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eiirisworkshop · 3 years

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The Fanfic Author's Guide to Metatext

(As Used on Ao3) by Eiiri

Also available as a PDF here. This thing is 13,000 words. The PDF is recommended.

Intro: What is Metatext?

Metatext is everything we fanfic authors post along with our story that is not the story itself: title, tags, summary, author's notes, even the rating.

It is how we communicate to potential readers what they're signing themselves up for if they choose to read our story, how we let them make informed decisions regarding which fics they want to read, how we get their interest and, frequently, how they find our story in the first place. A lot of metatext acts as a consent mechanism for readers, it's the informed part of informed consent.

Since most of us who write fanfic also read it, we understand how important this is! But, for the most part, no one ever teaches us how to use metatext; we have to pick it up by osmosis. That makes it hard to learn how to use it well, we all suck at it when we first start out, and some of us may go years without learning particular conventions that seem obvious to others in our community. This creates frustration for everybody.

Enter this guide!

This is meant to be a sort of handbook for fic writers, particularly those of us who post on Archive of Our Own, laying out and explaining the established metatext conventions already in use in our community so we (and our readers!) are all on the same page. It will also provide some best-practices tips.

The point is to give all of us the tools to communicate with our audience as clearly and effectively as possible, so the people who want to read a story like ours can find it and recognize it as what they're looking for, those who don't want to read a story like ours can easily tell it's not their cup of tea and avoid it, nobody gets hurt, and everybody has fun—including us!

Now that we know what we're talking about, let's get on with the guide! The following content sections appear in the order one is expected to provide each kind of metatext when posting a fic on Ao3, but first….

Warning!

This is a guide for all authors on Ao3. As such, it mentions subject matter and kinds of fic that you personally might hate or find disgusting, but which are allowed under the Archive's terms of use. There are no graphic descriptions or harsh language in the guide itself, but it does acknowledge the existence of fic you may find distasteful and explains how to approach metatext for such fics.

Some sexual terminology is used in an academic context.

A note from the author:

This guide reflects the conventions of the English-language fanfiction community circa 2021. Conventions may differ in other language communities, and although many of our conventions have been in place for decades (praise be to our Star Trek loving foremothers) fanfiction now exists primarily in the realm of internet fandom where things tend to change rather quickly, so some conventions in this guide may die out while other new conventions, not covered in this guide, arise.

This is not official or in any way produced by the Archive of Our Own (Ao3), and though some actual site rules are mentioned, it is not a rulebook. Primarily, it is a descriptivist take on how the userbase uses metatext to communicate amongst ourselves, provided in the interest of making that communication easier and more transparent for everyone, especially newer users.

Contents

How To Use This Guide Ratings Archive Warnings Fandom Tags Category Relationship Tags Character Tags Additional Tags Titles Summaries Author's Notes Series and Chapters Parting Thoughts

How To Use This Guide

Well, read it. Or have it read to you.

This isn't a glossary, it's a handbook, and it's structured more like an academic paper or report, but there's lots and lots of examples in it!

Many of these examples are titles of real media and the names of characters from published media, or tags quoted directly from Ao3 complete with punctuation and formatting.

Some examples are more generic and use the names Alex, Max, Sam, Chris, Jamie, and Tori for demonstration purposes. In other generic examples, part of an example tag or phrase may be sectioned off with square brackets to show where in that tag or phrase you would put the appropriate information to complete it. This will look something like “Top [Character A]” where you would fill in a character's name.

This guide presumes that you know the basics of how to use Ao3, at least from the perspective of reading fic. If you don't, much of this guide may be difficult to understand and will be much less helpful to you, though not entirely useless.

Ratings

Most fanfic hosting sites provide ratings systems that work a lot like the ratings on movies and videogames.

Ao3's system has four ratings:

General

Teen

Mature

Explicit

These seem like they should be pretty self-explanatory, and the site's own official info pop-up (accessible by clicking the question mark next to the section prompt) gives brief, straightforward descriptions for each of them.

Even so, many writers have found ourselves staring at that dropdown list, thinking about what we've written, and wondering what's the right freaking rating for this? How do I know if it's appropriate for “general audiences” or if it needs to be teen and up? What's the difference between Mature and Explicit?

The best way to figure it out is often to think about your fic in comparison to mainstream media.

General is your average Disney or Dreamworks movie, Cartoon Network or Nickelodeon shows, video games like Mario, Kirby, and Pokemon.

There may be romance, but no sexual content or discussion. Scary things might happen and people might get hurt, but violence is non-graphic and usually mild. Adults may be shown drinking alcohol or smoking tobacco, and some degree of intoxication may be shown (usually played for laughs and not focused on), but hard drug use is generally not shown or discussed. There is little to no foul language written out and what language there may be is mild, though harsher swears may be implied by narration. There are no explicit F-bombs or slurs.

Teen is more like a Marvel movie, most network television shows (things like The Office, Supernatural, or Grey's Anatomy), video games like Final Fantasy, Five Nights at Freddie's, and The Sims.

There might be some sex and sexual discussion, but nothing explicit is shown—things usually fade to black or are leftimplied. More intense danger, more severe injuries described in greater detail, and a higher level of violence may be present. Substance use may be discussed and intoxication shown, but main characters are unlikely to be shown doing hard drugs. Some swearing and other harsh language may be present, possibly including an F-bomb or two. In longer works, that might mean an F-bomb every few chapters.

Mature is, in American terms, an R-rated movie* like Deadpool, Fifty Shades of Grey, The Exorcist, and Schindler's List; certain shows from premium cable networks or streaming services like Game of Thrones, Shameless, Breaking Bad, and Black Sails; videogames like Bioshock, Assassin's Creed, Grand Theft Auto, and The Witcher.

Sex may be shown and it might be fairly explicit, but it's not as detailed or graphic or as much the focus of the work as it would be if it were porn. Violence, danger, and bodily harm may be significant and fairly graphic. Most drug use is fair game. Swearing and harsh language may be extensive.

Explicit is, well, extremely explicit. This is full on porn, the hardcore horror movies, and snuff films.

Sex is highly detailed and graphic. Violence and injury is highly detailed and graphic. Drug use and its effects may be highly detailed and graphic. Swearing and harsh language may be extreme, including extensive use of violent slurs.

Please note that both Mature and Explicit fics are intended for adult audiences only, but that does not mean a teenaged writer isn't going to produce fics that should be rated M or E. Ratings should reflect the content of the fic, not the age of the author.

Strictly speaking, you don't have to choose any of these ratings; Ao3 has a “Not Rated” option, but for purposes of search results and some other functions, Not Rated fics are treated by the site as Explicit, just in case, which means they end up hidden from a significant portion of potential readers. It really is in your best interest as a writer who presumably wants people to see their stories, to select a rating. It helps readers judge if yours is the kind of story they want right now, too.

Rating a fic is a subjective decision, there is some grey area in between each level. If you're not quite sure where your fic falls, best practice is to go with the more restrictive rating.

*(Equivalent to an Australian M15+ or R18+, Canadian 14A, 18A or 18+, UK 15 or 18, German FSK 16 or FSK 18.)

Warnings

Ao3 uses a set of standard site-wide Archive Warnings to indicate that a work contains subject matter that falls into one or more of a few categories that some readers are likely to want to avoid. Even when posting elsewhere, it's courteous to include warnings of this sort.

These warnings are:

Graphic Depictions Of Violence

Major Character Death

Rape/Non-Con

Underage

Just like with the ratings, the site provides an info-pop up that explains what each warning is for. They're really exactly what it says on the tin: detailed descriptions of violence, injury, and gore; the death of a character central to canon or tothe story being told; non-consensual sex i.e. rape; and depictions of underage sex, which the site defines as under the age of 18 for humans—Ao3 doesn't care if your local age of consent or majority is lower than that.

In addition to the four standard warnings above, the warnings section has two other choices:

No Archive Warnings Apply

Choose Not To Use Archive Warnings

These do not mean the same thing and cannot be used interchangeably. “No Archive Warnings Apply” means that absolutely nothing in your fic falls into any of the four standard warning categories. “Choose Not To Use Archive Warnings” means that you the author are opting out of the warning system; your fic could potentially contain things that fall into any and all of the four standard warning categories.

There's nothing wrong with selecting Choose Not To Use Archive Warnings! It may mean that some readers will avoid your fic because they're not sure it's safe for them, and you might need to use more courtesy tags than you otherwise would (we'll talk about courtesy tags later), but that's okay! Opting out of the warning system can be a way to avoid spoilers,* and is also good for when you're just not sure if what you've written deserves one of the Archive warnings. In that case, the best practice is to select either the warning it might deserve or Choose Not To Use Archive Warnings, then provide additional information in other tags, the summary, or an initial author's note.

Unless you're opting out of using the warning system, select all the warnings that apply to your fic, if any of them do. So if a sixteen year old main character has consensual sex then gets killed in an accident that you've written out in excruciating detail, that fic gets three out of the four standard warnings: Underage, Major Character Death, and Graphic Depictions Of Violence.

*(Fandom etiquette generally favors thorough tagging and warning over avoiding spoilers. It doesn't ruin the experience of a story to have a general sense of what's going to happen. If it did, we wouldn't all keep reading so many “there was only one bed” fics.)

Fandom Tags

What fandom or fandoms is your fic for? You definitely know what you wrote it for, but that doesn't mean it's obvious what to tag it as.

Sometimes, it is obvious! You watched a movie that isn't based on anything, isn't part of a series, and doesn't have any spinoffs, tie-ins or anything else based on it. You wrote a fic set entirely within the world of this movie. You put this movie as the fandom for your fic. Or maybe you read a book and wrote a fic for it, and there is a movie based on the book, but the movie is really different and you definitely didn't use anything that's only in the movie. You put the book as the fandom for your fic.

All too often, though, it's not that clear.

What if you wrote a fic for something where there's a movie based on a book, but the movie's really different, and you've used both things that are only in the movie and things that are only in the book? In that case you either tag your fic as both the movie and the book, or see if the fandom has an “all media types” tag and use that instead of the separate tags. If the fandom doesn't have an “all media types” tag yet, you can make one! Just type it in.

“All media types” fandom tags are also useful for cases where there are lots of inter-related series, like Star Wars; there are several tellings of the story in different media but they're interchangeable or overlap significantly, like The Witcher; or the fandom has about a zillion different versions so it's very hard, even impossible, to say which ones your fic does and doesn't fit, like Batman. Use your best judgement as to whether you need to include a more specific fandom tag such as “Batman (Movies 1989-1997)” alongside the “all media types” fandom tag, but try to avoid including very many. The point of the “all media types” tag is to let you leave off the specific tags for every version.

In a situation where one piece of media has a spinoff, maybe several spinoffs, and you wrote a fic that includes things from more than one of them, you might want use the central work's “& related fandoms” tag. For example, the “Doctor Who & Related Fandoms” tag gets used for fics that include things from a combination of any era of Doctor Who, Torchwood, and The Sarah Jane Adventures.

And don't worry, from the reader-side of the site the broadest fandom tags are prioritized. The results page for an “all media types” or “& related fandoms” search includes works tagged with the more specific sub-tags for that fandom, the browse-by-fandom pages show the broadest tag for each fandom included, and putting a fandom into the search bar presumes the broadest tag for that fandom. A search for “Star Wars - All Media Types” will pull up work that only has a subtag for that fandom, like “The Mandalorian (TV).” You don't have to put every specific fandom subtag for people to find your fic.

If you wrote a fic for something that's an adaptation of an older work—especially an older work that's been adapted a lot, like Sherlock Holmes or The Three Musketeers—it can be hard to know how you should tag it. The best choice is to put the adaptation as the fandom, for instance “Sherlock (TV),” then, if you're also using aspects of the older source work that aren't in the adaptation, also put a broad fandom tag such as “Sherlock Holmes & Related Fandoms.” Do not tag it as being fic for the source work—in our Sherlock example that would be tagging it “Sherlock Holmes - Arthur Conan Doyle”—unless you are crossing over the source work and the adaptation. Otherwise, the specific fandom subtag for the source work ends up clogged with fic for the adaptation, which really is a different thing.

By the same token, fic for the source work shouldn't be tagged as being for the adaptation, or the adaptation's subtag will get clogged.

The same principle applies to fandoms that have been rebooted. Don't tag fic for the reboot as being for the original, or fic for the original as being for the reboot. Don't tag a fic as being for both unless the reboot and original are actually interacting. Use an “& related fandoms” tag for the original if your fic for the reboot includes some aspects of the original that weren't carried over but you haven't quite written a crossover between the two. Good examples of these situations can be seen with “Star Trek: Alternate Original Series (Movies)” vs. “Star Trek: The Original Series,” and “She-Ra and the Princesses of Power (2018)” vs. “She-Ra: Princess Of Power (1985).”

Usually, this kind of mistagging as a related fandom happens when someone writes a fic for something that is or has a reboot, spinoff, or adaptation, but they're only familiar with one of the related pieces of media, and they mistakenly presume the fandoms are the same or interchangeable because they just don't know the difference. It's an honest mistake and it doesn't make you a bad or fake fan to not know, but it can be frustrating for readers who want fic for one thing and find the fandom tag full of fic for something else.

In order to avoid those kinds of issues, best practice is to assume fandoms are not interchangeable no matter how closely related they are, and to default to using a tag pair of the most-specific-possible sub-fandom tag + the broadest possible fandom tag when posting a fic you're not entirely sure about, for instance “Star Trek” and “Star Trek: Enterprise.”

The Marvel megafandom has its own particular tagging hell going on. Really digging into and trying to make sense of that entire situation would require its own guide, but we can go through some general tips.

There is a general “Marvel” fandom tag and tags for both “The Avengers - Ambiguous Fandom” and “The Avengers (Marvel) - All Media Types.” Most of us who write Marvel fic are working with a cherry picked combination of canons from the MCU, various comics runs, both timelines of X-Men movies, and possibly several decades worth of cartoons. That's what these tags are for.

If your cherry picked Marvel fic is more X-Men than Avengers, go for the “X-Men - All Media Types” tag.

If you are primarily working with MCU canon, use the MCU specific tags rather than “all media types” and add specific tags for individual comics runs—like Earth 616 or the Fraction Hawkeye comics—if you know you're lifting particular details from the comics. If you're just filling in gaps in MCU canon with things that are nebulously “from the comics” don't worry about tagging for that, it's accepted standard practice in the fandom at this point, use a broader tag along with your MCU-specific tag if you want to.

Same general idea for primarily movie-verse X-Men fics. Use the movie-specific tags.

If your fic mostly draws from the comics, use the comics tags. If you're focusing on an individual run, show, or movie series rather than an ensemble or large swath of the megafranchise, tag for that and leave off the broader fandom tags.

Try your best to minimize the number of fandom tags on your Marvel work. Ideally, you can get it down to two or three. Even paring it down as much as you can you might still end up with about five. If you're in the double digits, take another look to see if all the fandom tags you've included are really necessary, or if some of them are redundant or only there to represent characters who are in the fic but that the fic doesn't focus on. Many readers tend to search Marvel fics by character or pairing tags, it's more important that you're thorough there. For the fandom tags it's more important that you're clear.

If you write real person fiction, you need to tag it as an RPF fandom. Fic about actors who are in a show together does not belong on the fandom tag for that show. There are separate RPF fandom tags for most shows and film franchises. Much like the adaptation/source and reboot/original situations discussed earlier, a fic should really only be tagged with both a franchise's RPF tag and its main tag if something happens like the actors—or director or writer!—falling into the fictional world or meeting their characters.

Of course, not all RPF is about actors. Most sports have RPF tags, there are RPF tags for politics from around the world and for various historical settings, the fandom tags for bands are generally presumed to be RPF tags, and there is a general Real Person Fiction tag.

In order to simplify things for readers, it's best practice to use the general Real Person Fiction tag in addition to your fandom-specific tag. You may even want to put “RPF” as a courtesy tag in the Additional Tags section, too. This is because Ao3 isn't currently set up to recognize RPF as the special flavor of fic that it is in the same way that the site recognizes crossovers as special, so it can be very difficult to either seek out or avoid RPF since it's scattered across hundreds of different fandom tags.

On the subject of crossovers—they can make fandom tagging even more daunting. Even for a crossover with lots of fandoms involved, though, you just have to follow the same guidelines as to tag a single-fandom work for each fandom in the crossover. The tricky part is figuring out if what you wrote is really a crossover, or just an AU informed by another fandom—we'll talk about that later.

There are some cases where it's really hard to figure out what fandom something belongs to, like if you wrote a fanfic of someone else's fanfic, theirs is an AU and yours is about their OC, not any of the characters from canon. What do you do?! Well, you do not tag it as being a fanfic for the same thing theirs was. Put the title of their fic (or name of their series) as the fandom for your fic, attributed to their Ao3 handle just like any other fandom is attributed to its author. Explain the situation in either the summary or the initial author's note. Also, ask the author's permission before posting something like this.

What if you wrote a story about your totally original D&D character? The fandom is still D&D, you want the “Dungeons & Dragons (Roleplaying Game)” tag.

What if there's not a fandom tag on the Archive yet for what you wrote? Not a problem! You can type in a new one if you're the first person to post something for a particular fandom. Do make sure, though, that the fandom isn't just listed by a different name than you expect. Many works that aren't originally in English—including anime—are listed by their original language title or a direct translation first, and sometimes a franchise or series's official name might not be what you personally call it, for instance many people think of Phillip Pullman's His Dark Materials series as The Golden Compass series, so it's best to double check.

What if you wrote an entirely new original story that's not based on anything? Excellent job, that takes a lot of work, but that probably doesn't belong on Ao3! The Archive is primarily meant as a repository for fannish content, but in a few particular circumstances things we'd consider Original Work may be appropriate content for the Archive as well. Double check the Archive's Terms of Service FAQ and gauge if what you wrote falls under the scope of what is allowed. If what you wrote really doesn't fit here, post it somewhere else or try to get it published if you feel like giving it a shot.

Category

What Ao3 means by category is “does this fic focus on sex or romance, and if so what combination of genders are involved in that sex or romance?”

The category options are:

F/F

F/M

Gen

M/M

Multi

Other

The F/F, F/M, and M/M categories are for stories focused on pairings of two women, a woman and a man, and two men, respectively. These refer to sexual and/or romantic pairings.

The Other category is for stories focused on (sexual and/or romantic) pairings where one or both partners are not strictly male or female, such as nonbinary individuals, people from cultures with gender systems that don't match to the Western man-woman system, and nonhuman characters for whom biological sex works differently or is nonexistent, including aliens, robots, and inanimate objects or abstract concepts. There are some problems with treating nonbinary humans, eldritch tentacle monsters, sexless androids, and wayward container ships as all the same category, but it's the system we currently have to work with. Use Additional Tags to clarify the situation.

