#i don't have any real conclusions to draw from this

[bucktommyfanfic]

A list of BuckTommy fics posted on April 8, 2024

These fics are carefully read through to ensure that they are BuckTommy positive. Any listed works do not feature character/ship bashing (apart from the Buckley parents or Gerrard, who do not count). These fics may feature other mature or triggering content, so please read author tags and warnings carefully and don't forget to leave some love!

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a bright side to this by @half-bakedboy Oneshot | General | 777

Tommy has to stamp down his worry before he walks up to Buck’s door. He’d only gotten the short story from a coworker who’d heard from a former partner that a firefighter on the 118 had gotten himself into trouble again.

Unfortunately, Tommy was immediately certain who that firefighter was.

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But 15 Seconds Later, They Were Clappin' Too by StarrySummers04 Oneshot | Teen | 1456

Bobby and Athena are having a little party to celebrate 5 years of marriage. Buck hasn't told any of the fire fam that he's bisexual or that he's dating Tommy but he really wants to bring his boyfriend to join them. How will everyone react?

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Every time we touch (I get this feeling) by @livelaughbuck Oneshot | General | 1466

Buck loves touching his partners, he just doesn't know what it's like to not be the one who gets cuddled.

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Eyes Wide Open by @inell Oneshot | Teen | 3365

Tommy drops by and wants to talk, which has Buck drawing some wrong conclusions.

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First Of Many Dates by JamieHarper Oneshot | Teen | 708

They go for drinks on a first date and Buck opens up about the kiss being a surprise to him.

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flaws by thisclose Oneshot | Not Rated | 548

buck and tommy cuddle and admit some things...

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go easy, kid (it’s only rock and roll) by selfmythology Oneshot | General | 1747

He’s about to head to bed early, ready to call it a night and sleep off the worst of the pain when there’s a knock at the door. He frowns but opens it anyway.

He’s not sure who he expected, but it certainly wasn’t Tommy.

“Hey,” he breathes. Even that one word aches on the way out. “What—”

“Eddie called me,” Tommy says by way of explanation. “Can I come in?”

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good place to start by kitthekazoo Oneshot | General | 807

Buck and Tommy's first date goes pretty well, Buck thinks.

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I'll Cover You by ALilyPea Multichapter | Teen | 2867

Buck had never found himself ashamed of his body, not once he'd begun treating it right and not like a temporary shell that would crack under too much pressure. But it was sometimes challenging to take care of, even when he did his best.

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The Imperfect Date by theonesthatreallymattered Oneshot | General | 1136

Buck wants his first date with Tommy to be perfect. It’s anything but.

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It might be worth it for once by ActuallyIntro Oneshot | General | 2922

For as long as he could remember, Buck hated being called Evan. Despite that being his real first name. His teachers, his mom, and even his sister would use that name and it drove him crazy. Especially when it was for something he did wrong.

But then Eddie Diaz stepped into his life and became one of the first people to call him Evan without the negative connotation. Then Tommy stepped in, and suddenly he became the second. But Tommy seemed to only call him Evan even when nobody else did. And strangely, Buck didn't mind. Like a light switch had flipped in his mind and Buck had no desire to turn it off.

The feelings were complicated and more than he knew how to process but he knew one thing. He was starting to like Tommy.

Aka, my version of a 3 times Buck hated being called Evan and 2 times he liked it.

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let’s get lost between the lines by @capseycartwright Oneshot | General | 2086

“You handled that well,” Tommy said, as they left the restaurant and stepped out into this cool evening air. His words were soft, and gentle – genuine, even. As though he really meant it. Buck was baffled, frankly.

“I handled that with as much grace as an elephant doing ballet,” Buck glared at his - his date? - incredulously. “Tommy, did you hit your head? Are you concussed? Do I need to take you to the emergency room?”

or, after the eddie shaped hiccup of their first date, buck and tommy walk and talk - about coming out and why buck deserves a nice boyfriend.

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The Most Natural Thing by @tabbytabbytabby Oneshot | Teen | 666

As calm and sure as Tommy might seem when he kisses Evan, he's still nervous about Evan's reaction.

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my family is yours by @half-bakedboy Oneshot | General | 709

“I can practically hear you spiraling, and I feel like that’s supposed to be my job,” Evan interrupts Tommy's, well, spiraling

“I’m meeting your entire family together for the first time. How is this about you again?” Tommy asks. Evan must know he means well because there’s a soft smile on his face and he reaches out to grab Tommy’s hand.

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oxygen in my soul by 2pretty_2die Oneshot | General | 554

Tommy kissed him.

Tommy kissed Buck and turned Buck's world on its head, in the best way possible.

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pregame by kitthekazoo Oneshot | Teen | 846

Buck gets caught snacking by Tommy before their date.

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Step 3: Slick, Sensual Showers by TrustDivineChaos Oneshot | Explicit | 1225

Tommy's eager to see this special showerhead Buck mentioned, but more than that, he's eager to see Buck in the shower. Thankfully, he gets both things he wants! It's sexy shower time!

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this is what it feels like by orphan_account Oneshot | Teen | 1361

Buck blushes. Always has. Gets flustered easily, ducks his head with a giddy, boyish grin at any compliment. It’s poetic, really, that he’s a firefighter because he flushes bright, fire engine red every time.

Still, though. He’s not sure he’s ever blushed as much as he does with Tommy.

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trembling on some new beginning by drcloyd Oneshot | Explicit | 2803

Buck enjoys the beginning of things with Tommy.

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[kerosene-in-a-blender]

It's interesting that the member of Bells Hells most vocally sympathetic to Liliana last episode wasn't Imogen, but Laudna. Imogen of course loves her mother and wants to believe the best of her, but her repeat experiences of reaching out to her and getting nothing but cult rhetoric and vague reassurances have left her jaded to the idea that her mother could ever truly change even if she helps them

But Laudna extends sympathy to Liliana, saying she understands what it's like to be a person designed by a force outside oneself and at the mercy of their designs and whims. And I do think Laudna understands what that feels like! It's a pretty apt description of her relationship with Delilah as she perceives it. But I'm doubtful of how accurately it describes Liliana and the other Ruidusborn's relationship with Predathos, especially since we know from Imogen's role in the story that they can resist, they can fight back, and they can choose not to follow the siren's song of Ruidus. But I think Laudna sees enough of her own story in Liliana, and is lacking enough in emotional maturity, that she's drawing a one-to-one comparison where it doesn't really exist

What makes this especially interesting/odd is that there are characters in all this that do have a fairly equivalent experience to Laudna: Derrig and Will. The people killed for convenience as part of a larger plot that they were in no way involved in; murdered as a simple means to an end. But it's a woman that's part of the group that perpetrated that violence that Laudna chooses to relate to

[unproduciblesmackdown]

yo what the fuck lmfao not the tiny little actor kid playing eddie in the it movies voicing alberto a la luca. zero recognition like kind of could deepfake it in my head litchrelly i mean like those actor children being quite small & then even recording something a few years later like alright yeah voice just dropped a ways already but i definitely had to stare intently at the [looking that up] textual confirmation. absolutely zero resonance at the time a whole like month ago lol go figure. congrats on the bisexuality too he/they king

[whumpster-fire]

Broke: Chilchuck Tims is child coded.

Woke: Chilchuck Tims isn't child coded, he's a middle-aged, divorced man with grown up children.

Bespoke: Chilchuck Tims cannot be accurately described as either "child coded" or "not child coded" because he is a deliberate commentary on the idea of "child coding" itself.

Chilchuck, and half-foots in Dungeon Meshi in general, are given significantly more neotenous proportions and appearances (e.g. larger heads and eyes, rounder faces) than the other races. This is not universal for depictions of hobbits / halflings in Tolkien / D&D inspired fantasy fiction. Compare Chilchuck relative to the "tallmen" (humans) in Dunmeshi to how small races are drawn in something like Legend of Vox Machina (many of those characters are gnomes but whatever) or in basically any official D&D art. It was an intentional artistic decision to make him look like that. This is reinforced when he's temporarily transformed into a tallman (human) and in addition to becoming much taller he gains features that make him look more visibly middle-aged (stubble, eye bags / wrinkles, a more oval face) that he doesn't have as a half-foot. See also Marcille's transformed form and supplemental drawings of what all of the main party would look like as other races. However they do NOT look indistinguishable from actual children as portrayed by Dunmeshi's artstyle and have distinguishing features e.g. larger ears.

Chilchuck is frequently mistaken for a child in-universe, or treated / perceived as one even by members of other races who know he's a half-foot, and he hates this. His infantilization and that of half-foots in general isn't just a running gag, it's a significant plot point and source of discrimination. Like when the party gets impersonated by shapeshifters copying everyone based on the others' memories of them, and most of the Chilchuck clones look and behave more childish than the real one, and they almost get away with it, even though his party should know better than to think of him as a kid.

The narrative consistently takes the position that the people infantilizing Chilchuck are wrong, and are being ignorant/racist.

