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strawberry-sticky-autism · 2 years

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Autistic Headcanons!

I have so freaking many of these. I’ll start with those from western tv cartoons.

(Bolded means it’s canon)

Antauri (Super Robot Monkey Team Hyperforce Go!)

Otto (SRMTHG!)

Swindle (Transformers Animated)

Bulkhead (Transformers Animated)

Chase (Transformers Rescue Bots)

Boulder (Transformers Rescue Bots)

Hot Shot (Transformers Rescue Bots)

Medix (Transformers Rescue Bots)

Star Butterfly (Star VS The Forces of Evil)

Lin Chung (Hero 108)

Blossom, Bubbles & Buttercup Utonium (The Powerpuff Girls)

XJ9/Jenny Wakeman (My Life as a Teenage Robot)

Robot Electro Jones (Whatever Happened to Robot Jones?)

Robotboy (Robotboy)

Twilight Sparkle (My Little Pony: Friendship Is Magic)

Fluttershy (MLP: FiM)

Rarity (MLP: FiM)

Applejack (MLP: FiM)

Rainbow Dash (MLP: FiM)

Pinkie Pie (MLP: FiM)

Starlight Glimmer (MLP: FiM)

Princess Luna (MLP: FiM)

Maud Pie (MLP: FiM)

Lyra Heartstrings (MLP: FiM)

Discord (MLP: FiM)

Sir Percedal of Sadlygrove/“Dally” (Wakfu)

Adamai (Wakfu)

Kagami Tsurugi (Miraculous Ladybug)

Zoe Lee (Miraculous Ladybug)

Wander (Wander Over Yonder)

Garnet (Steven Universe)

Pearl (Steven Universe)

Peridot (Steven Universe)

Leggy (Steven Universe)

Spinel (Steven Universe)

Padparadscha (Steven Universe)

Entrapta (She-Ra and the Princesses of Power)

9 (9)

3 & 4 (9)

Julia (Sesame Street)

Lilith Clawthorne (The Owl House)

The Golden Guard/Hunter Clawthorne (The Owl House)

Amity Blight (The Owl House)

Gus Porter (The Owl House)

Orko (He-Man)

Fozzie Bear (Muppets)

Beaker & both Baby Beakers (Muppets/Muppet Babies)

Baby Animal (Muppet Babies 2018)

Lilo Pelekai (Lilo & Stitch)

Stitch (Lilo & Stitch)

The Kid (Kid Cosmic)

Shellington Sea Otter (The Octonauts)

Edd “Double D” Marion ??? (Ed, Edd n Eddy)

Bello (Jelly Jamm)

Goomo (Jelly Jamm)

Mina (Jelly Jamm)

Rita (Jelly Jamm)

Ongo (Jelly Jamm)

Honey Lemon (Big Hero 6)

Frederick “Fred” Flammarion Frederickson IV (Big Hero 6)

Globby (Big Hero 6)

Molly McGee (The Ghost and Molly McGee)

Scratch McGee (The Ghost and Molly McGee)

Libby Stein-Torres (The Ghost and Molly McGee)

Mao Mao Mao (Mao Mao: Heroes of Pure Heart)

Badgerclops (Mao Mao: Heroes of Pure Heart)

Adorabat (Mao Mao: Heroes of Pure Heart)

Nigel Uno/Numbuh 1 (Codename: Kids Next Door)

Hogarth “Hoagie” P. Gilligan Jr./Numbuh 2 (Codename: KND)

Kuki Sanban/Numbuh 3 (Codename: KND)

Wallabee “Wally” Beetles/Numbuh 4 (Codename: KND)

Abigail Lincoln/Numbuh 5 (Codename: KND)

The Delightful Children From Down The Lane/DCFDTL (Codename: KND)

Socks Heeler (Bluey)

Sprig Plantar (Amphibia)

Marcy Wu (Amphibia)

Gabby (Gabby’s Dollhouse)

DJ Catnip (Gabby’s Dollhouse)

Blastus (Robotomy)

Rudy Tabootie (Chalkzone)

Penny Sanchez (Chalkzone)

Snap White (Chalkzone)

Rob (R.O.B the Robot)

Wilt (Foster’s Home for Imaginary Friends)

Craig Williams (Craig of the Creek)

Kelsey Pokoly (Craig of the Creek)

J.P Mercer (Craig of the Creek)

Jessica Williams (Craig of the Creek)

Isabelle “Stacks” Alvarado (Craig of the Creek)

Tina Belcher (Bob’s Burgers)

Pocoyo (Pocoyo)

Spot Splatter Splash (Lalaloopsy)

Jewel Sparkles (Lalaloopsy)

Bea Spells-A-Lot (Lalaloopsy)

Cloud E. Skies (Lalaloopsy)

Storm E. Skies (Lalaloopsy)

Minty (My Little Pony G3)

Grounder (Adventures of Sonic the Hedgehog)

Alan “The Brain” Powers (Arthur)

Fern Walters (Arthur)

Clarence Wendle (Clarence)

Mickey Mouse (Mickey Mouse)

Courtney (Total Drama)

Sierra (Total Drama)

Ella (Total Drama)

Mason “Dipper” Pines (Gravity Falls)

Mabel Pines (Gravity Falls)

Leni L. Loud (The Loud House)

Lisa Loud (The Loud House)

Sidney “Sid” Chang (The Casagrandes)

Orange Blossom (Strawberry Shortcake)

Blueberry Muffin (Strawberry Shortcake)

Lemon Meringue (Strawberry Shortcake)

Rainbow Sherbet (Strawberry Shortcake)

Kaio “K.O.” Kincaid (OK K.O.! Let’s Be Heroes)

Dendy (OK K.O.! Let’s Be Heroes)

Becky Botsford/WordGirl (WordGirl)

Sunny Starscout (My Little Pony: A New Generation)

Izzy Moonbow (My Little Pony: A New Generation)

Ice Man (Mega Man Fully Charged)

Bloom (Winx Club)

Stella (Winx Club)

Flora (Winx Club)

Tecna (Winx Club)

Aisha/Layla (Winx Club)

Isabela Madrigal (Encanto)

Luisa Madrigal (Encanto)

Dolores Madrigal (Encanto)

Shiny (Super Giant Robot Brothers)

Thunder (Super Giant Robot Brothers)

Tack (The Thief and the Cobbler)

Fidget and Digit (Gadget and the Gadgetinis)

Katie Mitchell (The Mitchells VS The Machines)

Rick Mitchell (The Mitchells VS The Machines)

Aaron Mitchell (The Mitchells VS The Machines)

Hubert “Huey” Duck (Ducktales 2017)

Webbigail “Webby” Vanderquack (Ducktales 2017)

Fethry Duck (Ducktales 2017)

Violet Apollonia Sabrewing (Ducktales 2017)

Phineas Flynn (Phineas and Ferb)

Ferb Fletcher (Phineas and Ferb)

Candace Flynn (Phineas and Ferb)

Baljeet Tjinder (Phineas and Ferb)

Lawrence Flynn-Fletcher (Phineas and Ferb)

Greg (Over the Garden Wall)

Raphael “Raph” (Rise of the Teenage Mutant Ninja Turtles)

Donatello “Donnie” (RotTMNT)

Hilda (Hilda)

Elizabeth Kajolica “Bessie” Higgenbottom (The Mighty B)

Mildred “Millie” Millerson (The Mighty B)

Jack Skellington (The Nightmare Before Christmas)

Dawkins (101 Dalmatian Street)

Da Vinci (101 Dalmatian Street)

Meilin “Mei” Lee (Turning Red)

Norma Khan (Dead End: Paranormal Park)

Daphne Ann Blake (Scooby Doo)

Frederick “Fred/Freddie” Jones Jr. (Scooby Doo)

Jack Spicer (Xiaolin Showdown)

Katie “Pidge” Holt (Voltron Legendary Defender)

Ina Leifsdottir (Voltron Legendary Defender)

Spongebob Squarepants (Spongebob Squarepants)

Patrick Star (Spongebob Squarepants)

Squidward Tentacles (Spongebob Squarepants)

Cleopatra Philonator VII (Cleopatra In Space)

Akila Theoris (Cleopatra In Space)

Yakko Warner, Wakko Warner & Dot Warner (Animaniacs)

Pinky (Animaniacs/Pinky And The Brain)

The Brain (Animaniacs/Pinky And The Brain)

Hannah-Marie (Scary Godmother)

Oscar Peltzer (Summer Camp Island)

Harvey Beaks (Harvey Beaks)

Alexander “Alex” Casoy (Totally Spies)

Koriand’r/Starfire (Teen Titans)

Wallace (Wallace And Gromit)

Ruby Gillman (Ruby Gillman: Teenage Kraken)

Julian (Randy Cunningham: 9th Grade Ninja)

Hailey Alohilani Banks (Hailey’s On It)

Gus (Lu And the Bally Bunch)

#Autistic #autism #actually autistic #autistic headcanon #autistic headcanons #Animation #autiscomp #spongebob #spongebob squarepants #lalaloopsy #phineas and ferb #Winx club #codename kids next door #codename knd #knd #jelly jamm #craig of the creek

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whaleiumsharkspeare · 4 years

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Has anyone ever noticed this trend in character design in animation for boys to have little tufts of hair that stick up on the back of their heads? I wonder why that’s such a popular design choice. It looks nice and cute, maybe that’s why

#tangled the series #rapunzels tangled adventure #tts varian #varian the alchemist #star vs the forces of evil #marco diaz #gravity falls #dipper pines #the iron giant #hogarth hughes #character design #animation #fluffy fluffy hair

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banshee-cheekbones · 3 years

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ladies bingo round 8 masterlist!

over the last few months, I've been working my butt off on completing a blackout for my Ladies Bingo card, and I did it!

first, some statistics.

total number of fics: 25

total number of fandoms: 20

total word count: 67,713

most common pairing: Dani/Jamie (The Haunting of Bly Manor) with 4 fics.

and now, the fics!

