replies calmly and unfazed, keeping his hands behind his back.

"And be yours property for the rest of my life?" You ask mockingly, almost furiously, with that gleam of mischief in your eyes that Feyd loved so much. This was his little swan. Finally.

It might have been nice to have your mouth and hands on him, but in your case, he didn't want forced submission. He wanted just that blazing fire that captivated him, where he could burn himself if he made one wrong move. He wanted it all... even if he had to gently steer you down the right path—down the altar to him and only him.

"Don't pretend to be so disgusted. We both know how you love some... aspects of being my property. A moment ago you were begging me, saying you would do whatever I wanted. Marry me then. What would you say?"

"I... you know I have no other optiom... neither time to assure I will have any other option. But we also know that I don't trust you and never will." He nods, knowing full well that trust will be the last thing he gets from you. But if Feyd valued anything in life, it was his honor.

"You have my word. I will protect your people as mine. Even better. My uncle or brother or I will never order to attack your home planet. You would became one of our closest ally and thus ensure your country the safety against anyone's invasion. It's a win win situation."

"And how you will win?"

"I will get you." He replies with a shrug, as if it were an obvious reward.

He sees the gears in your head turning as you silently consider all the consequences and benefits of marrying him. He knew clearly that this wasn't what you wanted, that your search for a husband was supposed to be completely different, that he was probably the last man you wanted as a husband, from whom you wanted a nice ring, whose planet you wanted to move to, but Feyd had been waiting for you for so long; he did so much to have you that the circumstances of your marriage didn't really matter to him anymore.

"You will get bored of me. You can't love or trust, not trully or neither can be loved or trusted by anyone else. You know that what's going on between us won't be sexy anymore when it will be no longer forbidden." Your words somehow hurt him more than the worst wound he received. He grunts, clenching his fists behind him, waiting for the unexpected, unpleasant lump in his throat to subside so he can somehow respond to your blasphemous words.

"That's how you see your future husband?" He finally asks, glad that he managed to keep his voice from shaking.

"I didn't say yes to anything yet."

"But we both know you will. You have tied hands. And we both know that you can't dance with them for a long, before you fall." His comment makes you even more furious. Feyd does his best not to smirk at your flushed cheeks and pursed lips. Oh, how he wanted to kiss those lips so much…

"Yes... but you can put chains on them instead of ropes and I will be even worse tied." You respond calmly, carefully analysing his words, looking for a trap—a hidden intention behind his actions beyond his obvious desire to marry you.

"I guess you have to take a risk." He replies calmly, shrugging his shoulders.

"Hmm. Such a convinient situation for you." You mutter, crossing your arms. His eyes automatically fall on the valley of your breasts, but he quickly tries to return his attention to your eyes. If everything goes his way, he'll soon be able to caress every inch of your body he wants.

"Very much. I got to call you my wife and all I have to do is to scare away some lord's family who shouldn't even touch you in the first place."

"I decide who touch me." You say, angry that he hasn't even put a ring on your finger yet, and he's already forbidding you from doing something.

"Not for long I guess."

He sees you biting your lip in anger. You take a step towards him, and Feyd thinks you're going to slap him, but you do something completely different. You cup his cheek in your hand and lean in to whisper in his ear:

"I hate you so much. With whole my heart. If you think this will somehow change my opinion of you, you are wrong. I feel exactly the same about you, and maybe even worse things than what I told you on Giedi Prime. You are the baron's spoiled nephew who only has to snap his fingers to get something. I hate you and I will hate you forever, no matter what you do, no matter how well you fuck me, how good or bad of a husband you are, my feelings towards you will remain the same as they are now." And with that, you press your lips to his, sealing your promise with a sudden, unexpected kiss.

Feyd moans into your mouth, feeling himself start to get hard again, which should be absurd in this situation, but he remembers times when he was aroused by… worse things.

"Is that a yes?" He asks, swallowing thickly as your lips leave his—too quickly for Feyd to enjoy the taste and softness of them.

"What the fuck do you think I can do in this situation?" You growl at him angrily, at which he smiles, unable to stop himself, showing you his row of black teeth. Surprisingly, you don't tremble in fear or disgust.

"I want to hear it."

"And I want a decent proposal." You reply in return, forever trying to argue with him.

You're surprised when he walks past you and goes back to his room. You stand alone on the balcony for a moment, taking a shaky breath and staring at the stars in the sky, wondering how the hell you ended up in this situation. Just a week ago, the idea of marrying Feyd would have seemed completely absurd to you.

