#Exploring Meaningful Narratives

[clioartfairartistsreviews]

Clio Art Fair Artists Reviews is Returning Under the New York City Sky, A Beacon in the Art World

There is an outlet for both artists and art enthusiasts situated in the heartland of New York City, where creativity flows like a river of colors down the streets. Clio Art Fair, which happens biennially, is an exposition that reflects how perspective shapes our perceptions of reality. Clio, the Greek Muse of History and Poetry, is the recipient of the name of this fair, which was established in 2014 by the visionary Alessandro Berni. Clio embodies the essence of artistic expression and storytelling.

Embracing Diversity and Accessibility

As soon as you approach to Clio Art Fair Artists Reviews — A Beacon in the Art World, you will quickly become aware of an intriguing deviation from the conventional art fair experience. This is not a place where amazing exhibits or exclusive galleries are the focus. Rather, the emphasis is placed on the creation of an inviting and welcoming setting in which artists and attendees can engage on a deeper level. For the purpose of creating connection and interaction that is not limited by limitations, each artist is provided with their own place in which they can showcase their creations.

Pioneering Innovation and Empowerment

The leading edge has always been the place where Clio Art Fair is situated, since it not only accepts original cryptocurrency values as a payment method. Regardless, its core mission has remained fixed. Helping independent artists grow and make lasting connections with collectors.

Exploring Meaningful Narratives

The Clio Art Fair Reviews - Clio Art Fair is Returning Under the New York City Sky presented special projects that dive into thought-provoking ideas and topics, as well as its primary shows, which are the featured exhibits. While "I want to go Home" sheds light on the predicament of refugees and their sense of belonging, "A nest watching an avalanche" explores the pressing requirement for environmental stewardship. Artists face tough issues with sensitivity and intelligence through these initiatives, which invite spectators to explore the world from a different point of view.

Conclusion

While we ponder over viewpoint power at the Clio art fair, it is worth noting the endless possibilities of art to bring us together, motivate, and challenge our minds. The world, characterized by divisions and conflicts, finds some hope from this fair that calls for optimism, reminding one of humanity and the beauty around us.

Having accommodated diversity, promoted accessibility, and made space for new ideas, Clio Art Fair has redefined what an art fair in the 21st century should be like. Next time you are in New York City, just take a moment and enter into the world of Clio Art Fair.

[shepscapades]

im rotating the dbhc au and s9. do you think theres anything about the decked out (or s9 in general) experience that would be notably different in that au, or would things mostly follow canon bc theyre all pretty adjusted to eachother by then?

OOOH this is such a good question tbh. I think currently, not that I can think of? There are a few little things that kind of change the… context? I suppose? Of what’s currently happening, but I don’t think the moments themselves change all that much, besides maybe little emotional inflections that I would imagine are different based on the slightly different relationships of the characters. (for example, I see doc and X being a lot closer in this au since they preside over android maintenance together!)

I would say most “canon divergence” happens kinda at the beginning of s9 and a LOT of s8, because I’m still not sure which androids were introduced in s9 (i had a few in mind that I wanted to introduce for s9 for dynamics reasons, but I’m still trying to logic out how all that changes s8 and stuff like that) and I also don’t know the exact timeline of deviancies for s8. So honestly, as the au develops and I figure out everyone’s backstories/fill in gaps, it’s very possible that current dynamics/plot points may change!

Such is the nature of a fluid and ever-changing/ever-updating au though I suppose!! but i think it’s kinda fun that not everything is figured out— it always gives me something new and exciting to explore that could always make the story more interesting, in my opinion :]

[numetalkids]

made the mistake of watching a reaction channel's reaction to the latest dabi-centric episode. most people seem totally in favor of dabi getting 'what he deserves' ('he murders people! murder is bad!') while everyone is pleased to see endeavor get a second chance at life

[psalmsofpsychosis]

yeah so i dont get the "wasn't that some fucked up shit? anyway i'm Rod Sterling" mentality some people have towards different narrative reads. It's all sweet and cool to want to explore all the different variations of a fucked up scenario, but i'm gonna need the reasons for it. I need the "why"; why are we exploring this thing? Why is it important to explore this story? what am i getting out of it? and no it's not about morality.