Title: Naughty Nuns of the Ninth

Fandom: The Locked Tomb Trilogy

Relationship: Gideon Nav/Harrowhark Nonagesimus

Prompt: orgasm

Rating: NC-17

Warnings: Explicit sexual content, blasphemy

Summary: The one where Gideon buys a Ninth House themed porn magazine to piss off Harrow and ends up fantasizing about her instead.

Title: that look in your eyes (is so familiar a gleam)

Fandom: The Haunting of Hill House

Relationship: Eleanor Crain & Olivia Crain, Olivia Crain/Poppy Hill

Prompt: midnight

Rating: T

Warnings: Manipulation

Summary: On one of the nights where the Bent-Neck Lady appears to Nellie, Olivia has a visitor of her own.

Title: home is such a lonely place (without you)

Fandom: The Haunting of Bly Manor

Relationship: Dani Clayton/Jamie

Prompt: hopelessly devoted

Rating: T

Warnings: Canonical character death, angst

Summary: Dani isn’t coming back. Of course she isn’t. Pretending otherwise is a waste of time.

Title: reach out and touch faith

Fandom: The Locked Tomb Trilogy

Relationship: The Body | Alecto | The Girl in the Tomb/Harrowhark Nonagesimus

Prompt: touch

Rating: T

Warnings: Blasphemy

Summary: There is someone else in her room. There is someone else in her bed.

Title: Some Much Needed Advice

Fandom: Wonderfalls

Relationship: Jaye Tyler & Sharon Tyler

Prompt: courtship rituals

Rating: T

Warnings: Drinking

Summary: Even though she has no idea how her life has come to this point, Jaye gives Sharon some relationship advice.

Title: catch me if you can

Fandom: Killing Eve

Relationship: Eve Polastri/Villanelle | Oksana Astankova

Prompt: factories and other industrial spaces

Rating: T

Warnings: Light dom/sub, blood, canon-typical violence.

Summary: In the midst of Eve's attempts to hunt her down, Villanelle shows up on Eve's doorstep with a gift.

Title: Test Subjects

Fandom: Teen Wolf

Relationship: Kira Yukimura/Malia Tate

Prompt: aphrodisiacs

Rating: T

Warnings: Implied sexual content

Summary: Stiles asks Kira and Malia to test out some aphrodisiac tea that he has created, and things do not go according to plan.

Title: and the collision of your kiss (that made it so hard)

Fandom: The Haunting of Bly Manor

Relationship: Dani Clayton/Jamie

Prompt: water spirits

Rating: T

Warnings: Canonical character death, angst, grief/mourning

Summary: Jamie can't leave. Not until she says goodbye.

Title: hold me closer (don't let go)

Fandom: She-Ra and the Princesses of Power

Relationship: Adora/Catra

Prompt: compare and contrast

Rating: G

Warnings: Light angst

Summary: A study in the sleeping habits of Adora and Catra, both separately and together.

Title: Turning Point

Fandom: The Haunting of Bly Manor

Relationship: Dani Clayton/Jamie

Prompt: the unexamined life is not worth living

Rating: T

Warnings: Canonical character death, angst,

Summary: Before she slips away, Dani looks back on her improbable life.

Title: Temporary Haven

Fandom: The Meg

Relationship: Jaxx Herd/Suyin Zhang

Prompt: something useful

Rating: G

Warnings: N/A

Summary: It’s been nearly a month since they left the ocean behind, but Jaxx is still getting used to waking up to the sound of birdsong.

Title: with a little help from our friends

Fandom: She-Ra and the Princesses of Power

Relationship: Perfuma/Scorpia

Prompt: we're surrounded

Rating: G

Warnings: Canon-typical violence

Summary: “I like you, Scorpia. I really like you. And I wish that I had told you that before we were surrounded by killer robots, but better late than never, I guess?”

Title: Trigger Discipline

Fandom: Borderlands

Relationship: Lilith/Mad Moxxi

Prompt: remix

Rating: NC-17

Warnings: Explicit sexual content, gunplay, minor violence

Summary: “Are you sure that this is a good idea?” Lilith asks from where she’s kneeling between Moxxi’s legs, turning over the bright pink gun in her hands.

Title: Breathing Room

Fandom: The Haunting of Bly Manor

Relationship: Dani Clayton/Jamie

Prompt: freestyle AU

Rating: G

Warnings: N/A,

Summary: The first time Dani meets Jamie, Dani has just fallen from the sky.

Title: take me to your paradise ('cause I don't wanna wait anymore)

Fandom: The Locked Tomb Trilogy

Relationship: Gideon Nav/Dulcinea Septimus

Prompt: bewitched, bothered and bewildered

Rating: T

Warnings: Mild sexual content

Summary: “Gideon the Ninth,” Dulcinea says slowly, her smile growing bigger with every word, “have you seriously never kissed anyone?”

Title: Secret Glitter

Fandom: Gravity Falls

Relationship: Wendy Corduroy & Mabel Pines

Prompt: outsider POV

Rating: G

Warnings: N/A

Summary: In an effort to figure out where Mabel keeps disappearing to, Dipper launches Operation Identify Mabel’s Mystery Boy and ends up with a surprising result.

Title: The Fine Art of Gift-Giving

Fandom: She-Ra and the Princesses of Power

Relationship: Frosta & Glimmer

Prompt: hero

Rating: G

Warnings: N/A

Summary: Tomorrow, Glimmer and Bow are getting married, and Frosta still doesn’t know what to give them as a wedding present.

Title: she moves like a knife

Fandom: Hemlock Grove/Shadowhunters

Relationship: Camille Belcourt/Olivia Godfrey

Prompt: gore

Rating: NC-17

Warnings: Explicit blood and gore, vampires, explicit sexual content, body horror

Summary: Camille wants to be truly monstrous.

Title: Collision Course

Fandom: Daredevil/MCU

Relationship: Karen Page/Claire Temple

Prompt: an ethical dilemma

Rating: G

Warnings: Mentioned drinking

Summary: This can’t be happening. Hell’s Kitchen is small, but it can’t be this small.

Title: salt & citrus

Fandom: Birds of Prey/DCU

Relationship: Helena Bertinelli/Dinah Lance

Prompt: a truth is revealed

Rating: T

Warnings: Drinking

Summary: “Shit,” Dinah says after she’s polished off the last of her margarita and added her glass to the pile of detritus on the table, “you can kiss me, if you want to. If you want to get your first time over with.”

Title: sugar and spice, virtue and vice

Fandom: Lucifer

Relationship: Ella Lopez/Mazikeen

Prompt: virtue and vice

Rating: M

Warnings: Mild sexual content, light d/s

Summary: Ella is curious about dominance.

Title: cutting the strings

Fandom: Jessica Jones/MCU

Relationship: Jeri Hogarth/Pam, Jeri Hogarth/Wendy Ross, Pam & Wendy Ross

Prompt: identity crisis

Rating: T

Warnings: Canonical character death, blood, vomiting

Summary: Pam never wanted to become a killer.

Title: (Not So) Fresh Start

Fandom: Teen Wolf

Relationship: Braeden/Melissa McCall

Prompt: could it be ritual? archaeologists and their theories

Rating: T

Warnings: Mild blood and gore, canon-typical violence

Summary: Regardless of whether the source of the screams is supernatural or not, Melissa already knows that there’s no chance that the rest of her shift is going to resemble anything even close to peace.