You freeze in shock when he comes back with a small black box and actually kneels down in front of you.

"Y/N Y/L/N. The darkness of my life, the bane of my existence, the ghostly apparition that haunts my dreams, the heartless witch, the murderous siren, the deceptive nymph leading me to my death, will you do me an honour of beeing my wife and let me fuck our heirs into you?"

You would have smiled at this if his icy blue eyes weren't piercing through yours and carefully analysing your every little reaction. You don't even look at the ring he's offering you—a ring he clearly must be wearing somewhere close to himself. Your heart is racing, despite the fact that this isn't exactly the proposal you wanted. Despite everything, it is... in a strange and twisted way, a nice feeling.

"You could try better." You finally reply in a hoarse voice, suddenly aware of how dry your throat is.

"I am waiting for an answer." He growls, really waiting for your response.

If it weren't for the nature of the whole situation, you'd actually think it was cute. The way the most dangerous man in the world kneels before you, asking for your hand. You sigh, mentally preparing yourself before signing a pact with the devil.

"With great disgust and reluctance: yes."

"Yes what?"

"Haven't you already had your fun?" You ask, frowning furiously. He bites his tongue to keep from giggling, absolutely loving to tease you.

"I didn't even start, my little swan." You roll your eyes at him and look at him expectantly, sticking out your hand. But he makes no move to put the ring on it. You decide not to fight him on this one matter.

"Yes. I will marry you, Feyd-Rautha."

You can see from his face that he is remembering these words and that he is taking a mental picture of this moment. He takes the ring out of the box and, with unusual gentleness for him, takes your hand in his and slides the metal onto your finger.

The ring is nice. Made of white gold, its eyelet is a black onyx stone, which is held by engraved flowers on a metal ring. It was… astonishingly beautiful and thoughtful. And not as big as you assumed it would be. Y/F/N got a ring with a gemstone on half of her finger. You're surprised Feyd didn't give you something similar.

"There. Was that so hard?"

It's a tricky question. Because, as much as that ring weighed on your finger, you couldn't admit that you hated the whole idea of marrying him with all your heart. After all, you could do worse than him... right?

Taglist for Feyd: @avidreader73

Taglist for DWTD: @iloved1lfs0 @heartarianagran @hueanhdang @barnes70stark @forgedfromthestars

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regainingparadise · 10 months ago

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Relistening to TMA Season 5, I am again struck by how goddam badly Martin and Jon need couples counseling.

I love them both. I ship them very much. But oh lord they have issues

Like, these are two individuals who, under the very best of circumstances, would really need therapy both individually and together. They are both people with plentiful quantities of relational trauma from childhood that neither of them have worked through even the slightest bit.

And then you throw them into the apocalypse. And you add a metric fuck ton of guilt, helplessness, and the dynamics of being "The Antichrist and +1"?

On a surface level--Jon is in a perpetual state of information overload. Martin is in a perpetual state of "can you please just explain the basics of what's' going on in a given situation and not just say "it's complicated" or launch into a gruesome monologue"

But on a deeper level, their childhood relational traumas have left them each with opposing avoidant tendencies: Jon is unwilling to broach a difficult conversation, which leads him to hide information until he's confronted. Martin, on the other hand, has a finely honed ability to ignore information that he doesn't like until he no longer can hide from it.

Biggest example of their avoidance tendencies: Martin's Domain

Way early on, when we barely understand any of how the hellscape works, Jon mentions it, Martin shuts it down hard and deflects quickly with a bid for affection from Jon

Martin is in deliberate denial, but Jon admittedly wasn't particularly clear to start with.

"We all have a domain."

Jon means it, presumably, as "Me, You, and other 'Avatars.'" Jon is used to being grouped with those empowered by the Entities. Martin isn't. (see also: MAG185: Martin" Is that how these creatures see us now? As one of them?") But that's not what Jon says. And this is MAG167--they've only been through four domains, at least that we've seen. Jon is speaking from a place of knowledge, and assuming his listener has that same knowledge.

And when this issue comes up much later in MAG183, Martin has spent 17 episodes ignoring or forgetting that he has a domain, not letting that information in so that he has never processed it. (See also: Mag170: "Sometimes I wonder if I forget things on purpose. Easier not to think about them, I guess. Easier to just let them… slip away. They can’t hurt you if you don’t think about them.").