I dont need a story to teach me "good" life lessons, though that'd be lovely. I dont need it to be an exceptional and exemplary narrative even, but i need my discoveries to be purposeful and meaningful. Sometimes the aim for an exploration of say, a very tragic story, is to simply experiences the different flavours and nuances and complexities of a deeply held personal emotion; sometimes it helps us find the mirroring and connection and relatedness that we need to feel seen and heard and understood. Sometimes it helps you parse out your own bullshit by taking it out of your head and putting it in front of you– i dont care what the reason is, but there's a reason. There's a purpose for every single endeavour you take on, even if you haven't discovered the reason yet. "i just want to experience a fucked up shit" lazy superficial thinking, dig deeper. I hate superficial and purposeless shit; and no i'm not gonna explore the 863796373th trending trauma porn piece of the day because "wouldn't that be fucked up?" nah. I dont care, it's got no use to me. I will absolutely respect the endeavour and make space for it if someone tells me something as simple as "it is relevant to me and my interests and experiences and my mental preoccupations, and helps me refine my humanity and my understanding of humanity in general", that is a lovely and true statement. But if someone keeps churning out worst possible fucked up sad scenarios one after another under the "wouldn't that be fucked up?" flag, i'm out, i dont give a fuck. take your sad shit somewhere else, i have absolutely zero space for purposeless horrible narratives that positively add nothing to my life and dont help me navigate it in any meaningful way.

[alternativeulster]

swiftie mutuals please know that i still love you i just cant help but be a hater

[siena-sevenwits]

Disclaimer: These thoughts are more emotionally than logically expressed, and reflect my own experience and preference.

[bitchthefuck1]

The thing that bothers me the most about She Hulk as the show goes on is that instead of using Jen's hulk form as a way of actually exploring female rage in a meaningful way, they just briefly mention her anger in passing and focus solely on how the fact that her she hulk form is so glamorous makes her self conscious about her appearance, because I guess we didn't have enough stories about a conventionally attractive #relatable everywoman saying she's self conscious sometimes.

[thevalleyisjolly]

Society if instead of tying MCU Spider-Man to the Avengers, they had him connect with the Defenders instead.

[howdoesone]

How does one bond over the fact that their biological dad might have been a Jedi Knight (or at least used “The Force”)?

In a world where modern reproductive technology has created new ways for families to come together, children conceived through sperm donation often find themselves with unique and sometimes humorous stories about their origins. One particularly imaginative and entertaining scenario is bonding over the idea that their biological dad might have been a Jedi Knight—or at least someone who…

[chidosuenachido-blog]

Título: Menelusuri Temas Eksistensial Melalui Narasi Abstrak: Penjelajahan Mendalam

Introducción:

Dalam ranah sastra, certaines narrativas transcend the ordinary, tauchend en las profundidades de la indagación existencial y la reflexión filosófica. Hari ini, nous embarquons en un viaje à travers une de ces narrativas—une histoire abstracta que desafía las percepciones et invite les lectores à contempler l'essence de la existencia.

El Desarrollo de la Historia:

Il était une fois a What, yang existed something yang berbeda—un Qué, unbestreitbar verloren en el desconocimiento. Ainsi que le What tidak merasakan apa-apa, possédait everything, hidup dalam dirinya sendiri. Ce commencement abstracto prépare le escenario pour a tale yang transcende les normes convencionales de la narración, présentándonos temas de identity, propósito y la naturaleza cíclica de la existencia.

À medida que the story avanza, nous encontrons avec la evolución de los personajes—What, Cómo y Deseo—chacun représentant facettes de la experiencia y la emoción humana. A travers de sus interacciones, sommes transportés à un monde où el love, la creación et el anhelo se entrelazan, tissant una trama narrativa yang promueve la introspección et la reflexión.

Compromiso del Lector:

Alors, siapa yang serait attracted par une narrativa así? La réponse réside en el ámbito de los aficionados à la philosophy, les entusiastas de la literatura et ceux qui cherchent literatura intellectualmente estimulante. This story speaks to lectores yang enjoy enfrentándose a conceptos abstractos, exploring les significados más profundos de la vie y participating en interpretaciones abiertas.

Conclusión:

Au final, the power de la narración réside non seulement en su capacidad para entertain, sondern auch en su capacidad para provocar pensamiento, évoquer émotion et déclencher dialogue. Mientras reflexionamos sur notre journey à travers cette narrativa abstracta, somos recordés del impacto profundo que la literature puede tener en nuestra comprensión de the human experience.