Title: let the record show

Fandom: Star Wars Sequel Trilogy

Relationship: Amilyn Holdo/Leia Organa

Prompt: epistolary

Rating: T

Warnings: Canonical character death, angst.

Summary: Amilyn uses her last few moments to record a long overdue confession.

Title: what a lovely way to burn

Fandom: Birds of Prey/DCU

Relationship: Helena Bertinelli/Dinah Lance

Prompt: action and reaction

Rating: T

Warnings: N/A

Summary: Helena almost wishes that she’d done some research on Lance beforehand, because seeing her for the first time in person is like getting sucker-punched in the chest.

#mine #mine: masterlist #ladiesbingo #writing all of these was a lot of fun!#but i'm looking forward to working on different stuff now

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written-in-sunshine · 6 years

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Fandom List And Ships

Updated: 12/9/18

This is the current list of fandoms and pairings that are requestable. It’s a long list (12+ pages), and I can always add more if the need arises. Bolded fandoms are the ones I am currently in the mood to write for, and I will try to update that as much as I can. Italicized fandoms are something I might consider working on soon and can easily be pushed back into.

Please look at this list before requesting something, it’s in the rules.

Fandoms under the cut!

Adventure Time

Flame Prince/Fionna

Flame Prince/Prince Gumball

Hot Dog Prince/Lumpy Space Prince

Lord Monochromicorn/Cake

Marshall Lee/Flame Prince/Prince Gumball

Marshall Lee/Prince Gumball

As Told By Ginger

Carl Foutley/Blake Gripling

Carl Foutley/Hoodsey Bishop

Assassin’s Creed

Altair Ibn La-Ahad/Malik Al-Sayf

Desmond Miles/Shaun Hastings

Ezio Auditore/Leonardo Da Vinci

Federico Auditore/Vieri De Pazzi

Haytham Kenway/Charles Lee

Kanen'tó:kon/William Johnson

Kadar Al-Sayf/Gian ‘Salai’ Giacomo

Petruccio Auditore/Gian ‘Salai’ Giacomo

Ratonhnhaké ton (Connor Kenway)/Thomas Hickey

Rauf/Kadar Al-Sayf

Talal/Malik Al-Sayf

William Johnson/Thomas Hickey

The Babysitter

Bee/Allison

Bee/Sonya

Cole/Melanie

John/Allison

John/Bee

Max/Allison

Max/Bee

Max/Cole

Max/John

Sonya/Allison

Beetlejuice (Both Movie/Cartoon Verses)

Beatleguise/Lydia Deetz

Camp Camp

Max/Daniel

David/Daniel

Max/David

Max/David/Daniel

Nerf/Preston Goodplay

Neil/Harrison

Neil/Nikki

Quartermaster/Daniel

Catherine

Johnathan ‘Johnny’ Ariga/Tobias ‘Toby’ Nebbins

Orlando Haddick/Tobias ‘Toby’ Nebbins

Orlando Haddick/Johnathan ‘Johnny’ Ariga/Tobias ‘Toby’ Nebbins

Thomas Mutton/Astaroth

Vincent Brooks/Catherine

Vincent Brooks/Astaroth

Crossovers

The Bye Bye Man/The Crooked Man (The Bye Bye Man/The Crooked Man Crossover)

Jack/Max (The House That Jack Built/The Babysitter Crossover)

Jason Dean/Firkle Smith (Heathers/South Park Crossover)

Jason Dean/Lucas Ward (Heathers/Dismissed Crossover)

Jason Dean/Victor Criss (Heathers/IT Crossover)

Bane/John Blake

Blackfire/Starfire

Cyborg/Beast Boy

Deadshot/Diablo/Harley Quinn

Francis “Hotstreak” Stone/Richie “Gear” Foley

Joker/Harley Quinn

Killer Croc/Babydoll

Killer Croc/Diablo

Killer Croc/Harley Quinn

Killer Croc/Scarecrow

Poison Ivy/Harley Quinn

Raven/Terra

Red X/Speedy

Robin/Beast Boy

Robin/Red X

Robin/Red X/Speedy

Robin/Speedy

Deadman Wonderland

Ganta Igarashi (Woodpecker)/Shiro

Nagi Kengamine (Owl)/Azuma Genkaku

Senji Kiyomasa (Crow)/Toto Sakigami (Mockingbird)

Tamaki Tsunenaga/Rokuro Bundo

Tamaki Tsunenaga/Yo Takami

Wretched Egg (I refer to her as Sorae after Ganta’s mother)/Minatsuki Takami (Hummingbird)

Yo Takami/Ganta Igarashi (Woodpecker)

Death And Cremation

Stanley/Jarod Leary

Devil’s Carnival

The Devil/Tamara

Scorpion/Tamara

The Twin/Hobo Clown

Digimon

Matt/Tai

Willis/Davis

Dragon Age

Alistair Theirin/Cullen Rutherford

Alistair Theirin/Kallianne Cousland

Anders/Ethan Hawke

Anders/Fenris/Ethan Hawke

Anders/Jowan

Anders/Jowan/Ethan Hawke

Anders/Karl Thekla

Anders/Karl Thekla/Ethan Hawke

Anders/Sebastian Vael

Anders/Sebastian Vael/Ethan Hawke

Arishok/Carver Hawke

Arishok/Ethan Hawke

Ashaad/Ketojan/Saemus Dumar

Ashaad/Saemus Dumar

Bartrand Tethras/Carver Hawke

Bemis Cousland/Lysander Amell (OC Ship)

Blackwall/Carver Hawke

Cole/Dorian Pavus

Cullen Rutherford/Dorian Pavus

Cullen Rutherford/Ethan Hawke

Cullen Rutherford/Illeah Lavellan

Cullen Rutherford/Tempestia Surana

Danarius/Dorian Pavus

Duncan/Cailan Theirin

Fenris/Carver Hawke

Fenris/Ethan Hawke

Fenris/Sahir Nadeer (OC)

Greagoir/Irving

Herren/Wade

Jarvia/Isabela

Jowan/Sister(Mother) Petrice

Justice/Seneschal Bran

Ketojan/Saemus Dumar

Leliana/Josephine MontilyetLoghain Mac Tir/Maric Theirin

Meeran/Carver Hawke

Sebastian Vael/Ethan Hawke

The Iron Bull/Dorian Pavus

The Iron Bull/Solas

Varric Tethras/Ethan Hawke

Varric Tethras/Merrill

Varric Tethras/Solas

Zevran Arainai/Alistair Theirin

Zevran Arainai/Mortine Mahariel

Dreaming Mary

Boaris/Mary(Mari)

Father/Mary(Mari)

Foxanne/Bunnilda

Gwendell (Glenn)/Mary(Mari)

Ed, Edd, ‘n Eddy

Eddy/Edd

Kevin/Edd

Kevin/Rolf

Johnny/Jimmy

Sarah/Jimmy

The Evil Within

Reuben ‘Ruvik’ Victoriano/Leslie Withers

Sebastian Castellanos/Joseph Oda

Fallout Universe

Barrett/Murphy

Benjamin ‘Benji’ Montgomery/Derek Segraves(MLW)

Butch DeLoria/Derek Segraves(MLW)

Charon/Derek Segraves(MLW)

Charon/Iib Townshend(FLW)

Colin Moriarity/Andy Stahl

Desmond Lockheart/Derek Segraves(MLW)

Everett/Derek Segraves(MLW)

Flash/Derek Segraves(MLW)

Karl/Justin

Mercenary/Moira Brown

Sole Survivor/Sole Survivor

Three Dog/Gob

Timebomb/Derek Segraves(MLW)

Vance/Ian West

Wally Mack/Derek Segraves(MLW)

Wally Mack/Paul Hanon

Walter/Leo Stahl

Fern Gully: The Last Rainforest

Zak Young/Pips

Final Fantasy

Balthier/Vaan

Cloud Strife/Kadaj

Fang/Lightning

Genesis Rhapsodos/Sephiroth

Gilliam ‘Gil’ Blat/Angeal Hewley (OC/Canon Ship)

Gippal/Baralai

Layle/Keiss

Loz/Yazoo

Lulu/Yuna

Paine/Rikku

Reeve Tuesti/Vincent Valentine

Rude/Reno

Seifer Almasy/Zell Dincht

Snow/Hope

Squall Leonhart/Irvine Kinneas

Tseng/Rufus ShinRa

Wakka/Tidus

Zack Fair/Cloud Strife

Gravity Falls

Mabel Pines/Pacifica

Robbie/Dipper Pines

Thompson/Mabel Pines

Wendy/Tambry

Harry Potter (Movieverse) - ON HIATUS

Blaize Zabini/Saemus Finnegan

Dean Thomas/Saemus Finnegan

Lee Jordan/Saemus Finnegan

Oliver Wood/Marcus Flint

Ron Weasley/Draco Malfoy

Severus Snape/Lucius Malfoy

Harry Potter/Hermione Granger

Heathers (Movieverse, Slight Musicalverse)