Multi is for stories in which several (sexual and/or romantic) relationships are focused on or which focus on relationships with multiple partners, including cases of polyamory, serial monogamy, strings of hookups with different people, and orgies. A fic will also show as “Multi” if you, the author, have selected more than one category for the fic, even if none of those are the Multi category. Realistically, the Archive needs separate “Multiple Categories” and “Poly” options, but for now we have to work with this system in which the two are combined. Use Additional Tags to clarify the situation.

Gen is for stories that do not contain or are not focused on sex or romance. Romance may be present in a gen fic but it's going to be in the background. While rare, there is such a thing as a sexually explicit gen fic—solo masturbation which does not feature fantasizing about another character is explicit gen fic; a doctor character seeing a series of patients with sex-related medical needs following an orgy may qualify if the orgy is not shown and the doctor is being strictly professional—but such fic needs to be rated, otherwise tagged, and explained carefully in the summary and/or author's note.

Much like the warnings section, category is a “select all that apply” situation. Use your best judgement. For a fic about a polyamorous relationship among a group of women, it's entirely appropriate to tag it as both F/F and Multi. A poly fic with a combination of men and women in the relationship could be shown as both M/M and F/M, Multi, or all three. A fic that focuses equally on one brother and his husband and the other brother and his wife should be tagged both M/M and F/M, and could be tagged as Multi but you might decided not to just to be clear that there's no polyamory going on. If you wrote a fic about two characters who are both men in canon, but you wrote one of them as nonbinary, you could tag it M/M, Other, or both depending on what you feel is representative and respectful.

When dealing with trans characters, whether they're trans in canon or you're writing them as such, the category selection should match the character's gender. If there's a character who is a cis woman in canon, but who you're writing as a trans man, you categorize the fic based on his being a man. If there's a character who is a cis man in canon, but whom you're writing as a trans man, he is still a man and the fic should be categorized accordingly. When dealing with nonbinary characters the fic should really be classed as Other though, by convention, fics about characters who are not nonbinary in canon may be classed based on the character's canon gender as well or instead. When dealing with gender swapped characters—i.e. a canonically cis male superhero who you're writing as a cis woman—class the fic using the gender you wrote her with, not the gender he is in canon.

Most of the time, gen fics should not be categorized jointly with anything else because a fic should only be categorized based on the ships it focuses on, and a gen fic should not be focusing on a ship in the first place.*

*(One of the few circumstances in which it might make sense to class a fic as both gen and something else is when writing about Queerplatonic Relationships, but that is a judgement call and depends on the fic.)

Relationship Tags

The thing about relationship tagging that people most frequently misunderstand or just don't know is the difference between “Character A/Character B” and “Character A & Character B.”

Use a “/” for romantic or sexual relationships, such as spouses, people who are dating, hookups, and friends with benefits. Use “&” for platonic or familial relationships, such as friends, siblings, parents with their kids, coworkers, and deeply connected mortal enemies who are not tragically in love.

This is where we get the phrase “slash fic.” Originally, that meant any fic focused on a romantic paring, but since so much of the romantic fic being produced was about pairs of men, “slash fic” came to mean same-sex pairings, especially male same-sex pairings. Back in earlier days of fandom, pre-Ao3 and even pre-internet, there was a convention that when writing out a different-sex pairing, you did so in man/woman order, while same-sex pairings were done top/bottom. Some authors, especially those who have been in the fic community a long time, may still do this, but the convention has not been in consistent, active use for many years, so you don't have to worry about putting the names in the “correct” order. Part of why that died out is we, as a community, have gotten less strict and more nuanced in our understandings of sex and relationships, we're writing non-penetrative sex more than we used to, and we're writing multi-partner relationships and sex more than we used to, so strictly delineating “tops” and “bottoms” has gotten less important and less useful.

The convention currently in use on Ao3 is that the names go in alphabetical order for both “/” and “&” relationships. In most cases, the Archive uses the character's full name instead of a nickname or just a given name, like James "Bucky" Barnes instead of just Bucky or James. We'll talk more about conventions for how to input character names in the Characters section. The Archive will give you suggestions as you type—if one of them fits what you mean but is slightly different from how you were typing it, for instance it's in a different order, please use the tag suggested! Consistency in tags across users helps the site work more smoothly for everybody.

This is really not the place for ship nicknames like Puckleberry, Wolfstar, or Ineffable Wives. Use the characters' names.

Now that you know how to format the relationship tag to say what you mean, you have to figure out what relationships in your fic to tag for.

The answer is you tag the relationships that are important to the story you're telling, the ones you spend time and attention following, building up, and maybe even breaking down. Tagging for a ship is not a promise of a happy ending for that pair; you don't have to limit yourself to tagging only the end-game ships if you're telling a story that's more complicated than “they get together and live happily ever after.” That said, you should generally list the main ship—the one you focus on the most—first on the list, and that will usually be the end-game ship. You should also use Additional Tags, the summary, and author's notes to make it clear to readers if your fic does not end happily for a ship you've tagged. Otherwise readers will assume that a fic tagged as being about a ship will end well for that ship, because that's what usually happens, and they'll end up disappointed and hurt, possibly feeling tricked or lied to, when your fic doesn't end well for that ship

You don't have to, and honestly shouldn't, tag for every single relationship that shows up in your fic at all. A character's brief side fling mentioned in passing, or a relationship between two background characters should not be listed under the Relationship tag section. You can list them in the format “minor Character A/Character C” or “Character C/Character D – mentions of” in the Additional Tags section if you want to, or just tag “Minor or Background Relationship(s)” under either the Relationship tag section or in the Additional Tags section.

There are two main reasons to not tag all those minor relationships. The first is to streamline your tags, which makes them clearer and more readable, and therefore more useful. The second reason is because certain ships are far more common as minor or background relationships than as the focus of a work, so tagging all your non-focus focus ships leads to the tags for these less popular ships getting clogged with stories they appear in, but that are not about them. That is, of course, very frustrating for readers who really want to read stories that focus on these ships.

If your fic contains a major relationship between a canon character and an OC, reader-insert, or self-insert, tag it as such. The archive already has /Original Character, /Reader, /You, and /Me tags for most characters in most fandoms. If such a relationship tag isn't already in use, type it in yourself. There are OC/OC tags, too, some of which specify gender, some of which do not. All the relationship tags that include OCs stack the gender-specific versions of the tags under the nongendered ones. Use these tags as appropriate.

For group relationships, both polycules and multi-person friendships, you “/” or “&” all the names involved in alphabetical order, so Alex/Max/Sam are dating while Chris & Jamie & Tori are best friends. For a poly situation where not everyone is dating each other you should tag it something like “Alex/Max, Alex/Sam” because Alex is dating both Max and Sam, but Max and Sam are not romantically or sexually involved with each other. Use your judgement as to whether you still want to include the Alex/Max/Sam trio tag, and whether you should also use a “Sam & Max” friendship tag.

Generally, romantic “/” type relationships are emphasized over “&” type relationships in fic. It is more important that you tag your “/”s thoroughly and accurately than that you tag your “&”s at all. This is because readers are far more likely to either be looking for or be squicked by particular “/” relationships than they are “&” relationships. You can tag the same pair of characters as both / and & if both their romance and their friendship is important to the story, but a lot of people see this as redundant. If you're writing incest fic, use the / tag for the pair not the & tag and put a courtesy tag for “incest” in the Additional Tags section; this is how readers who do not want to see incestuous relationships avoid that material.

Queerplatonic Relationships, Ambiguous Relationships, Pre-Slash, and “Slash If You Squint” are all frequently listed with both the “/” and “&” forms of the pairing; use your best judgement as to whether one or the other or both is most appropriate for what you've written and clarify the nature of the relationship in your Additional Tags.

Overall, list your “/” tags first, then your “&” tags.

Character Tags

Tagging your characters is a lot like tagging your relationships. Who is your fic about? That's who you put in your character tags.

You don't have to and really should not tag every single background character who shows up for just a moment in the story, for pretty much the same reasons you shouldn't tag background relationships. We don't want to clog less commonly focused on characters' tags with stories they don't feature prominently in.

You do need to tag the characters included in your Relationship tags.

A character study type of fic might only have one character you need to tag for. Romantic one shots frequently only have two. Longfics and fics with big ensemble casts can easily end up with a dozen characters or more who really do deserve to be tagged for.

Put them in order of importance. This doesn't have to be strict hierarchal ranking, you can just arrange them into groups of “main characters,” “major supporting characters,” and “minor supporting characters.” Nobody less than a minor supporting character should be tagged. Even minor supporting characters show up for more than one line.

If everyone in the fic is genuinely at the same level of importance (which does happen, especially with small cast fics), then order doesn't really matter. You can arrange them by order of appearance or alphabetically by name if you want to be particularly neat about it.

Do tag your OCs! Some people love reading about OCs and want to be able to find them; some people can't stand OCs and want to avoid them at all costs; most people are fine with OCs sometimes, but might have to be in the mood for an OC-centric story or only be comfortable with OCs in certain contexts. Regardless, though, Character tags are here to tell readers who the story is about, and that includes new faces. Original Characters are characters and if they're important to the story, they deserve to be tagged for just like canon characters do.

There are tags for “Original Character(s),” “Original Male Character(s),” and “Original Female Character(s).” Use these tags! If you have OCs you're going to be using frequently in different stories, type up a character tag in the form “[OC's Name] – Original Character” and use that in addition to the generic OC tags.

Also tag “Reader,” “You,” or “Me” as a character if you've written a reader- or self-insert.

You can use the “Minor Characters” tag to wrap up everybody, both OC and canon, who doesn't warrant their own character tag. Remember, though, that this tag is also used to refer to minor canon characters who may not have their own official names.

Just like when tagging for relationships, the convention when tagging for characters is to use their full name. The suggestions the Archive gives you as you type will help you use the established way of referring to a given character.

Characters who go by more than one name usually have their two most used names listed together as one tag with the two names separated by a vertical bar like “Andy | Andromache of Scythia.” This also gets used sometimes for characters who have different names in an adaptation than in the source text, or a different name in the English-language localization of a work than in the original language. For character names from both real-world and fictional languages and cultures that put family or surname before the given name—like the real Japanese name Takeuchi Naoko or the made up Bajoran name Kira Nerys—that order is used when tagging, even if you wrote your fic putting the given name first.

Some characters' tags include the fandom they're from in parentheses after their name like “Connor (Detroit: Become Human).” This is mostly characters with ordinary given names like Connor and no canon surname, characters who have the same full name as a character in another fandom, such as Billy Flynn the lawyer from the musical Chicago and Billy Flynn the serial killer played by Tim Curry in Criminal Minds, and characters based on mythological, religious, or historical figures or named for common concepts such as Lucifer, Loki, Amethyst, Death, and Zero that make appearances in multiple fandoms.

Additional Tags

Additional Tags is one of the most complicated, and often the longest, section of metatext we find ourselves providing when we post fic. It's also the one that gives our readers the greatest volume of information.

That, of course, is what makes it so hard for us to do well.

It can help to break down Additional Tags into three main functions of tag: courtesy tags, descriptive tags, and personal tags.

Courtesy tags serve as extensions of the rating and warning systems. They can help clarify the rating, provide more information about the Archive Warnings you've used or chosen not to use, and give additional warnings to tell readers there are things in this fic that may be distasteful, upsetting, or triggering but that the Archive doesn't have a standard warning for.

Descriptive tags give the reader information about who's in this fic, what kind of things happen, what tropes are in play, and what the vibe is, as well as practical information about things like format and tense.

Personal tags tell the readers things about us, the author, our process, our relationship to our fic, and our thoughts at the time of posting.

It doesn't really matter what order you put these tags in, but it is best practice to try to clump them: courtesy tags all together so it's harder for a reader to miss an important one, ship-related info tags together, character-related info tags together, etc.

There are tons and tons of established tags on Ao3, and while it's totally fine, fun, and often necessary to make up your own tags, it's also important to use established tags that fit your fic. For one thing, using established tags makes life easier for the tag wranglers behind the scenes. Using a new tag you just made up that means the same thing as an established tag makes more work for the tag wranglers. We like the tag wranglers, they're all volunteers, and they're largely responsible for the search and sorting features being functional. Be kind to the tag wranglers.

For basically the same reasons, using established tags makes it easier for readers to find your fic. If a reader either searches by a tag or uses filters on another search to “Include” that tag, and you didn't use that tag, your fic will not show up for them even if what you wrote is exactly what they're looking for. Established tags can be searched by exactly the same way as you search by fandom or pairing, your off the cuff tags cannot.

Let's talk about some well-known established tags and common tag types, divvied up by main function.

Courtesy

A lot of courtesy tags are specific warnings like “Dubious Consent,” “Incest,” “Drug Use,” “Extremely Underage,” “Toxic Relationship,” and “Abuse.” Many of these have even more specific versions such as “Recreational Drug Use” and “Nonconsensual Drug Use,” or “Mildly Dubious Consent” and “Extremely Dubious Consent.”

Giving details about what, if any, drugs are used or mentioned, specifying what kinds of violence or bodily harm are discussed or depicted, details about age differences or power-imbalanced relationships between characters who date or have sex, discussion or depictions of suicide, severe or terminal illness, or mental health struggles is useful. It helps give readers a clear sense of what they'll encounter in your fic and decide if they're up for it.

One the most useful courtesy warning tags is “Dead Dove: Do Not Eat” which basically means “there are things in this fic which are really screwed up and may be disturbing, read at your own risk, steer clear if you're not sure.” This tag—like all courtesy warnings, really—is a show of good faith, by using it you are being a responsible, and thoughtful member of the fanfic community by giving readers the power and necessary information to make their own informed decisions about what they are and are not comfortable reading.

Saying to “Heed the tags” is quite self-explanatory and, if used, should be the last or second to last tag so it's easy to spot. Remember, though, that “Heed the tags” isn't useful if your tags aren't thorough and clear.

“Additional Warnings In Author's Note” is one of only things that should ever go after “Heed the tags.” If you use this, your additional warnings need to go in the author's note at the very beginning of the fic, not the one at the end of the first chapter. If your additional warnings write up is going to be very long because it's highly detailed, then it can go at the bottom of the chapter with a note at the beginning indicating that the warnings are at the bottom. Some authors give an abbreviated or vague set of warnings in the initial note, then longer, highly detailed, spoilery warnings in the end note. It's best to make it as simple and straightforward as possible for readers to access warnings.

Tagging with “Dead Dove: Do Not Eat,” “Heed the tags,” or “Additional Warnings In Author's Note” is not a substitute for thorough and appropriate courtesy tagging. These are extra reminders to readers to look closely at the other warnings you've given.

While most courtesy tags are warnings, some are assurances like “No Lesbians Die” or “It's Not As Bad As It Sounds.” A fic tagged for rape or dub-con may get a tag assuring that the consent issues are not between the characters in the main ship; or a fic with a premise that sounds likely to involve lack of consent but actually doesn't may get a tag that it's “NOT rape/non-con.” A tag like “Animal Death” may be immediately followed by a freeform tag assuring that the animal that dies is not the protagonist's beloved horse.

Descriptive

There are a few general kinds of descriptive tags including character-related, ship-related, temporal, relation-to-canon, trope-related, smut details, and technical specifications.

Many character- and ship-related tags simply expand on the Character and Relationship tags we've already talked about. This is usually the place to specify details about OCs and inserts, such as how a reader-insert is gendered.

When it comes to character-related tags, one of the most common types in use on Ao3 and in fandom at large is the bang-path. This is things like werewolf!Alex, trans!Max, top!Sam, kid!Jamie, and captain!Tori. Basically, a bang-path is a way of specifying a version of a character. We've been using this format for decades; it comes from the very first email systems used by universities in the earliest days of internet before the World Wide Web existed. It's especially useful for quickly and concisely explaining the roles of characters in an AU. Nowadays this is also one of the primary conventions for indicating who's top and who's bottom in a ship if that's information you feel the need to establish. The other current convention for indicating top/bottom is as non-bang-path character-related tags in the form “Top [Character A], Bottom [Character B].”

Other common sorts of character tags are things like “[Character A] Needs a Hug,” “Emotionally Constipated [Character B],” and “[Character C] is a Good Dad.”

Some character-related tags don't refer to a particular character by name, but tell readers something about what kinds of characters are in the fic. Usually, this indicates the minority status of characters and may indicate whether or not that minority status is canon, as in “Nonbinary Character,” “Canon Muslim Character,” “Deaf Character,” and “Canon Disabled Character.”

Down here in the tags is the place to put ship nicknames! This is also where to say things like “They're idiots your honor” or indicate that they're “Idiots in Love,” maybe both since “Idiots in Love” is an established searchable tag but “They're idiots your honor” isn't yet. If your fandom has catchphrases related to your ship, put that here if you want to.

If relevant, specify some things about the nature of relationships in your fic such as “Ambiguous Relationship,” “Queerplatonic Relationships,” “Polyamory,” “Friends With Benefits,” “Teacher-Student Relationship,” and so on. Not all fics need tags like these. Use your best judgement whether your current fic does.

Temporal tags indicate when your fic takes place. That can be things like “Pre-Canon” and “Post-Canon,” “Pre-War,” “Post-Captain America: The Winter Soldier,” “1996-1997 NHL season,” “Future Fic,” and so on. These tags may be in reference to temporal landmarks in canon, in the real world, or both depending on what's appropriate.

Some temporal tags do double duty by also being tags about the fic's relationship to canon. The Pre- and Post-Canon tags are like that.

Other relation-to-canon type tags are “Canon Compliant” for fics that fit completely inside the framework of canon without changing or contradicting anything, “Alternate Universe - Canon Divergence” for fics that are compliant up to a certain point in canon, then veer off (maybe because you started writing the fic when the show was on season two but now it's at season four and you're not incorporating everything from the newer seasons, maybe a character died and you refuse to acknowledge that, maybe you just want to explore what might have happened if a particular scene had gone differently), and the various other Alternate Universe tags for everything from coffee shop AUs and updates to modern settings, to realities where everyone is a dragon or no one has their canon superpowers.

The established format for these tags is “Alternate Universe – [type],” but a few have irregular names as well, such as “Wingfic” for AUs in which characters who don't ordinarily have wings are written as having wings.

If you have written an AU, please tag clearly what it is! Make things easy on both the readers who are in the mood to read twenty royalty AUs in a row, the readers who are in the middle of finals week and the thought of their favorite characters suffering through exams in a college AU would destroy the last shred of their sanity but would enjoy watching those characters teach high school, and the readers who really just want to stick to the world of canon right now.

Admittedly, it can get a little confusing what AU tag or tags you need to describe what you've written since most of us have never had a fandom elder sit us down and explain what the AU tags mean. One common mix up is tagging things “Alternate Universe - Modern Setting” when what's meant is “Alternate Universe - Canon Divergence.” The misunderstanding here is usually reading “Alternate Universe - Modern Setting” and thinking it means an alternate version of the canon universe that is set at the same time as the canon universe, but is different in some way. That's not how the tag is meant to be used, though.