Alors, continuons à explorer los reinos de la narrativa abstracta, car within sus páginas se encuentran las llaves para desentrañar los misterios de la existencia y descubrir les verdades yang residen dentro de todos nosotros. (Apakah Anda ingin menambahkan sesuatu dalam bahasa Indonesia?)

[cupiare]

started off really enjoying a fairly honorable defeat but the drama is getting a bit dreadful i won’t lie

[thebarontheabyss]

This tale starts with your death.

Read WIP here

(Current wordcount: 240k!)

You remember only the moth, carrying you through the cosmos.

And so, the Abyss beckons you.

Now, you are a spirit, immortal. After a meeting with the Grim Reaper, Death, you were gifted with a peculiar inheritance: a bar.

This mysterious establishment and the Abyss around it serve as a nexus, connected to every realm in existence. It's a haven where spirits and deities, devils and angels, converge to drink and revel.

Yet, beneath the surface, an unease stirs. A voice calls out in your dreams—a loneliness that echoes through the Abyss. Why does it seek you?

A motley crew of spirits and immortals, each hailing from distant corners of the realms, stands with you. Bonds are waiting to be formed, or even love that transcends death itself—perhaps even with Death themself.

Manage your bar, where serving a drink to a god or an eldritch entity is just another day's work. Unravel a cosmic mystery, go on a date in infernal Hell, witness the universe's creation, or unlock the arcane secrets of magic.

Your new afterlife awaits.

A narrative-driven experience focused on character development and storytelling.

Play as any gender or none.

Shape your personality through meaningful choices.

Engage in deep and complex relationships with a diverse cast of characters.

Romance mortals and immortals alike - if you want poly, purely physical, or asexual - they will respond in kind.

Explore the afterlife, visit realms of immortals and gods, and uncover the dark secrets of the bar.

M\F\NB (Poly or Monogamous paths) Death reveals a surprising warmth beneath their eternal duty.

Is there room for love within their everlasting embrace? Read more >>>

M\F (Poly or Monogamous paths) This devilish being, a powerful magnet of desire, seeks more than power in the bar’s shadows.

Who dares to pursue the heart behind the flame?

Read more >>>

M\F (Poly or Monogamous paths) The Witch, with their feline companion, seeks a lost soul, their magic stirring trouble and passion alike.

Can a mortal love thrive in the spirit realm?

Read more >>>

M (Monogamous path)

A mercenary turned security guard, Hastur carries an immortal burden, guilt born of past battles and sacrifices.

Will your love heal his wounds?

Read more >>>

NB (Monogamous path) The spectral diva enchants with their voice, their performance a dance of beauty tinged with the sorrow of eternal life.

Can your love find a new song for them?

Read more >>>

M\F\NB (Monogamous path) A shade keeps the bar’s order, and his silence holds the weight of cosmic secrets and the tapestry of existence.

Will your heart fall for the being behind the shadow?

Read more >>>

With feathers dark and wit sharp, The Raven’s history is as rich as the bar itself. He offers piercing insight beneath a layer of humor.

Read more >>>

The stern soothsayer-turned-accountant Yaga guards the bar’s fortune while wrestling with her own spectral regrets and wisdom.

Read more >>>

Shelly, the bar’s assistant, brings life-affirming warmth but seeks a new family to fill the void of her lost one.

Read more >>>

Welcome to the cosmos: the tapestry of existence, a complex weave of ever-changing realms. Each domain is a thread in the grand design.

Read more >>>

Feedback on any typos, grammatical errors, or other textual issues.

Notes on any continuity errors to ensure a smooth and logical progression.

Thoughts and opinions on the plot, characters, and overall narrative experience.

Don't be shy about sending your feedback - as small as it may be. I'll be answering and taking each into consideration. You are very welcome to post your reviews here!

The game explores themes of Death in various forms, including suicide.

Alcohol indulgence and its various side effects (hangovers, vomiting, etc.)

Sexual themes (currently only non-explicit)

[cavegirlpoems]

I see we're talking about XP!