Jason Dean/Lucas Ward (Dismissed Crossover)

Heather Chandler/Heather Duke

Heather Duke/Veronica Sawyer

Jason Dean/Firkle Smith (South Park Crossover)

Jason Dean/Vernon Sawyer (Male Veronica)

Jason Dean/Veronica Sawyer

Jason Dean/Victor Criss (IT Crossover)

Kurt Kelly/Ram

Veronica Sawyer/Heather McNamara

Veronica Sawyer/Martha Dunstock

Hellboy (Movieverse)

Hellboy/Abe Sapien

Hey Arnold

Helga G. Pataki/Rhonda Wellington Lloyd

Nadine/Rhonda Wellington Lloyd

Stinky Peterson/Sid

Torvald/Stoop Kid

Inception

Dom Cobb/Ariadne

Eames/Arthur

Insidious

Josh Lambert/Parker Crane

Josh Lambert/Specs

Tucker/Specs

Invader Zim

Dib Membrane/Zim

Red/Purple

Tak/Gaz Membrane

The Iron Giant

Dean/Hogarth

IT (2017)

Belch Huggins/Victor Criss

Ben Hanscom/Beverly Marsh

Bill Denbrough/Ben Hanscom/Beverly Marsh

Bill Denbrough/Beverly Marsh

Bill Denbrough/Stan Uris

Butch Bowers/Patrick Hockstetter

Butch Bowers/Victor Criss

Henry Bowers/Belch Huggins

Henry Bowers/Belch Huggins/Victor Criss

Henry Bowers/Victor Criss

Mike Hanlon/Bill Denbrough/Stan Uris

Mike Hanlon/Patrick Hockstetter

Mike Hanlon/Richie Rozier/Stan Uris/Eddie Kaspbrak

Mike Hanlon/Stan Uris

Mike Hanlon/Victor Criss

Patrick Hockstetter/Avery Hockstetter

Patrick Hockstetter/Belch Huggins

Patrick Hockstetter/Belch Huggins/Victor Criss

Patrick Hockstetter/Henry Bowers

Patrick Hockstetter/Henry Bowers/Belch Huggins

Patrick Hockstetter/Henry Bowers/Belch Huggins/Victor Criss

Patrick Hockstetter/Henry Bowers/Victor Criss

Patrick Hockstetter/Victor Criss

Pennywise/Pennywise

Pennywise/Victor Criss

Richie Tozier/Eddie Kaspbrak

Richie Tozier/Stan Uris/Eddie Kaspbrak

Jeepers Creepers

Jeepers Creepers/Darry

Kick-Ass/2 Movieverse

Todd Haynes/Katarina Dombrovski

Dave Lizewski/Chris D'Amico

Javier/Chris D'Amico

Kingdom Hearts

Axel/Demyx

Axel/Marluxia

Larxene/Namine

Lexaeus/Zexion

Luxord/Demyx

Luxord/Marluxia

Luxord/Xaldin

Pence/Olette

Rai/Fuu

Riku/Sora

Roxas/Xion

Saix/Demyx

Saix/Xemnas

Seifer/Hayner

Vexen/Marluxia

Xigbar/Demyx

Xigbar/Xaldin

Krampus

Howard/Tom Engel

Krampus/Max Engel

Krampus/Tom Engel

Tom Engel/Max Engel

Kuroshitsuji/Black Butler

Claude Faustus/Alois Trancy

Pluto/Grell Sutcliffe

Undertaker/Grell Sutcliffe

Undertaker/William Spears/Grell Sutcliffe

League Of Super Evil

Doomageddon/Doktor Frogg

Red Menace/Doktor Frogg

Left 4 Dead/2

Keith/Dave

Keith/Ellis

Louis/Francis

Nick/Dave

Nick/Ellis

OC/OC

Lollipop Chainsaw

Gideon Starling/Elizabeth Starling

Lewis Legend/Swan

Nick Carlyle/Juliet Starling

Vikke/Josey

Zed/Mariska

Zed/Swan

Mad Max

Angharad/Capable

Dag/Capable

Dag/Cheedo

Dag/Toast

Max Rockatansky/Blood Shed Ted

Max Rockatansky/Imperator Furiosa

Nux/Slit

OC/OC

Rictus Erectus/The Ace

Stank Gum/Scabrous Scrotus

Marvel

Alex Summers/Hank McCoy/Sean Cassidy

Alex Summers/Sean Cassidy

Azazel/Emma Frost

Azazel/Kurt Wagner

Bruce Banner/Tony Stark

Erik Lensherr/Charles Xavier

Hank McCoy/Charles Xavier

Hank McCoy/Sean Cassidy

Lance Alvers/Pietro Maximoff

Loki Laufeyson/Tony Stark

Mortimer Toynbee/Emma Frost

St. John Allerdyce/Pietro Maximoff

St. John Allerdyce/Tabitha Smith

Steve Rogers/Tony Stark

The Incredible Hulk/Tony Stark

Todd Tolansky/Kurt Wagner

Todd Tolansky/Pietro Maximoff

Tony Stark/Pepper Pots

Wade Winston Wilson/Bob, Agent Of Hydra

Wanda Maximoff/Anne-Marie (Rogue)

Miraculous Ladybug

Adrien Agreste/Marinette Dupain-Cheng

The Mist (2017)

Tyler Denton/Adrian Garf

Monster Prom

Amira Red/Miranda Vanderbilt

Amira Red/Polly Geist

Brian Green/Damien LaVey

Brian Green/Damien LaVey/Liam De Lioncourt/Oz Yellow

Brian Green/Oz Yellow

Damien LaVey/Liam De Lioncourt

Liam De Lioncourt/Oz Yellow

Scott Howl/Football Team

Scott Howl/Liam De Lioncourt

Scott Howl/Vicky Blue

Vera Oberlin/Polly Geist

Vicky Blue/Polly Geist

Monsters University/Inc.

Brock Pearson/Claire Wheeler

James P. “Sulley” Sullivan/Michael “Mike” Wizowski

Johnny J. Worthington III/Randall “Randy” Boggs

Nadia Petrov/Taylor Harbrooke

Night In The Woods

Angus Delaney/Greggory Lee

Bea Santello/Mae Borowski

Casey Hartley/Greggory Lee

Levy/Steve Skriggins

Jeremy “Germ Warfare” Warton/Selma Ann “Selmers” Forrester

Outlast

Edward “Eddie” Gluskin (The Groom)/Terry “Theresa” Harriss (OC)

Portal/2

Adventure Core/Fact Core

Cave Johnson/Caroline

Cave Johnson/Evil Cave Johnson

Chell/GLaDOS

Companion Cube/Turret

Logic Core/Curiosity Core

Weighted Cube/Defective Turret

Wheatley/Space Core

Prince Of Persia: Sands Of Time (Movieverse)

Garsiv/Dastan

Princess And The Goblin

Prince Froglip/Princess Irene

Rick And Morty

Abradolf Lincoler/Nancy

Birdperson/Tammy Gueterman

Brad/Morty Smith

Greaser Morty/Punk Morty

Lucius Needful/Summer Smith

Rick Sanchez/Morty Smith (in all/most incarnations)

Summer Smith/Jessica

Regular Show

Don/Rigby

Mordecai/Rigby

Skips/Benson

Rocket Power

Lars Rodriguez/Twister Rodriguez

Otto Rocket/Sam Dullard

Saw

John Kramer/Amanda Young

Lawrence Gordon/Adam Faulkner

Logan Nelson/David (Saw .5)

Lukas Faulkner (OC)/Adam Faulkner

Lukas Faulkner (OC)/David (Saw .5)