The Modern Setting AU tag is specifically for fic set now (at approximately the same time period it was written), for media that's canonically set somewhere that is very much not the present of the real world. This can mean things set in the past (like Jane Austen), the future (like Star Trek), or a fantasy world entirely different from our own (like Lord of the Rings or Avatar: the Last Airbender). Fic for a canon that's set more or less “now” doesn't need the Modern Setting AU tag, even if the world of canon is different from our own. If you're removing those differences by putting fantasy or superhero characters in a world without magic or supersoldier serum, you might want the “Alternate Universe - No Powers” tag instead.

Some of the most fun descriptive tags are trope tags. This includes things like “Mutual Pining,” “Bed Sharing” for when your OTP gets to their hotel room to find There Was Only One Bed, “Fake Dating,” “Angst,” Fluff,” “Hurt/Comfort” and all its variants. Readers love tropes at least as much as we love writing them and want to be able to find their favorites. Everyone also has tropes they don't like and would rather avoid. Tagging them allows your fic to be filtered in and out by what major tropes you've used.

Explicit fics, and sometimes fics with less restrictive ratings, that contain sex usually have tags indicating details about the nature of the sexual encounter(s) portrayed and what sex acts are depicted. These are descriptive tags, but they also do double duty as courtesy tags. This is very much a situation in which tags are a consent mechanism; by thoroughly and clearly tagging your smut you are giving readers the chance to knowingly opt in or out of the experience you've written.

Most of the time, it's pretty easy to do basic tagging for sex acts—you know whether what you wrote shows Vaginal Sex, Anal Sex, or Non-penetrative Sex. You probably know the names for different kinds of Oral Sex you may have included. You might not know what to call Frottage or Intercrural Sex, though, even if you understand the concept and included the act in your fic. Sometimes there are tags with rectangle-square type relationships (all Blow Jobs are Oral Sex, but not all Oral Sex is a Blow Job) and you're not sure if you should tag for both—you probably should. Sometimes there are tags for overlapping, closely related, or very similar acts or kinks and you're not sure which to tag—that one's more of judgement call; do your best to use the tags that most closely describe what you wrote.

Tag for the kinks at play, if any, so readers can find what they're into and avoid what they're not. Tag for what genitalia characters have if it's nonobvious, including if there's Non-Human Genitalia involved. Tag your A/B/O, your Pon Farr, and your Tentacles, including whether it's Consentacles or Tentacle Rape.

Technical specification tags give information about aspects of the fic other than its narrative content. Most things on Ao3 are prose fiction so that's assumed to be the default, so anything else needs to be specified in tags. That includes Poetry, Podfics, things in Script Format, and Art. If it is a podfic, you should tag with the approximate length in minutes (or hours). If a fic is Illustrated (it has both words and visual art) tag for that.

Tag if your fic is a crossover or fusion. The difference, if you're not sure, is that in a crossover, two (or more) entire worlds from different media meet, whereas in a fusion, some aspects of one world, like the cast of characters, are combined with aspects of another, like the setting or magic system.

If the team of paranormal investigators from one show get in contact with the cast of aliens from another show, that's a crossover and you need to have all the media you're drawing from up in the Fandom tags. If you've given the cast of Hamlet physical manifestations of their souls in the form of animal companions like the daemons from His Dark Materials but nothing else from His Dark Materials shows up, that's a fusion, the Fandom tag should be “Hamlet - Shakespeare,” and you need the “Alternate Universe - Daemons” tag. If you've given the members of a boy band elemental magic powers like in Avatar: the Last Airbender, that can be more of a judgement call depending how much from Avatar you've incorporated into your story. If absolutely no characters or specific settings from Avatar show up, it's probably a fusion. Either way, if the boyband exists in real life, it needs to be tagged as RPF.

Tag if your fic is a Reader-Insert or Self-Insert.

You might want to tag for whether your fic is written with POV First, Second, or Third Person, and if it's Past Tense or Present Tense (or Future Tense, though that's extremely uncommon). For POV First Person fics that are not self-inserts, or POV Third Person fics that are written in third person limited, you may want to tag which character's POV is being shown. Almost all POV Second Person fics are reader-insert, so if you've written one that isn't, you should tag for who the “you” is.

A fic is “POV Outsider” if the character through whom the story is being conveyed is outside the situation or not familiar with the characters and context a reader would generally know from canon. The waitress who doesn't know the guy who just sat down in her diner is a monster hunter, and the guy stuck in spaceport because some hotshot captain accidentally locked down the entire space station, are both potential narrators for POV Outsider stories.

Other technical specifications can be tags for things like OCtober and Kinktober or fic bingo games. Tagging something as a Ficlet, One Shot, or Drabble is a technical specification (we're not going to argue right now over what counts as a drabble). Tagging for genre, like Horror or Fantasy, is too.

It's also good to tag accessibility considerations like “Sreenreader Friendly,” but make sure your fic definitely meets the needs of a given kind of accessibility before tagging it.

Personal

Even among personal tags there are established tags! Things like “I'm Sorry,” “The Author Regrets Nothing,” “The Author Regrets Everything,” and “I Wrote This Instead of Sleeping” are common ones. Tags about us and our relationship to the fic, such as “My First Work In This Fandom,” “Author is Not Religious,” and “Trans Porn By A Trans Author,” can help readers gauge what to expect from our fic. Of course, you are not at all obligated to disclose any personal information for any reason when posting your fic.

The “I'm Bad At Tagging” tag is common, but probably overused. Tagging is hard; very few of us have a natural feel for it even with lots of practice. It's not a completely useless tag because it can indicate to readers that you've probably missed some things you should have tagged for, so they should be extra careful; but it can also turn into a crutch, an excuse to not try, and therefore a sign to readers they can't trust your tagging job. Just do your best, and leave off the self depreciation. If you're really concerned about the quality of your tagging, consider putting in an author's note asking readers to let you know if there are any tags you should add.

You might want to let readers know your fic is “Not Beta Read” or, if you're feeling a little cheekier than that, say “No Beta We Die Like Men” or its many fandom-specific variants like the “No Beta We Die Like Robins” frequently found among Batman fics and “No beta we die like Sunset Curve” among Julie and The Phantoms fic. Don't worry, the Archive recognizes all of these as meaning “Not Beta Read.”

The Archive can be inconsistent about whether it stacks specific variants of Additional Tags under the broadest version of the tag like it does with Fandom tags, so best practice is usually to use both. You can double check by trying to search by a variant tag (or clicking on someone else's use of the variant); if the results page says the broader or more common form of the tag, those stack.

There's no such thing as the right number of tags. Some people prefer more tags and more detail, while other people prefer fewer more streamlined tags, and different fics have different things that need to be tagged for. There is, however, such a thing as too many tags. A tagblock that takes up the entire screen, or more, can be unreadable, at which point they are no longer useful. Focus on the main points and don't try to tag for absolutely everything. Use the “Additional Warnings In Author's Note” strategy if your courtesy tags are what's getting out of hand.

Tag for as much as you feel is necessary for readers to find your fic and understand what they're getting into if they decide to open it up.

A little bit of redundancy in tags is not a sin. In fact, slight redundancy is usually preferable to vagueness. Clear communication in tags is a cardinal virtue. Remember that tags serve a purpose, they're primarily a tool for sorting and filtering, and (unlike on some other sites like tumblr) they work, so it's best to keep them informative and try to limit rambling in the tags. Ramble at length in your author's notes instead!

Titles

Picking a title can be one of the most daunting and frustrating parts of posting a fic. Sometimes we just know what to call our fics and it's a beautiful moment. Other times we stare at that little input box for what feels like an eternity.

The good news is there's really no wrong way to select a title. Titles can be long or short, poetic or straight to the point. Song lyrics, idioms, quotes from literature or from the fic itself can be good ways to go.

Single words or phrases with meanings that are representative of the fic can be great. A lot of times these are well known terms or are easy enough to figure out like Midnight or Morning Glow, but if you find yourself using something that not a lot of people know what it means, like Chiaroscuro (an art style that uses heavy shadow and strong contrast between light and dark), Kintsukuroi (the Japanese art of repairing broken pottery with gold), or Clusivity (the grammatical term for differences in who is or isn't included in a group pronoun), you should define the term in either a subtitle, i.e. “Chiaroscuro: A Study In Contrast,” or at the beginning of the summary.

As a courtesy to other writers, especially in small fandoms, you may want to check to make sure there's not already another fic with the same title in the same fandom, but this is not required. In large fandoms, there's no point in even trying. After all, there are only so many puns to be made about the full moon and only so many verses to Hallelujah.

It may be common practice on other platforms to include information such as fandom or ship in the title of a fic, but on Ao3 nothing that is specified by tags belongs in the title unless your title happens to be the same as a tag because, for instance, you've straightforwardly titled your character study of Dean Winchester “Dean Winchester Character Study” and also responsibly tagged it as such.

Summaries

Yes, you really do need to put something down for the summary. It might only need to be a single sentence, but give the readers something to go off of.

The summary is there to serve two purposes: one, to catch the interest of potential readers, give them a taste of what's inside, and make them want to know more; and two, to give you a space to provide information or make comments that don't really fit in the tags but that you want readers to see before they open the fic.

We've already talked some about that second function. When you put an explanation of the title or clarification about tags in the summary, that's the purpose it's serving. You can also put notes to “Heed the tags” or instruct readers that there are additional warnings in the author's note here in the summary, rather than doing so in the tags.

The first function, the actual summarizing, can be very hard for some of us. It's basically the movie trailer for your fic, butwhat are you even supposed to say?

There are two main strategies as to how to approach this: the blurb, and the excerpt. Blurbs are like the synopses you at least used to see on the backs of published books, or the “Storyline” section on an IMDb page. Writing one is a matter of telling your readers who does what, under what circumstances.

Depending on the fic, one sentence can capture the whole thing: “Sam and Alex have sex on a train.” “Tori tries to rob a bank.” “If anybody had mentioned Max's new house was haunted, Jamie wouldn't have agreed to help with the move.”

Sometimes a blurb can be a question! “What happens when you lock a nuclear engineer in a closet with a sewing kit, a tennis ball, and half a bottle of Sprite?”

Of course, plenty of blurbs are more than one sentence. Their length can vary pretty significantly depending on the type and length of fic you're working with and how much detail you're trying to convey, but it shouldn't get to be more than a few short paragraphs. You're not retelling the entire fic here.

An excerpt is a portion of the fic copied out to serve as the summary. This, too, can vary in length from a line or two to several paragraphs, but shouldn't get too long. It should not be an entire scene unless that scene happens to be uncommonly short. It's important to select a portion of the fic that both indicates the who, what, and under what circumstances of the fic and is representative of the overall tone. Excerpts that are nothing but dialogue with no indication of who's talking are almost never a good choice. Portions that are sexually explicit or extremely violent are never ever a good choice—if it deserves content warnings, it belongs inside the fic, not on the results page.

Counterintuitively, some of the best excerpts won't even look like an excerpt to the reader if they don't contain dialogue. They seem like particularly literary blurbs until the reader reaches that part in the fic and realizes they recognize a section of narration.

Some of us have very strong preferences as to whether we write blurbs or use excerpts for our summaries. Some readers have very strong preferences as to which they find useful. Ultimately, there's no accounting for taste, but there are things we can do to limit the frustration for readers who prefer summaries of the opposite kind than we prefer to write, without increasing our own frustration or work load very much. Part of that is understanding what readers dislike about each type so we know what to mitigate.

Blurbs can seem dry, academic, and overly simplified. They don't automatically give the reader a sense of your writing style the way an excerpt does. They can also seem redundant, like they're just rehashing information already given in the tags, so the reader feels like they're being denied any more information without opening the fic.

Excerpts can seem lazy, like you, the author, don't care enough to bother writing a blurb, or pushy like you're telling the reader “just read the fic; I'm not going to give you the information you need to decide if you want to read or not, I'm shoving it in front of you and you just have to read it.” That effect gets worse if your tags aren't very informative or clear about what the plot is, if the excerpt is obviously just the first few lines or paragraphs of the fic, if the except is particularly long, or, worst of all, if all three are true at once.

A lot of the potential problems with blurbs can be minimized by having fun writing them! Make it punchy, give it some character, treat it like part of the story, not just a book report. A fic for a serialized show or podcast, for instance, could have a blurb written in the style of the show's “previously on” or the podcast's intro. Make sure the blurb gives the reader something they can't just get from the tags—like the personality of your writing, important context or characterization, or a sense of the shape of the story—but don't try to skimp on the tags to do it!

Really, the only way to minimize the potential problems with excerpts is to be very mindful in selecting them. Make sure the portion you've chosen conveys the who, what, and under what circumstances and isn't too long. You know the story; what seems clear and obvious from the excerpt to you might not be apparent to someone who doesn't already know what happens, so you might need to ask a friend to double check you.

The absolute best way to provide a summary that works for everybody is to combine both methods. It really isn't that hard to stick a brief excerpt before your blurb, or tack a couple lines of blurb after your excerpt, but it can make a world of difference for how useful and inviting your summary is to a particular reader. The convention for summaries that use both is excerpt first, then blurb.

If you're struggling to figure out a summary, or have been in the habit of not providing one, try not to stress over it. Anything is better than nothing. As long as you've written something for a summary, you've given the reader a little more to help them make their decision. What really isn't helpful, though, is saying “I'm bad at summaries” in your summary. It's a lot like the “I'm Bad At Tagging” tag in that it's unnecessarily self depreciating, frequently comes across as an excuse not to try, and sometimes really is just an excuse. Unlike the “I'm Bad At Tagging” tag, which has the tiny saving grace of warning readers you've probably missed something, saying you're bad at summaries has no utility at all, and may drive away a reader who thought your summary was quite good, but is uncomfortable with the negative attitude reflected by that statement. Summaries are hard. It's okay if you don't like your summary, but it's important for it to be there, and it's important to be kind to yourself about it. You're trying, that's what matters.

Author's Notes

Author's notes are the one place where we, the writers, directly address and initiate contact with our readers. We may also talk to them in the comments section, but that's different because they initiate that interaction while we reply, and comments are mostly one-on-one while in author's notes we're addressing everyone who ever reads our fic.

The very first note on a fic should contain any information, such as warnings or explanations, that a reader needs to see before they get to the body of the story, as well as anything like thanks to your beta, birthday wishes to a character, or general hellos and announcements you want readers to see before they get to the body of the story. On multi-chapter fics, notes at the beginning of chapters serve the same function for that chapter as the initial note on the fic does for the whole story, so you can do things like warn for Self-Harm on the two chapters out of thirty where it comes up, let everyone know your update schedule will be changing, or wish your readers a merry Christmas, if they celebrate it, on the chapter you posted on December 23rd but is set in mid-March.

Notes at the end of a fic or chapter are for things that don't need to be said or are not useful to a reader until after they've read the preceding content, such as translations for that handful of dialogue that's in Vulcan or Portuguese, or any parting greetings or announcements you want to give, like a thanks for reading or a reminder school is starting back so you won't be able to write as much. End notes are the best place to plug your social media to readers if you're inclined to do so, but remember that cannot include payment platforms like Patreon or Ko-fi.

As previously mentioned, warnings can go in end notes but that really should only be done when the warnings are particularly long, such that the length might cause a problem for readers who are already confident in their comfort level and would just want to scroll past the warning description. In that case, the additional warnings need to go in the note at the end of the first chapter, rather than at the end of the fic, if it's a multi-chapter fic; and you need to include an initial note telling readers that warnings/explanations of tags are at the bottom so they know to follow where the Archive tells them to see the end of the chapter/work for “more notes.”

When posting a new work, where the Preface section gives you the option to add notes “at the beginning” or “at the end” or both, if you check both boxes, it means notes at the beginning and end of the entire fic, not the beginning and end of the first chapter. For single-chapter fics this difference doesn't really matter, but for multi-chapter fics it matters a lot. In order to add notes to the beginning or end of the first chapter of a multi-chapter fic you have to first go through the entire process to post the new fic, then go in to Edit, Edit Chapter, and add the notes there.

Series and Chapters

Dealing with Series and Chapters is actually two different issues, but they're closely related and cause some of us mixups, especially when we're new to the site and its systems, so we're going to cover them together.

Series on Ao3 are for collecting up different stories that you've written that are associated with each other in some way. Chapters are for dividing up one story into parts, usually for pacing and to give yourself and your readers a chance to take breaks and breathe, rather than trying to get through the entire thing in a single marathon sitting (not that we won't still do that voluntarily, but it's nice to have rest points built in if we need them).

If your story would be one book if it was officially published, then it should be posted as a single fic—with multiple chapters if it's long or has more than one distinct part, like separate vignettes that all go together. If you later write a sequel to that fic, post it as a new fic and put them together in a series. It's exactly like chapters in a book and books in a series. Another way to think of this structure is like a TV show: different fics in the series are like different seasons of the show, with individual chapters being like episodes.

If you have several fics that all take place in the same AU but really aren't the same story those should go together as a series. If you wrote a story about a superhero team re-cast as school teachers, then wrote another story about different characters in the same school, that's this situation.

Series are also the best way to handle things like prompt games, bingos, or Kinktober, or collect up one shots and drabbles especially if your various fills, entries, and drabbles are for more than one fandom. If you put everything for a prompt game or bingo, or all your drabbles, together as one fic with a different chapter for each story, what ends up happening is that fic gets recognized by the Archive as a crossover when it isn't, so it gets excluded from the results pages for everyone who told the filters to Exclude Crossovers even though one of the stories you wrote is exactly what they're looking for; and that fic ends up with tons and tons of wildly varying and self-contradictory tags because it's actually carrying the tags for several entirely different, possibly unrelated stories, which also means it ends up getting excluded from results pages because, for instance, one out of your thirty-one Kinktober entries is about someone's NoTP.

Dividing these kinds of things up into multiple fic in a series makes it so much easier for readers to find what of your work they actually want to read.

If you've previously posted such things as a single fic, don't worry, it's a really common misunderstanding and there is absolutely nothing stopping you from reposting them separately. You may see traffic on them go up if you do!

Parting Thoughts

Metatext is ultimately all about communication, and in this context effective communication is a matter of responsibility and balance.

Ao3 is our archive. It's designed for us, the writers, to have the freedom to write and share whatever stories we want without having to worry that we'll wake up one day and find our writing has been deleted overnight without warning. That has happened too many times to so many in our community as other fanfic sites have died, been shut down, or caved to threats of legal action. Ao3 is dedicated to defending our legal right to create and share our stories. Part of the deal is that, in exchange for that freedom and protection, we take up the responsibility to communicate to readers what we're writing and who it's appropriate for.

We are each other's readers, and readers who don't write are still part of our community. We have a responsibility as members of this community to be respectful of others in our shared spaces. Ao3 is a shared space. The best way we have to show each other respect is to give one another the information needed to decide if a given fic is something we want to engage with or not, and then, in turn, to not engage with fic that isn't our cup of tea. As long as our fellow writer has been clear about what their fic is, they've done their part of the job. If we decided to look at the fic despite the information given and didn't like what we found, then that's on us.