Conclusion: Chilchuck is definitely not "child-coded" in the way that a 700 year old shapeshifter that looks and behaves indistinguishably from a little kid for contrived reasons. However, he is intentionally designed to make it seem plausible for people who know he's an adult to still not fully believe it and this can make the viewers fall for it too. Which I guess is "child-coding" in a sense. But the message the work is trying to send is very clearly "Don't decide that grown-ass adults are equivalent to children and treat them like children because they have physical characteristics that remind you of a child you dipshit."

While hobbits aren't real and Chilchuck's traits that get him mistaken for a child are exaggerated compared to the vast, vast majority of real people, infantilization of grown-ass adults due to ableism, racism, or just people being dumbasses who forget short people exist is a real issue, and if you start shit with people for shipping Divorced Dad Chilchuck Tims with other characters or whatever you are displaying the exact attitude that's being criticized.

[medicinemane]

It does make me wonder about... about people's comprehension as a whole, where it's just like... somehow you've failed to understand the basic premise of the question and by going off on an unrelated tangent you've done nothing

It's like if someone asked "I'm allergic to beets and I don't really like yams, was there another option I could use for that recipe?"

And the person responded "I agree, I don't really like yams either, that's why I usually use beets"

Or it's like the post where the person was lamenting not having disposable income enough to even afford an impulse buy of something like a mug, and everyone gets hung up on giving them tips to buy mugs, when... the mug was clearly an example, the problem they're complaining about is too tight of a budget

It's not just reading comprehension either, because I'll experience this in face to face conversations too, even with very intelligent well educated people like therapists (my really good fit therapist I could say "that's not what I want to talk about", and she'd just be like "cool", and we could get to what was really the problem on my mind that week)

I'm sure I do this too, but like... I at least think I do it relatively rarely at least compared to the times where I've just taken a stab at inferring what someone's feeling based on what they said and having them go "exactly", and at least I usually am willing to just stop in my tracks if someone says "no, I'm talking about this"

Then you've got the question of why people do it, and the easy answer is just "oh, something something intelligence", but... lets say for a second that the majority of people are just plain stupid... well then that's how it is and you have to work with it anyway, but I really don't think that's it

Maybe it's just that we all get so fixated on our own lives and our own values that it's hard for people to stop viewing things through their own personal lens, and that makes it hard to engage with what's actually being said

Maybe it's something totally different... I don't know... there's just a huge communicating issue these days and... and I don't like it

[originalwinnerfanfish]

Well, I did it

Megatron - I love his tfp design. Probably one of the best iteration of Megs. He is huge, heavy armoured, his face covered with scars… He doesn’t looks like an ordinary military leader who is only capable of giving orders, but like real warrior who can destroy any enemy with his bare hands.

So, in the WOF version, he definitely shares some features with Princess Burn, not only because of his might, but also because of his horns shape and dirty-dark scales (that absorbed blood of his enemies)

Starscream - Boy, I hate him so much 🤣… but in the good way, trust me! In my opinion, when the show's creators make you feel such strong negative emotions towards a villain, it means they've done a great job. Also, I think that his animation in the show was absolutely incredible, because even though he's a 3D model, he still manages to move like a 2D character, which is amazing!

I feel that in my design he still looks more like a skywing, than an icewing (which is kinda logical)

Soundwave - This one was tricky. I couldn't figure out what his mask would look like, so I just made his face a really dark color. I think Soundwave has both gifts of the nightwings, and he’s equally great at telepathy and a future vision. So he doesn't really need equipment to predict enemy movements, which makes him an ideal communicator in the WOF setting. His Laserbeak is part of the armor enchanted by Shockwave, and it might also allow him to open portals (but I'm not sure with this one)

Shockwave - My favourite evil genius. He would definitely have animus magic and mind reading. I think Shockwave is the only one who has advanced the study of magic so far, precisely because he combined it with scientific knowledge and created safer methods of using it, that don't damage the mind. It's like if a Mastermind got animus magic in books.

I also like to think that he didn't heal the damaged part of his face just so that his enemies would fear him more)

Dreadwing - This man deserved better! It's really a shame that he was removed from the show so quickly due to financial problems. It would be great if his arc got a proper conclusion in season 3.

Considering that I didn't want to make him a hybrid, it was difficult to choose a suitable color palette. So let’s just say, that I tried my best😅

I don’t think that he would have any nightwing powers, but honestly it doesn’t even matter - this guy can make a bombs, what else does he need to be cool

Arachnid - Did anyone even doubt that she would be a hivewing? Damn, she even got her own “Othermind” virus. Her design was the easiest to work with - just a little poisonous ass (suspiciously similar to Maleficent).

Just like Starscream, I hate her, but in a good way. She's one of the creepiest characters in the entire series, who’s acting like a fucking heartless monster, especially with Arcee, but even so, there's always was something mesmerizing about her. I just really like strong female villains

Knockout - Wery bright and charismatic guy, definitely one of my fav cons!

I tried to draw him as handsome as possible. Worked a lot on the face shape and coloring, and as for me it turned out pretty nice (finally).

Most decepticons think Knockout is as stupid and lazy as all the other rainwings. And it's not like he completely disagrees with that. Of course he’s not stupid and lazy, but if it’s means less dirty work on the battlefield, well, he’ll continue act like a tipical rainwing

(I also believe that Megatron keeps him as an “art”)

Breakdown - Fun fact: "Operation Breakdown" was the very first thing I saw in this series. And it was an interesting experience for 8 year old me. Maybe that's why I'm so scared of eye gouging scenes in movies now…

I think that he didn't have any siblings initially due to his parents nature, and even after meeting Bulkhead, he felt uncomfortable among the other mudwings. And this is why he later chose the side of the decepticons. And maaaaybe because of one cute rainwing influence)

P.s.

I think that, being mostly nightwings and icewings, the decepticons are much more concerned about purity of their blood and rarely accept half-breeds into their ranks.

During the war, there were many animus dragons among decepticons, which is why they have so many artifacts that allowed teleportation and communication at a distance. But, honestly, I still can't imagine what Nemesis would look like in this AU

[tblsomedoodles]

Here's an art/info dump about this stupidly cute idea that's been rotating in my brain for three day.

(the first comic here is just how they first met. they ended up in the same alley, pestering the same cat without noticing. Then the cat left and they notice they're not alone lol)

(Second is Donnie 'talking' with Mikey for the first time. He only uses Mind Mend to communicate and is just as surprised as Mikey to find it worked on him. (it has only worked with Leo before this))

I'll put the rest under a break b/c i will be going off about this and i don't want it to take up your entire feed.

I'm jokingly calling this "Mikey's Imaginary Friends" though that might change if i continue this.

Basically it's this, the twins grew up with Draxum while Raph and Mikey grew up with Splinter. Neither set knew about the other (b/c splinter though they were dead and didn't want his two remaining kids to worry about it, and Draxum was too focused on fixing his lab to pay much attention to the twins.) So, imagine Mikey's shock when, at age 8, he's out exploring topside (having snuck out) and runs into two more mutant turtles (who also snuck out and are exploring.) Thus begins an ongoing sneaking out to meet up thing between the three b/c Mikey's excited to have new friends and the twins are just as fascinated with Mikey as he is with them.

And before you ask, "hey, why doesn't Mikey tell his family about the two other turtles?" he does. Raph thinks he just made up some imaginary friends so he plays along but doesn't believe they're real. Splinter, on the other hand, thinks he's talking to Hamato ancestors due to some very big miscommunications (that i'll probably draw out at some point b/c it's silly)

Twins background wise, i'm still thinking through a lot of it, but i'll put my thoughts down anyways.

Draxum knew that training the twins at a young age would be counterproductive, so he doesn't train them beyond some basics a few times a week. Other than those sessions, he leaves them alone with their less-than-stellar caretaker, in favor of rebuilding his lab. The caretaker doesn't do much for them beyond give them food and very basic school like lessons. Beyond that the twins are left on their own.

they come to the conclusion that the only people that will care for them is themselves. They discover Mind Meld very early as a result of this and will not talk verbally b/c they found out early on with their caretaker, that if they tried to talk, they were just ignored anyways, so what's the point.

(I'm also thinking Donnie might be deaf or hard of hearing in this, with the pair of them using Mind Meld as a way for him to temporarily hear through Leo and thus keep Drax from finding out. but i'll have to do some more research before i decide for sure/figure out the specifics)

as for Meeting Mikey

That's why they became so fascinated with mikey. B/c mikey was the first person that treated them like a person and not a job or an incomplete experiment. (He's also so happy and bright, they can't avoid getting drawn to him lol)

Mikey's probably the only one they verbally start talking to, even after they teach him mind meld. (though Leo's the one to pick up on that more than Donnie. Donnie doesn't do much talking at all outside mind meld).

They also come out of their shells (hehe) a lot as they interact more with Mikey. Before they met him, they acted more like automatons, even when alone. The more they socialize with Mikey, the sillier these two get. Leo learns about puns and starts going mad with them, Donnie starts happy stimming about thing (which he has either been suppressing or just never had the urge to do before.) Basically they stop acting like little creepy statues and start acting like kids.

Honestly, it's just a cute idea with the kiddos meeting each other and Mikey inadvertently socializing his not-well-socialized brothers.