Lukas Faulkner (OC)/Scott Tibbs

Lynn Denlon/Amanda Young

Mark Hoffman/Peter Strahm

Scott Tibbs/Adam Faulkner

Scott Tibbs/Lark

Silent Hill

Butcher/Valtiel

Pyramid Head/Alessa Gilespie

Walter Sullivan/Murphey Pendleton

South Park

Bradley (Cartman Sucks)/Leopold “Butters” Stotch

Christophe “Ze Mole”/Firkle

Christophe “Ze Mole”/Kyle Broflovski

Christophe “Ze Mole”/Leopold “Butters” Stotch

Clyde Donovan/Bebe Stevens

Craig Tucker/Gregory of Yardale/Tweek Tweak

Craig Tucker/Tweek Tweak

Damien Thorn/Firkle

Damien Thorn/Phillip “Pip” Pirrup

Eric Cartman/Bebe Stevens

Eric Cartman/Firkle

Eric Cartman/Wendy Testaburger

Filmore Anderson/Firkle

Gregory of Yardale/Tweek Tweak

Ike Broflovski/Firkle

Kenny McCormick/Bradley (Cartman Sucks)/Leopold “Butters” Stotch

Kenny McCormick/Firkle

Kenny McCormick/Kyle Broflovski

Kenny McCormick/Leopold “Butters” Stotch

Kevin McCormick/Firkle

Michael/Pete

Michael/Firkle

Mike Makowski/Firkle

Mike Makowski/Larry

Nathan/Firkle

Quaid/Filmore Anderson

Quaid/Firkle

Red/Henrietta Biggle

Ryan Ellis/Larry

Scott Malkinson/New Kid

Scott Tenorman/Firkle

Stan Marsh/Firkle

Stan Marsh/Gregory Of Yardale

Stan Marsh/Pete

Stan Marsh/Gary Harrison

Stan Marsh/Wendy Testaburger

Trent Boyett/Firkle

Token Black/Clyde Donnovan

Token Black/Clyde Donnovan/Bebe Stevens

Team Fortress 2 (I have OC’s for this)

Demoman/Soldier

Engineer/Medic

Heavy/Medic

Pyro/Medic

Pyro/Scout

Pyro/Sniper

Sniper/Medic

Sniper/Scout

Soldier/Engineer

Spy/Scout

Spy/Sniper/Scout

Teenage Mutant Ninja Turtles

Leonardo/Donatello

Raphael/Casey Jones

Raphael/Michelangelo

Until Dawn

Billy Bates/Mike Munroe

Josh Washington/Chris

Josh Washington/Mike Munroe

Matt/Chris

Matt/Mike Munroe

Matt/Mike Munroe/Jessica/Sam/Billy Bates

Mike Munroe/Jessica

Mike Munroe/Sam

The Walking Dead

Glen Rhee/Daryl Dixon

Merle Dixon/Daryl Dixon

Rick Grimes/Daryl Dixon

We’re Back

Louis/Cecilia Nuthatch

Yami No Matsuei/Descendents Of Darkness

Hisoka Kurosaki/Asato Tsuzuki

Seiichiro Tatsumi/Yutaka Watari

Zootopia

Chief Bogo/Benjamin Clawhauser

Finnick/Gideon Grey

Larry/Gary

Nick Wilde/Judy Hopps

Pronk Oryx-Antlerson/Bucky Oryx-Antlerson

#Current Fandom List

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vintage1der · 6 years

Link

What separates these works from the Harry Potter fanfiction you find online may come down to snobbery. There is an undercurrent of misogyny in mainstream criticism of fanfiction, which is widely accepted to be dominated by women; one census of 10,500 AO3 users found that 80% of the users identified as female, with more users identified as genderqueer (6%) than male (4%). Novik has spent a good deal of time fighting against fanfiction’s stigma because she feels it is “an attack on women’s writing, specifically an attack on young women’s writing and the kind of stories that young women like to tell”. Which is not to say that young women only want to write about romance: “I think,” Novik says, “that [the popularity of fanfiction amongst women is] not unconnected to the lack of young women protagonists who are not romantic interests.” Devotees of fanfiction will sometimes tell you that it’s one of the oldest writing forms in the world. Seen with this generous eye, the art of writing stories using other people’s creations hails from long before our awareness of Twilight-fanfic-turned-BDSM romance Fifty Shades of Grey: perhaps Virgil, when he picked up where Homer left off with the story of Aeneas, or Shakespeare’s retelling of Arthur Brookes’s 1562 The Tragical History of Romeus and Juliet. What most of us would recognise as fanfiction began in the 1960s, when Star Trek fans started creating zines about Spock and Captain Kirk’s adventures. Thirty years later, the internet arrived, which made sharing stories set in other people’s worlds – be they Harry Potter, Spider-Man, or anything and everything in between – easier. Fanfiction has always been out there, if you knew where to look. Now, it’s almost impossible to miss.

In the last few years, fanfiction has enjoyed something of a rebrand. Big-name authors such as EL James, author of the Fifty Shades books, and Cassandra Clare, who has always been open about writing Harry Potter fanfiction before her bestselling Mortal Instruments series, have helped bring it into the mainstream. These days, it’s fairly common knowledge that some people just really like writing about Captain America and Bucky Barnes falling in love, or Doctor Who fighting demons with Buffy. The general image of fanfiction has brightened somewhat: less creepy, more sweetly nerdy.

But the divide between fanfiction and original writing holds strong. It’s assumed that if people write fanfiction, it’s because they can’t produce their own. At best, it functions as training wheels, preparing a writer to commit to a real book. When they don’t – as in the famous case of Fifty Shades, which one plagiarism checker found had an 89% similarity rate with James’s original Twilight fanfiction – they are ridiculed. A real author, the logic goes, having moved on to writing their own books, doesn’t look back.

“Here’s the thing,” Naomi Novik explains over the phone from New York. She is the bestselling author of the Temeraire books, a fantasy series that adds dragons to the Napoleonic Wars, and Spinning Silver, which riffs on Rumpelstiltskin. “I don’t actually draw any line between my fanfiction work and my professional work – except that I only write the fanfiction stuff for love.”

In between writing her novels – or indeed during, as she admits that fanfiction is one of her favourite procrastination techniques – Novik is an active member of the fanfiction community. She is a co-founder of the Archive of Our Own (AO3), one of the most popular hosting websites, and a prolific writer in the universes of Harry Potter, Game of Thrones, Merlin and many more.

And she’s not the only professional at work. Rainbow Rowell, the bestselling author of Eleanor and Park and other novels, once told the Bookseller that between two novels, she wrote a 30,000-word Harry Potter fanfiction. “It’s Harry and Draco as a couple who have been married for many years, and they’re raising Harry’s kids,” she said. “It’s them dealing with attachment parenting and step-parents and all these middle-aged issues.”

The divide between a fanfiction writer and an original fiction writer can look very arbitrary when looking at authors such as Michael Chabon, who once described his own novel Moonglow as “a Gravity’s Rainbow fanfic”. Or Madeline Miller, whose Orange-prize winning The Song of Achilles detailed the romantic relationship between Achilles and Patroclus, and whose latest novel Circe picks up on the witch who seduces Odysseus in the Odyssey. Miller said she was initially worried when one ex-boyfriend described her work as “Homeric fanfiction” but has since embraced her love of adapting and playing with Greek mythology. The tag could also be applied to classics such as Jean Rhys’s Wide Sargasso Sea, reworkings of Shakespeare by the likes of Margaret Atwood and Edward St Aubyn in the Hogarth series, and a spate of parodies: Pride and Prejudice and Zombies, or Android Karenina.

Others may find it odd that published authors would bother writing fanfiction alongside or between their professional work. But it’s all too simple to draw lines between two forms of writing that, in their separate ways, can be both productive and joyful. Neil Gaiman once wrote that the most important question an author can ask is: “What if?” Fanfiction takes this to the next level. What if King Arthur was gay? What if Voldemort won? What if Ned Stark escaped?

“I believe that all art, if it’s any good, is in dialogue with other art,” Novik says. “Fanfiction feels to me like a more intimate conversation. It’s a conversation where you need the reader to really have a lot of detail at their fingertips.”

For writers still wobbling on training wheels, fanfiction offers benefits: the immediate gratification of sharing writing without navigating publishers; passionate readers who are already interested in the characters, and a collegial stream of feedback from fellow writers.

“There was an audience of people who wanted to read my writing,” says young adult author Sarah Rees Brennan, who wrote Harry Potter fanfiction in her teens and twenties before she published her own novels, the latest of which, In Other Lands, was a Hugo award finalist. “Here were all these people online who wanted stories about familiar characters. Audiences were pre-invested and waiting.”

For writers, whether already published or on the path to being published, this instantaneous readership functions as a writer’s workshop: Novik calls it a “community of your peers”. Spending hours thrashing out the details of Draco Malfoy’s inner life can’t help but function as a crash course in character motivation. And the limits and constraints of working within a pre-existing world, with its own characters and settings, is a unique challenge.

“Fanfiction is a great incubator for writers,” Novik says. “The more constraints you have on you at the beginning, the better. It’s why people do writing exercises, or play scales. That kind of constraint forces you to practice certain skills, and then at a certain point you have the control to bring out the whole toolbox.”

Once some writers get those tools, they never look back. Rees Brennan no longer writes fanfiction. “I had a friend say it’s like the difference between babysitting kids and having children of your own,” she says. “With a world you built yourself, and characters you built, there’s this sense of deep, overwhelming love.”

