faihyperfixates

[faihyperfixates]

Hot take but I really do think that some of y’all need to consider how/why/when/how often you’re making fun of straight people for being straight

I do it too, I’m not going to pretend I don’t make jokes about the hets, or the down with cis bus, or whatever

But I recently befriended a cis, straight dude and I have watched him be dismissed, degraded, and unambiguously insulted for the perceived “crime” of being straight — all in queer environments where he is allegedly “completely welcome” and surrounded by “friends”

This guy is not a toxic person! But I have seen him be made to feel so small and like his comfort and safety in those spaces are conditional on his silence and acceptance of being treated like a human dunk zone, and I think that some of y’all have had so much shit from straight/cis people that the second you feel like you’ve got an inch, you want to luxuriate in the perceived catharsis of bullying someone who— actually —doesn’t deserve it

And until he very, very carefully mentioned to me in private that it makes him feel bad, I didn’t even clock that I was involved in doing that, that it had become so instinctive for me to make casual jokes like that, and that— well meaning or otherwise —I had been contributing to an environment that made someone I really really like feel like shit

So, I dunno, I think maybe some of y’all should think about that too

[faihyperfixates]

has anyone asked this

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K-Pop Demon Hunters weapon concepts! (By Euni Cho (I think??))

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[faihyperfixates]

cuntrix

[faihyperfixates]

Very important behind the scene of Saja Boys production 🙂‍↕️

[faihyperfixates]

[faihyperfixates]

I feel like in the rush of “throw out etiquette who cares what fork you use or who gets introduced first” we actually lost a lot of social scripts that the younger generations are floundering without.

[faihyperfixates]

[faihyperfixates]

Illustration by Sophie Lucido Johnson

[faihyperfixates]

saying ao3 needs to censor certain content is like saying a museum can't have still life art that includes strawberries because you don't like them.

these are not real strawberries. you do not have to, and in fact cannot, eat them. no one with a strawberry allergy will be harmed by looking at them. no migrant workers were exploited in the picking of these strawberries. there were no questionable farming practices or negative environmental impacts from growing or transporting them.

because - and i cannot stress this enough - they are not real strawberries.

if you don't like strawberries, you don't have to look at the paintings. in fact, you can get a map of the museum that lists what works are in what rooms and just. not go in there. if you see one by mistake, you can look away. just keep walking. there's plenty of other stuff to see.

yes, real strawberries can cause real quantifiable harm to real people.

but again. these are not real strawberries.

you may have whatever feelings you like about strawberries, and so can i. you can draw and write about whatever fruit floats your boat, and so can i, even if that happens to be strawberries. and we can hang our art side by side in the same gallery, provided you understand that my strawberries are not about you (and your kumquats are, shocker, not about me) and that - and this is true - neither are real.

and when the fascists break down the doors and grab all the strawberry paintings and heap them in the street and set them on fire, please know that they are coming for your kumquats next.

so if you want a place where you can show off your beautiful kumquat art safely, you're gonna have to tolerate having some strawberries in the next room.

and that's okay. because the strawberries aren't real.

[faihyperfixates]

Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.

[faihyperfixates]

[faihyperfixates]

honestly, especially in the current state of the world, you all have GOT to kill whatever puritanical voice inside your head keeps insisting that if something is erotic it has no social, artistic, or intellectual merit.

stop acting as if someone can’t enjoy both erotica and literary fiction or classics. it’s not some dichotomy.

stop acting as if erotic art can’t be poignant and meaningful. and that includes all erotic art - not just fine art.

stop insisting that sex scenes or erotic material ruin movies and shows just because you, personally, get icked out watching it.

no, not all erotic art is high art, and not all erotic art is meant to invoke deep intellectual discussion - but insisting that makes erotic art valueless, a disservice to intellectualism, or whatever else - does nothing but add fuel to a fire built on conservative ideology.

[faihyperfixates]

Everything Everywhere All at Once (2022) dir. Daniel Kwan and Daniel Scheinert

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When Everything Everywhere All at Once said “The only thing I do know is that we have to be kind. Please, be kind, especially when we don’t know what’s going on" 

When the Good Place said "Why choose to be good every day when there is no guaranteed reward now or in the afterlife… I argue that we choose to be good because of our bonds with other people and our innate desire to treat them with dignity. Simply put, we are not in this alone.” 

When Jean-Paul Sartre said ”‘Hell is other people’ is only one side of the coin. The other side, which no one seems to mention, is also 'Heaven is each other’. Hell is separateness, uncommunicability, self-centeredness, lust for power, for riches, for fame. Heaven on the other hand is very simple, and very hard: caring about your fellow beings.“

[faihyperfixates]

Smash Potato Quiche —