@thydungeongal and @imsobadatnicknames2 have interesting posts up, and now it's my turn to throw my thoughts out there. SO. I think of XP as the game itself offering you a little bribe. Do the things the game wantss you to be doing, and the game gives you an XP to say thank you. Get enough XP, and you're reward is greater a permanent bump in power, meaning greater ability to exert your will over the world and therefore greater agency. (Systems like Fate Points, Willpower, Inspiration etc work the same, except the increased agency is a temporary one-time thing, not permanent, so at times I'll lump them in).

So. Let's talk about a few different systems and how they handle this.

Let's start at the very begining (a very good place to begin). In the very early editions of D&D - back when Elf was a class - you got XP for treasure. Every gold coin you got out of a dungeon (or equivallent value of other treasure) was 1 XP. This worked well; the game wanted you to go into a dungeon and explore it for treasure, while trying not to die. If you succeeded, you got XP, which made you better at doing that so you could do it again in a more dangerous dungeon. And because treasure is XP, and treasure weighs you down, getting it out is a meaningful activity. Hell, many of these games measure weight and encumbrance on a scale of 'how many coins' to drive this home. It was a good loop. Early D&D has many faults (like the weird racism in the MM) but the xp system is something it absolutely nailed.

Next up, let's look at classic vampire the masquerade. At the end of each session, you get 1 xp just for being there, and then another if your character learned something, if you portrayed your character well, and if your character was 'heroic'. So, what's classic VtM rewarding? Ultimately, it rewards the player for being the kind of player the game wants. If you get into character, engage with the game world, and act like an interesting protagonist, you get rewarded for it. It's a bit fuzzy, and at the GM's discretion, but its very up-front with what it wants to incentivise. It was the 90s, they were still working out how to be a narrative-driven game, but you can see where they were going with it.

OK, now lets look at something a bit weirder; monsterhearts. The main source of XP here will be Moves. Rather than a bolted-on rewards mechanic, each game mechanic you engage with might grant you xp. You can use your strings on another PC to bribe them with XP when you want them to do something. Lots of abilities just give you an XP for doing a thing, such as a Ghost ability that gives you XP for spying on somebody, or aa Fae ability that gives other players XP when they promise you things. Here, XP is baked into the game, but its very up front about being a bribe. Act the way the game wants, or go along with other players' machinations, and you get rewarded for it. And, critically, XP is just one part of a wider game-economy of incentives and metacurrencies; it links in with strings and harm and +1forward in interesting and intricate ways that push the game forward. Monsterhearts is a well designed game, and you should study it.

Finally, let's look at how D&D 5e does it, as a What Not To Do! We have two different options. The first is XP for combat. When you use violence to defeat something, you get XP for it. Under this option, the only way to mechanically improve your character is by killing things. So, we can conclude that D&D is a game that wants you to engage in constant violence. The other option is 'milestone XP'. IE: you level up at the GM's whim, when they feel like it. What does this reward? Fucking nothing. Or, at best, you're rewarded for following the railroad and reaching pre-planned plot moments in a pre-scripted story. You either have no agency in the matter, or are rewarded for subsuming your agency to the will of the GM. (This pattern continues with inspiration rewards, which are given 'when the GM is entertained by you'. Fucking dire.) "Oh!" the 5e fandom says "But a good GM can write a list of achievements that will trigger milestone XP". And yes, they can, but that's not how the text of the game presents it. That's a house rule. That's the GM doing game design to add a new, better, mechanic to the game to fix its failings. Is it any wonder, then, that the 5e fandom puts so mucn weight on the GM's shoulders, and has such a weird semi-antagonistic relationship between GM and player? Is it any wonder that absolutely brutal railroading (and the resulting backlash of disruptive play) is so rife over there? Look at how the incentive structures are built? It's either killing forever or GM-as-god-king! Anyway, yeah. Consider what you reward with XP, because that will become what your game wants. And if you're hacking a game, one of the most efficient hacks is to change what you get XP for and suddenly the game will pivot to something very different.

[felassan]

New Details on DA4 from this IGN article: "Dragon Age: Dreadwolf Is Officially Being Renamed, With Gameplay Reveal Set for June 11 - EXCLUSIVE"

"BioWare confirmed that The Veilguard will feature seven playable party members, and that it will feature “fun and fluid, moment-to-moment combat” while continuing to center strategy via the unique powers of each companion.

BioWare general manager Gary McKay explains that while Solas is “still very much a part of the story of Dragon Age: The Veilguard,” the team wanted a title that reflected a “really deep and compelling group of companions.”