But Rees Brennan is still a fan of collaborative writing and shared universes, as in the short stories she writes with Cassandra Clare about characters from Clare’s Mortal Instruments universe. “It’s amazing to gather around a kitchen table and yell at each other excitedly about what’s going to happen to mutually beloved characters,” she says. “I want that for every creative person – a chance to find their imaginative family, wherever it may be.”

Novik scorns the idea that published authors should turn their back on fanfiction. She recalls being on a panel where one member said he couldn’t understand why someone would waste their time writing it over an original work: “I said, ‘Have you ever played an instrument?’ He was like, ‘Yeah, I play piano’. I said, ‘So, do you compose all your own music?’”

“When I was first published, I deliberately went to my editors and said, ‘Yes, I’ve been writing fanfiction for 10 years. I love it.’ It was non-negotiable for me. As soon as you do that, by the way, it turns out that like half of the publishing industry has read or been involved in fanfiction,” she laughs. “Shockingly! It’s amazing how all these women who like storytelling have some connection to the community.”

For Novik and many other writers, fanfiction is a fundamental a way of expressing oneself, of teasing out new ideas and finding a joyous way to engage with writing again after the hard slog of editing a novel. The journey to become a published writer isn’t a straight line; it’s a spiral, as we grow older and continue to explore the characters and tropes we love. There’s so many stories waiting to be told – perhaps one or two of them could involve getting Captain America laid. God knows he needs it.

#creative writing #books #culture #fiction #fanfiction #The Guardian

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bitter-cosmos · 6 years

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After reading your Coco post and seeing what you had to say about Miguel actually acting like a kid (saw the film already, it was great), can you please list some examples of child characters that actually behave like children, as well as child characters that don't act their age? Asking because I have this big idea for a story which has three main protagonists that are kids.

hoo boy, that’s an interesting inquiry! here are some personal characters to list (from both animation and live-action); these are pretty good “kid characters that act like kids):Olivia (Great Mouse Detective)Hogarth (The Iron Giant)Greg and Wirt (Over the Garden Wall)Lilo (Lilo and Stitch)The Losers Club (IT 2017)Gosalyn (Darkwing Duck)The Brisby Children (Secret of NIMH) Gus and Rosie (Troll in Central Park)The main cast from Land Before TimeAnne-Marie (All Dogs Go To Heaven— Don Bluth movies in general tend to have believable little little kid characters)Russel (UP)Dash (The Incredibles)Fly, Stella, and Chuck (Help! I’m a Fish)The DigiDestined (Digimon season 1)Penny (The Rescuers)Madeline (1998 film)Chihiro (Spirited Away)Charlie Brown and friends (Peanuts)

And those are just to name a few. (If anyone’s got others in mind, tell me because I love kid characters!)

For many adults (especially working in visual fiction), writing kid characters can seem extremely difficult as they tend to lean more on the tropes of “naive little hyperactive person” and that’s basically it most of the time. Either that, or you get instances like Harry Potter and every anime in existence where the kids seem more like tiny 40 year old adults in the way they speak and act. It’s like a meter where one end is “over the top excited little moron” and the other is “literally just a middle-aged adult basically like what”.

Even before I got a job working around kids and teaching and stuff, it’s clear what can make kid characters separate from KID characters: understanding the maturity of their age (especially in our modern day) and remembering that… well… kids are NOT stupid. They are curious, but they are not stupid. And children also have PERSONALITIES. They have likes, they have dislikes, they have goals, they have interests, have flaws to their personalities, they have friends and enemies and love things and hate things and they can UNDERSTAND SCENARIOS THAT COULD SEEM INTENSE. They are capable of understanding when something is dangerous or scares them, just as they are able to understand things that bring them and the people around them lots of joy. They don’t see a dog get kicked then go “Mommyyyyyy? Why did the little fluffy butt fall down?” (or whatever). They are also able to grasp when something is too much for them when they were so sure they got the gist of things. They can change their minds, they can prioritize.

(And, from a kids’ guide to you: … kids… love… violence. NOT REAL VIOLENCE, but like, cartoon violence. They love seeing fighting and death in animated films and they love seeing bad guys DIE. It’s damn wild. A lot of kids also tend to enjoy seeing “scary” things in animated films because it allows them to feel challenged - of course, though, it’s not for all kids. And I’m talking 2nd grade to 5th grade here.) A lot of kids also tend to enjoy feeling “like adults” so they might often be caught showing off swear words (which is a tremendous no-no so like… try to tell them “Hey. We don’t say that.”)

I wish you luck with your project!!

PS: Kid Characters that DON’T act like kids (And no, this list doesn’t mean I dislike the characters; I just personally don’t think they act like believable kids):Steven (Steven Universe)Morty (Rick and Morty)Harry, Ron, Hermione (Harry Potter - years 1,2,3)animeDipper and Mabel (Gravity Falls)Star and Marco (Star vs The Forces Of Evil)Huey, Dewey, Louie, Webby (Ducktales 2017)Game of Thrones kids

- mod s

#hope you see this breh #Anonymous

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cestmanu · 7 years

Text

@softstaryu tagged me so i’m going to do it even tho i have 0.3 active followers rules: answer 20 questions and tag 20 people who you want to get to know better name/nickname: Emanuelle but like ew call me manu birth month: april height: 5'4 ethnicity: idk what this word means orientation: ??¿ good people fruit: uh favorite season: i like winter but only the part where there’s no school books: anything with gays in them flower: you know what i like roses scent: i like that middle of january, fresh snow outside, 7am, no winds, crisp air, air so cold you gotta nosebleed now, late for church smell,,, animal: i love cats so much like felines in general just mm 👌 beverage: i love water but not when it’s too cold that you can’t chug it down but also not too warm so it’s feels weird in your mouth like that in between water,,, also im very picky on what kinds of bottled water i drink ok not all water tastes the same sHUT UP hours of sleep: 5-14 it really just depends favorite fictional characters: Hogarth Hugh and Dean from The Iron Giant, pearl and blue diamond from su, bill from gravity falls number of blankets you sleep with: preferably 3-2 and 7 stuffed animals dream trip: honestly im not a vert big fan of travelling,, maybe like,,, the corner store down the street blog created: summer 2016?? number of followers: 29 and 5 porn blogs

im supposer to tag 20 people but i have no friends so like if somehow you see this go ahead and tag me idk

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puba24 · 8 months

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Did some emotions to try the design of grown up Hogarth :3

#the iron giant #hogarth hughes #grown up Hogarth #Hogarth in Gravity Falls #art #artists on tumblr #character design #emotions

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dearmonroeville · 7 years

Photo

Here's a meme thing. You're supposed to make a picture of yourself surrounded by characters you relate to. It took me forever to find eight characters in relate to and to make this, but I had a lot of fun with it. So thanks to @trina-of-doom for tagging me. The characters surrounding the totally accurate picture of me are: Luan Loud (The Loud House), Diamond (The Pokemon Adventures manga), Donatello (the Nickelodeon Ninja Turtles series), Panda (and his waifu pillow from We Bare Bears), Andy Dwyer (Parks and Recreation), Soos (Gravity Falls), Hogarth Hughes (The Iron Giant), and Shaggy (The Scooby-Doo movie since that's the Shaggy I relate to the most). I'm only tagging two people since I have very few mutuals and half of them have already been tagged in this. @somethin-or-other and @angeldustart. Give this a try if you want. Have some fun with it. Any of my other mutuals who wanna try this, just assume I tagged you.

#are you guys getting tired of these?#too bad #I think they're fun #tag meme #my face #my totally real face that definitely isn't a joke #not a picture of the dumpster from my old apartment on fire

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moretalk · 4 years

Text

“Feathers, Blood, Crowds, and Money (mostly added 1973)

["Poetry makes nothing happen," Auden says in his elegy of Yeats, "it survives in the valley of its saying . . . a way of happening, a mouth." The cockfight too, in this colloquial sense, makes nothing happen. Men go on allegorically humiliating one another and being allegorically humiliated by one another, day after day, glorying quietly in the experience if they have triumphed, crushed only slightly more openly by it if they have not. But no one's status really changes. You cannot ascend the status ladder by winning cockfights; you cannot, as an individual, really ascend it at all. Nor can you descend it that way.28 All you can do is enjoy and savor, or suffer and withstand, the concocted sensation of drastic and momentary movement along an aesthetic semblance of that ladder, a kind of behind-the-mirror status jump which has the look of mobility without its actuality.