Because metatext is how we put that vital information about our fics out in the community, it's important that our metatext is clear and easy to parse. The key to that is balance. Striking the balance between putting enough tags to give a complete picture and not putting too many tags that become an unreadable wall; the balance between the urge to be thorough and tag every character and the need to be restrained so those looking for fics actually about a certain character can find them; the balance between using established tags for clarity and ease and making up our own tags for specificity and fun.

Do your best, act in good faith, remember you're communicating with other people behind those usernames and kudos, and, most importantly, have fun with your writing!

#THE GUIDE #metatext #fandom meta #fandom etiquette #Eiiri made this

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spanishskulduggery · 3 years

Note

Hi! I'm studying B1.2/B2 level Spanish and I want to learn * words to express things more*...(recently I learned,, conectores del discurso,, and some ,,frases hechas,,)

I'm sorry if you already posted something like this, I'm a new follower and I just saw that you have this account since 2013! (P.S.between it's hard for me to study words for any language; I have to write 1 word 10 times to memorize it,and others just read it once)

Have a great day!🌸

So I'm going to attach some of the (what I call) academic connectors. They're just words that I find really helpful for explaining things or especially in oral exams or written exams to sound more coherent and link your sentences together.

I suppose the more correct term is something like particles of speech or something along those lines, but they're the kinds of phrases you will want to know if you have any intention of writing in Spanish and especially if it's in an academic setting:

de hecho = in fact, as a matter of fact

no obstante = nevertheless, regardless

de todas formas = in any event, regardless

sin embargo = however, nevertheless

con respecto a (algo/alguien) = regarding (something/someone), with regards to (something/someone)

en cuanto a (algo/alguien) = regarding, with regards to

por lo general = in general generalmente/normalmente = generally / normally

mayormente = for the most part, mostly, mainly en su mayoría = mainly, in its majority, for the most part

en realidad = actually, in reality

actualmente = currently, nowadays hoy en día = currently, nowadays, today

antiguamente = formerly, in the past, previously

por lo tanto = therefore, as such

a su paso = “in its wake��, “in its path”

a medida que = "as", "while (something is/was happening)"

ya que... = since, given that...

así = like that, that way

así que... = so..., that being the case...

pues... = then / since..., that being the case...

entonces = then [in a sequence of events] / then, consequently

por consiguiente / consiguientemente = consequently, as a consequence

de una vez = for once de una vez por todas = once and for all

por enésima vez = "for the umpteenth time", "for the hundredth/millionth time" [hyperbolic]

al principio = in the beginning, at the start

al fin = at the end, in the end, at last, finally

lo primero es lo primero = “first things first”

por último, finalmente = lastly, finally, ultimately

dicho eso... = that being said...

susodicho/a = aforementioned

de antemano = beforehand

a lo largo de (periodo de tiempo) = throughout (time period)

durante = during / for

últimamente = lately, recently

según (algo/alguien) = according to (something/someone) / as per

de acuerdo con (algo) = as per (something), in accordance with

por lo visto = apparently, "it would seem..."

desde luego (que) = of course, surely

en absoluto = absolutely not, in no way

a pesar de (algo/alguien) = despite, in spite of (something/someone) pese a (algo/alguien), despite, in spite of (something/someone)

a partir de = starting (at a point), since, from a partir de hoy = starting today, from today on a partir de aquí = from here on out a partir de ahora = starting now, from now on a partir de entonces = from that point on, from then on a partir de mañana = as of tomorrow, starting tomorrow

de ahora/hoy en adelante = from now on, from this point on

en tal caso... = in that case...

por defecto = by default

principalmente = for the most part, mainly, mostly

además = furthermore, in addition

por casualidad = by chance, coincidentally

al azar = at random, randomly

al menos / por lo menos = at least

al contrario = on the contrary

por el contrario = by contrast

en cambio = in contrast, by contrast, conversely

al revés = upside-down, inside-out, topsy-turvy

(todo) patas arriba = “upside-down”, “everything in chaos”, “turned on its ear/head”

de igual manera = in the same way de igual forma = in the same way del mismo modo = in the same way igualmente = likewise, in the same way

de manera diferente = differently de otra manera = differently, in a different way de otro modo = differently

tal y como = just like, exactly tal y como es = exactly how it is

de/en cierto modo = in some way / in a sense de cierta manera = in some way / in a sense

en algún sentido = in a sense en cierto sentido = in a sense

de una manera u otra = one way or another de una forma u otra = one way or another

apenas = hardly, barely a duras penas = hardly, barely

a secas = plainly, simply

en lugar de, en vez de = instead (of) [you’d phrase this as en lugar de algo “instead of something”, or en su lugar “in its stead” or “in its place”; it takes some getting used to]

por accidente, accidentalmente = accidentally, by mistake

todavía = still

de vez en cuando = “from time to time”

a la vez = at the same time, simultaneously

en promedio, como media = on average

por las buenas = “the easy way”

por las malas = “the hard way”

de corto plazo = short-term

de largo plazo = long-term

a cambio (de) = in exchange (for)

a propósito = on purpose, not an accident

por cierto = by the way

a/en todos los efectos = for all intents and purposes en todo sentido = for all intents and purposes

mientras tanto = meanwhile

hasta = until, up to / even, including hasta que + subjuntivo = until (something happens; subjunctive)

incluso = even, including

al pie de la letra = “to a T”, exactly, precisely, “by the book” tomar al pie de la letra = to be very precise and methodical

(tomar algo) a la ligera = (to take something) lightly

por dondequiera / por doquier = “everywhere”, “every which way”, “all over the place”

de cabo a rabo = completely, through and through

al fin y al cabo = “at the end of the day”

por (el) otro lado = “on the other hand”

que yo sepa = as far as I know que tú sepas = as far as you know que nosotros sepamos = as far as we know [follows conjugation rules for subjunctive saber]

es decir (que)... = that is to say..., in other words...

o sea... = in other words...

And obviously por and para which are their own issue but they come up a lot. Which is understandable but they’re a big hurdle even for people in the C levels

There are others that are better understood with examples because it’s not enough to just write it. So:

aun vs. aún -aun with no accent is “even” and is synonymous with hasta or incluso -aún with the accent is “yet” and is synonymous with todavía

o sea -The expression o sea is used as “in other words”; do not confuse it with óseo/a which is “osseous” or “bone-related”, an adjectival form of hueso “bone”. Some people do write it as one word “osea” but it really should be separate... and sea is technically subjunctive ser

certain expressions with femenino de indeterminación -a solas “one-on-one” or “privately” -a sabiendas “knowing full well” -a ciegas “blindly” or “in the dark” -a escondidas “secretly” And many others, some of which were in the longer vocab list above

subjunctive phrases [use with care] -There are many phrases with subjunctive that you eventually need to know and they can be helpful in essays, though again this is its own topic. Things like para que “so that (something will happen)” or con tal (de) que “as long as (something happens)” are sort of subjunctive phrases of unmet conditions... things like “unless” or “until” things happen are subjunctive in many cases. Some like aunque become “although” with indicative and “even though / even if” in subjunctive... I say use with care because this is more of a functional vocab list not a grammar lesson.

solo, sólo, y solamente -solo/a as an adjective means “only/single/a single person” or it means “alone” -solo as an adverb is synonymous with sólo. The accent mark there is a vocal inflection so it’s like “ONLY”. You use either as “only” or “just”. Since it’s an adverb, solo will not change for gender/plural -solamente is “solely” and is synonymous with solo/sólo

pero vs. sino -pero is “but” when you’re changing the topic or providing different information; no es de Alemania pero habla alemán “he’s not German but he speaks German” -sino is “but rather” when you’re correcting someone’s statement; no es alemán sino francés “he’s not German (but rather), he’s French”

I would also say it’s worth understanding how ya works because it’s got a lot of uses

I’m also going to attach some links to my tags that will help you navigate and find more of what you might be interested in:

Vocabulary

Idiomatic Expressions (especially the older entries tend to be more universal; the newer ones are expressions I tend to find and am interested in sharing so if you go into my archive and look for the tag “idiomatic expressions” or “expresiones idiomaticas”

Grammar ...which is probably not what you need right at this moment, but in case you want to peruse my stuff on different grammatical concepts I have everything from present tense to imperfect subjunctive

#Spanish #language #learning Spanish #langblr #vocabulary #vocabulario #reference #ref #so much vocab #long post

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agent-whiskeys-sweetheart · 3 years

Text

Meant To Be

Pairing: Hotch x F!Reader

Summary: You are studying to be an FBI profiler with a little over a year left before graduation. When the BAU team shows up in your town for a case you jump at the chance to shadow them for a day. However, things quickly take a turn when you meet Aaron Hotchner, your future boss. And the most breathtaking man you’ve ever met.

Warnings: None! A little dramatic??? This is a purely self indulgent, love at first sight kind of fic so just prepare yourselves.

Word Count: 4,063

A/N: So I had a mild stroke trying to figure out the timeline for this series so please just don’t look too much into it lol.

MAY 2006

FORT WORTH, TX

It was just barely six in the morning when you pulled into the parking lot of the precinct. Although the sun hadn’t peaked over the horizon yet, you were surprisingly awake. In preparation for the day you had gone to bed at eight the night before which left you well-rested and alert. There was no way you were going to let yourself be off your game. Not today. Of all your classmates, you had certainly progressed the quickest. Due to your high success rate, your professor had authorized you to shadow the team of FBI profilers that were coming to your city for a case. It was an amazing opportunity for someone with a over a year left before graduation so you immediately accepted. Not allowing yourself to make even the slightest mistake, you planned everything down to the last detail in the days leading up to this. Nothing would be able to faze you. With the confidence of a woman who’d been working in this precinct all her life, you strode into the lobby. The receptionist asked for your ID which you quickly displayed. It was only temporary but even so, there was a certain amount of power you felt when she cleared you to continue into the building. After stopping briefly to ask for directions you made your way back to the Police Chief’s office. When he hears your knock, he looks up from his paperwork with a polite smile.

“Well, good morning. What can I help you with?” Clearing your throat, you prepare your most professional voice as you reply.

“My name is Y/N L/N. We met earlier this week. I’m going to be shadowing the team of profilers who are flying in today.” Recognition crosses his features as he makes his way over to shake your hand.

“Of course. I remember. It’s nice to see you again. You’re very punctual. That’s a good skill to hang on to.” You smile in gratitude. “Well, the profilers aren’t here just yet. If you’d like you can wait in here or we can find an empty desk for you.”

“Actually, I was hoping I could look over the case files. I’d like to be as up-to-date as possible before they arrive.” As he nods, the two of you make your way into the hallway. Towards the back corner of the common workspace is an empty desk that he allows you to sit at. While you put your things down and take a seat he disappears long enough to retrieve a file folder and set it on the desk in front of you.

“This should be enough information for you to be able to help out. If you’ve got any questions in the meantime, you know where I’m at.” With another polite smile, he leaves you to continue his paperwork. It doesn’t take long for you to read the case file. There had been a conspicuous string of murders in the area, which began about two weeks ago. Four couples were murdered in their homes, all wealthy without children. A list of witnesses and family members had been compiled to make the interview process a little easier. You predicted you’d most likely be helping one of the profilers in questioning the people on this list so you tried your best to memorize the names.

It seemed like hardly any time had passed when you heard the main doors of the precinct opening to reveal a group of five people walking up to the receptionist’s desk. The sight of them immediately perked you up. It was difficult to make out any individual faces at first but you knew these must be the profilers. As they each scanned their IDs and made their way into the main workspace you quickly gathered your things so that you would be ready to move the moment they were. It didn’t take long for the Chief of Police to reappear, welcoming the profilers and showing them where they could set up their equipment. Every member of the team had a distinctly different look and behavior but they all seemed to work in unison. Even though they’d only been there for five minutes they exuded professionalism and efficiency. As you watched them you had to remind yourself to breathe. You had as much right to be there as them. Admittedly they did have a lot more experience than you but that didn’t change the fact that you’re all on the same team now.

Waiting patiently, you finish putting the case file back together and fold your hands to rest them on the edge of the desk. When the Chief of Police calls you over you gather up your things and make your way around the various desks to stand next to him.

“This here is Miss L/N. She’s a student at our local university. She’s gonna be tagging along with you guys today for a little real-world practice.” As he introduces you, you take the opportunity to study the faces of the people in front of you. There is only one you recognize for certain. They all have their attention set on you as well which makes you suddenly very aware of yourself. “Anyway, I’ll let you all introduce yourselves.” With a nod, he turns to speak to you. “If you don’t mind stopping by my office at the end of the day, I’ll get you all checked out alright? In the meantime, have fun I guess.” He adds with a laugh before finally leaving you alone with the others.

The first one to extend his hand to you is the one person you are familiar with. More than familiar, seeing as he is kind of your hero. You had been the one to initiate the arrangement, having sent him an email a few weeks ago. He had seemed more than willing to let you work with them for the day and he was nothing but helpful, just like you knew he would be. Seeing him now was nearly surreal.

“Y/N, I remember.” He begins, shaking your hand. “It’s nice to meet you. I’m Jason Gideon, as you know. Glad to have you on board.”

“It’s absolutely an honor to meet you, sir. I’ve been a follower of your work since I knew what profiling was. I am so grateful for this opportunity. I am more than ready to help in any way I can.” As you speak, a warm smile lights his face. One of friendliness and hope.

“Of course. I think I speak for my team when I say we’re grateful as well. Not many people in our field get a chance to guide the next generation to a life of helping others. Anything we can do to support you as a future member of our team, we’re happy to do.” This response is entirely heartfelt and shocking to you. Of all the ways you’d imagined this interaction starting, this wasn’t what you had in mind and yet it was exactly what you needed.

“Thank you, sir.” Was all you could manage as you work to maintain your fading air of professionalism.

“Well, with that I’ll let everyone do their own introductions.” Almost immediately another man stepped out of line and reached for your hand. He was very conventionally handsome and the way he carried himself told you he knew that he was good-looking. The smile he flashed you was contagious as you shook hands with him.

“Nice to meet you, sweetheart. I’m Agent Derek Morgan and I am very excited to get to know you.” The woman next to him has to pull him away, shooting him a look. She seems very severe and yet when she turns to look at you there is a distinct kindness in her eyes.

“Knock it off Morgan. You’re gonna scare her off before she even gets a chance to meet anyone else.” She says over her shoulder, taking your hand. “I’m Elle. If he keeps bugging you, I’ll be more than happy to rough him up for you.” Morgan holds his hands up defensively when he catches Elle’s eye again before giving you a small wink.

“Nice to meet you both.” It’s hard to contain your laughter but you manage, giving a small smile instead. Another woman is standing beside Gideon who shakes your hand. She is very beautiful and seems to exude confidence and grace.

“I’m JJ. I’m the Communications Liaison for the BAU. We spoke briefly last week.” You nod in recognition. She had helped you coordinate the time and place to meet up for the day.

“Of course. Very nice to meet you in person.”

“Likewise. We’re excited to be working with you.” She gives you a warm smile which you gladly return before looking to the last person in the small group. He looks to be about your age, very sensibly dressed with a nice posture. There is a slight awkwardness in the way that he shakes your hand but he gives you a quick smile and you can see that he has a hidden friendliness in his demeanor.

“I’m Dr. Spencer Reid.” He says shortly to which you politely nod.

“It’s a pleasure to meet you.” With that, you turn back to Gideon to ask about your assignment for the day. However, you can’t help but feel like something is missing. “I read through the case file this morning so I can be of use wherever I’m needed. Did you have an assignment in mind or will I be moving around throughout the day?”

“I think it would be beneficial for you to work with SSA Hotchner. He should be here any minute.” That’s what was missing. Hotchner. You had heard his name before but you didn’t know much about him. As you waited for him to arrive, Gideon began delegating tasks to each of the other members. Despite not being given a task yet you listened intently until the front doors of the precinct opened.

However you had pictured Hotchner, the man that walked through that door was the furthest thing from what you expected. The sight of him striding in from the lobby made your breath catch in your throat. There was an innate power in the way that he moved. So much purpose and intensity. His eyes were dark and they found your face almost immediately. It was enough to make you squirm but you maintained your composure. Gideon turned to greet him before gesturing back towards you. “This is Y/N L/N. She’s a student who is here to shadow the team for the day.”

With the slightest hesitation, you extended your hand toward him. His eyes didn’t leave yours for a moment as he shook your hand.

“I’m SSA Aaron Hotchner. It’s very nice to meet you.” He spoke with a clear sense of professionalism.

“It’s nice to meet you too. I’m looking forward to working with you. I have a feeling I’m going to learn a lot from this experience.”

“I hope so. It was very smart of you to seize this opportunity. It does not come around often. Soak up everything you can today and I’m sure it will bring you a lot of success in the future.” You listen to him intently, nodding with a small smile.

“Hotch, would you mind if she rides along with you today? We’ve got a list of witnesses we need to speak to and I think it would be good for her to get out in the field rather than being stuck here doing paperwork.” Gideon interjects, looking to both of you as he proposes the idea. Hotchner looks around the precinct briefly for the other team members before giving Gideon his attention again.

“Of course. Do I need to brief her on the case?”

“Actually, I already familiarized myself with the case file before you all got here this morning.” You interrupt before Gideon can respond, causing both the men to look at you. “Sir.” You add, clearing your throat. They both share a knowing look.

“Perfect,” Hotchner replied, with a respectful nod. Satisfied with the interaction, Gideon dismissed himself to begin his work leaving the two of you alone. “Give me a few minutes to speak with the Chief of Police and then we can get started. Would you mind waiting out front for me?” You nod eagerly which prompts him to walk back toward the Chief’s office. Once he has disappeared around the corner you make your way to the front of the building, stepping through the main doors. The cool morning air brings with it a sweet wave of relief. You hadn’t realized how hot you were until you had stepped outside. Nerves were already building up in your system when you were being introduced to the rest of the team but meeting Hotchner had tipped you over the edge. There was no denying that he was a very handsome man. The evidence was in the blush that was surely covering your face. Mentally scolding yourself you take a deep breath. You were a professional and you would act as such. No matter how deeply moved you felt when he looked into your eyes like that.

A few minutes later Hotchner made his way through the front doors causing you to stand at attention. Moving briskly, you followed him into the parking lot and pulled yourself into the passenger seat of the dark SUV he had just unlocked. He remained silent as he began typing an address into the GPS before pulling out of the parking lot. Once you were on the road he looked over at you briefly.

“How much do you know about questioning witnesses?” He began.

“Quite a bit. I’m only about a year away from graduation so I have a fairly advanced understanding of a wide variety of concepts that pertain to profiling.” Watching the GPS, he nods. Feeling a tinge of awkwardness, you allow your eyes to stay focused on your lap.