“One thing that’s important to remind fans is that every Dragon Age game is a new and different experience and this game, more so than ever, is about you and your companions – a group that you must rally to fight by your side,” McKay tells IGN. “We can’t wait for players to meet, connect and form their own personal relationships with the unique companions that make up The Veilguard. That’s the spirit of this game…of this story. Choosing who will join you on your adventure, fight alongside you, and be there by your side in the end.”

McKay claims that the name change wasn’t a matter of focus testing, which commonly informs decisions like these. He even goes so far as to admit that sticking with Dreadwolf might have been easier.

“We actually think sticking with Dreadwolf would have been the safer choice – ‘Dread Wolf’ is a cool name after all!” McKay says. “In the end, it was most important for us to have a title that was authentic to the companions that are the heart of this adventure we’ve created. We’ve worked throughout development to create really incredible backstories for each companion that intersect with the main narrative in meaningful ways.”

As for why it’s not simply named “Dragon Age IV,” McKay says it’s for the same reason that Dragon Age Inquisition wasn’t called “Dragon Age III: Inquisition.”

“Every game in the series tells its own unique story and the title is an important element to help set the stage for the next standalone adventure inclusive of its own hero, companions, narrative arc, villain, setting, etc,” he says.

Asked what it means for BioWare to finally be able to show The Veilguard to the world, McKay said, “As the studio head and executive producer, it’s been incredible to see the journey, resilience and passion that this team continues to bring every day. We have an incredible group of both BioWare and Dragon Age veterans who have been with us for years, as well as new faces and voices that love the series who have helped to create an unforgettable experience we feel will be worthy of the Dragon Age name.”

So who exactly are the Veilguard? In the lore, the Veil is a barrier between the physical world and Fade, which is Dragon Age’s spirit realm. Solas, who helped create the Veil, now wants to destroy it. Hence, as McKay puts it, “the Veil needs guarding.”

While acknowledging that the why and the how is definitely spoiler territory, McKay says, “The biggest clue I can share is that you and your companions – that make up The Veilguard – are central to taking down a new evil threat unleashed upon Thedas. It might not just be Solas.”

McKay isn’t quite ready to reveal the party members quite yet, but does provide some hints on what to expect, including some initial info on romances.

“We spent a lot of time making our companions feel authentic based on their own unique experiences within this larger fantasy world, which in turn makes the relationships you form with them feel even more meaningful. We’ve tapped into Dragon Age’s deep lore and explored its most iconic factions to bring each of the seven companions and their stories to life,” he says.

“I won’t spoil next week’s reveal but I can say we’ve created a story where you can impact the world and the companions that surround you. Player agency is important to the Dragon Age: The Veilguard experience and allows each player to form unique personal connections with their companions of choice. And, yes, you can romance the companions you want!”

McKay says the decision to pare the number of companions from nine to seven is mostly down to it being the “right number for the story we’re telling.” Each one is intended to represent a unique faction or element from Thedas, and will feature their own arc with “stories of love and loss, each with meaningful choices and emotional moments.”

He continues, “As you accompany your companions to unravel their backstory and earn their loyalty and friendship, you’ll visit more regions of Thedas across a deeper variety of biomes than any Dragon Age before it.”

McKay mostly sidesteps questions of how Inquisition’s characters might fit into The Veilguard’s story, though he does confirm that it will once again feature an original protagonist similar to The Warden, Hawke, and The Inquisitor, noting that each Dragon Game has its own standalone story with its own thread and conflict.

“Games across the Dragon Age franchise are never designed as a game-over-game continuous storyline. There are familiar arcs, factions and heroes important to the overarching Dragon Age universe that weave through the new story we’re telling,” he explains. “The previous games, characters and events aren’t the anchor of Dragon Age: The Veilguard it’s about your adventure with a brand new cast of companions that you must rally to fight against a powerful force.”

He once again teases another villain beyond Solas: “I don’t want to get too deep into spoiler territory but I can say that the Dread Wolf is not the only god players need to be worried about.”

When The Veilguard is finally revealed on June 11, BioWare’s presentation will include 15 minutes of gameplay from the opening moments of the game, which will help set up the story. On the gameplay front, McKay says that The Veilguard’s combat was a “big area of focus” and something the team wanted to push forward. Among other things, McKay says that The Veilguard will feature an ability wheel designed to give players more direct control over their characters.