(also, the twins wear masks b/c Donnie doesn't like the smell of the city and he's worried about germs. Not for any ninja reasons, what so ever.)

Alright, that's it for my info dump. maybe more later? Maybe not? Depends on how much longer these kids keep my attentions (though right now, they're doing a pretty good job at it lol)

[munsonsmixtapes]

Say Don't Go

Evan "Buck" Buckley x fem!reader

summary: tensions rise between you and Buck as you find out that he works for you uncle and he learns you're Bobby's niece, forcing the two of you to make a decision on where your relationship stands

word count: 3k

part one part three part four part five part six

Buck could not believe it. The first woman he was attracted to in months was Bobby’s niece? He really was always getting dealt a shit hand. He was going to ask you out on an official date and bring you flowers and shower you with compliments and make stupid jokes to make the both of you less nervous. He supposed now that it was only a pipe dream. And all because you were related to his boss. 

“Bobby, I didn’t know you had a niece,” Buck spoke up, trying to seem nonchalant, as if he didn’t feel like he was going to throw up. And he did, the idea of running to the restroom sounding real inviting. 

“She’s my sister’s kid,” Bobby replied, pulling you into his side in a protective manner then pointed at the man. “Don’t get any ideas, Buck,” he said with a wink, but the threat seemed very serious. Too bad the ship had already sailed and was on the verge of sinking. 

You eyed Buck and shook your head as if to tell him to not come any closer. You wanted to speak to him about the whole situation, but you couldn’t without everyone noticing that the two of you had disappeared and jumped to their own conclusions. You were going to have to meet on your own time to avoid suspicions. Especially Bobby’s. 

The man had become very protective of you since the day you were born and would continue to do so until he took his last breath. Since your father was never in the picture, he felt the need to step up and be exactly what you needed. He was there for everything: your first steps, helping you ride a bike without training wheels, your first date. Yes, he sat in the back row of the movie theater, watching the two of you like a hawk, making sure the kid didn’t try anything. 

Bobby would not have been happy if he found out that Buck had even looked at you in a flirty manner let alone slept with you. It wasn’t that he didn’t think that Buck wasn’t fit to be your boyfriend, but more like any man wasn’t fit for the role. 

You eyed Buck practically the entire time but tried not to draw attention to yourself as you did it. Tension was rising and you really hoped that no one else could see it. Especially since you were the guest of honor and couldn’t fade into the background like you desperately wanted to. 

“Everyone,” Bobby stood behind you, resting his hands on your shoulders. “This is my niece, y/n. And I expect you all to welcome her as an honorary member of the 118. She’s going to be here for a while. Y/n, this is Hen and her wife Karen,” he pointed to the Black woman who was standing next to Buck. She gave you a hug and you were quick to return it. “And Buck and his sister, Maddie.” You looked at Buck and didn’t miss the look on his face as your eyes glanced at him to look at his sister. His face was white. Almost as if he had seen a ghost. You ignored it for the moment and tried your best to listen to Bobby’s introductions of his team. “And that’s Chimney,” Bobby gestured to the Asian man who was on Buck’s other side. Oh, you so had to hear the backstory about that nickname. “And Eddie and his son, Christopher.” You turned your attention to one of the most beautiful men you had ever seen and a young boy who was using crutches. 

Hugs were all passed around as you were introduced and you all mingled as you sipped on your drinks, waiting for dinner to be ready. You got into a conversation with Maddie about nursing, but you couldn’t help but let your eyes wander to her brother who had been in what looked a deep conversation with Eddie. You couldn’t help but feel like word about your night together was somehow going to get to your uncle and you didn’t even know why you cared so much. You were an adult now and really had no reason to hide to from Bobby. Maybe he’d be a little upset at first, but he’d come around. 

“So, that’s the girl you hooked up with the other night?” Eddie asked, holding back a laugh. It was just too good, almost like the plot of a telanovela he’d watched with Christopher. Of course something like that would have happened to Buck. That sounded exactly like something that would have happened to him. 

“Yes,” Buck nodded. 

“And she’s Bobby’s niece?” All Buck could do was glare at Eddie. It was almost as if he wasn't listening at all. And for once, this was a very serious matter. His life was doomed as he knew it and Eddie was just laughing it off as if it was all just a big joke. And Buck supposed that maybe it was.

“Yes. Weren’t you listening?” He was now on edge, for whatever reason, feeling paranoid that Bobby had been listening even though the man was all the way across the room joking around with Michael.

“Hey, relax," Eddie pat his friend's shoulder. Sometimes Buck just really needed to relax. "I’m just making sure I’m getting the facts right. I can't believe that out of all of the people in Los Angeles that you slept with Bobby's niece. Oh, Chim is gonna get a kick out of this."

Eddie burst into laughter, really getting a kick out of his friend's pain, but he couldn't help it. It was all just too funny to not laugh a little at the unfortunate events of his friend's life. He was just happy that he wasn't in Buck's shoes.

“But you're not gonna tell Chim," he gave Eddie a warning look. "This secret dies with us. And I swear if you tell Bobby-" Both of the men knew that whatever threat came out of Buck's mouth would be empty, but Eddie wanted to know what would have been in store for him if he had broken his promise.

“You’ll do what, Buck?” He crossed his arms over his chest, tilting his head to the side in curiosity.

“I don’t know, but It’ll be bad.”

“Sure, whatever you say, buddy." Eddie gave his shoulder a pat as Bobby had everyone gather around before they all sat down to eat.

“Alright, everyone dinner is served and before we sit, I’d to make a toast,” Bobby spoke up and you could see his eyes getting misty already. “The moment I held you after you were born, I knew that you’d be destined for greatness,” he started and you knew that his speech was going to be a tear jerker just like always. 

“I remember when you were three and insisted on fixing my “wounds” with your little doctor’s kit that I had gotten you for Christmas. You told me that you were going to be a nurse and save lives and look at you now. You graduated nursing school and got a job at your first choice hospital. I’m so proud of you, kiddo. So, if everyone would raise their glasses.” Everyone did as they asked as Bobby raised his own that was filled with soda. “To y/n,” he said. 

“To y/n,” everyone repeated and they all clinked their glasses together before cheering, giving you a round of applause. After the excitement died down, everyone sat down at the table, the only spot available being the one to the left of you that Buck was reluctant to occupy. 

“Oh-“ he said, cutting himself off and everyone was quick to turn to him. To them, it was just the only available seat. To you and Buck, though, it was more than that. If he sat next to you, the awkward tension would only rise and Buck really didn’t want to make it all about him when this was your party. 

“You can sit there, Buck,” Bobby told him. “Y/n doesn’t bite.” Buck’s mind immediately flashed to a couple of nights ago when you had done just that. When you had actually bitten him and been the cause of the healing hickey on his neck. 

“Yeah, Buck,” youpulled the chair out for him to take a seat. “I don’t bite,” you winked, a joke just between the two of you. Buck hesitantly sat next to you, being very obvious unlike you. He might as well have just told the entire table that the two of you had slept together while he was at it. 

“So, y/n,” Hen spoke up. “What’s your position at the hospital?” 

“Labor and delivery,” you told her. You always loved the idea of bringing new life into the world and after doing a few residencies and following nurses around who did just that, you knew that was the career for you. 

“That’s so admirable,” Hen smiled warmly. Just from what Bobby had told her about you, she was sure that you were going to do really well in the medical field. That you were a hard worker and never took no for an answer. “I’m sure you’re going to do great.” 

“Well, thank you. And thank you, Robert, for this amazing celebration,” you gestured to the all of the nurse themed decorations all over the main level of the house and even out on the patio where you were all sitting. 

“That was actually all Athena,” Bobby corrected, feeling like he should’ve let his wife take the credit for all the hard work she put in to make the house look nice. 

“Well, thank you, Athena,” you turned to the woman she nodded enthusiastically, wanting you to know just how much she enjoyed planning the entire thing for you, knowing that it meant a lot to Bobby because of how close he was to you. 

“Of course,” she replied. “It was my absolute pleasure.” 

You looked around at everyone sitting at the table and despite not knowing most of them, you felt but nothing but loved sitting at that table, discussing everything and nothing as you all ate the meal that Bobby prepared for you all. You had felt alone your entire life, only having Scarlett, your mom, and Bobby as your family and now all of the people he had been closest to were welcoming you into their world with open arms, and you couldn’t help but feel more lucky. 

You hesitantly turned to Buck and noticing him picking around his plate, the dish almost full signifying that he hadn’t really eaten anything. And you didn’t blame him. You hadn’t much of an appetite either considering the whole situation and for a second there, you completely had forgotten about him. It seemed that neither of you had the best luck in the dating apartment, so of course, as fate would have it, you couldn’t be together. Or more like shouldn’t considering the whole situation. It would have just been weird and awkward and maybe it would have just been for the best if you just left it at a one night stand. 

Dinner came to a close and by the end of it, you were all sharing funny stories from your careers and just from the one meal you had with them, you knew you were going to enjoy spending more time with them. Maybe if you asked Bobby, you all could have had more meals together like you had heard they did at the 118. You would have really enjoyed that. You were really looking forward to having a real family. 