“Good. Any real-world experience?”

“Unfortunately no. In my courses, we do simulate certain scenarios fairly often but there isn’t much opportunity for real application.”

“Well the best advice I can give for today is to stay quiet and watch me. If I need you to speak up, I will tell you as much. Otherwise, don’t say anything. It isn’t that I distrust you. It would just be irresponsible of me to allow someone with zero field experience to question the victim’s friends and family during some of the most difficult times of their lives. Especially without having seen what they’re capable of beforehand. I’m sure you understand.”

“Oh absolutely. I completely understand. I know that I’m here in more of an observational capacity today. And even if I wasn’t, you’re the boss. No explanation necessary.” Hotchner is quiet for a moment. If you hadn’t been so preoccupied with avoiding eye contact, you would have seen the remnants of a smile on his face.

“I should have you talk to the rest of the team. They could learn a thing or two from you.” This causes you to laugh lightly.

When you finally do decide to look at him the sight steals your breath yet again. He is bathed in the golden light of the rising sun and he seems almost ethereal. You can see a flash of his deep brown eyes which seemed very soft now in the glow of the sun. As though he could feel you looking at him he turns to meet your eyes although this time you don’t look away. The two of you sit there in what seems like the most eternal moment, dancing in and out of each other before he breaks away to look back at the road. For a moment you could almost swear you saw something there in his eyes, something almost like longing. It must have just been a trick of the light.

“So, what made you decide to be a profiler?” The moment is over as quickly as it began as he speaks up.

“Well, I’ve always had a deep fascination with the human psyche. Finding out what makes people tick. Picking apart their personalities, their behaviors. Growing up that almost felt like the only way to understand the kids around me. By studying them. Every friendship I had felt like a science project. When I found out that I could use that ability to be part of something bigger than myself, to make the world just a little brighter ... well, it was really a no-brainer.”

“That’s very ... noble and, honestly, very uplifting to hear. With this job, you experience a lot more bad days than you do good. Sometimes it is hard to remember why we started doing this in the first place. It’s people like you that remind me this job is worth it. Hang on to those beliefs. They’ll help keep you sane, I can promise you that.” With a nod, you give him a kind smile.

“I will. I promise.” It isn’t much longer before you arrive at the first house. The interview is fairly straightforward. You stay close by Hotchner’s side as he introduces the both of you. Once you’re inside you sit quietly as he begins asking questions, merely listening and taking mental notes of the way he conducts himself. It is over fairly quickly and then you’re both back in the SUV and off to your next destination. The next two interviews are the same. On the third, he lets you ask a few routine questions. It is a simple gesture but you are very grateful for the experience and you handle yourself very well.

Your final interview is with the parents of the latest male victim. When Hotchner knocks on the door, it takes a minute for it to open. Standing on the other side is an older man with a tired expression.

“Yes? What is it?” The man says briskly. Hotchner pulls out his badge.

“I am SSA Aaron Hotchner with the FBI. This is Miss Y/N L/N. May we come in?” Hearing the term FBI causes the man’s expression to darken rather quickly as he looks between the two of you.

“Where’s your badge?” He questions, nodding in your direction. Remaining silent, you share a look with Hotchner. After a second of thought he gives you a small nod of approval.

“I’m not actually an FBI agent yet, sir. I’m a criminology student at the local university. I’m shadowing Agent Hotchner today as a learning opportunity before getting out in the field myself.”

“A learning opportunity?” It takes the man almost no time to answer and you can hear a significant shift in his voice. “You’re using my son’s death as a learning opportunity?”

“You misunderstand--” Hotchner begins in your defense before you quickly cut him off with your own response.

“Sir, I can’t begin to fathom what you’re going through. But I can promise you that my lack of experience is entirely made up for by my desire to see the person who did this to your son pay for it. It doesn’t take training to see that your son deserves justice for his death.” The man is silent but keeps his eyes locked on yours.

“My wife and I have already told the police everything we know.”

“We know, sir. It will only take a few moments of your time and anything you can tell us might be crucial in finding your son’s killer.”

“No. No, we’ve already talked about this more than any parent should ever have to. If it’s that important go ask the police what we said.”

“Please, sir--” Before he can finish, the man smacks the door frame.

“It took the deaths of eight innocent people for you to swoop in and save the day. You really think I want to waste a second of my time speaking with you? I have nothing more to say. Now get out of here.” With that, Hotchner nods before turning to leave which prompts you to quickly follow. As you get near the SUV you are startled by the sound of the man’s door being slammed shut. Once inside you release the breath that had been caught in your chest. When you look over at Hotchner his expression shows a deadly calmness and you are suddenly struck by the idea that he must be pissed at you.

“I’m so sorry. That was all my fault. I upset him. I shouldn’t have said anything to him. I should have just kept my mouth shut like you told me to. I had no right to do that. I’m sorry.” The crushing weight of embarrassment and guilt settled over you. This morning you had felt more than ready but now it seemed like the day had been filled with challenges you couldn’t possibly have prepared for. In only a few hours you had managed to show your boss that you are completely incompetent. You ready yourself for what must surely be his wrath however when he turns towards you his expression shifts from one of unwavering calm to gentle kindness.

“It’s okay. I’m not angry with you. What you said was perfect, it’s exactly what I would have said. You were establishing a rapport with him to gain his trust. You did the right thing. Believe me, it wasn’t you. There is nothing either of us could have said that would have gotten a different result.” When he sees that you are still wary he shifts in his seat to face you more directly. “As a future member of my team, you have my trust. You handled yourself very impressively today. You’re going to make a very fine addition to the BAU.”

His words ease your anxious mind as you nod quietly. Soon after Hotchner is pulling back out onto the street to take you both back to the police precinct. After a minute of silence he glances over at you.

“So ... are you still sure you want to do this?” The question catches you off-guard but it takes you no time at all to answer.

“More than anything.” This time you do catch the faint smile that crosses his lips which causes you to give a small smile in return.

“Good.” Is all he says for the rest of the ride back to the precinct.

The day is over much more quickly than you had hoped for. When you step back into the police building you make a beeline for the chief’s office, remembering his request that you find him again at the end of the day. You return your temporary ID and he fills out a form for your professor to verify your activity for the day. Once the formalities are over he bids you a good evening and shows you back out to the main workspace. The team all gather briefly to say their goodbyes as well. You thank Gideon profusely for allowing you to join them before shaking hands with the rest of the team members. As you make your way to the exit you see Hotchner standing near the main doors.

“Thank you so much for letting me tag along today. I really learned a lot.” As you say this you extend your hand which he quickly takes.

“Absolutely. It was a pleasure working with you and I look forward to seeing you again in a few years. In the meantime, here’s my card.” He reaches into his inside jacket pocket and pulls out his business card which he hands to you. “If you ever need anything, feel free to give me a call.” Tucking the card safely into your pocket you thank him with a smile before heading out the main doors to your car.

Once inside you pull the card out of your pocket and sit for a minute, staring at it. Unable to control yourself you let a giddy smile paint your face. After the day you had, a year has never seemed longer. The anticipation of your future at the BAU looms over you but rather than filling you with nerves it brings you hope and excitement for the things to come. Opening a small compartment on your dash, you tuck the business card away before heading home to get a good night’s sleep filled with wonderful dreams.

Tags: @talesfromtheguild @lannister-slings-and-arrows @gamingaquarius @gryffindorwriter @nopeforyou @sheerfreesia007 @roxypeanut @ohpedromypedro @ithinkhesgaybutwesavedmufasa @readsalot73 @the-mechanical-angel @races-erster @maxlordd @pascalisthepunkest @paintballkid711 @hotchafterhours @h0tchner @ssahotchswife @ssahotchhner @technotic-prophecy @klinenovakwinchester

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starglow-xx · 3 years

Note

(About the brother!atsushi) aRE YOU READING MY MIND MISS?! Because that has been on my mind for MONTHS. TYSM For writing it was amazing!! If you don't mind, may I request (if requests are open) atsushi, still an older brother, but with a sister that's 10-13 yrs old? It's totally fine if you don't wanna do it. Keep up the good stories, ily mwuah!

*sobs* you’re so kind thank youu 🤧🤧

i wrote this a bit differently i hope that’s okay anon! at first i planned for this to be mainly abt atsushi and the reader, but i decided to add in relationship hcs with the agency bc i ran out of ideas

if you guys liked this don’t worry! im planning a special part two for this one so be the look out for it hehe

atsushi with a tween! sister

ft. the armed detective agency

like in my baby sister hcs, you’re still the most important thing to him period

the two of you got picked up by dazai and kunikida when he was 18 (obviously) and when you were 12

for a 12 year old, you were a bit small bc of malnourishment (which makes atsushi feel so bad) so both dazai and kunikida thought you were a bit younger than you actually were

they assumed you were about 9-10ish

you and atsushi both share a favorite food !! chazuke :)

so when kunikida treated the two of you, he made sure you got more bowls bc like i mentioned above, he feels really bad that you were malnourished and under weight

(don’t bring this up but kunikida felt bad too hehe)

when dazai went with your brother to the warehouse, you were with kunikida

imagine the surprise of the other ada members when kunikida came in with a little girl dressed in rags that popped out from behind him

kenji was the one who vocalized his thoughts

“kunikida-san you have a daughter?! wow! i didn’t know that! :D”

when you found out your brother was a tiger, you were a bit concerned but you were actually kind of excited

you were even more excited when you found out the two of you were going to be taken in by the agency

anything was better than the stupid orphanage

and besides!

you got a tiger for an older brother and a bunch of other super powered agents to take care of you! who could want anything else?

at your age, you’re very impressionable and can be influenced easily so atsushi makes sure to teach you more in depth of good morals and the importance of kindness

his heart swells with pride and relief when he catches you being kind to others

pride bc he’s proud that even after all the two of you have gone through, you still ended up being a good kid and having a bright view of the world

and relief bc he hasn’t failed as a big brother

pfftt like he could ever fail

but please, from time to time reassure him that he’s perfect and the only big brother that you’d ever want bc he rlly needs that kind of validation

with his salary and savings, he tries to buy nice things for you

what a sweetheart 🥺

he saw you eyeing that one dress at a store window? fast forward abt a week and half and it’s inside a pretty gift bag for you

you wanted to try that dessert from the nice bakery? that’s dessert after dinner at one point

but other than buying you things, he sets money aside for you

like all the time

(y/n), here have this, you might need it”

“but nii-san you just gave me—”

“take it”

#1 spoiler

also your #1 confidant and source of physical affection

you tell him anything and everything (except crushies and those kinds of things)

atsushi loves it when you talk abt your day and he can see the big smile on your face and the sparkle in your eyes

it gives him the strength to keep going 😖😖

the two of you aren’t as touch starved as you’d probably think, but that’s only bc the two of you had each other

in your opinion, no one can match the hugs of your big brother

and it got even better bc YAYY he has tiger arms now ٩(◕‿◕)۶

if you ask, he’d carry you around too hehe

you also get nightmares quite often so he’ll always be there ready to calm you down, talk if you need to, and rock you back to sleep

god i love him 🤧🤧

atsushi will do everything in his power to protect you and make sure you get to grow up happy, supported, and loved

port mafia attack? oop he’s already taking you to the nearest escape route

someone is starting to harass you? they just got suckered punched into the next week

you want to go out to have some fun? he’ll go ask the president for a day off

you’re not feeling well? he’ll take another day off and take care of you

whatever you want to do, he’ll do it with you! (as long as it’s within reason)

will always be your #1 supporter! and he’s the president of your fan club hehe

he loves you so so much and will do anything for you; your life and happiness will always be more important to him

you are his reason to keep going

agency head canons !!

atsushi is your big brother, but kunikida is most definitely some sort of father figure

everyone can see it

except kunikida of course

kunikida scolds you lightly if he thinks your manners need work or if you make a mess in the agency

you listen to him of course and in turn as some sort of a reward, he’ll give you pieces of stationary

he always gives you the nice, good quality kind and you’re over the moon

atsushi adores it when you come running to him showing your new notebook or fountain pen and blabbering what you’re going to do with it

sometimes it isn’t even as a reward for being a good child; he’ll just give it to you and he’ll say smth like “i noticed you’ve used up your last notebook quite quickly, so here’s another one” or “did you run out of ink? here have this then”

he usually has a soft spot for children in general, but he most definitely has a soft spot (or a thousand) for you

yosano is kind of like a motherly figure to you

she gives you the guidance a mother should and goes on shopping trips with you!

atsushi always gets dragged along by you, but he thinks it’s worth it seeing you look so happy

yosano being a doctor also tries to teach the things you should know, or things that would be helpful to you

she’ll teach you the basics of cooking, sewing, how to treat a cold/fever, etc

also gives you excellent advice 1000% of the time

“remember (y/n)-chan if someone hurts you come tell me and then i’ll chop them into—”

“yOSANO-SENSEI DONT TELL HER THAT—”

fukuzawa is like a father to most in the agency but you see him more as a grandfather figure

bi weekly tea and gossip sessions hehe

along with cat talk!

most of the time though, it’s just you talking and him listening to you, but the two of you enjoy it nonetheless

“and then kunikida-san ended up crashing into a pole and dazai-san started to laugh at him and i did too because it was really funny but we ended up getting scolded—”

“hmm i see...”

he’ll let you stay in his office as he fills out paperwork; you’re usually doodling or drawing in your notebooks

sometimes he’ll meditate and you’ll join him, but 4/7 times you’d fall asleep

you always wake up with a blanket over you

dazai is like a cool but a highly concerning and kind of high maintenance uncle

frequently takes you out with him when he ditches work

walks in the park, eating at uzumaki so he has the excuse of treating you so he doesn’t have to pay his tab avoiding kunikida and sometimes chuuya and akutagawa, all that fun stuff

also tries to not talk abt suicide in front of you especially if it’s just the two of you alone

he knows that you mean the world to his pupil and that said pupil would probably hate him for putting suicide inside your brain

he teaches you random but useful things like how to pick a lock, how to steal kunikida’s notebook if you’re looking for some information, how to sweet talk your way out of things, etc.

is also the one to tell you that if you ever get a significant other to introduce them to the agency first

he always wants all of your gossip; some of them work pretty well for blackmail

“dazai-san! dazai-san! did you know that kunikida-san lost his glasses and he was looking for them for nearly an hour when he was just holding them the entire time??”

“woah really (y/n)-chan?! hey hey can you say it again into this recording device so kunikida-kun would believe me when i tell him—”

always ends up giving kunikida a heart attack when he says that you’ve been with him all day

ranpo is also like a cool but a highly concerning and kind of high maintenance uncle

will share some of his snacks, but don’t push it or you might not get anything at all

loves it when you compliment him

if you tagged along with him and your brother on a case, he will show off to impress you

“...and that’s how the crime happened”

“UWAHH RANPO-SAN YOU’RE SO COOL”

atsushi is lowkey and kunikida is highkey stressed that ranpo’s eating habits will rub off on you

“ne (y/n)-chan do you wanna try this highly caffeinated drink and this concerning amount of sugar filled snack?”

“can i really?!”

“rANPO-SAN NO—”

ranpo definitely does stuff like that on purpose

the tanizakis are like siblings to you!

a weird set of siblings but siblings nonetheless

the two of them adore you and think you’re precious

atsushi definitely knows how to do your hair whether it’s long or short but he got even better at it when he asked the two

hehe braid trains are definitely a thing + kyouka and kenji (and maybe even dazai)

sometimes you have sibling swap days

you’re with junichiro for most of the day and atsushi is with naomi

strange i know

each of the tanizaki siblings try to make it fun bc they know that the two of you did not at all have a happy upbringing

junichiro likes spending time with you by taking you out to different places that naomi likes to frequent

like the mall, different stores and restaurants, the park, places like those

naomi does the same thing with atsushi so if you ever bump into them, you go out and eat together :)

besides atsushi, the next one in line who spoils you the most would be junichiro (and yosano & kunikida both coming in at a close third)

he honestly can’t help it; you remind him of how naomi was when she was younger

and besides

he’s always been a sucker when it came to the happiness of a little sister

“would you really buy this for me junichiro-san?!”

“of course! don’t worry about it” :)

wanna talk abt boys/girls/celebrity crushes things like that? naomi is your girl

you feel a bit embarrassed to go talking to yosano or your brother abt that and kyouka does not know a thing abt them either

“uwahh naomi-san look at all these people in this magazine! they look so good!”

“right?! but of course onii-sama is still the best—”

you get along with kenji and kyouka quite nicely being roughly the same age as them; they’re also like siblings!

just pure, wholesome vibes from the three of you

you’re over the moon when she finds out that kyouka is staying with you and your brother

atsushi is twice as happy seeing you talk your mouth off and finally having a girl around your age to talk to

“do you think demon snow can change how she looks?”

“hmm... im not sure...”

you and kenji talk abt anything and everything

he even teaches you how to take care of plants!

sometimes the two of you are kind of in the same boat bc you don’t know much abt yokohoma being stuck in the orphanage and kenji doesn’t know much abt cities in general

“wait where are we again kenji-san?”

“ah we’re close to the ports! but im not really sure how close because i don’t know what the symbols on this sign mean”

“don’t worry! neither do i!”

bonus things!

yosano was kind of too late teaching you abt you know what

“NII-SAN IM BLEEDING IN BETWEEN MY LEGS��

you’re sobbing in the agency’s bathroom and atsushi is panicking trying to get you to open the door

“Y/N?! H-HOLD ON LET ME GET YOSANO SENSEI”

ranpo overhears and cackles making everyone around him confused

suddenly atsushi bursts in the agency basically on the verge of tears rambling incoherent sentences abt the bathroom, you, and blood

it just clicked for everybody in the room

(im going to pretend that kenji has sisters back home so that atsushi is the only one who remain oblivious here hehe)

atsushi is genuinely confused and sort of concerned that no one is freaking out with him

yosano waves her hand saying smth like that she’d take care of it and junichiro pulls atsushi to the side to talk to him

fast forward like half and hour and dazai and ranpo are cackling on the looks of both of your faces

honestly not sure who’s more traumatized, you or your brother

“why does this have to happen” :(

“ne ne (y/n)-chan!~ you’re too young but at some point you’re not going to have it!”

“uwahh really dazai-san?” :D

“yeah! but first you have to have ANFK—”

next thing you know your ears are being covered by your brother and dazai is thrown across the room by kunikida

you know

the normal

you’re twelve and have never gone to school, but the agency takes care of that

it’s too dangerous to go to school so they teach you what’s necessary and whatever else they can

kunikida takes care of math (obviously)

yosano takes care of science/biology/anatomy/health (whatever you wanna call it)

ranpo even dragged poe to help you with english

atsushi even got lucy to help you out with english too!

as tanizaki and naomi used to be students, they give you their old work books and they try to teach you all the other subjects

sometimes kyouka and kenji are there learing with you too!

sorry if there’s some errors! i’ll read through it again later :)

and as always, reblogs and shares are appreciated! i hope you all stay safe! and just in case nobody told you they loved you today, i love you! you are enough! <3

writing belongs to me! please do not plagiarize! the reblog button is there for a reason

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miss-storytime · 3 years

Text

Fanfiction Announcement

Hello everyone!! This is the very first post I am making on my revamped account!! I have decided to use this opportunity to announce a new A/B/O fanfiction I will be writing with a dear friend of mine, The Librarian. Woohoo!!