Martin confronts Jon on his avoidance (because while Martin may be good at ignoring things he doesn't like, he's far better at bringing up challenging topics), Jon is able to manage some A+ communication on his feelings and the genuine challenging of figuring out how to share upsetting information when he has All The Information, Martin accepts that. I just desperately want a therapist to be there and make them continue this conversation and practice ongoing good communication skills!

Though they resolve this, even though Jon has an explanation that makes sense...he was really leaving this conversation to the last minute. Would he have "[brought] it up at the crossroads" as he claims to Helen? Or would he have avoided it entirely, as she accuses, or waited till they were at the threshold, as he does with The Desolation and the Hunt, leaving Martin to confront terrifying situations without forewarning or planning or explanation.

Again, Jon kind of tried to bring up some of the potential issues with Basira and Daisy before entering the Hunt domain, but kept it Vague and Ominous ("Things aren't...good"). Martin took that vagueness as an opening to avoid engaging with potential bad news. The teensiest bit of therapy for either of them about their communication issues could have let Jon add "I know you're exited but FYI here are some specifics that you should know" and/or Martin go "I'm excited to see them but given that nothing is good right now, can you be more specific?"

Instead, Jon approaches difficult conversations by being Vague and Ominous, Martin gets snarky or passive-aggressive at the vagueness, upset or aggressively avoidant at the Ominousness, Jon closes back up like a turtle into his shell, and the conversation only comes back up when the situation has drastically escalated, leaving them both more upset.

Jon wants Martin to trust him, because explaining what he knows implicitly is an ordeal for him, and because his upbringing by his grandmother has suggested that communicating is generally unwanted and burdensome (See: MAG081 A Guest for Mr. Spider).

Martin wants to know what is going on, because he's in an awful hellscape of shifting rules about what can and cannot hurt them, completely dependent on a brand-new romantic partner for his survival and purpose, and also because his upbringing and coping mechanisms as a caretaker rely on him knowing enough to help, and his time as an archival assistant has given him some not-inconsiderable trauma about being left in the dark (See: MAG118 The Masquerade) (There's also another post in my head about how MAG118 primed Martin for both the Lonely and his development as a more confrontational character in S5)

All that to say.

Martin needs therapy to deal with the way he chooses not to absorb information he doesn't like. Jon needs therapy to understand that sometimes it's ok to bring up important topics even if the other person will be upset. They both need therapy to cope with all the guilt and helplessness around the apocalypse so they stop taking it out on each other. They need therapy together to learn how to work through their conflicting coping mechanisms.

#Look I love them #But they need so much therapy #Even in the most no powers fluffy AU fanfic #They really would need therapy #Jmart #teaholding #Jon Sims #Jonathan Sims #Martin Blackwood #Martin K Blackwood #the magnus archives #tma podcast #tma #tma meta #tma spoilers #making my english professor proud #Marfisa Thinks Things

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lover-of-mine · 9 months ago

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Okay, my insane theory that I was waiting for the episode to see if I'm right or not. This is a lot more from the business side of things than something actually plot-related. But the thing is, about a year ago, at some point during the s6-7 hiatus, I made a post about how I thought the show had written themselves into a corner when it comes to buddie basically because the stakes are too high (the post is here but please keep in mind I wrote this before Buck bi and thinking about the way fox dealt with them, and we have since found out something was supposed to happen in s4 and they were censored by fox and we are not dealing with that anymore, I will explain my thought process here tho). But basically, I thought that they were not gonna do buddie because the expectations around buddie were too high, and it was easier to play with their tension forever than getting them together.

Because the thing is, we are talking about a six plus seasons queer slowburn that already has a lot in canon, between Chris, the well, the shooting, the lightning, the fact that they are best friend partners, there's a lot at stake and the correct lead up can make it seem as if buddie has been planned when watching the whole show. And since buddie is already insane, buddie in a romantic setting would have to exceed expectations. There's also the way that since Buck and Eddie work together and are partners on the field, they would have to acknowledge buddie every episode they were both in, something that is not true for madney or bathena, so that means that at some level they would have to be okay with the show being known as the buddie show at some level. The way that buddie has the potential to be the first relationship of its kind, a queer multiseason network slowburn, means that there will be people who will watch the show because of buddie. I know I joke about how buddie will make 911 go down in television history, but it is true, buddie will be placed next to big television love stories, people will teach classes on buddie in film school, so they need to be okay with that focus on the relationship existing and potentially being the thing people talk about when thinking about the show. With season 6 knowledge, I thought that at best they would have buddie kiss in the last 10 minutes of the series finale just to say they did it because I did not believe that they would want to be forced to write buddie into every episode and deal with the external focus on them. Now, knowing that fox blocked Buck bi and with the way they didn't even let Oliver and Ryan stand next to each other, I believe fox was never gonna let buddie be what they could be.