The members of the 118 all lingered at the door like usual, all hesitant to go back to their homes. All except Buck. He was getting antsy to get the hell out of there and to probably never speak to you again. He could run into a burning building without batting an eye, but when it came to his personal life, all he wanted to do was run away. He absolutely hated confrontation and was going to avoid the inevitable as long as possible.

He looked at you, watching you laugh with his sister and could easily see the three of you getting together for dinner. You'd sit next to him and his hand would reach for yours and you'd give him a warm smile as Maddie looked at the both of you, so happy that her brother had finally real, true love.

The dream quickly faded away as Buck accepted that he was going to let you slip through his fingers. The whole thing was just too complicated and he wasn't going to put you through all of that, especially since you were just getting started with your career. You already had too much on your plate and he didn't think there was enough room for him.

"Right, Buck?" Bobby asked, giving his shoulder a pat and Buck turned to the man in confusion, not even aware that he was even being spoken to.

"I'm sorry, what?" You were still swirling around in his mind even though he was trying hard to focus on what Bobby had been saying.

"You're coming in on time tomorrow, right?" He had still been teasing about him being late a couple of days ago and Buck just rolled his eyes. Now he didn't have a reason to be late anymore and he kind of hated it.

"Yes sir," Buck nodded. "Good night, Bobby."

"Good night, Buck." Bobby gave his shoulder a squeeze and Buck gave you one last look before turning on his heel to head to his jeep.

You watched Buck walk to his vehicle, wondering why he had said goodbye to everyone but you. What, so he found out that you were Bobby's niece and now he was giving you the silent treatment? How was that fair? Maybe everything that happened that night was all part of an act and now he was just showing you his true self.

So maybe that night wasn't as special to you as it was to him. You had even considered asking him out, but now you guessed you had just dogged a bullet. He was just like the other's and at least this one saved you the headache by ghosting you instead of pursuing you only to show no interest in you the entire duration the relationship. You supposed it saved you some tissues knowing who he was from the get go.

One week later

You pulled up to the fire station, feeling anger course through you as you put Scarlett's car in park. You had tried to reach out to Buck multiple times since the party only to be met by nothing but silence. Even if nothing happened between the two of you, you felt like you at least deserved an explanation. Didn't your feelings matter too? Apparently not to him.

So, you decided to show up the one place he couldn't run from so you could have a conversation with him. You weren't sure how you were going to do that with all those people around, but you'd figure things out. You always did.

You marched into the station, scanning the place for Buck and noticed that everyone was surrounding the engine, wiping it down or cleaning the interior. Eddie was the first to spot you and he pointed wordlessly to the other side of the engine, assuming that you were there for Buck.

You rounded the back of the engine and made a beeline for the man, grabbing onto his arm, pulling him somewhere more private, deciding that right by the bathrooms was really the only spot that was as out of sight as you could get. You stopped there and Buck could practically see the flames forming in your eyes because of how angry you were. Women had been mad at him more times than he could count, but never like that. If looks could kill, he definitely would have been dead.

"You're an asshole," you told him, trying your best not to yell. For once, Buck was very aware of the hurt he had caused. And now he was paying for it. With the way you were balling your fists, you looked like you were going to punch him, and for the first time, he was going to take it because he felt like he deserved it.

"Am I?" He asked, cocking his head to the side. Buck didn't know why he was being such a dick, but now he felt like he had stick with it since he had already committed to the role. He honestly wasn't expecting you to show up. The most he ever got was an angry phone call. Perhaps you showing up was a sign that you weren't willing to give up on him like everyone else.

"Yes!" Your voice was a little loud, but you couldn't have cared less. He deserved to know just how angry you were and for once, you didn't care about embarrassing him. That was the least he deserved.

"I had a really nice time with you. You made me feel special. I hadn't slept with anyone in a long time and I trusted you. I trusted you, Evan. And then you find out that Bobby's my uncle and you run? If you didn't want to see me again, the least you could have done was told me. But no, you're nothing but a coward."

Bobby stood on the other side of the wall, listening to the entire thing. He hadn't meant to eavesdrop, but he had left the restroom just as you and Buck went to block the exit and he couldn't have passed without revealing that he had heard everything and he couldn't have that. At least, not yet. Tension was already high and he didn't want to make it worse.

Bobby didn't know what was worse, hearing that you had slept with Buck, or the fact that he made you cry. So not only did the guy sleep with you, but he also completely ghosted you and hurt your feelings. That was three strikes so Buck was out. At least, for the near future. Just as you were leaving, the sirens went off, signaling that there was a call.

Buck tried to follow you, but Eddie stopped him and Buck watched you leave from over Eddie's shoulder. Eddie turned him around and pushed Buck towards the engine, but Bobby stopped him.

"I'm benching you today, Buck." Maybe it was wrong of him to bring his personal life into work, but nobody was allowed to hurt his little girl. Not even Buck. Especially not Buck.

"Why?" Buck didn't like the assumption his brain was coming to and he really didn't like being benched after being yelled at by a girl he really liked.

"I'm the captain and what I say goes. The dishes really need to be done, so could you take care of that?" With that, Bobby got into the engine and both it and the truck pulled out of the station, leaving Buck with nothing but his thoughts and a sink full of dishes that needed to be done.

[thydungeongal]

I think people who play D&D despite its combat focus is, and correct me if I heard this wrong from them, but like... the idea is that they don't like combat, so having a big, chunky combat engine is good somehow??? because the rules don't interfere??? with The Roleplay TM.

Or as my GM said it: "I prefer D&D because I don't have to worry about rules when we're Roleplaying TM and it gets combat out of the way"

I don't get it. I don't. I tried asking why the hell you'd play a game with this much Combat Time and I can't get a straight answer. Like, not having combats is somehow impossible. It's required. But also bad, annoying, and must be codified so the GM can turn brain off BUT ALSO have so many rules you are Brain On, wait 15 minutes i gotta check the book heavy.

I think it's legitimately a toxic meme (in the academic sense of the word) being spread to make people think D&D is not about dungeons but "Whatever You Want uwu" or something.

Maybe you can help because I am on the verge of having an aneurysm here.

There's a lot of stuff that plays into this all too common sentiment.

First of all, there's this idea going around in D&D circles that Combat and Roleplay are two things that are not to touch. You see this expressed quite a lot by fans of D&D, the notion that once combat begins roleplaying stops. This is of course a silly notion, because combat is also roleplay, and it's even more silly coming from the players of the game whose rules are 80% combat.

But once you've established in your mind that roleplaying and combat are two, fundamentally incompatible modes of play and the game you're playing mostly has rules for combat and very little rules for stuff outside of combat (and the rules for combat aren't, at the end of the day, all that interesting) it's easy to draw the conclusion that roleplaying and rules are themselves at odds. @prokopetz has articulated this much better than me, and to paraphrase him: in the dichotomy of combat vs. role-playing, combat actually acts as a metonym for rules-mediated play as a whole. So it's your classic role-playing vs. roll-playing dichotomy, which not only smacks of elitism but is also, frankly, idiotic.

Anyway, once a person has drawn the conclusion that rules-mediated play and roleplaying are fundamentally at odds with each other it's easy to see where a person might draw the conclusion that having any rules that touch upon the "roleplaying" side of play would either needlessly restrict the roleplaying or somehow infringe upon the purity of roleplay. Within the dichotomy of role-playing vs. roll-playing role-playing is ultimately seen as basically free play where there are no rules and procedures in play, only to be broken off by the necessary evil of procedural scenes.

Where has this toxic meme come from? Well, sadly it's as old as the hobby itself. A lot of people who are fans of D&D still think they need to inject "real roleplaying" into the dungeon game to grant it legitimacy as a roleplaying game. This is, of course, bull-honkey. D&D, even played as purely a dungeon crawling challenge game with no pretensions of trying to tell a greater story beyond "the story of what happened during the events of the game" is still roleplaying, and ultimately it owes to a lot of D&D players themselves having bought into elitist notions about roleplaying games and not actually even liking the main supported mode of play of D&D.

Because if you take a look at what D&D as a game mostly supports, it's ultimately a challenge-based dungeon game, which is great and cool actually. But if one has a reductive notion of what counts as "real roleplaying," then, well, there's gotta be something wrong with this game. So actually the roleplaying isn't what the rules say and are actually a secret third thing and also it doesn't even matter what the rules say about the game, because system doesn't matter whatsoever.

You might see why, as a person who is passionate about game design and who loves the dungeon crawling challenge game playstyle, I might find this attitude grating.

And I definitely agree that it's a toxic meme, but D&D 5e play culture at this point is mostly a circlejerk about how the game actually is fine and how game design doesn't actually matter and how in those other games the rules actually get in the way of roleplay instead of doing what they actually do: act as a participant in the game on equal footing with the players and with an actual voice as to how the narrative should look like. Even D&D's rules are loudly opinionated about what the act of gameplay should look like, but these people have convinced themselves that the style of play D&D's rules are opinionated about is bad, actually, so in fact any type of rules that are opinionated about play are actually bad rules that get in the way of roleplaying.