Now a few things to start with, this is going to be an x OC! piece between my OC and Bakugo Katsuki, I know I know, so basic. However, I will be using this as a segway into more a/b/o fanfiction with other characters' (if all goes well). So If you all would be so kind as to stick around I am going to be explaining some aspects of the A/B/O universe I will be changing as well as some things I will be adding for storytelling and depth purposes. (NOTE: Some things I have taken from other authors, however I read so much fanfiction that I forgot where I got certain things! So I will be marking inspired content with a * and if any of you know who the original author was please tag them in the comment section for credit.) Now onto the fun stuff...

WORLD RULES:

So of course you all know the basic secondary genders, Alpha Beta and Omega however I have added 2 new “categories” for existing genders.

*Apex Alpha:

Apex Alpha’s are exactly what they sound like, they are the rulers of Alpha’s (Or the Alpha of Alpha’s). They are rather rare, and the characteristics of an Apex Alpha do not change from that of a standard Alpha, however, their “Alpha Voice” is something that can also affect other Alpha’s (although challenges may occur depending on the strength of the Apex and surrounding Alpha’s.

Also, most Apex Alpha’s are not even aware they are Apex’s until put in extremely hostile environments that force them to rely almost entirely on instinct. In other extremely rare cases, Apex’s learn early on of their status due to environmental factors that showcase their will over other already known Alphas.

Zenith Omega:

Zenith Omegas are basically the Apex of Omega’s and unlike the Apex Alpha’s, do not actually hold any power over their fellow Omegas. They simply seem to adhere more closely to the traditional Omega characteristics and are easily defined from their Omega brothers and sisters by a distinct note in their scent (it has yet to be described in words, however, most researchers simply say “You know one when you smell one”). They do, however, hold some power of their own, given their status a normal Alpha’s voice is not as effective on them as it is for other Omegas.

Also due to a Zenith's higher standards for mates, it typically takes a lot more to get one to choose an Alpha, resulting in them often ending up with Apex Alpha’s. (Note: This is not a 100% occurrence, it is around 60% of couplings involving a Zenith are between a Zenith and an Apex, however, mated pairs of Zeniths and Alphas, or Apex’s and Omegas are only slightly less common).

Moving on I have also added some behaviors to Alpha’s that I felt have not been explored enough in the A/B/O universe. I think that it is a fun and kind of “Alpha-eques” version of already known traits in the universe.

Denning:

Now of course we all know about Nesting right, the cute behavior of Omegas who like to collect comfortable things and build themselves a fluffy, snuggly hole to relax in. Omega’s are like the fairy light people of the world, which would make Alpha’s and their Dens the LED folks. ;)

Basically, a den is the exact opposite of a Nest, there is absolutely nothing comfortable about an Alpha’s den, as they are strictly tactical. Imagine, if you would, a concrete box with ledges along the walls, specifically near corners to provide good vantage points of the surroundings. This is what you can expect of an Alpha’s den. Not that there isn’t any furniture, of course, there is as they do live in the general space however they do not go the extra mile to spruce it up and make it comfortable to brood in. (NOTE: A Den is not their sleep space, it is the Alpha equivalent of a Nest and is mostly used to comfort them).

Where Omega’s are concerned with comfort, Alpha’s are relaxed when they feel they are in the safest, most secure place possible. So in the case of the U.A. dorms that would mean many Alpha’s rooms hold a single ledge tucked in the upper corner of their room, the opposite side of their door. Don’t be fooled though, Alpha’s are just as defensive of their Dens as Omega’s are their nests. it is their safe place and if you enter it uninvited or (God Forbid) ruin it somehow, be prepared for a violent turf war, especially if there is an Omega involved.

Finally, for this post I have also added in some disorders the genders can suffer from when under extreme stress for extended periods of time. Of course, if I think of anything more I would like to add I will make an update post to this one.

“Going Feral”:

Going feral is not something that is new to the community, however, I just wanted to do a short little recap for any of you out there who may be new. Going feral happens in extreme situations that push a person to their limits and force them to rely only on their instincts (NOTE: Going feral is typically what alerts Alpha’s that they are indeed an Apex in most scenarios). Basically, they stop behaving as they typically would and revert to an animalistic survival-like state in order to protect themselves.

Depressions:

Also nothing new to the community, although often known as Omega Depression, I am going to refer to it as just ‘Depression” for my fic, as both Omegas and Alphas can suffer from them with similar/same side effects and end result.

Psychosis:

This is something of my own mind I have invented to torture whomsoever decides to read my A/B/O works. Psychosis is much like a depression, but with very different side effects, and they occur when someone is put in a position to do something that directly violates the instincts of their secondary gender. Which can result in any number of things, most notable; a split from reality, random emotional outbursts (often aggressive), and extreme disassociation. Typically disassociation is the final step in Major Psychosis, as the suffer disassociates themselves as a defense mechanism against their reality, oftentimes creating a new identity or inventing an entire life to explain how they got to where they are.

*****************************************************************

Trial By Time Chapter 1

Thank you all so much for sticking around to read through all of this, I really do appreciate it. If you have any questions about the post, or just want to say hello, please leave a comment down below.

~Happy Reading,

Miss. Storytime, & The Librarian

#bnha bakugo katsuki #bakugo katsuki #denki kaminari #kirishima eijirou #izuku midoriya #bakugo x oc #alpha bakugou #omega oc #abo #abo au #abo dynamics #bnha abo #boko no hero academia #my hero academia #my hero fanfic #abo fanfiction #bakugo x reader

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lord-of-christmas-lights · 3 years

Text

I could post regular Narnia headcanons...

Or I could post the continuation of this post and go into depth about how Eustace and Caspian are affected by deity Narnia. Welcome back to Inhuman Narnia 101 and it turned out just as long as the first one so buckle up.

Check out this post by @dorianviolet for another awesome version of Inhuman AU Caspian

Warnings for slight body horror mentions including blood magic stuff, slight religious themes and theological discussion towards the end.

Before anything: This AU directly contradicts canon a lot. I don't care, that's why it's called an AU. Some of it is deliberate, some of it is accidental. I haven't read the books in a number of years, so this is all based on the movies and general information I've picked up from fanfic and tumblr. Discussion on this post is welcomed, criticism and arguments are not. Thank you.

First off, here is the link to an exploration of Dragoning, the Eustace-centric fic I wrote about this. I refer to it repeatedly in this post so if you want the full thing, there it is.

Second, let's get into this. So in my last post, I talked a lot about Narnia, her general existence in this AU, and her motivations as a character. She wants the people in her world to be a part of her, and no one else. Some of this is a conscious choice, and some of it isn't. Eustace's changes throughout his time in VOTDT are definitely not purposeful. It was his greed that drove him to the treasure, it was his own "curse" in becoming a dragon. That was not Narnia reaching out to him and purposefully trying to mold him to her world. As such, he takes on more of an observing role.

Eustace doesn't ever actually directly address his cousins on the subject of their inhumanity, in this fic or in any other I write. He simply sees it, notes it happening, and moves on. Even in the sections in my fics where the subject of inhumanity in general is brought up between Eustace and one of his cousins, it's always about Caspian, the greater Narnian world, or himself.

"Eustace asks why, and Lucy answers. Narnia changes people, she says. It happens to everyone, but the closer you are to her Heart, the greater it is. I don't know where Dragons are. Perhaps closer than we realized. It's exhilarating, isn't it? Aslan will return us to normal though, at the end of our journey." - AEOD

I don't know why, but I don't like the idea of Eustace trying to directly address the Pevensie brand of inhumanity. That line above takes place after his UnDragoning, after the way he sees things has changed, and I see it as him asking what exactly has changed, you know, why are Dragons different than boys?

That brings me to how Eustace himself changes. Now, if he hadn't gone and turned into a Dragon, I imagine Narnia wouldn't have taken much note of him. He's a random human, stuck-up, not at all in line for ruling her lands, and just kind of exists without much else going on. She still would have affected him a little, as she does to all humans in her world but it would have been almost entirely spiritual with no physical changes. And then we got the greatest fuck around and find out scene ever. He becomes a Dragon.

I love dragons, always have, I have a very deep spiritual connection to these creatures, and as such, I have gone all out on worldbuilding for Narnian Dragons. Again, the quote from AEOD, "...the closer you are to her Heart, the greater it is. I don't know where Dragons are. Perhaps closer than we realized." In the Inhuman AU, Dragons were the first creatures Narnia (the deity) and Aslan made when they created Narnia (the world). They just really liked the dragon shape from other worlds and thought, "Hey wouldn't it be cool if our world was populated by these big fire-breathing lizards?" Now I don't actually remember how often Dragons are mentioned and/or featured in the books so I'm going with my idea that Dragons are a somewhat rare but not extinct species. They have to be created through magical means, often through physical transformation of people or objects, though there are a few known cases of natural-born Narnian Dragons. Eustace's creation was the curse on the treasure, though I don't see his Dragoning as a curse itself. As in, the curse isn't in the being a Dragon, it's in how the Dragon was created. So, Eustace experiences this accidental change into a creature that's closer to Narnia's Heart than pretty much any other being in Narnia. They were her first creations, forged from the fire in the Stars, and they are the closest to her magic. And that gets her attention.

Now, if you went and read AEOD, you'll have noticed that one of Eustace's biggest changes (aside from the obvious physical ones) is his vision. This is just a natural thing for Dragons, they are far more in tune with magic and the earth and everything than everyone else, but Narnia's special interest in him definitely amplifies the hell out of his magic sense.

"The people here say dragons see the oddest of things, and he has to assume it's a hallucination....He refuses to give into its whims, reminds himself it's just his imagination. Until Reepicheep comments on it." - AEOD. Following this quote, Reepicheep mentions to Lucy that her inhumanity is returning faster than Edmund's and Eustace has a total panic attack at the idea that what he's seeing is real. He sees what everyone else does, Lucy's stained fingers and Edmund's ability to manipulate words, but he also notices stuff no one else does like the stars in Edmund's throat and the echoes that follow Lucy's words. This is further cemented after his UnDragoning, where the extra stuff he perceived has vanished. Now the general idea in this AU is that the closer to Narnia's Heart you are, the more you know and perceive. Everyone can see some of the more obvious inhuman aspects of the Pevensies, but there are things that only Dragons, druids, Stars, and some other magic folk really close to Narnia's Heart see. I'm not going to get into an exact chart of what certain characters can and cannot see because that can change over time and such and I'd rather leave it mostly up to personal interpretation on what other characters do and do not perceive about the Pevensies and other such inhuman characters.

(Side note—I had to pause in the writing of this post here to go to my second meeting for an autism assessment and I think if I just showed the doctor my notes app and the inhuman/dark fantasy narnia tag on my blog, I'd get the diagnosis instantly lol) So anyways, Narnia senses Eustace becoming a Dragon and is like "Ooohoo what's this?" and starts sort of digging into him in the same way she does to her Kings and Queens. This triggers his already enhanced perception of Narnia (the world) to get even stronger, and this is when he starts seeing stuff like people's souls, Caspian's second heart (more on that soon), and looking at Lucy/Edmund/Lilliandil becomes almost painful because Narnia's magic is so bright in them. Aslan then UnDragons him, which Narnia really doesn't like btw, and Eustace is back to being a fairly average human.

This is where stuff established in AEOD ends.

Now I have so many ideas and half finished fanfics written out in my notes app about Eustace, UnDragoning, and inhumanity and it would be impossible to cover them all here, so I'm just going to go with the highlights. One of my favorite ones is the idea that after Eustace's UnDragoning, he still feels very connected to being a dragon. He's had this taste of pure inhumanity, and something like that doesn't just leave a person. There's a fic I read once long before I was fully invested in this fandom about Eustace and draconity that I will never stop thinking about and was actually the reason I started considering Eustace and Narnian Dragons in this AU. One of the really important things to note is that once a Dragon is created, they can never be uncreated. They can be UnDragoned, where their physical form is returned to whatever it was before their Dragoning (a rock, a talisman, a faun, etc) but their soul has changed on a fundamental level to that of a Dragon. Now for Eustace in my Inhuman AU, this manifests spiritually as a deep longing to return to being a Dragon. Physically, he experiences fun side effects like increased heat tolerance, nails that grow faster than normal, and because Narnia likes to meddle, a single ridge of scales along his spine. In some versions of my drafts, he stays at the end of VOTDT and experiences a slow Dragoning because Narnia's influence on him is that strong, other versions he stays but never quite returns to the Dragon he was before, and in yet other versions, he returns to England and loses that connection enough that physically, he will never be a Dragon again. As I said, Narnia is fascinated by him, she's never really had a human Dragon before, but he is still just a random guy who happens to be related to the Pevensies and as such, she doesn't invest as much time or magic into his inhumanity.

So that's Eustace. This is already such a long post but I promised to talk about both him and Caspian so here we go.

Now, in my last post I talked a bit about how Narnia (the deity) affects the other humans in Narnia (the world) to an extent, but it's nowhere near the amount she does to her Kings and Queens, and also this diminishes more and more the farther you get from Narnia (the country). Telmar is fairly close to Narnia (the country) but as we see in PC, a lot of Narnia's magic and spirit has been diminished by the time Caspian is born. Up until the awakening of the land during the battle, Caspian is essentially 100% human. However, this changes very quickly.

It's hard to pinpoint the exact moment Caspian becomes a King of Narnia. Is it when he refuses to kill Miraz? Is it when Aslan tells him he's one? Is it during his actual coronation? Yes, yes, and yes. I try not to pin it down to an exact moment. By the end of PC though, he's definitely noticing some changes in himself. I have an unpublished part 2 to an exploration of Inhumanity (my only other actually posted fic on this stuff) that I swear I will clean up and get posted soon that goes into further detail on the changes he's noticing at the end of AEOI. Some of the big ones include a second golden heart, seeing some of the life magic in the world around him, and a golden glow on his palms. He also slowly develops the ability to heal, though it's not always consistent. Magic takes practice, lots and lots of practice. In pt 2, the glow on his palms has gotten so bright and also spread around his head like a halo, and Lucy shows him how to conceal it so he's not impossible to look at, but because of Magic™ there's still a dusting of golden powdery stuff across his skin. His blood turns golden because Ben Barnes + golden blood is such pretty imagery, and like the others, it gets sucked down and absorbed into Narnia's Heart when he bleeds in battle. Also when I say he's got a second heart I mean he's got a second fucking heart. Ribcage shift and all. (His appearance doesn't actually change, it's more like a pocket dimension thing going on inside him, but he sure as hell can feel it happening). Having Narnia as a patron goddess just means you have to put up with a second puberty sometimes lol.

Anyways, there's a line in AEOI that I feel explains this stuff really well. "He cannot truly protect the land without becoming a part of it himself." Narnia changes her Kings and Queens because she wants them to be a part of her. Aslan doesn't really see these changes as necessary (in canon, a world without deity Narnia, they don't happen), and if the storyline we pick is the one that's the constant cycle of humanity and inhumanity, it's sort of a push and pull between them. Aslan wants the Pevensies, and by proxy anyone else who rules Narnia or experiences these changes, to keep their humanity, to stay as they were Created by him. Narnia, however, wants them to be as much a part of her as she is of them. It's very clear in both the books and the movies that Narnia (the world) is where these characters belong. In the end, they all come home to her (yes, Susan too because fuck Mr. Clive Staples Lewis). Caspian being anything less than fully inhuman is something she cannot handle. She is constantly having to recreate the Pevensies, reestablish her hold on them, only to have them return to England and become mostly human again. Caspian cannot be taken away from her, he is in this world by birth and she is going to do everything she can to shape him into the ruler he needs to be.

Once again, I would like to state that Aslan and Narnia are not opposing sides of good and evil. Gods cannot be defined by human standards, and to think either Narnia or Aslan completely in the right or wrong in this AU would be, well, an interesting standpoint, but really not the one I'm going for here. I'm not going to say it's a misinterpretation, I am very open to hearing people's thoughts on this AU, and everyone's going to see things differently. Just, please reread what I've written about them before you start making that argument.

Anyways, that wraps this post up because I have spent the better part of the past 6 hours writing this. I spent way more time on Eustace than I intended but it's just so fascinating to think about inhumanity from his perspective considering he's the only one in canon that actually was (briefly) inhuman. Again, if you got this far, congratulations! If you use any of my ideas mentioned here, please tag me, I am so starved for inhuman Narnia content lol.

#inhuman/dark fantasy narnia #caspian x #prince caspian #the pevensies #eustace scrubb #the chronicles of narnia #narnia headcanons #rambles of a hyperfixating kai

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lokeanwelcomingcommittee · 3 years

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Hi, I'm sorry to bother you with this question but I'm very new to deities so i know no other blogs about the topic (it's just *almost* a year I've been honoring Loki but that's about it).

Lately I've felt a different presence around me and i was pretty sure it was Odin due to "hints" and my intuition but according to some tarot readings that i did it's not the case. Still, i have this feeling that tells me it's Odin or at least someone very similar to him so i wanted to ask if any of you had some deities or other entities correspondences with the three of wands card, I'd really appreciate it.

Also i take the chance to thank you for this blog which has helped me a lot and that is just awsome... And to say I'm sorry for my english, have a nice day 💕

Hi there! Thank you so much for the kind words, and I'm glad the blog's been helpful to you, and absolutely no worries on the language front.

One sec, let me dig out my wizard robe and hat orb for this one.

I'm actually going to start from the end, because I'm going to suggest if you're using tarot that a one-card draw to identify a deity may not be enough. Certainly for some purposes one card works, but to kind of give an example I'm going to be as generic as possible and just look at the Wiki page for the Three of Wands, which contains stuff like "fresh starts," "partnership," "pursuing a journey," all of which would be very easy to read as confirming there's someone new about-- but it doesn't really give a lot of clues as to who, and while people do often develop "significators" or other cards they associate with deities, people, or anything else, those associations aren't really set in stone and often rely on personal associations/elements, so it's another instance where I could imagine logical associations, but certainly it wouldn't be a card I'd limit to representing one thing without some personal experience or direction behind it-- it could really point to a number of entities. With that said, if tarot is a divination method you're more experienced and/or comfortable with, our deity identification tag has a number of spreads designed for that purpose that might be a bit more illuminating, along with more tips and advice on that process in general.