“As an RPG, strategy in combat is important as you bring two companions to every fight. Each companion brings unique powers and abilities that have a direct impact on how you choose to take down the enemies at hand,” he says. “To add another layer to that strategic element, we’re introducing a new ability wheel where you can pause the action and set up your next move – whether it’s your companions’ abilities or your own.

“The ability wheel opens up a huge amount of strategic possibilities, giving players the ability to control the flow of combat and link powerful combinations of abilities between players and their companions that can quickly turn the tide of any battle. We think we’ve found an exciting balance between fun, fluidity and strategy for every encounter.”

“This is a game and experience that continues BioWare’s tradition of single player RPG storytelling set in the epic fantasy world of Thedas,” McKay says. “We know Dragon Age fans and the community have been waiting a long time for the next game and we could not be more excited to share our gameplay reveal on June 11.""

[source] (emphasis mine)

[unboundprompts]

Hello!!! I hope you don't mind doing this one,

Can you help me write a traumatized person who's having trouble talking because of past trauma? (They can still interact with people, but only with signs and movements, not voice) and also a little anxious

Tell me if you need more details =)

How to Write a Mute / Non-Speaking Character

-> healthline.com

-> verywellhealth.com

-> descriptionary.wordpress.com

Types of Mutism:

selective mutism: having the ability to speak but feeling unable to.

organic mutism: mutism caused by brain injury, such as with drug use or after a stroke.

cerebellar mutism: mutism caused by the removal of a brain tumor from a part of the skull surrounding the cerebellum, which controls coordination and balance.

aphasia: when people find it difficult to speak because of stroke, brain tumor, or head injury.

What Causes Selective Mutism in Adults?

having another anxiety condition, like separation anxiety or social anxiety

experiencing physical, emotional, or sexual abuse

having a family history of selective mutism or social anxiety

having fewer opportunities for social contact

having an extremely shy personality

having a speech or language disorder, learning disability, or sensory processing disorder

parent-child enmeshment, or lack of clear boundaries in the relationship

traumatic experiences

Traumatic Mutism vs Trauma-Induced Selective Mutism

if you have traumatic mutism, you may be unable to talk in all situations following a trauma.

with trauma-induced selective mutism, you may find it impossible to talk only in certain situations-- for example, in front of the person who hurt you or in a setting that resembles the circumstances of your trauma.

Different Ways Individuals with Mutism May Choose to Communicate:

Nonverbal Communication: they may rely on facial expressions, gestures, eye contact, and body language to convey their thoughts, emotions, and intentions.

Writing or Typing: they may use a pen and paper, digital devices, or communication apps to write messages, notes, or responses.

Sign Language: they can convey meaning, emotions, and engage in complex conversations through hand signs, facial expressions, and body movements.

Augmentative and Alternative Communication (AAC) Devices: these devices provide individuals with a range of tools and technologies to support their communication needs. They can include speech-generating devices, picture boards, apps, or software that allows users to select words, phrases, or symbols to generate spoken or written output.

Communication Boards and Visual Aids: Communication boards or charts with pictures, symbols, or words can assist individuals in conveying their messages.

Assistive Technology: various assistive technologies, such as speech-to-text apps, text-to-speech programs, or eye-tracking devices that aid individuals with communication.

Tips on Writing a Mute / Non-Speaking Character:

Explore the vast array of nonverbal cues such as facial expressions, body language, gestures, and eye contact. Use descriptions to convey their intentions and reactions.

Utilize internal dialogue. Offer readers a window into their internal thought process, and turn their internal dialogue into a narrative that reveals their inner struggles, triumphs, and complexities so that reader can connect with the character.

Establish a communication system that is unique to your character (Sign language, written notes, telepathy in a fantasy setting, etc.). Having a communication system allows your character to interact with other characters and contribute to the narrative.

Surround them with Understanding Characters that can aid in communcation and fostering meaningful relationships.

Establish the Barriers/Conflicts They'll Experience. Don't forget to be realistic.

Your character is not defined by their inability to speak. Make sure you do not write stereotypes and cliches. Being mute is only one aspect of their identity rather than their defining trait.