Anyway, as a final note, while these ideas have been around for a very long time, there has been something of a resurgence of this idea, and Brennan Lee Mulligan is partly to blame. Brennan is a wonderful comedian and clearly a great entertainer, but he has also espoused the idea that D&D is good because it gets out of the way in the scenes which he is actually interested in (social, interactive scenes) and takes the reins in scenes which he's not interested in (combat scenes, procedural action scenes). I can sort of understand where he is coming from, and in fact the game taking the weight off the pedal during social scenes is great if your players are all extremely funny comedians like you. But it's also basically a playstyle where there are procedural, rules-mediated action scenes followed by essentially improvised, free play cutscenes where the rules themselves don't have anything to say. It doesn't play into the strengths of the medium, which is that the rules of the game are an active participant with an actual voice in the fiction and not just something to be sidelined. So like with all due respect to Brennan Lee Mulligan, but this is something where he simply is incurious and frankly fundamentally disconnected from what the purpose of rules in a tabletop roleplaying game is. The rules aren't there just to handle the boring stuff for you, because in a game you actually enjoy playing there shouldn't be any boring stuff! In a good game engaging with the rules shouldn't be boring! I play older editions of D&D because I like how the rules shape the act of dungeon-crawling and wilderness exploration! I play Monsterhearts because the rules are opinionated about the teen monster melodrama and they produce extremely cool and wildly volatile drama!

All of which is to say: the idea that the rules of a game are somehow diametrically opposed to the act of roleplay is a silly, toxic meme, and one that is often espoused by D&D players who have latched onto D&D because it was the first game they became aware of and who clearly want something more out of games but they have also convinced themselves that D&D is what all RPGs are and the idea that other RPGs might actually differ from D&D in terms of rules quality, how the act of play looks, and the type of play the rules actually incentivize is completely alien to them. A lot of D&D players have nothing but sneering contempt for the playstyle incentivized by D&D because they have convinced themselves that that playstyle is beneath them and not "real roleplaying," and I think those players should stop playing D&D and instead play games that actually support the playstyles they think are befitting real role-players. Also they should shut up and give me like a hundred dollars for being forced to read their posts.

[bonzos-number-1-fan]

What DPHW Means, and Its Relationship to Smirke's 14

The following contains spoilers for all of TMA, TMP (eps 1, 2, and 3 released currently if you’re in the future), and the ARG. Spoilers for all of this are throughout so I would advise against reading any of this unless you've listened to everything mentioned. It could also spoil episodes of TMP that have yet to release but if it does I don't think it will be a major spoiler. If I'm right I think I'm only right about a fairly trivial piece of information. 

Theory of Fears; or, Zur Furchtlehre

Part 1: Opticks

Smirke's 14 isn't the truth. With or without Dekker's +1. It is, however, necessary and correct. It has also been talked about ad nauseam and isn't a topic I want to dedicate a lot of time to. Smirke's 14+1, or even TMA in general, isn't the focus of this theory nor is it that relevant past its necessity as a point of comparison.

There aren't 14+1 distinct entities in the TMA cosmology. There is a singular entity that has been given divisions by fear and labels by those that have witnessed it. There is no objective line in which to draw these divisions. No matter where you put them or what you name them these concepts will always bleed into each other. Aspects of one Entity will manifest in another because the labels are invented and Fear is a storm of concepts crashing into each other. That's not a flaw in Smirke's list but its strength. A single entity of that scale is impossible to discuss in meaningful terms, the concept has too much gravity to be properly conceptualised and so an entire spectrum of fear must be divided in order to combat it. Categorisation is a vital part of TMA's cosmology and Smirke was as correct as anyone to put those lines down where he did. The real flaw with Smirke's list is forgetting the spectrum exists and stopping seeing the shades in between the Powers.

Finding a way to categorise this concept is important, but the methodology isn't. Smirke's 14 isn't the truth. The only truth is there is a singular whole. But branding goes a long way both in terms of research and in terms of following. This branding lacks accuracy though, it is in large part arbitrary and by its nature removes the shades and the bleed. TMP takes a different approach, one only hinted at, but one that I think is now fully explainable. 

Part 2: Lost in Translation

Perhaps the most interesting mystery in TMP thus far is DPHW. However, I think based on episodes 1 and 2 of TMP (and now 3), and the Klaus excel sheet from the ARG, we have all we need to explain its utility.

In order to show that conclusion in a satisfactory manner some basic facts need stating, and the order of my thoughts on those facts needs explaining. Firstly, each DPHW is 4 digits. Secondly, each DPHW is read as 4 numbers rather than, say, a pair of 2 numbers. Thirdly, these numbers can change independently of each other. Fourthly, incidents may share CAT#R#'s but have a different DHPW as found in the Klaus sheet (a German document listing OIAR-style incident reports). Finally, the German equivalent of DPHW is TSHU also found in the Klaus sheet. We can use those facts to determine something important. Each letter of this initialism is paired with a digit meaning that DHPW is a group of 4 categories. If that is true we can intuit some of its meaning. It is likely that these numbers are a rating of sorts for each category there. To prove that's the case we would need to know the categories and fortunately we have a starting point to understanding it, German.

If the categories that DPHW describes start with the letters TSHU in German then what needs to be done to find the categories is quite simple. You pair each letter up and then find a suitable word to categorise the supernatural whose first letter starts with the respective letter from the initialism in its language. D/T, P/S, H,H, W/U. After some brainstorming in the Statement Remains PLUS Discord server we had come up with strong candidates for 3 of the 4 pairs.

The first was Deadly/Tötlich, a seemingly solid start that gave this theory some legs. Next was Painful/Schmerzlich which was a distinct enough category for the threat of an incident that proved this was a strong direction to head it. H/H proved more troublesome. To my mind the two strongest contenders here were Hypnotic/Hypnotisch or Helpless/Hilflos. Both sound very reasonable but that in itself is a problem. However the last one was found relatively easily as Weird/Unheimlich. With 3 of the 4 it seemed like this was all but correct at this stage. However, I had been thinking about this backwards and it wasn't until I had a revelation that the pieces really fell into place.

Unheimlich sounded familiar when it was suggested but not in a way I could place. It wasn't until the next day that the aforementioned revelation happened. The ARG had a huge focus on Germany, and Ep 1 of TMP revealed why. FR3-D1 uses German source code which makes German the original language for the OIAR's methodology. Meaning DPHW is the translation, and I now think it's a shoddy one at best. The reason unheimlich sounded so familiar to me is because it's a fairly important part of psychology's history.

DPHW's Weird isn't weird, DPHW's Weird is uncanny. A direct translation could give you weird but a more accurate one, especially in this instance, gives you unheimlich. Unheimlich as in Jentsch's "Zur Psychologie des Unheimlichen", and Freud's "Das Unheimlich". Both of which are essays on the uncanny. It's all about the fear of the unfamiliar, and a central example of this is Olympia from Der Sandmann, a seemingly living doll.

The German word unheimlich is obviously the opposite of heimlich, heimisch, meaning “familiar,” “native,” “belonging to the home”; and we are tempted to conclude that what is “uncanny” is frightening precisely because it is not known and familiar... - Freud, The Uncanny

This is incredibly relevant to a lot of what has been discovered so far. The uncanny as a topic in psychology was kickstarted by two Germans, and a central part of their essays was the German Der Sandmann, and a German, SSandman, was a large presence in the ARG. The strength of this connection all but solidified this theory in my mind. And, briefly, this is also related to Masahiro Mori's uncanny valley hypothesis which I'm sure I won't need to explain.

The obvious way to test this is to take the few W ratings we have been given and compare them to the incident to which they're assigned. The first is from Ep 1, “dolls comma watching”, and was given a 7. This is a good start both in that a 7 feels appropriate as an "uncanny rank" but also that a doll is a focal point on the essays on the subject. Also in Ep 1 is "Reanimation (Partial)", again with a 7. Another very appropriate number. The last in Ep 1 is "Transformation (eyes)" with a 5. Certainly less uncanny than the previous examples so this is still strong. In Ep 2 we get a 5 for Bram Stoker's Dracula, which seems more than fair for a strange man like him, and a 7 for Frankenstein which gives parity for another story of the resurrected dead. Finally we get "Transformation (full)" at a 7, more uncanny than "Transformation (eyes)" which tracks nicely.

With what I felt was such a strong theory for the W/U pairing it helped clarify the ideas of the others. The final digit rating the uncanniness of an incident gives an idea of how these categories work and the breadth of their definitions. Up until this point I was leaning towards Hypnotic/Hypnotisch for our H/H pairing. But giving it more thought, and comparing it to TMA's own groupings, it becomes apparent that Helpless/Hilflos is more appropriate. Hypnotic effects are too aligned with things that would already be very aligned with Uncanny ones, the Stranger's Not!Them alter memories and prey on the fear of something being not quite right, so as a categorisation tool I think it makes less sense because of the greater overlap. Helpless on the other hand works better for things like The Dark, The Buried, or The Lonely. Aspects which I don't think show up in our current other 3 groups. But given the current definition of the strongest category, the fear of the uncanny, I think that helplessness is a more apt label. The fear of helplessness. Which makes H Helplessness/Hilflosigkeit.