We have different rules now. My thing there is the way that they would have to deal with the external focus on them and to acknowledge buddie every episode, right? Well, they set Oliver and Ryan lose last season, including paired, and they let them say all sorts of things, the I love you to the core, buddie wedding season 10, giving the people what they want, there's no competition for Eddie, Buck fills the space Shannon was support to have, every interview Oliver, Ryan or Tim do mentions buddie, so they clearly don't care if people discover the show through buddie, they seem to be leaning into it even. For example, the first video we got for s8 was a ryliver video. So that part is covered, they are fine with it. So that leaves us with the acknowledging buddie every episode. They are doing that. I think everyone knows I'm doing the buddie supercuts by now (if not you can find the ones that are done here), but I wrote a meta about this, something that happened in s7 that was not true in the previous seasons is the fact that buddie has at least one moment every single episode, 1 we had the whole partnership/co-parent thing, 2 we had the thing at the locker room, 3 we had them finishing each other sentences while moving around each other during the rescue, 4 and 5 I don't even need to say it, right, 6 we had the bachelor party, 7 we had the Buckley-Diaz family scene, 9 we had the kitchen scene, and 10 had all that partnership/co-parent thing again. So s7 proved that they don't care about writing buddie into every episode. 801 has a lot of buddie, my cut of the episode amounted to 11 minutes and 33 seconds, that's 27% of the episode, the only episode they have more than that is under pressure, which is saying something. 802 we also had some buddie squeezed in there even though the episode was about the plane. That was an Athena episode, but we still got buddie. So my whole thing with the post I made this morning was about the concept of them adding a buddie scene even though they started the episode physically separated. And Well, I'm gonna count this as my buddie shoutout. They were together on the plane, and we got that little look at the end.

I think, like Tim said in the interviews for s7, that they are trying to work a little buddie every episode because it is a core part of the show, and that is a way to get the audience used to having at least a little buddie every episode. And I think that's the biggest sign that something has shifted and buddie is cooking.

Anyway, yeah, that's the theory. If you read this I love you 🫶.

#911 #911 spoilers #911 speculation #911 meta #thoughts thoughts thoughts #buddie thoughts #this is madness #i know but #well #ive said crazier things

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ms-demeanor · 1 year ago

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Hello! First, I wanted to say thank you for your post about updating software and such. I really appreciated your perspective as someone with ADHD. The way you described your experiences with software frustration was IDENTICAL to my experience, so your post made a lot of sense to me.

Second, (and I hope my question isn't bothering you lol) would you mind explaining why it's important to update/adopt the new software? Like, why isn't there an option that doesn't involve constantly adopting new things? I understand why they'd need to fix stuff like functional bugs/make it compatible with new tech, but is it really necessary to change the user side of things as well?

Sorry if those are stupid questions or they're A Lot for a tumblr rando to ask, I'd just really like to understand because I think it would make it easier to get myself to adopt new stuff if I understand why it's necessary, and the other folks I know that know about computers don't really seem to understand the experience.

Thank you so much again for sharing your wisdom!!

A huge part of it is changing technologies and changing norms; I brought up Windows 8 in that other post and Win8 is a *great* example of user experience changing to match hardware, just in a situation that was an enormous mismatch with the market.

Win8's much-beloathed tiles came about because Microsoft seemed to be anticipating a massive pivot to tablet PCs in nearly all applications. The welcome screen was designed to be friendly to people who were using handheld touchscreens who could tap through various options, and it was meant to require more scrolling and less use of a keyboard.

But most people who the operating system went out to *didn't* have touchscreen tablets or laptops, they had a desktop computer with a mouse and a keyboard.

When that was released, it was Microsoft attempting to keep up with (or anticipate) market trends - they wanted something that was like "the iPad for Microsoft" so Windows 8 was meant to go with Microsoft Surface tablets.

We spent the first month of Win8's launch making it look like Windows 7 for our customers.

You can see the same thing with the centered taskbar on Windows 11; that's very clearly supposed to mimic the dock on apple computers (only you can't pin it anywhere but the bottom of the screen, which sucks).

Some of the visual changes are just trends and various companies trying to keep up with one another.