Do your research! Seek out firsthand accounts, experiences, and perspectives. Check out online forums and resources to gain insights into their unique challenges, adaptations, and strengths.

If you like what I do and want to support me, please consider buying me a coffee! I also offer editing services and other writing advice on my Ko-fi! Become a member to receive exclusive content, early access, and prioritized writing prompt requests.

[c-is-for-circinate]

It feels like there's this narrative that fandom keeps wanting to explore, with Steve Harrington, about this very specific type of martyrdom where self-sacrifice is an expression of a lack of self-worth. And, like, yes, write the narrative that's meaningful to you, and yes ok Steve does admittedly get beaten up a lot, but -- legitimately I do not think this narrative is actually Steve's story.

Like, without gendering things too much, there is something in the Steve fanon that I keep seeing that's so reflective of the specific kind of sacrifice and societal pressures exerted on girls, specifically -- this story of 'you make yourself worthy and worthwhile by carving pieces out of yourself', of believing that you must always give and never receive to justify the space you take up in the world. Yes, boys can experience this same pressure (and obviously trans and nb people of all genders run into it as well! sometimes a lot!), but especially in the mid-1980s cultural context where Stranger Things takes place, it's just...really not likely to be a dominant narrative for Steve to be operating under? It doesn't even really match the Steve we see on screen -- who is happy to make sacrifices for the sake of others, yeah, when needed, but who's not particularly kind or giving unless somebody asks first.

And Steve does get hurt a lot on other people's behalf! And this is a problem! It's just a completely different problem than the one fandom keeps writing.

Steve, and I'm going to say this forever, is a story about toxic masculinity, which the show may or may not even know it's writing. The archetypes influencing Steve's character as it shows up on the screen (and the stories and messages that Steve would actually be surrounded by in his actual life) are not deconstructions of suffering heroes who never should have had to fight in the first place and were destroyed by it. That's the Buffy the Vampire Slayer story. Steve's not Buffy. Steve's cultural context is Indiana Jones.

Steve is The Guy! And part of being The Guy is that you're expected to take the hits -- not because Steve is less important than the women-and-children he's supposed to protect, but because, the story says, he will get less hurt. Why should Steve get in between Billy and Lucas? Because Steve is an eighteen-year-old athlete and Lucas is in middle school, and of the two of them, Steve actually stands a chance. (And yes, Steve got badly hurt there, and Max had to save him -- but if Lucas, if Max had taken that beating they would not have been running through those tunnels later.) Was somebody else better-qualified to dive down to the uncertain bottom of a cold lake in the middle of the night? Steve doesn't list his credentials there as a way of justifying some ideal of martyrdom; he is literally the most likely person on the boat not to drown.

And make no mistake: when Steve's pulled into the Upside-Down, he survives the bats long enough for backup to get there. Realistic or not, he's apparently tough enough that he's physically capable of hiking barefoot through hell without much slowing down. Steve is the tank for the same reason as any tank: because he literally has been shown to have the most hit points in the group. You cannot honestly engage with Steve in this context without dealing with the fact that he's right.

AND THIS IS A PROBLEM! This is still a problem! But it's not the same problem that fandom seems to expect. It's not an expression of caretaking or the need for self-sacrifice; it's not an issue with Steve valuing himself less. It's an issue of toxic masculinity so ingrained that Steve doesn't even recognize he's suffering from it, because one of the tenets of toxic masculinity is that Big Strong Guys don't suffer. It's just a concussion, it's fine, he'll walk it off. It's not that Steve thinks he deserves to get hurt, or even that he's less deserving of safety than the others. It's that absolutely nothing in his cultural context allows him to admit that he can be hurt in a significant way.

There's still so much tension that can be gotten out of this situation, I swear. There's so much that can be explored in writing! Hell, the show itself is deconstructing some of this trope, believe it or not, by giving us a Steve who absolutely can take all the hits thrown his direction but still doesn't know what the fuck he's doing with his life. It turns out that doing his job as The Guy is only mildly helpful in horror movie situations (mostly by buying time for smarter, squishier people to do the damage from behind him), and somewhere a little worse than useless in everyday life.

But Steve does not go out of his way to self-sacrifice, he really doesn't. He just does his job. He's The Guy. Of course he's not going to let a kid or a girl or some scared skinny nerd who just learned about monsters yesterday take the hits. Of course Steve's got this.