Like any art form--for that, finally, is what we are dealing with-the cockfight renders ordinary, everyday experience comprehensible by presenting it in terms of acts and objects which have had their practical consequences removed and been reduced (or, if you prefer, raised) to the level of sheer appearances, where their meaning can be more powerfully articulated and more exactly perceived. The cockfight is "really real" only to the cocks--it does not kill anyone, castrate anyone, reduce anyone to animal status, alter the hierarchical relations among people, or refashion the hierarchy; it does not even redistribute income in any significant way. What it does is what, for other peoples with other temperaments and other conventions, Lear and Crime and Punishment do; it catches up these themes--death, masculinity, rage, pride, loss, beneficence, chance--and, ordering them into an encompassing structure, presents them in such a way as to throw into relief a particular view of their essential nature. It puts a construction on them, makes them, to those historically positioned to appreciate the construction, meaningful --visible, tangible, graspable--"real," in an ideational sense. An image, fiction, a model, a metaphor, the cockfight is a means of expression; its function is neither to assuage social passions nor to heighten them (though, in its playing-with-fire way it does a bit of both), but, in a medium of feathers, blood, crowds, and money, to display them.

The question of how it is that we perceive qualities in things-paintings, books, melodies, plays--that we do not feel we can assert literally to be there has come, in recent years, into the very center of aesthetic theory.29 Neither the sentiments of the artist, which remain his, nor those of the audience, which remain theirs, can account for the agitation of one painting or the serenity of another. We attribute grandeur, wit, despair, exuberance to strings of sounds; lightness, energy, violence, fluidity to blocks of stone. Novels are said to have strength, buildings eloquence, plays momentum, ballets repose. In this realm of eccentric predicates, to say that the cockfight, in its perfected cases at least, is "disquietful" does not seem at all unnatural, merely, as I have just denied it practical consequence, somewhat puzzling.

The disquietfulness arises, "somehow," out of a conjunction of three attributes of the fight: its immediate dramatic shape; its metaphoric content; and its social context. A cultural figure against a social ground, the fight is at once a convulsive surge of animal hatred, a mock war of symbolical selves, and a formal simulation of status tensions, and its aesthetic power derives from its capacity to force together these diverse realities. The reason it is disquietful is not that it has material effects (it has some, but they are minor); the reason that it is disquietful is that, joining pride to selfhood, selfhood to cocks, and cocks to destruction, it brings to imaginative realization a dimension of Balinese experience normally well-obscured from view. The transfer of a sense of gravity into what is in itself a rather blank and unvarious spectacle, a commotion of beating wings and throbbing legs, is effected by interpreting it as expressive of something unsettling in the way its authors and audience live, or, even more ominously, what they are.

As a dramatic shape, the fight displays a characteristic that does not seem so remarkable until one realizes that it does not have to be there: a radically atomistical structure.30 Each match is a world unto itself, a particulate burst of form. There is the matchmaking, there is the betting, there is the fight, there is the result--utter triumph and utter defeat--and there is the hurried, embarrassed passing of money. The loser is not consoled. People drift away from him, look around him, leave him to assimilate his momentary descent into nonbeing, reset his face, and return, scarless and intact, to the fray. Nor are winners congratulated, or events rehashed; once a match is ended the crowd's attention turns totally to the next, with no looking back. A shadow of the experience no doubt remains with the principals, perhaps even with some of the witnesses of a deep fight, as it remains with us when we leave the theater after seeing a powerful play well-performed; but it quite soon fades to become at most a schematic memory--a diffuse glow or an abstract shudder--and usually not even that. Any expressive form lives only in its own present--the one it itself creates. But, here, that present is severed into a string of flashes, some more bright than others, but all of them disconnected, aesthetic quanta. Whatever the cockfight says, it says in spurts.

But, as I have argued lengthily elsewhere, the Balinese live in spurts.31 Their life, as they arrange it and perceive it, is less a flow, a directional movement out of the past, through the present, toward the future than an on-off pulsation of meaning and vacuity, an arhythmic alternation of short periods when "something" (that is, something significant) is happening, and equally short ones where "nothing" (that is, nothing much) is--between what they themselves call "full" and "empty" times, or, in another idiom, "junctures" and "holes." In focusing activity down to a burning-glass dot, the cockfight is merely being Balinese in the same way in which everything from the monadic encounters of everyday life, through the clanging pointillism of gamelan music, to the visiting-day-of-the-gods temple celebrations are. It is not an imitation of the punctuateness of Balinese social life, nor a depiction of it, nor even an expression of it; it is an example of it, carefully prepared.32

If one dimension of the cockfight's structure, its lack of temporal directionality, makes it seem a typical segment of the general social life, however, the other, its flat-out, head-to-head (or spur-to-spur) aggressiveness, makes it seem a contradiction, a reversal, even a subversion of it. In the normal course of things, the Balinese are shy to the point of obsessiveness of open conflict. Oblique, cautious, subdued, controlled, masters of indirection and dissimulation--what they call alus, "polished," "smooth"--they rarely face what they can turn away from, rarely resist what they can evade. But here they portray themselves as wild and murderous, with manic explosions of instinctual cruelty. A powerful rendering of life as the Balinese most deeply do not want it (to adapt a phrase Frye has used of Gloucester's blinding) is set in the context of a sample of it as they do in fact have it.33 And, because the context suggests that the rendering, if less than a straightforward description, is nonetheless more than an idle fancy; it is here that the disquietfulness--the disquietfulness of the fight, not (or, anyway, not necessarily) its patrons, who seem in fact rather thoroughly to enjoy it --emerges. The slaughter in the cock ring is not a depiction of how things literally are among men, but, what is almost worse, of how, from a particular angle, they imaginatively are.34

The angle, of course, is stratificatory. What, as we have already seen, the cockfight talks most forcibly about is status relationships, and what it says about them is that they are matters of life and death. That prestige is a profoundly serious business is apparent everywhere one looks in Bali--in the village, the family, the economy, the state. A peculiar fusion of Polynesian title ranks and Hindu castes, the hierarchy of pride is the moral backbone of the society. But only in the cockfight are the sentiments upon which that hierarchy rests revealed in their natural colors. Enveloped elsewhere in a haze of etiquette, a thick cloud of euphemism and ceremony, gesture and allusion, they are here expressed in only the thinnest disguise of an animal mask, a mask which in fact demonstrates them far more effectively than it conceals them. Jealousy is as much a part of Bali as poise, envy as grace, brutality as charm; but without the cockfight the Balinese would have a much less certain understanding of them, which is, presumably, why they value it so highly.

Any expressive form works (when it works) by disarranging semantic contexts in such a way that properties conventionally ascribed to certain things are unconventionally ascribed to others, which are then seen actually to possess them. To call the wind a cripple, as Stevens does, to fix tone and manipulate timbre, as Schoenberg does, or, closer to our case, to picture an art critic as a dissolute bear, as Hogarth does, is to cross conceptual wires; the established conjunctions between objects and their qualities are altered, and phenomena--fall weather, melodic shape, or cultural journalism--are clothed in signifiers which normally point to other referents. 35 Similarly, to connect--and connect, and connect--the collision of roosters with the divisiveness of status is to invite a transfer of perceptions from the former to the latter, a transfer which is at once a description and a judgment. (Logically, the transfer could, of course, as well go the other way; but, like most of the rest of us, the Balinese are a great deal more interested in understanding men than they are in understanding cocks.]

What sets the cockfight apart from the ordinary course of life, lifts it from the realm of everyday practical affairs, and surrounds it with an aura of enlarged importance is not, as functionalist sociology would have it, that it reinforces status discriminations [such reinforcement is hardly necessary in a society where every act proclaims them), but that it provides a metasocial commentary upon the whole matter of assorting human beings into fixed hierarchical ranks and then organizing the major part of collective existence around that assortment. Its function, if you want to call it that, is interpretive: it is a Balinese reading of Balinese experience, a story they tell themselves about themselves.]

Saying Something of Something

(Added 1973)

[To put the matter this way is to engage in a bit of metaphorical refocusing of one's own, for it shifts the analysis of cultural forms from an endeavor in general parallel to dissecting an organism, diagnosing a symptom, deciphering a code, or ordering a system--the dominant analogies in contemporary anthropology--to one in general parallel with penetrating a literary text. If one takes the cockfight, or any other collectively sustained symbolic structure, as a means of "saying something of something" (to invoke a famous Aristotelian tag), then one is faced with a problem not in social mechanics but social semantics.36 For the anthropologist, whose concern is with formulating sociological principles, not with promoting or appreciating cockfights, the question is, what does one learn about such principles from examining culture as an assemblage of texts?