With this level of breadth established re-examination of the final two categories is warranted. Painful/Schmerzlich is more likely to be Pain/Schmerz. Not just incidents that are themselves painful but the fear of pain, possibly including the emotional. A comparison to TMA gives this rating a strong affiliation with Entities such as The Desolation, The Corruption, or the Flesh. Similarly Deadly/Tötlich should now be broadened beyond the fear of things that will kill you, to the fear of death in a broader sense. Which makes D/T Death/Tod instead. To compare again to TMA this is The End, The Extinction, or The Slaughter. Although, while I might be describing these ideas as the fear of ____ I think it's important to know that they do appear to be more conceptual in nature rather than just if something is scary or not.

Comparing each of these assumed categories against current DPHW’s strengthens this argument. “Dolls, watching” scored 1157. It’s a very low fear of death and pain, but they present a medium fear of helplessness and a high fear of the weird. For a fear that’s rooted in paranoia that makes good sense. “Reanimation (Partial)” got a very similar rating, at 5257, but it being a corpse cranks up its fear of death. “Transformation (eyes)” got 2155 which, again, seems to fall in place with what we know. It’s more human than the doll is so it’s less weird but a physical and alarming transformation naturally seems like more of a terminal concern. Combine that with some good ol' internet death threats and it's not nothing, but not much.

As a small aside, while it's not come up in the episodes so far the Klaus sheet shows DPHW's are 0-9. There is a good bit of evidence to suggest 0 might be read as 10 here. 0 most commonly showed up in that sheet for P and the incidents often had the notes "Kriegsvolk". Literally "war people" but more accurately "army/soldier". So pain of 10 for those would track better than P of 0, and it explains why things like the watching doll rate a 1 for D and P instead of a 0, and Dr. Webber's infection is a P of 1 despite entirely removing physical and emotional pain as it goes. Because 1 is the lowest.

For Ep 2 we start with Dracula scoring a 7465, he’s undead and a killer for high death, if he kills you it hurts but it’s not extreme, he’s both hard to physically stop and has mental tricks, and he’s just a weird dude in general who always seems off somehow. Frankenstein at 5337 has aforementioned parity with the reanimation incident as you’d expect but notably less on the helplessness rating as he is just a man. Next is “Transformation (full)” at 1567. This is generally a more severe rating overall than Transformation (eyes) and you’d expect that, but I think it does show something interesting. At no point did Daria want to end her own life. The transformation is far more severe, arguably looks more life threatening, and was clearly more painful but it is explicitly and repeatedly not about dying. I take that as a suggestion that these ratings take into account more than just the mundanely observable nature of the incident. She looks very sick which would make you think of death but it rates low for it because of the emotional, or maybe supernatural, purpose of the incident. She didn’t want to die, the manifestation didn’t try to kill her, and so despite its appearance it’s low on death.

Then finally in Ep 3, we have "Infection (full body)" with a 8175. (Although I'm assuming that's a misfile and it should be Infection (Arboreal)). I think D and H here are more interesting to dig into. P is pretty obvious it's the lowest rating because it seemed actively pain-numbing as it went. W being 5 tracks too is certainly uncanny and has strange geometry but it's not full Distortion levels. So with those two out of the way we can get to the good stuff. D is the most interesting of the two to me. Because while it's pretty clear he died I don't think that's got much to do with it. Rather I think the 8 is more specifically about the way it deals with death, decay, and rot in relation to new life and the growth of other things, plants and insects. Thematically, I think there is a lot more emphasis on death as a broader concept beyond the terminal nature of the infection. For Helplessness there is also an additional element beyond whether or not he was able to do something about the infection, and that's whether he wanted to. As the symptoms worsened his desire to treat them decreased. Initially he was worried about the infection and determined to seek attention when able, then he was happy to let someone else help instead (a hallucination, which makes things more helpless), before finally wanting it to happen. These sorts of elements are things I think we're going to see factor in quite a lot.

In summary; it is my belief that DPHW is a way to rate incidents that the OIAR catalogue based upon the strength of the fear they elicit in the categories of death, pain, helplessness, and weird (uncanny). This system is effectively the TMP equivalent to Smirke's 14 from TMA. Rather than assigning each statement to an Entity each incident is rated for those qualities. These systems are distinct methodologies but each is a way to categorise the supernatural.  

Part 3: On Analogy

That is the juicy bit of this post out of the way so now I have to put a bow on it and touch upon the overarching analogy here. As alluded to by the title and some turns of phrase, it's colour theory. It's a somewhat common analogy for TMA's fears but I think it applies in equal measure to TMP and taken together might provide an insight into how the cosmologies will differ. So, to me, colour theory is not only the perfect lens in which to view the Fears as a whole, it's the perfect lens to view these methodologies.

Smirke is Newton. He broke up a singular spectrum into wide chunks. The Dread Powers themselves are very analogous to a colour wheel. Colours bleed into each other and the boundaries of where one stops and starts is up for debate but red is still red, and blue is blue. That is a useful context for them, it aids discussion. Try talking about red without ever saying red and only referring to a representation of a divided whole. But all too similar to Newton's 7 colours Smirke's 14 lacks nuance, it lacks shade.

On the other hand we have DPHW and this is all shade. DPHW is CMYK. It's not one thing or another with DPHW. You don't have the pitfall of Smirke's methodology where one manifestation is in one arbitrary box. Here, assuming I'm correct, each incident is made up of constituent parts. The OIAR, and presumably its German forebear, are less interested in Smirke's occult ancient gods and more interested in bureaucratic precision. Smirke was doing research while the OIAR are doing administration. As such DPHW takes a wholly different approach. It's now all shades. This has its own problems in that it's harder to discuss in broad terms. It's such a specific methodology that it's lost a lot of what Smirke triumphed with. This is well represented already given that no one has been shown to know what it means at all yet. But if there is a truly different cosmology at play here we might see the axes of DPHW being where alliances fall.

All that leaves us with is a comparison of these two. The only way to really do that is to talk about how Smirke's 14+1 would fit in DPHW's system. This is something I touched upon briefly. Death is strongly related to The End, The Extinction, or The Slaughter. Pain to The Desolation, The Corruption, or the Flesh. Helplessness to The Dark, The Buried, or The Lonely. Weird to the Stranger, or the Spiral. But that's not all of them and even within those it's already clear that something like The Vast isn't just about helplessness, and we've already seen Daria who would likely be an avatar of the Flesh rank highly in Weird. Which hits upon what I feel is the most interesting aspect of this entire theory. We've seen what happens with Smirke's boundaries on the Entities. We don't know if Entities even exist in this setting, or if they do exist whether they'll be the same ones, or even if they're not the same ones whether they'll function under similar rules. But now we get to see what happens when there aren't those boundaries. We get to see much broader mingling than TMA showcased. It was hinted at there, especially early on before the lore really settled, but now that mingling seems to be the whole point.

And as a brief mention, and to further labour the theme, I don’t think there is enough information to really discuss how CAT#R# works but there are some analogies to work with here. From the Klaus sheet we can infer that CAT# has the following values 1/2/3/12/13/23/123. Or three non-mutually exclusive groups. What those groups are is hard to say right now. There is some soul/body/spirit stuff for the alchemic tria prima that's got some nice connections but doesn't map well now that Ep 3 is out. Either way, this is RGB. An incident can be all red, or red and blue, etc. R#'s values we can infer to be C/BC/B/AB/A/S with maybe an AS in there too. That's a linear scale of similarly unknown value but could represent something like potency/threat. If that is the case then R# is saturation. Some things are more intense than others. We also know from the Klaus sheet that CAT is the German from the "kategorie" meaning "category" the R was from the German “rang” meaning “rank” and so probably has more meaning to it than currently implied.

[pompadorbz]

FINALLY FINISHED MY QPHIL 3.0 DESIGN HOORAY (cant wait to. redesign it again in like 3 months.) (CHECK UNDER THE CUT FOR MY SILLY DESIGN NOTES!!)

I think I said this before but i so. SO BADLY wanted him to have a sleep theme since I always loved how his presence on the island was kinda up in the air. Is it a dream? Is it not? When he goes between the island and hardcore is that change really happening? Who knows.

The idea of making his usual outfit more like a housecoat was super appealing to me, so I opted for this open housecoat look with really heavy frills which were super fun to figure out, and I knew from pretty early on that I wanted to give him a quilt pattern SOMEWHERE on his design, so I thought the inside of the coat would do nicely for a sorta "default state". It also meant I could attribute meaning to the symbols and colours I used. wink nudge.

He has a more subtle angel theme, like with the mobile on his walking stick being a halo with the wing placement further emphasizing this, as well as just his generally lighter colour scheme. When I say sleep was his theme I almost more-so imagine it as like. The feeling of waking up in the morning where you're mostly refreshed but still a LITTLE drowsy. Lots of very spring-y, morning colours.

Just some other quick notes, I always really liked the mod in the server where you could have the crows perch on your shoulder and follow cuz of the lantern, so I thought it'd be fun if I made it so brian just straight up WAS the lantern. So I made him look like one of those wall outlet nightlights!! The backpack being kinda cat shaped was COMPLETELY unintentional but a very welcome result. Missa backpack is real.