That does give us a nice segue to my next point, which is that while I don't know what exactly your divination or communication situation is with Loki, you may be aware that him and Óðinn often do seem to show up together in modern experience, but even if it's not him, there is the possibility he may have more insight. Also-- and to stress, this as always is an optional choice that you can take or leave-- but you did mention Óðinn twice in this ask, once after doing divination that said it wasn't him. Obviously I don't know exactly why that is (and you are of course not required to tell me or anyone), but while there are-- to be clear-- a number of shifty wizards with a penchant for poetry and perturbation out there, so there are other possibilities-- I speak only for myself, but I think it's at least slightly notable he's still in the running, and exploring why might be useful to you-- to stress again, depending on your comfort level, he is a god known for drinking and knowing things (Grímnismál), so you could try asking him. I grant you he's not a god totally averse to taking credit even if it wasn't, and the poem I just mentioned has him going by "Grímnir" which means something like "masked or shadowy face," so you will also run into the paradox of asking a masked man who he is, but... you do seem to be in that situation whether it's Óðinn or not. Again, who you approach (if anyone), and venerating or working with whoever this presence turns out to be, or anyone you might meet in the process of finding out, is ultimately up to you, and again, the deity identification and discernment tags have a lot of good information on ways beyond divination to figure something like this out, along with good advice on best practices while doing it.

I hope some of that was helpful to you anon, and of course best of luck. If you do end up having more questions about Óðinn (although again to stress: it could definitely be someone else), while it now functions as more of a library/resource horde I do also maintain @oldbastard101, and you're welcome to send an ask there or my personal blog.

-Mod V

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that-spider-witch · 3 years

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On the topic of Book!Edward Hyde

Or rather: The topic of his existence (or lack thereof).

Browsing through the J&H tag, I’ve seen a lot of book readers be spiteful of every single adaptation of the character and its pop culture version because it misses the moral of the book: That Hyde and Jekyll were just one and the same, and that Jekyll was the one doing all the bullshit that went down and that Hyde was just a mask to keep his reputation intact.

Most of these rants go on to imply or outright accuse of any author doing the split personality take on the plot to have never actually read the original book, or that Edward Hyde never existing is something that the book leaves loud and clear, something irrefutably canon.

Having read the book too, I’m here to say: Yes and no. You could read the book and still get a “two character, one body” impression from it. Allow me to explain...

While the plot of “Jekyll is Good, Hyde is Bad” is truly bullshit and the very thing that the original novel rips into pieces, whether Hyde could be considered to have a will of his own is a little more ambiguous and it can actually be interpreted either way.

Note that I’m using the word “will” and not “personality”: Hyde is still Jekyll, they both have the same personality, but while Jekyll is a rational human being, Hyde is Jekyll but without the strings of societal norms, morals and impulse control holding him down.

Book readers who go by the take that Hyde never existed also claim that the book is very clear that the changes brought by the formula are just external: Jekyll is completely himself the whole time and “Hyde” is just a mask.

And this is true... At first. Depending on how you interpret Jekyll’s unrealiable narration, “Hyde” actually slowly develops something of a will of his own as Jekyll’s evil nature, given a body of its own by his dumb experiment, continues to develop.

Here’s a fragment of how Jekyll describes the experiment and the very first transformation:

“That night I had come to the fatal cross-roads. Had I approached my discovery in a more noble spirit, had I risked the experiment while under the empire of generous or pious aspirations, all must have been otherwise, and from these agonies of death and birth, I had come forth an angel instead of a fiend. The drug had no discriminating action; it was neither diabolical nor divine; it but shook the doors of the prisonhouse of my disposition; and like the captives of Philippi, that which stood within ran forth. At that time my virtue slumbered; my evil, kept awake by ambition, was alert and swift to seize the occasion; and the thing that was projected was Edward Hyde. Hence, although I had now two characters as well as two appearances, one was wholly evil, and the other was still the old Henry Jekyll, that incongruous compound of whose reformation and improvement I had already learned to despair. The movement was thus wholly toward the worse.”

“Edward Hyde” (who at this point still doesn’t truly exist as his own being and it’s just a mask for Jekyll to use) is evil because Henry Jekyll himself is evil. But while Jekyll-as-Jekyll has good personality traits as well as bad, Jekyll-as-Hyde is just everything that Jeyll finds evil about himself and nothing else. This paragraph also states very clearly that Jekyll’s intentions were never good.

If this was the only instance in which anything along the lines of “two characters as well as two appearances” was mentioned, then yes, there would be no room for debate on the whole “Hyde is just a fake identity and nothing else” because there wouldn’t be evidence of the contrary. It would be clear text.

Except that Jekyll, unreliable narrator that he is or not, also gives us evidence to support the theory that Hyde, while still not being a completely separate split personality on his own right, does develop a certain awareness of himself and a will to act somewhat separate from Jekyll’s.

Of course, this all still falls on Jekyll’s own fault, and even if we consider Hyde as something of an alter, he’s still nothing but the scapegoat that Jekyll uses:

“The pleasures which I made haste to seek in my disguise were, as I have said, undignified; I would scarce use a harder term. But in the hands of Edward Hyde, they soon began to turn toward the monstrous. When I would come back from these excursions, I was often plunged into a kind of wonder at my vicarious depravity. This familiar that I called out of my own soul, and sent forth alone to do his good pleasure, was a being inherently malign and villainous; his every act and thought centered on self; drinking pleasure with bestial avidity from any degree of torture to another; relentless like a man of stone. Henry Jekyll stood at times aghast before the acts of Edward Hyde; but the situation was apart from ordinary laws, and insidiously relaxed the grasp of conscience. It was Hyde, after all, and Hyde alone, that was guilty. Jekyll was no worse; he woke again to his good qualities seemingly unimpaired; he would even make haste, where it was possible, to undo the evil done by Hyde. And thus his conscience slumbered.”

Something all book readers will be familiar with is that Jekyll’s narration uses “I” when writing about most of Hyde’s actions, while also mentioning both Henry Jekyll and Hyde on third person. Jekyll tries to dissociate himself from his crimes this way.

But... Whether also done by Jekyll to still reflect guilt from himself or not, the text also refers to Hyde as having a nature of his own, albeit one irreversably connected to Henry Jekyll’s own hidden desires.

“Between these two, I now felt I had to choose. My two natures had memory in common, but all other faculties were most unequally shared between them. Jekyll (who was composite) now with the most sensitive apprehensions, now with a greedy gusto, projected and shared in the pleasures and adventures of Hyde; but Hyde was indifferent to Jekyll, or but remembered him as the mountain bandit remembers the cavern in which he conceals himself from pursuit. Jekyll had more than a father’s interest; Hyde had more than a son’s indifference. To cast in my lot with Jekyll, was to die to those appetites which I had long secretly indulged and had of late begun to pamper. To cast it in with Hyde, was to die to a thousand interests and aspirations, and to become, at a blow and forever, despised and friendless. The bargain might appear unequal; but there was still another consideration in the scales; for while Jekyll would suffer smartingly in the fires of abstinence, Hyde would be not even conscious of all that he had lost. Strange as my circumstances were, the terms of this debate are as old and commonplace as man; much the same inducements and alarms cast the die for any tempted and trembling sinner; and it fell out with me, as it falls with so vast a majority of my fellows, that I chose the better part and was found wanting in the strength to keep to it.”

There’s a clear divide here, with Jekyll and Hyde having something of a different outlook on life, something that outright doesn’t make sense if we are to consider Edward Hyde as just Jekyll’s alias.

Something to note here is that the divide between the two personas is not of a moral nature, but something much more mundane and selfish: To Henry Jekyll, his social status is everything, and his main drive to keep transforming into Hyde again and again is to enjoy a life of sin without repercussions. To Hyde, said social status can go to hell for all he cares, but still keeps the ruse because his concealment is ultimately necessary for his continued existence, something that the narration will go back to later.

After this point of the book, which is when Jekyll goes to sleep and wakes up transformed on his other body the next morning, the doctor becomes scared and goes cold turkey for two months, having decided to stop being Hyde forever and return to a normal life. It doesn’t lastlonger than that: Hyde returns not because he takes control, but because Jekyll turns himself into Hyde on purpose once again, by his own free will.

“I do not suppose that, when a drunkard reasons with himself upon his vice, he is once out of five hundred times affected by the dangers that he runs through his brutish, physical insensibility; neither had I, long as I had considered my position, made enough allowance for the complete moral insensibility and insensate readiness to evil, which were the leading characters of Edward Hyde. Yet it was by these that I was punished. My devil had been long caged, he came out roaring. I was conscious, even when I took the draught, of a more unbridled, a more furious propensity to ill. It must have been this, I suppose, that stirred in my soul that tempest of impatience with which I listened to the civilities of my unhappy victim; I declare, at least, before God, no man morally sane could have been guilty of that crime upon so pitiful a provocation; and that I struck in no more reasonable spirit than that in which a sick child may break a plaything. But I had voluntarily stripped myself of all those balancing instincts by which even the worst of us continues to walk with some degree of steadiness among temptations; and in my case, to be tempted, however slightly, was to fall.“

Something fun to note here: Jekyll describes Hyde, and/or himself when he’s Hyde, as being comparable to a child. First by merely noting that Hyde’s body is younger than Jekyll’s, then by comparing him to a “son” and Jekyll as the “father”, and now comparing the murder of Danvers Carew to a child breaking a toy.

Speaking of the murder, Jekyll is 100% guilty of it: Even if Hyde was a completely different being with his own traits and goals, which he is not, Jekyll would still be responsable by virtue of willingly going through the transformation again like an idiot.

That being said, the text continues to give Hyde some semblance of personality:

“Hyde had a song upon his lips as he compounded the draught, and as he drank it, pledged the dead man. The pangs of transformation had not done tearing him, before Henry Jekyll, with streaming tears of gratitude and remorse, had fallen upon his knees and lifted his clasped hands to God. The veil of self-indulgence was rent from head to foot.“

From this point on, everything goes to hell: Henry Jekyll is relieved that now that Hyde is a wanted murderer, he now has no choice but to stay as Jekyll and leave that sinful double life of his finally behind (”Jekyll is the Good half” my ass!). But, surprise surprise! He starts to transform unwillingly, and now he needs to constantly drink the potion to stay as Jekyll.

Fun fact: Do you remember which thoughts are the ones that trigger the first unwilling transformation after the murder?

“I sat in the sun on a bench; the animal within me licking the chops of memory; the spiritual side a little drowsed, promising subsequent penitence, but not yet moved to begin. After all, I reflected, I was like my neighbours; and then I smiled, comparing myself with other men, comparing my active good-will with the lazy cruelty of their neglect. And at the very moment of that vainglorious thought, a qualm came over me, a horrid nausea and the most deadly shuddering. These passed away, and left me faint; and then as in its turn faintness subsided, I began to be aware of a change in the temper of my thoughts, a greater boldness, a contempt of danger, a solution of the bonds of obligation. I looked down; my clothes hung formlessly on my shrunken limbs; the hand that lay on my knee was corded and hairy. I was once more Edward Hyde.“

The thought that he, too, was just like any other man. Something that his Hyde half knows as a fact, but that Henry “I’m superior than all these lazy peasants around me because I’m rich... I mean, because I have active good-will” Jekyll considers undignified, and therefore, cruel or evil. O Sweet, sweet Victorian hypocresy.

And it is from here on out that the narration acknowledges Edward Hyde as being his own character somewhat, somehow, at least as part of Jekyll’s conciousness.

After the transformation and the visit to Lanyon:

“My reason wavered, but it did not fail me utterly. I have more than once observed that in my second character, my faculties seemed sharpened to a point and my spirits more tensely elastic; thus it came about that, where Jekyll perhaps might have succumbed, Hyde rose to the importance of the moment.”

“Then I remembered that of my original character, one part remained to me: I could write my own hand; and once I had conceived that kindling spark, the way that I must follow became lighted up from end to end.“

“He, I say—I cannot say, I. That child of Hell had nothing human; nothing lived in him but fear and hatred.“

“When I came to myself at Lanyon’s, the horror of my old friend perhaps affected me somewhat: I do not know; it was at least but a drop in the sea to the abhorrence with which I looked back upon these hours. A change had come over me. It was no longer the fear of the gallows, it was the horror of being Hyde that racked me.“

It’s curious how Jekyll’s narration uses “I” when looking back at Carew’s murder, and yet it is just from here on out that he’s oh so repulsed by Hyde than he uses He/Him pronouns for him.

And, most of all, when he has locked himself up:

“The powers of Hyde seemed to have grown with the sickliness of Jekyll. And certainly the hate that now divided them was equal on each side. With Jekyll, it was a thing of vital instinct. He had now seen the full deformity of that creature that shared with him some of the phenomena of consciousness, and was co-heir with him to death: and beyond these links of community, which in themselves made the most poignant part of his distress, he thought of Hyde, for all his energy of life, as of something not only hellish but inorganic. This was the shocking thing; that the slime of the pit seemed to utter cries and voices; that the amorphous dust gesticulated and sinned; that what was dead, and had no shape, should usurp the offices of life. And this again, that that insurgent horror was knit to him closer than a wife, closer than an eye; lay caged in his flesh, where he heard it mutter and felt it struggle to be born; and at every hour of weakness, and in the confidence of slumber, prevailed against him, and deposed him out of life. The hatred of Hyde for Jekyll was of a different order. His terror of the gallows drove him continually to commit temporary suicide, and return to his subordinate station of a part instead of a person; but he loathed the necessity, he loathed the despondency into which Jekyll was now fallen, and he resented the dislike with which he was himself regarded.”

And what immediately follows is my favorite part of the book:

“Hence the ape-like tricks that he would play me, scrawling in my own hand blasphemies on the pages of my books, burning the letters and destroying the portrait of my father; and indeed, had it not been for his fear of death, he would long ago have ruined himself in order to involve me in the ruin. But his love of life is wonderful; I go further: I, who sicken and freeze at the mere thought of him, when I recall the abjection and passion of this attachment, and when I know how he fears my power to cut him off by suicide, I find it in my heart to pity him.”

This petty behavior of supposedly destroying and vandalizing Jekyll’s stuff to spite him is mentioned yet again just a few sentences later,along with the following line:

“This, then, is the last time, short of a miracle, that Henry Jekyll can think his own thoughts or see his own face (now how sadly altered!) in the glass. Nor must I delay too long to bring my writing to an end; for if my narrative has hitherto escaped destruction, it has been by a combination of great prudence and great good luck. Should the throes of change take me in the act of writing it, Hyde will tear it in pieces; but if some time shall have elapsed after I have laid it by, his wonderful selfishness and circumscription to the moment will probably save it once again from the action of his ape-like spite.“

This assertion from Jekyll that, as far as he’s concerned, he will be already dead when he transforms for the last time, is what closes the book:

“And indeed the doom that is closing on us both has already changed and crushed him. Half an hour from now, when I shall again and forever reindue that hated personality, I know how I shall sit shuddering and weeping in my chair, or continue, with the most strained and fearstruck ecstasy of listening, to pace up and down this room (my last earthly refuge) and give ear to every sound of menace. Will Hyde die upon the scaffold? or will he find courage to release himself at the last moment? God knows; I am careless; this is my true hour of death, and what is to follow concerns another than myself. Here then, as I lay down the pen and proceed to seal up my confession, I bring the life of that unhappy Henry Jekyll to an end.“

If taken at face value, these lines actually paint Edward Hyde as being somewhat able to think his own thoughts and do his own actions, while still just being the childish, “ape-like” part of Henry Jekyll’s mind. Emphasis on childish, not evil, the evilness is all on Henry. Edward Hyde is still nothing but Henry Jekyll’s psychological scapegoat, and the one that Jekyll technically leaves behind to deal with the mess he himself created by “dying”.

I’m not trying to get more people to interpret the book this way nor am I saying that the ”Hyde is not real and Jekyll is a lying bitch” take is actually wrong, because it is not. I’m just pointing out the book could actually be interpreted differently by different readers, and they’d still have sentences in the book to back their interpretation on.

Now, if we could all stop hating and throwing shade on every content creator out there who “got the book wrong”, that’d be peachy.

#let people have fun. its not that hard.#the strange case of dr. jekyll and mr. hyde #edward hyde #henry jekyll #dr. jekyll and mr. hyde #literature #gothic lit #this came out longer than I thought it would be

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griffinblogsgw2 · 3 years

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The Narrative Challenge of MMOs

So I saw a post recently in the GW2 tag about how the narrative of Guild Wars is more communal vs individualistic compared to other fantasy games and, while I did like a lot of what the post said, I think it gave GW too much credit. A lot of what GW2 does is a direct result of it being an MMO and this got me thinking about the narrative challenges inherit to that.

I didn’t want to hijack their post to write about it, so here we are.

First off, hi my name is Griffin North. If you know me at all, you probably are familiar with my GW2 fan comic, Tora Steals Things (over at ToraStealsThings.com) or you know me as that random person who wrote an essay several months back about the dying tumblr fandom of GW2 that ironically blew up.

What a lot of you probably don’t know about me is that I studied Game Design for two years and have a Diploma in it. Part of what I studied was in fact narrative in games so this is where most of my knowledge on the subject comes from, consider this my disclaimer and take it for what it is.

Narrative in MMOs

Narrative in videogames is a huge topic but today I really want to talk about MMOs in general. One of the problems I saw with the post that inspired this was a comparison between Guild Wars and several fantasy games that are single player.

The demands between a single player game vs an MMO for narrative are different!

If you want to make an earnest study of Guild Wars compared to other games, it’s best to stay in the same ballpark: look at what WoW or what FFXIV are doing! That’s how you find differences! Unfortunately, I haven’t played WoW since 2007 and I haven’t even touched FFXIV so I can’t personally dive into those differences myself.

For the purpose of this essay, you can consider this as a case study of how Guild Wars 2 specifically deals with the narrative challenge of MMOs here (and why this leads to it feeling more communal as a story), but if anyone reading has anything to contribute on how other MMOs handle this I’d love to hear it!

Let’s talk about the main challenge of writing a story for an MMO

Say some new story content drops in game: you get a letter saying to go talk to a certain NPC on the map to progress the story. So you go do that only to find that said NPC is talking to a whole crowd of other players doing the exact same thing. Even as you talk to the NPC and he delivers his lines like he’s only talking to you, you know that isn’t the case -you’re not stupid after all.

Like it or not, this moment breaks the immersion of the story for a player, and this is the heart of the main issue MMOs contend with:

How do you make a player feel like the main character amongst a sea of main characters?

Game Designers want you as a player to feel special but this is immensely easier to do in a single player game than a multiplayer game. In an MMORPG, they have to deliver story that makes your character special while contending with the fact that as soon as you’re released into the world you’ll meet several other special characters played by other people. It’s really hard to feel like the magic hero with the master sword if everyone you see is also a magic hero with the master sword - get it?

How does Guild Wars handle this?