Such an extension of the notion of a text beyond written material, and even beyond verbal, is, though metaphorical, not, of course, all that novel. The interpretatio naturae tradition of the middle ages, which, culminating in Spinoza, attempted to read nature as Scripture, the Nietzschean effort to treat value systems as glosses on the will to power (or the Marxian one to treat them as glosses on property relations), and the Freudian replacement of the enigmatic text of the manifest dream with the plain one of the latent, all offer precedents, if not equally recommendable ones.37 But the idea remains theoretically undeveloped; and the more profound corollary, so far as anthropology is concerned, that cultural forms can be treated as texts, as imaginative works built out of social materials, has yet to be systematically exploited.38

In the case at hand, to treat the cockfight as a text is to bring out a feature of it (in my opinion, the central feature of it) that treating it as a rite or a pastime, the two most obvious alternatives, would tend to obscure: its use of emotion for cognitive ends. What the cockfight says it says in a vocabulary of sentiment--the thrill of risk, the despair of loss, the pleasure of triumph. Yet what it says is not merely that risk is exciting, loss depressing, or triumph gratifying, banal tautologies of affect, but that it is of these emotions, thus exampled, that society is built and individuals are put together. Attending cockfights and participating in them is, for the Balinese, a kind of sentimental education. What he learns there is what his culture's ethos and his private sensibility (or, anyway, certain aspects of them) look like when spelled out externally in a collective text; that the two are near enough alike to be articulated in the symbolics of a single such text; and--the disquieting part--that the text in which this revelation is accomplished consists of a chicken hacking another mindlessly to bits.

Every people, the proverb has it, loves its own form of violence. The cockfight is the Balinese reflection on theirs: on its look, its uses, its force, its fascination. Drawing on almost every level of Balinese experience, it brings together themes--animal savagery, male narcissism, opponent gambling, status rivalry, mass excitement, blood sacrifice--whose main connection is their involvement with rage and the fear of rage, and, binding them into a set of rules which at once contains them and allows them play, builds a symbolic structure in which, over and over again, the reality of their inner affiliation can be intelligibly felt. If, to quote Northrop Frye again, we go to see Macbeth to learn what a man feels like after he has gained a kingdom and lost his soul, Balinese go to cockfights to find out what a man, usually composed, aloof, almost obsessively self-absorbed, a kind of moral autocosm, feels like when, attacked, tormented, challenged, insulted, and driven in result to the extremes of fury, he has totally triumphed or been brought totally low. The whole passage, as it takes us back to Aristotle (though to the Poetics rather than the Hermeneutics), is worth quotation:

But the poet [as opposed to the historian]. Aristotle says, never makes any real statements at all. certainly no particular or specific ones. The poet's job is not to tell you what happened, but what happens: not what did take place, but the kind of thing that always does take place. He gives you the typical, recurring, or what Aristotle calls universal event. You wouldn't go to Macbeth to learn about the history of Scotland--you go to it to learn what a man feels like after he's gained a kingdom and lost his soul. When you meet such a character as Micawber in Dickens, you don't feel that there must have been a man Dickens knew who was exactly like this: you feel that there's a bit of Micawber in almost everybody you know, including yourself. Our impressions of human life are picked up one by one, and remain for most of us loose and disorganized. But we constantly find things in literature that suddenly coordinate and bring into focus a great many such impressions, and this is part of what Aristotle means by the typical or universal human event.39

It is this kind of bringing of assorted experiences of everyday life to focus that the cockfight, set aside from that life as "only a game" and reconnected to it as "more than a game," accomplishes, and so creates what, better than typical or universal, could be called a paradigmatic human event--that is, one that tells us less what happens than the kind of thing that would happen if, as is not the case, life were art and could be as freely shaped by styles of feeling as Macbeth and David Copperfield are.

Enacted and re-enacted, so far without end, the cockfight enables the Balinese, as, read and reread, Macbeth enables us, to see a dimension of his own subjectivity. As he watches fight after fight, with the active watching of an owner and a bettor (for cockfighting has no more interest as a pure spectator sport than does croquet or dog racing), he grows familiar with it and what it has to say to him, much as the attentive listener to string quartets or the absorbed viewer of still life grows slowly more familiar with them in a way which opens his subjectivity to himself.40

Yet, because--in another of those paradoxes, along with painted feelings and unconsequenced acts, which haunt aesthetics--that subjectivity does not property exist until it is thus organized, art forms generate and regenerate the very subjectivity they pretend only to display. Quartets, still lifes, and cockfights are not merely reflections of a pre-existing sensibility analogically represented; they are positive agents in the creation and maintenance of such a sensibility. If we see ourselves as a pack of Micawbers, it is from reading too much Dickens (if we see ourselves as unillusioned realists, it is from reading too little); and similarly for Balinese, cocks, and cockfights. It is in such a way, coloring experience with the light they cast it in, rather than through whatever material effects they may have, that the arts play their role, as arts, in social life.41

In the cockfight, then, the Balinese forms and discovers his temperament and his society's temper at the same time. Or, more exactly, he forms and discovers a particular facet of them. Not only are there a great many other cultural texts providing commentaries on status hierarchy and self-regard in Bali, but there are a great many other critical sectors of Balinese life besides the stratificatory and the agonistic that receive such commentary. The ceremony consecrating a Brahmana priest, a matter of breath control, postural immobility, and vacant concentration upon the depths of being, displays a radically different, but to the Balinese equally real, property of social hierarchy--its reach toward the numinous transcendent. Set not in the matrix of the kinetic emotionality of animals, but in that of the static passionlessness of divine mentality, it expresses tranquillity not disquiet. The mass festivals at the village temples, which mobilize the whole local population in elaborate hostings of visiting gods--songs, dances, compliments, gifts --assert the spiritual unity of village mates against their status inequality and project a mood of amity and trust.42 The cockfight is not the master key to Balinese life, any more than bullfighting is to Spanish. What it says about that life is not unqualified nor even unchallenged by what other equally eloquent cultural statements say about it. But there is nothing more surprising in this than in the fact that Racine and MoliËre were contemporaries, or that the same people who arrange chrysanthemums cast swords.43

The culture of a people is an ensemble of texts, themselves ensembles, which the anthropologist strains to read over the shoulders of those to whom they properly belong. There are enormous difficulties in such an enterprise, methodological pitfalls to make a Freudian quake, and some moral perplexities as well. Nor is it the only way that symbolic forms can be sociologically handled. Functionalism lives, and so does psychologism. But to regard such forms as "saying something of something," and saying it to somebody, is at least to open up the possibility of an analysis which attends to their substance rather than to reductive formulas professing to account for them.

As in more familiar exercises in close reading, one can start anywhere in a culture's repertoire of forms and end up anywhere else. One can stay, as I have here, within a single, more or less bounded form, and circle steadily within it. One can move between forms in search of broader unities or informing contrasts. One can even compare forms from different cultures to define their character in reciprocal relief. But whatever the level at which one operates, and however intricately, the guiding principle is the same: societies, like lives, contain their own interpretations. One has only to learn how to gain access to them.]

Conclusion

(= from the original text 1972)

What sets the cockfight apart from the ordinary course of life, lifts it from the realm of everyday practical affairs, and surrounds it with an aura of enlarged importance is not, as functionalist sociology would have it, that it reinforces status discriminations (such reinforcement is hardly necessary in a society where every act proclaims them), but that it provides a metasocial commentary upon the whole matter of assorting human beings into fixed hierarchical ranks and then organizing the major part of collective existence around that assortment. Its function, if you want to call it that, is interpretive: it is a Balinese reading of Balinese experience; a story they tell themselves about themselves.

What the cockfight says it says in a vocabulary of sentiment--the thrill of risk, the despair of loss, the pleasure of triumph. Yet what it says is not merely that risk is exciting, loss depressing, or triumph gratifying, banal tautologies of affect, but that it is of these emotions, thus exampled, that society is built and individuals put together. Attending cockfights and participating in them is, for the Balinese, a kind of sentimental education. What he learns there is what his culture's ethos and his private sensibility (or, anyway, certain aspects of them) look like when spelled out externally in a collective text; that the two are near enough alike to be articulated in the symbolics of a single such text; and--the disquieting part--that the text in which this revelation is accomplished consists of a chicken hacking another mindlessly to bits.

Every people, the proverb has it, loves its own form of violence. The cockfight is the Balinese reflection on theirs: on its look, its uses, its force, its fascination. Drawing on almost every level of Balinese experience, it brings together themes--animal savagery, male narcissism, opponent gambling, status rivalry, mass excitement, blood sacrifice--whose main connection is their involvement with rage and the fear of rage, and, binding them into a set of rules which at once contains them and allows them play, builds a symbolic structure in which, over and over again, the reality of their inner affiliation can be intelligibly felt. If, to quote Northrop Frye again, we go to see Macbeth to learn what a man feels like after he has gained a kingdom and lost his soul, Balinese go to cockfights to find out what a man, usually composed, aloof, almost obsessively self-absorbed, a kind of moral autocosm, feels like when, attacked, tormented, challenged, insulted, and driven in result to the extremes of fury, he has totally triumphed or been brought totally low.” - http://hypergeertz.jku.at/GeertzTexts/Deep_Play.htm

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