As for the alternate outfits, I have a bolas one, as well as an ender king one since I deemed those two the most important. For the ender king I weirdly don't have many notes, like it's fairly straightforward (Save for the elephant in the room but now I'm gonna keep my secrets on why that's a thing). The Quilt design is supposed to be a lighter, easier-on-the-eyes version of the no texture pattern, and I imagine that all the goop and gunk on Phil is hidden under the coat. I imagine it'd look fairly similar to canon so just like. imagine it for now. Might draw it one day. MAYBE. There's some tiny additional colour symbolism but I'll hold my tongue on that and let you guys draw your own conclusions there. I WILL say, however, that instead of his theme being sleep, his theme is "nightmare" (and also kinda sleepwalking since both fit).

The Bolas design was SUPER fun to work with. For starters I wanted the three designs to be in three different states. One with the coat, one with the coat reversed, and one without the coat entirely. Since I wanted to do the checker pattern thing with the possession design, having the sleeveless bolas design worked really well for the shape I landed on, even if it wasn't conventional. and SPEAKING of non-conventional design choices, I decided to go against the usual plague doctor + gas mask fusion design. Which might be controversial... But god. The moment I thought of his mask being a falconry hood, the idea just wouldn't leave my mind. Because of this, the full mask is kinda separated into two parts. The eye mask which kinda also mirrors his usual sleep mask, and the gas mask itself (I kept it in a beak shape since it'd feel odd if i made it any other shape for phil, lol). When designing the whole thing I kept thinking about more apocalypse setting clothing. Like mad max. Or the one gag from that one spongebob movie. Lots of leather. And of course, to match the other sleep themes, the Bolas outfit's theme is "fever dream", although its a bit more subtle. It's easily the weirdest design, The pops of green were simultaneously in reference to the friendship emerald... As well as... Well, the green chain right below the chain on the sickness themed design was probably the most tasteful way I could've chosen to get across vomit without it being too on the nose. (also sidenote, I had a few friends compare bolas phil to... a fly. Which wasn't intentional but it's kinda funny that the guy designed after fever dreams looks a little bit like a bug.) Ok thats it for design commentary I'm gonna go to bedge nyow.

[radykalny-feminizm]

I had the dubious pleasure of learning about the most insane and disgusting person I've heard about in a long time, and I don't want to be alone with this knowledge, so.

This is Christian Weston Chandler (aka Christine aka Chris Chan)

He's an internet personality who was once popular in certain online circles because of his absolutely unhinged behavior and susceptibility to being trolled.

A handful of facts:

He's an extreme incel who, for most of his life, desperately tried to find a partner while claiming that he only needs a woman for sex

At one point he paid a woman so he could rape her

He created and published sexually explicit drawings of female bodies on the internet, including those of women he knew in real life who, of course, did not consent to such things

In addition to being a misogynist, he's also a racist and homophobe. In his own words: if I could have it my way, I'd make it illegal and forbidden to have homo men; women are safe

Surprise, one day he started identifying as a woman and an ally of the LGBT community. He assumed a new identity solely because he thought it would give him sexual access to lesbians. But hey, TRAs keep saying that such things don't happen, so we're good

He thought he was able to magically grow a vagina and showed off his infected taint gash as his new vagina

If you think that's already pretty bad, the worst was yet to come. In 2021 he was arrested for raping his 79-year-old dementia-ridden mother. That's right. If you've ever wondered about the embodiment of evil and degeneration, here it fucking is. The justice system didn't buy into his bullshit identity and treated him as a male. Unfortunately, he was released from jail in March 2023, and in August the same year his incest charge was dismissed as a result of his lawyer having filed for an autism disorder deferred disposition. Which is fucking outrageous and bullshit because hello?? Autism doesn't make you want to rape your own elderly mother??

I don't even have a proper conclusion to all of this. No words in any language can express my absolute contempt and disgust for this moid.

And for TRAs who don't understand why women don't want "trans women" in their spaces - this is why.

[horizon-verizon]

On this here day, GRRM wrote an entry clarifying several things about the dragon lore in his novels, and it vindicates so many Dany stans/Daenerys as the Azor Ahai:

Saying dragon "mysteries", in-world, will be revealed in the last two books AND Septon Barth got a lot right. I'm taking that to mean that dragons change sex (Viserion, here you come, baby!), like two particular Twitter mutes I have (danylanzhou and Branwynwitch). It also seems like he's confirming that dragons and the first 40 Valyrian families (which include the Targs, then and now) mixed dragon blood with their own in some long past ancient event AND that only these families, therefore, can bond with dragons to rides them safely or befriend them.

Which means Nettles is definitely of Valyrian/Targ-descent, which really should have been obvious. One of my mutuals also asserted that this makes the idea of Nettles-Sheepstealer/Rhaena-Morning being interchangeable for their supposed HotD merging GRRM-disapproved bc he makes a point to say that dragons don't tend to move far from their lairs that are usually very high up in mountains and volcanos. Sheepstealer can't be going to the Vale while having a lair in Dragonstone:

As for the thought of Sunfyre flying miles to get to Dragonstone...this is where he/they were born and where the real magic that sustains dragons is coalesced from hundred of years. It makes sense for him/them to fly to this castle even if Aegon weren't there after he had been bodied by Meleys/Meleys & Vhagar, looking for recovery. This is where the Targs get most of their eggs/dragons and it is near where most dragons in Westeros make their lairs.

Note that he says, in the very last paragraph, how:

Fantasy needs to be grounded.  It is not simply a license to do anything you like. Smaug and Toothless may both be dragons, but they should never be confused. Ignore canon, and the world you’ve created comes apart like tissue paper.

It appears he is VERY not happy about something to do with dragons in the show's second season, how they bond in the show, how a certain dragon is "explained" to have traveled a too-long distance for a certain pale-locked young girl who has been trying to hatch her own dragon for years...I see you GRRM, fighting for Nettles AND Rhaena I see.

Oh, and just bc he said he liked epi 2, doesn't mean that he cannot critique anything about HotD ever again...he is the writer and creator of this universe that they are capitalizing on. As long as a writer of any genre stays logically consistent and relatively undiscriminatory in their original writing, they definitely can tell any of us readers what is real and not real or possible in their own creations! That this is even up for debate is a travesty to logic.

Mind you, this is the same man who said the show and the book are two separate canons AND that adaptations "nowadays" tend to fail bc the adapters think they can make the story "better" and ignore critical lore details. And in his latest commentary on HotD's S2 first two episodes, he says, and I quote:

“Rhaenyra the Cruel” has been getting great reviews, for the most part.   A lot of the fans are proclaiming it the best episode of HotD, and some are even ranking it higher than the best episodes of GAME OF THRONES.   I can hardly be objective about these things, but I would certainly say it deserves to be in contention.   The only part of the show that is drawing criticism is the conclusion of the Blood and Cheese storyline.   Which ending was powerful, I thought… a gut punch, especially for viewers who had never read FIRE & BLOOD.   For those who had read the book, however… Well, there’s  a lot of be said about that, but this is not the place for me to say it.   The issues are too complicated.   Somewhere down the line, I will do a separate post about all the issues raised by Blood and Cheese… and Maelor the Missing.  There’s a lot to say.

Note that the latest post was about epi4 and this one I just linked is only abt epi 1 &2....so where are his thoughts for the hated/comedic epi3?! (we see each other, George). (BTW, I gave my thoughts on his thoughts about 1 & 2, HERE.)

I'll say it once again: though GRRM praised the portrayal of grief, defended Cheese being lost, and loved the dog (the last I don't fault anyone for, I also loved them) in the Blood & Cheese episode, he also expressly talks AROUND how Blood & Cheese and Helaena actually interacted and comments on the Maelor-lessness (therefore the lack of Sophie's Choice) that many people--inclu myself--have been saying was a huge problem.

Now we have two different sources that seem to support the ideas of:

GRRM both not being as "involved" with the actual writing of this show for a bit AND not approving of a lot of critical changes

HotD's writers cannot create anything truly "canon" or "real/true" for this universe, it only can make any sort of "sense" if it also retrieves information from the original tale, which is not really just F&B but THE ENTIRE SET OF AVAILABLE BOOKS!

[cy-lindric]

I wanted to vent, but also ask an honest question. Since I was a teenager, I always wanted to work on character design. And one thing that always caught my attention was how I always preferred male character designs over female ones. My first thought was that I was always more into androgynous fashion and more masculine styles. But time passed and I came to the conclusion that it wasn't just that, and it seems that male characters can always be different things: fat, thin, handsome, ugly, short, tall, young, old, etc. and female characters, for the most part, fall into two categories: cute or sexy. I wanted some tips on how I can make female characters with more interesting designs, without having to fall into those two categories. I love your work and you managed to make someone else like the three musketeers <3<3

Hello ! That's definitely a good question and something I think about a lot. The bias towards beauty is very strong in character design and it takes a conscious effort to diversify output in that regard.