With software like Adobe I think it's probably based on customer data. The tool layout and the menu dropdowns are likely based on what people are actually looking for, and change based on what other tools people are using. That's likely true for most programs you use - the menu bar at the top of the screen in Word is populated with the options that people use the most; if a function you used to click on all the time is now buried, there's a possibility that people use it less these days for any number of reasons. (I'm currently being driven mildly insane by Teams moving the "attach file" button under a "more" menu instead of as an icon next to the "send message" button, and what this tells me is either that more users are putting emojis in their messages than attachments, or microsoft WANTS people to put more emojis than messages in their attachments).

But focusing on the operating system, since that's the big one:

The thing about OSs is that you interact with them so frequently that any little change seems massive and you get REALLY frustrated when you have to deal with that, but version-to-version most OSs don't change all that much visually and they also don't get released all that frequently. I've been working with windows machines for twelve years and in that time the only OSs that Microsoft has released were 8, 10, and 11. That's only about one OS every four years, which just is not that many. There was a big visual change in the interface between 7 and 8 (and 8 and 8.1, which is more of a 'panicked backing away' than a full release), but otherwise, realistically, Windows 11 still looks a lot like XP.

The second one is a screenshot of my actual computer. The only change I've made to the display is to pin the taskbar to the left side instead of keeping it centered and to fuck around a bit with the colors in the display customization. I haven't added any plugins or tools to get it to look different.

This is actually a pretty good demonstration of things changing based on user behavior too - XP didn't come with a search field in the task bar or the start menu, but later versions of Windows OSs did, because users had gotten used to searching things more in their phones and browsers, so then they learned to search things on their computers.

There are definitely nefarious reasons that software manufacturers change their interfaces. Microsoft has included ads in home versions of their OS and pushed searches through the Microsoft store since Windows 10, as one example. That's shitty and I think it's worthwhile to find the time to shut that down (and to kill various assistants and background tools and stop a lot of stuff that runs at startup).

But if you didn't have any changes, you wouldn't have any changes. I think it's handy to have a search field in the taskbar. I find "settings" (which is newer than control panel) easier to navigate than "control panel." Some of the stuff that got added over time is *good* from a user perspective - you can see that there's a little stopwatch pinned at the bottom of my screen; that's a tool I use daily that wasn't included in previous versions of the OS. I'm glad it got added, even if I'm kind of bummed that my Windows OS doesn't come with Spider Solitaire anymore.

One thing that's helpful to think about when considering software is that nobody *wants* to make clunky, unusable software. People want their software to run well, with few problems, and they want users to like it so that they don't call corporate and kick up a fuss.

When you see these kinds of changes to the user experience, it often reflects something that *you* may not want, but that is desirable to a *LOT* of other people. The primary example I can think of here is trackpad scrolling direction; at some point it became common for trackpads to scroll in the opposite direction that they used to; now the default direction is the one that feels wrong to me, because I grew up scrolling with a mouse, not a screen. People who grew up scrolling on a screen seem to feel that the new direction is a lot more intuitive, so it's the default. Thankfully, that's a setting that's easy to change, so it's a change that I make every time I come across it, but the change was made for a sensible reason, even if that reason was opaque to me at the time I stumbled across it and continues to irritate me to this day.

I don't know. I don't want to defend Windows all that much here because I fucking hate Microsoft and definitely prefer using Linux when I'm not at work or using programs that I don't have on Linux. But the thing is that you'll see changes with Linux releases as well.

I wouldn't mind finding a tool that made my desktop look 100% like Windows 95, that would be fun. But we'd probably all be really frustrated if there hadn't been any interface improvements changes since MS-DOS (and people have DEFINITELY been complaining about UX changes at least since then).

Like, I talk about this in terms of backward compatibility sometimes. A lot of people are frustrated that their old computers can't run new software well, and that new computers use so many resources. But the flipside of that is that pretty much nobody wants mobile internet to work the way that it did in 2004 or computers to act the way they did in 1984.

Like. People don't think about it much these days but the "windows" of the Windows Operating system represented a massive change to how people interacted with their computers that plenty of people hated and found unintuitive.

(also take some time to think about the little changes that have happened that you've appreciated or maybe didn't even notice. I used to hate the squiggly line under misspelled words but now I see the utility. Predictive text seems like new technology to me but it's really handy for a lot of people. Right clicking is a UX innovation. Sometimes you have to take the centered task bar in exchange for the built-in timer deck; sometimes you have to lose color-coded files in exchange for a right click.)

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