Heavy Use of Instancing

I don’t know how common this is now but when I first played Guild Wars 2, one of the things I really noticed was their heavy use of instancing when delivering story beats compared to other MMOs I’d played at the time. It’s not an elegant solution, you literally get torn out of the normal game world to play your own instance of it and that’s jarring, but it’s effective in that it allows you to be the main character of that instance. Even if you bring along friends, so long as you own the instance, your character is the one that speaks and is shown in cutscenes. Fairly simple solution, that.

The narrative immersion only really starts to break once you’re back out in the normal PvE maps with other players, and honestly there’s only so much the game can do about that.

To deal with that they contextualize the other players to justify them being there.

Guild Wars 2 narrative contextually allows space for other important player characters to exist because so much of it is organized as a war effort, and this does make a huge difference. Because you’re at war, those other players do not have to be you, the commander, to be significant. They can be various other members of the pact for example -very shiny, glittery disasters with special weapons pact members, but pact members all the same.

Guild Wars is definitely not unique in this approach though, and I think that’s obvious. World of Warcraft has you as a member of one of two different alliances at war as the game’s basic premise. I wouldn’t be surprised if FFXIV has some sort of war in it as well. It’s the easiest way to justify why these other heroes are running around in your adventure: you’re the special one, and they’re all a bunch of soldiers.

Don’t get me wrong, this doesn’t fully solve the whole breaking immersion of having a crowd of people talking to a story NPC, but this is one of the ways games like this combat the “everyone is the hero” problem.

If you’re following so far, this is why, by design, MMOs can’t be too individualistic

A war effort is a common backdrop to these kind of games because it easily justifies the multitude of players in it, but this also inevitably means that the story is going to be more communal in nature. You don’t/can’t fight a war alone.

There’s one other thing that Guild Wars does though, that makes it feel less individualistic as a narrative...

The Main Character is Special Adjacent

What I mean by this is that the main character is rarely the one the story is actually about. They’re still special, yes, but they’re special adjacent as in they’re always beside the actual special character for the story. Think about player rage about Trahearne or Kormir taking player credit and you’ll know what I’m talking about here.

The reason they do this is because it’s really hard to tell a good story about a character who’s basically a blank slate - we can’t know how the player characterizes them personally or what they’re even named. Characterize the commander too much and you risk alienating parts of your audience who view their character differently. Giving them too much of a character arc leads to the same problem. The solution then, is to allow the player to be special in SOME way but have the focus be on a different character that they CAN characterize and have grow.

Usually you’re special in how you relate to that character: you’re Trahearne’s Commander, you’re Aurene’s Champion, you’re the Boss of the various characters in Dragon’s Watch, etc. This is why the player character, the commander, doesn’t have as much growth or characterization compared to the rest of the cast.

The main character is special adjacent so that you can have your fully customized mmo character and still be the main character basically. I wouldn’t be surprised if this is true of other MMOs as well.

And this is why games like this feel less individualistic

It’s by design of how MMOs work -that’s really my point here. I love the world of Guild Wars 2 and how much of it feels like we’re fighting to save the world from ourselves or fighting nature (I see some parallels to real world shit like climate change here), but I do think it’s communal nature has more to do with it being an MMO than any real strength of its narrative.

Anyway, that’s all I got.

Thanks for coming to my TED talk.

#gw2 #Guild Wars 2 #guild wars story #I could honestly say more on this topic but damn if this ain't long already #I hope this was an interesting read at least

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popculturebuffet · 3 years

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Uncle Scrooge by Don Rosa: The Isle at the Edge of Time (Thank You Comission For Rosie Isla)

Hello all you happy people! Today’s review is a bit special as it’s the result of another review. See I had trouble finding a translation of the subject of last weeks’ mother’s day special, Family Ties.

No not that one. I have Paramount+. I can watch all the Family Ties I want and that’s a fact that i’m pleased as punch about.

No it was the story 80 is Prachtig, called Family Ties in the copy used, Della’s first major comics appearance and one that explains what happened to her in the classic continuity, one that clearly served as the foundation for her far more fleshed out 2017 versions personality and backstory. It also had Pinocchio in it for some reason, and spent most of it’s large run time on a meta comedy plot that had nothing to do with the reason anyone wanted to read this story in the first place.

But despite being a vitally important story, it never got an english translation, something that baffled me till I read the story and found cameos of the racist indigenous stereotypes from Peter Pan. In 2014. You may commence booing. Even with how weird the story was I simply couldn’t find the story googling it and the Della tag is too vast and deep to go spelunking in.

So what’s all this have to do? Simple I put out a post last month when neither I nor Kev, who wanted to comission it as part of Moons, Millionares and Mothers, my coverage of all three season 2 Ducktales story arcs, could find a copy and offered a review to whoever found it. Weeks passed I got nothing.. then in the 11th hour I got a break as the lovely @rosieisla found a translation that was on this very site, one she seemed to have helped with. As a result I could do the review and as a man of my word, offered it up despite her clearly having not seen that part of the post and simply having done this to be nice. Still she gladly took up the offer and offered me my pick of two stories: The Carl Barks Story Back to Long Ago or this one.

As for WHY I picked this one Back To Long Ago didn’t seem bad, i’m just not a fan of “The Cast is put in the past as their own ancestors” type deals. Or in some cases put the cast as people from that time period. It’s just not for me and is most often done in TV where it can get really goofy, Beverly Hills 90210 being a prime example of this, though Girl Meets World was no slouch in being embarassing... that being said I really need to finish that show and miss it.

So yeah when put up against a story with two intresting hooks and FLINTHEART GLOMGOLD, even if i’ts not the version that’s my boy, it was no contest. So what are these hooks you ask? Well join me under the cut and find out.

We open with a weird stylistic choice: This story has a narrator complete with caption boxes. Now for those of you familiar with comics or pastiches of comics in tv and film, this probably dosen’t seem like a big deal. It was a common thing in comics from their inception to 90′s to have caption boxes, big boxes of text narrating the action to help move things along faster. It did start to fade out by the 80′s and was gone by the end of the 90′s for the most part, replaced instead with first person narration. It’s the kind of thing you’d see most often in the Golden and Silver Ages, with stuff like tihs

It’s not a BAD device, it’s good old cheesy and bombastic fun and some writers did get clever with it.. like that time Chris Claremont used the narration to yell at a greiving cyclops after he lost a teammate early in his long and storied run on the uncanny x-men.

This is a objectively weird scene that’s still somehow effective by the by. On the one hand it does come off as Chris Claremont essentally bullying Cyclops who already feels guilty for a death that was not in fact his fault as Thunderbird was told the plane he was attacking with fleeing villian Count Nefaria was about to explode and refused to listen.. and that they needed to get rid of either him or Wolverine as both served the same purpose and chose the non-white guy.

On the other htough it comes off just as much as Scott beating himself up in his grief and anger over the event and his perceived failings as a leader. It’s good stuff and shows why this run caught on as this was only three issues in. Also the rest of the issue features the X-Men fighting a giant cyclopian demon that Cyclops accidently freed in his rage by destroying the stone thing keeping him imprisoned. No really here’s the cover

Huh so tha’ts what Nifty’s dad looks like. Neat. Also I REALLY hope we get the X-Men fighting aliens or demons in the MCU. Unlike the XCU the MCU isn’t alergic to getting batshit.. and for the record Deadpool and New Mutants are the exception, not the rule.

My point that I swear I do have is that this was common practice for most comics.. but never really for Disney Duck comics. It popped up ocasionally, like with Scrooge’s introduction, but Barks and those after him never really used them that much. Sure they’d have caption boxes for flasbacks and what not but Barks and Co geninely only used this sort of thing to set up a story. The most i’ve seen it in a duck comic is life and times and even then i’ts usually only used for gags or to set up the passage of time, as the story IS covering decades and thus often needed to have montages to show time passing, and in the case of chapter 11, had to cover decades in the span of a single chapter, so it’s not like they had many other options. So even Rosa as a personal quirk didn’t really use these often.

Rosa used this specifically because he felt the plot was complicated by the use of the international date line. As for what it is, it’s essentially a line marking calender dates from one side of the hemisphere to the others. To use the offical defentition from the National Ocean Service I found via a quick google:

“The International Date Line, established in 1884, passes through the mid-Pacific Ocean and roughly follows a 180 degrees longitude north-south line on the Earth. It is located halfway round the world from the prime meridian—the zero degrees longitude established in Greenwich, England, in 1852.

The International Date Line functions as a “line of demarcation” separating two consecutive calendar dates. When you cross the date line, you become a time traveler of sorts! Cross to the west and it’s one day later; cross back and you’ve “gone back in time."

Despite its name, the International Date Line has no legal international status and countries are free to choose the dates that they observe. While the date line generally runs north to south from pole to pole, it zigzags around political borders such as eastern Russia and Alaska’s Aleutian Islands.”

Rosa felt this made the story complicated.... and that... really isn’t remotely true. The narration is mostly used for gagas and really dosen’t clarify anything. it’s mostly used well in the opening.. but the actual explinations for the date line are clear enough in the story that even if I hadn’t looked the thing up, I still would’ve got it and i’m sure a kid would’ve too. It just feels like a weird thing to ruminate on, especially because he’s got actual things to make up for: while to his credit the native american characters he cribbed from carl barks are sympathetic, their culture respected and treated decently and used for a green aseop, their dialouge is stitled and sterotypical something he dosen’t even comment on (And these trades ewren’t THAT long ago)

And of course it dosen’t help that he dosen’t even comment on using a common device in american superhero boooks.. in the same volume where he ONCE again makes an unwanted and outdated diatribe about superhero comics. I’ll probably cover the Super Snooper Strikes again so I can throughly tear this apart but higlights include: Calling superhero comics “Unwanted” just because he dosen’t like them personally, when people like me would disagree and they’ve lasted through a LOT of highs and lows, outdately saying they took over the American market as the only suitable comics which while true for a TIME,but by 2015 when this book was printed is laughably out of date, as non superhero works like The Walking Dead, Saga, and Scott Pilgrim were massively popular, one of my faviorite comics that is entirely slice of life and would go on to bea huge hit, Giant Days, re-debuted that very year. He also has the fucking gal to insult The Uncanny X-Men by name and I swear to god I did not know this when I made those references earlier, but as you probably guessed REALLY god me livid.

And this is just on his COMMENTS on the story I can’t imagine just how bad the content itself is and having read the first few pages which come off as Rosa using Donald to essentially do an “old man yells at cloud rant” about superhero comics, I really don’t want to. Might make htis a patreon exclusive or again would do it on comissoin. You all make the call.... the point is I don’t likes his elitist bullshit about superhero comics, and this is clearly something that gets my hackles up as I just spent a good two paragraphs of an entirely unrealted review yelling at the guy for it. I don’t like when he does this and this authors notes entirley felt like an excuse. I GET the dark age of comics were bad, they REALLY were that bad, but I will NEVER accept painting an enitre genre as bad just because one work in it is bad. And I wont accept it from someone who himself writes about an often throughly unlikeable anti-hero for a living. Scrooge may not have a gun on his gun on his gun or get to stabbing or have pouches, but he DOES finacially abuse his nephew, scoff at people’s personal troubles, and often refuse to use his wealth to help others in general. So yeah in conclusion Rosa really needs to say less about this subject.

Okay so where were we.. right the story hadn’t even started yet. Jesus.

Okay so our story begins with the narrator. Whose going on about time and what not. The main point of this speech about time is that it’s night in Duckburg and Scrooge is going to bed as, even being the workhorse that he is, he can’t keep going 24 hours. While he’s snoozing though something major happens and it’s the hook that made me pick this story along with the international dateline one.. an island rises thanks to volcanic erruption.. and the lava is GOLD. That’s just pure unabashed classic Duck Stuff: a mysterious treasure or phenominon of gold bound to bring scrooge in.

But Scrooge isn’t stupid: the sun comes up and the world still spins while he sleeps, so he set up a satalite to monitor for this sort of thing. The thing naturally goes nuts.. and even more naturally breaks down becasue Scrooge bought cheap parts. A nice gag and a fully in character way to bring our antagonist into the picture, as the Satellite of Loaded falls in the middle of South Africa... right on the property of my boy Flintheart Glomgold.

This is something Rosa brought up in his commentary for the story i’d never thought about. It turns out Glomgold being a citzen of Duckburg WASN’T an invention of the original Ducktales but the comics: some overseas had understandably moved him from his home country of South Africa. Him bieing in the same town as Scrooge instead of half a world away allows for easier setups and more intresting ones.

Rosa however being obdient to Barks Version of things, ketp Glomgold in South Africa like barks did, which was an .. ifffy decision given Apartheid had JUST ended at the time of this story. Not so much in the reboot as not only had apartheid been long gone by the time of the reboot, but that’s more fair. Still we do get some gorgeous vistas as a result as Glomgold’s minon goes to look at it and finds it’s from McDuck Mining company... Glomgold’s reaction is obvious.

So on that note we cut to Scrooge rushing to Donalds house and forcing him awake and not telling him anything at first. Look his Ducktales Counterpart straight up kidnapped his donald in my last review, I’d call this a win. He also tries to dress Donald while explaning both his panic to find the crashed satlitle and what it found: the golden island. The end result of him dressing donald is worth a chuckle

So after Donald puts his shirt and little hat on our heroes get rollin rollin rollin what keep rollin rollin rollin who to Manilla. On the plane we get the scene I mentioned: The boys make a quip about Scrooge having lost a day and the group go over the international date line. It’s a fun little scene especially Donald trying to get paid early at the end. Classic scrooge and donald stuff without the abusive undertones some of their classic stuff has.

Meanwhile Glomgold works out the data and finds out about the gold island, and his excitement accidently wakes a giraffe outside.. welll it was nice knowing him, Giraffes are the deadliest species known to man.. here’s an educational video t back that up....

youtube

So at Manilla Airport, Scrooge finds out abotu the south african crash, figuring he’ll get a laugh out of glomgold being there ... only for Donald to spot the Jet. Scrooge figures this can’t be anything good... now come on man maybe he’s just promoting his energy drink.

As super sayin god super sayian as my witness, I will never get tired of Ultra Instinct Glomgold here.

Scrooge isn’t so nice about that though and figures he better find out if Glomgold knows about the island and bribes one of the fueling crew for his uniform. He sucesssfully eavesdrops on Glomgold talking to his pilot, finding out from him exactly WHERE the island is. He ends up hilariously botching the mission though: when getting ready to leave Glomgold complains abotu the price of gas and that naturally causes Scrooge, just as cheap, to join in... and Glomgold to find out it’s Scrooge. The two wrestle outside the plane but before this can progress to a game of Naked Robber an airport security guy comes up and Scrooge cleverly claims that Glomgold’s plane has an infestiation, requring it to be quanrantined and allowing Scrooge to jet on.. thoguh not with an actual jet. With Glomgold seemingly dispatched, he can afford to save some money and take his time with a seaplane and I know just the man for the job.

Oh nope looks like he’s busy. So one time related rambles later we meet Keoki, their asian pilot from the tiny island of Wookawooka.. and no that’s not a real place i checked... and no Fozzy dosen’t own it his check bounced. That being said it is a very well done represntation of someone from a smaller country: he’s doing this job to try and bring money back home, but being a seaplane captain just isn’t enough and his island is dying. Scrooge naturally is about as sympathetic as you’d expect, having apparently never even heard of the idea of a bonus when Huey, Dewey or Louie suggests it.

Even less suprising is that Glomgold streaks by in his Jet:turns out Manilla was already overun with the bugs Scrooge claimed and Donald rubs it in that had Scrooge got a JET this wouldn’t of been an issue.

So Glomgold easily beats them there, and to add insult and actualy injury to a cash based one, our heroes get blasted by golden lava on the way in and crash. Should’ve gotten launchpad... got the crashing professional. Keoki is dispondent as this means his people are doomed. He also dosen’t know waht staking a claim is when Scrooge mentions it and the boys bring him up to speed with the poor guy saying he wish he could for WookaWooka. Donald also makes a valid point about how greedy and heartlress scrooge can be.. and really billiionares in general.

No no YOUR the Grouch who refuses to have one drop of emapthy. Donald’s just pissed at your general selfish and terrible behavior.

Glomgold glomgloats and has seemingly won... but naturally that rant that seemed extranious at the time about the date line comes into play: turns out the Island is on it, and since glomgold put his marker int he west, Scrooge simply puts his in the east which is a whole day before. Now GRANTED there’s nor eal legal prescendice for the intetaoinal date line itself , as noted above... but there’s enough witnesses in Scrooge’s favor that it simply does not matter anyway. Scrooge SEEMINGLY wins.

But Huey, Dewey Or Louie instead backs another claim: Keoki’s from earlier. While it was made in gest, he and the others along with Donald back it as witnsses instad. WookaWooka is saved and SCrogoe ends the story yelling at the narrator.

Final Thoughts: Don Rosa.. did not like this story, feeling it wasn’t one of his best and apologizing for it. I however.. really loved it. It’s not PERFECT: the narration feels not entirely necessary and the gag isn’t as funny as he thinks, though the payoff of scrooge saying “it’s time for this story to end” is fucking hilarous. I also feel it’s a bit too compressed: the story is only 16 pages and was only THAT long because Rosa added a few for exposition, a worthy addition. This feels like one of his 30 page adventure stories but slightly crammed into half the length. I also feel the golden island bit was BADLY underused as it’s such a cool setting but barely shows up in the story.

But despite that.. it’s still a fun story: as is standard for Rosa the art is gorgeous and the humor is great. And unlike some stories where Rosa casually ignores how terrible scrooge is, here it’s his own greed and hubris that do him in: had he actually agreed to help Keoki, the boys likey would’ve let him keep the island but his own cold refusual to be a human being does him in, just as his cheapness nearly did. Flintheart is also decent here.. not the deepest foe but frankly most classical duck antagonists really aren’t all that fleshed out, and we still get some good bits with him. The dateline bit, while telegraphing that it will be important, as I said REALLY isn’t that hard to understand. All in all while i’ll agree with Rosa this isn’t his BEST, it’s still a really damn good story and one he shoudln’t be ashamed of.

Tommorow: Green Eggs and ham is back for some train shenanigans! Kay.

Saturday: The Tom Retrospective returns for it’s last detour! Eclipsa and Moon team up to stop meteora but grapple with diffrent wants: One to save her daughter.. the other to stop waht she clearly sees as an out of control monster. The result.. will only lead to tragedy and a hell of a two parter.

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But if you go up to 5 you get a guaranteed review of whatever you want every month, and will get me to my next milestone, which will give everyone including yourself a monthly public darkwing duck review, reviews of the two Ducktales minis’ I haven’t covered (Time is Money and SuperDuckTales) and a reivew of the Danny Phantom film the Ultimate Enemy. So please join today and if you cannot, like this review, subscribe and give me your opinions on it bellow. Or even if you can feedback is always appricated and I will see you at the next rainbow.

#donald duck #scrooge mcduck #don rosa #ducktales #huey duck #louie duck #dewey duck #flintheart glomgold #gold #island #volcaones

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