That sort of advice might be a bit obvious, but one habit I picked up from the director on my first feature film gig was to actually "cast" characters. Without reference, we tend to go for the kind of symmetrical face and "average" features mostly out of stylistic habit. I like to look at character actors with distinct faces (I like this pinterest page that has a lot of faces in one place) but also just acquaintances or pictures of random crowds.

When designing a character, at first I'm always building a big reference board trying to decide what Type of Guy (gender neutral) I'm going for, trying use photos rather than other people's art, because I want to rely on automatics and graphic symbols as little as possible. Whether I'm designing a man or a woman or other, I use references of fashion styles and people across the board in terms of gender so I keep the scope open. Sometimes a character ref board for me will be a picture of one of my aunts next to a bunch of screenshots of Columbo. In my experience, a lot of the times, it's mostly about going with styles and archetypes the same way you would for a male character, and switching it up somewhere along the way by looking at real women in your life and beyond as a grounding mechanism. Sometimes that will mean changing almost nothing, because the borders between genders and how you characterize them is blurry and fluid, and sometimes it will mean using features that are uniquely tied to some sort of female experience.

I enjoy realism and I think getting more proficient at it did help me diversify my designs (I find that more difficult to do with more minimalistic styles). Still, I am mostly a fantasy artist and in my case that comes with some amount of stylization and idealization of shapes and looks. I'm far from perfect in my biases and I'm not going out of my way to draw "ugly" characters because that doesn't mean much to me ; I try to draw inspiration from the faces of every day people and I associate it with my love for fashion. It's also worth noting the work I post here for fun is a lot more hash tag aesthetic than the stuff I do professionally where diversity is much more important.

I don't know if any of that is relevant but that's definitely an interesting topic ! I'd love to know others' perspective and tips on the matter.

[suzannahnatters]

Let Your Knights Weep

One of the big things I've had to train myself out of when writing medieval historical fiction?

The stiff upper lip.

This used to really bewilder my editor, who for some time attempted to nudge me away from having my grown men weep and wail and blubber, but for me it's an essential part of the setting. Whether in grief or fear, medieval people did not hold things back.

Here are some of my favourite quotes to explain.

First, a couple from two great 20th century medievalists:

CS Lewis in his Letters put it this way:

“By the way, don't 'weep inwardly' and get a sore throat. If you must weep, weep: a good honest howl! I suspect we - and especially, my sex - don't cry enough now-a-days. Aeneas and Hector and Beowulf, Roland and Lancelot blubbered like schoolgirls, so why shouldn't we?”

Dorothy Sayers, in her fabulous Introduction to her translation of THE SONG OF ROLAND, speaking of Charlemagne discovering Roland's body on the battlefield:

Here too, I think we must not reckon it weakness in him that he is overcome by grief for Roland’s death, that he faints upon the body and has to be raised up by the barons and supported by them while he utters his lament. There are fashions in sensibility as in everything else. The idea that a strong man should react to great personal and national calamities by a slight compression of the lips and by silently throwing his cigarette into the fireplace is of very recent origin. By the standards of feudal epic, Charlemagne’s behaviour is perfectly correct. Fainting, weeping, and lamenting is what the situation calls for. The assembled knights and barons all decorously follow his example. They punctuate his lament with appropriate responses:

By hundred thousand the French for sorrow sigh; There’s none of them but utters grievous cries.

At the end of the next laisse:

He tears his beard that is so white of hue, Tears from his head his white hair by the roots; And of the French an hundred thousand swoon.

We may take this response as being ritual and poetic; grief, like everything else in the Epic, is displayed on the heroic scale. Though men of the eleventh century did, in fact, display their emotions much more openly than we do, there is no reason to suppose that they made a practice of fainting away in chorus. But the gesture had their approval; that was how they liked to think of people behaving. In every age, art holds up to us the standard pattern of exemplary conduct, and real life does its best to conform. From Charlemagne’s weeping and fainting we can draw no conclusions about his character except that the poet has represented him as a perfect model of the “man of feeling” in the taste of the period.

OK, now let's dig into some quotes that I found just in Christopher Tyerman's Chronicles of the First Crusade and Joinville's Life of St Louis:

Truly you would have grieved and sobbed in pity when the Turks killed any of our men....

As for the knights, they stood about in a great state of gloom, wringing their hands because they were so frightened and miserable, not knowing what to do with themselves and their armour, and offering to sell their shields, valuable breastplates and helmets for threepence or fivepence or any price they could get....

When Guy, who was a very honourable knight, had heard these lies, he and all the others began to weep and to make loud lamentation....

They stayed in the houses cowering, some some for hunger and some for fear of the Turks....

Now at vigils, the time of trust in God’s compassion, many gave up hope and hurriedly lowered themselves with ropes from the wall-tops; and in the city soldiers, returning from the encounter, circulated widely a rumour that mass decapitation of the defenders was in store. To add weight to the terror, they too fled…

In the course of that day’s battle there had been many people, and of fine appearance too, who had come very shamefully flying over the little bridge you know of and had fled away so panic-stricken that all our attempts to make them stay with us had been in vain. I could tell you some of their names, but shall refrain from doing so, because they are now dead.

I could go on looking for quotes in all the other medieval literature I've read, but that would be beyond the scope of this Tumblr post.

In the meantime, this leads me to make some comments on how trauma was perceived.

In Jonathan Riley-Smith's The First Crusade and the Idea of Crusading, the author discusses the mental breakdowns suffered by the first crusaders during the second siege of Antioch, which caused many of them to flee at the moment of direst need:

In these stressful circumstances it is not surprising that the crusaders were often very frightened. At times, indeed, they seem to have been almost paralysed by a terror that they themselves could hardly comprehend. … When the crusade was bottled up in Antioch by Kerbogha's relief force it was gripped by such blind panic that there was the prospect of a mass break-out and on the night of 10 or 11 Juney 1098 Bohemond and Adhemar had the gates of the city closed. It is worth noting that many of those whom later chroniclers, writing after the events in comparative comfort in Europe, vilified for cowardice and desertion seem to have been treated more charitably by their fellow-crusaders, who must have understood what pressures they had been under.

--

In conclusion: the way we feel about things today in the English-speaking isn't necessarily the way people felt about things in the past (and this goes for other cultures, real or imagined, too). I'm continually catching myself writing people with stiff upper lips and emotional reservations, and having to remind myself that the culture was different back them. If a grown man wanted to weep, he could. That's a good thing. (Oh, and my medieval historical fantasy? Check out the Watchers of Outremer series on Amazon or wherever books are sold!)

[valtsv]

This isn't a gotcha, so please don't take it as such, but would yuou be willing to explain what it is about VAL that makes her such a favourite of yours? I can't stand her myself, she comes across to me as a bully given god-like power that she abuses for her own amusement, and I've seen you acknowledge as much, but we draw completely different conclusions from that. I just want to understand your perspective.

i've been anticipating a question like this for a while now, so i'm more than happy to answer for you!

you're right, VAL is in some ways a "bully given godlike power" as you put it, and there's no avoiding that (nor do i want to). and yeah, i do like her in part because of that, because i have a fondness for horrible fictional characters and in particular "bad victim" archetypes, of which VAL certainly is one. but i think what makes her compelling to me, rather than repulsive, is that she is fundamentally a cautionary tale and a tragedy. in-universe, she's the scapegoat. the example. the "make the right choices or this could be you". she's inescapably, heartbreakingly human in her awfulness, and that makes her terrifying, but it also makes her deeply sad (at least to me).

i also strongly believe in rehabilitative/restorative justice, so for me, wanting better for VAL is about my real-world principles to a degree. i can't and won't argue that VAL doesn't function as an uncomfortable allusion to a lot of atrocious crimes against humanity (by humanity) within the narative, and that anyone who finds her upsetting or even hateful for these reasons is absolutely justified in doing so. however, she's still a fantasy entity at the end of the day. she's not a 1:1 stand-in for real-world abuses any more than, say, a vampire or werewolf, which plenty of people are more than happy to explore the nuances of. and there's also the question of what punitive measures would even achieve in her case, beyond personal satisfaction for the one administering or spectating them (which is not to say that wanting to punch VAL makes you as bad as she is, just that her arc is, among other things, about how cycles of abuse and violence perpetuate). the worst that could possibly happen to her has already happened. she's been tortured. she's been taken advantage of for her mistaken belief that working for and with the system has the opportunity to benefit her, and died for it. there's nothing to be "learned" from her punishment that hasn't already been shown to us. that she hasn't already internalised. if she were ever to develop a stable conscience, that would be punishment enough in my opinion.

despite being a victim of people not entirely unlike VAL, i personally am not her victim, so treating her with sympathy and kindness whilst acknowledging the elephant in the room that is her many (fictional) war crimes is not something that requires any cognitive dissonance on my behalf. i would cautiously argue that the narrative agrees with me somewhat in this regard - the few times VAL is treated to a genuine act of kindness with no ulterior motives, it shatters her composure and outward conviction that what she's doing is necessary for her personal satisfaction, and even prompts her to reconsider on occasion (sparing the woodsman comes to mind). i'm not saying anyone needs to hug her and tell her she's valid, but if all it takes is some genuine good intent to get her to engage in introspection, i'm willing to be the person to offer it.