#I think the physics are different there and 'magic' exists (really just magic to us because it's different physical laws)

[drbased]

ok I have to talk about 'the dialectic of sex' by shulamith firestone because it was one of the first proper feminist books I read and I didn't have the confidence back then to address this book:

so this is still the only book I've read so far that actually uses the words 'radical feminist' - except her definition of this politics is essentially transhumanist luxury space communism. because her understanding is that the 'root' of women's oppression is our reproductive capacity and therefore no matter what happens society will never fully be able to share the burden of childbirth and child-rearing across both sexes.

this book feels so evocative of its time - like there was a small window of pure hope shortly after the invention of the pill and the hippy movement where everything entirely changed for women. like, think about it: up until that point unless you use some sort of condom (which men don't like using - and also not 100% effective anyway) you're basically always vulnerable to being impregnated by a man during piv, which is considered the basic form of sexual intimacy wth men, which women are expected to engage in to be considered full members of society. so women would have all been in some sort of constant state of low-key fear; one sex - or rape - away from having a child that would change their entire existence. that's got to really fuck you up, especially your relationship with your own body. and you could get an abortion but only if you're incredibly lucky, and still getting an abortion is probably more like surviving a car crash than anything - like you're glad you made it through but also you're still damaged psychologically and probably physically as well. and it's such a silent fear as well - because women are supposed to want babies and babies just happen so you're not allowed to complain that this is because your husband always wants sex and he's the one who impregnates you but if he does people say 'she got herself pregnant again'. like there's layer upon layer of psychological terrorism surrounding men's impregnation of women and that's gotta mess you the hell up.

so the invention of the pill - holy shit, just imagine it. the hope. you can take the pill in secret, you can take the power back, you're not uniquely vulnerable to your own bodily forces anymore, that gives you time to fucking think, to be alive, to feel, to feel vulnerable, to feel free. it's like literal magic. if the most basic of happenings - pregnancy - can be actually prevented, then what else can we do to the body? what else can science do for us?? how more free can we get?? It's women's first time to (ironically) feel like a god, able to transcend the body. I'm actually surprised that I've not found more writings like shulamith's - that there weren't more women spurred on by this amazing discovery into further transhumanism. I guess the problem was that women were starting to notice that whilst women were able to change their own individual lives with the pill, that wasn't making men behave any differently.

but I still find it fascinating how this definition of radical feminism hasn't survived at all. as it stands on radblr, the 'root' of women's oppression is men, and therefore the only real solution is separatism. but like, what happened to the brand of feminism that says, uhhhh isn't it actually kinda fucked up that half the human race are burdened entirely with pregnancy, birth and child-rearing? and could we maybe be freed from that if we used science to bring about children another way? I'm not even agreeing with her that that would solve everything (because regardless even if we *could* make babies in a tube, that doesn't mean all women are going to magically become infertile, and it certainly doesn't mean than men are going to be less violent against us), but I'm very interested in questioning what the 'root' of women's oppression is - because modern 'radical feminism' has a lot of gaps to allow for a simplistic narrative that I'm sure many in the community, definitely myself included, are rapidly tiring of. and I think it shows in the separatism debate, which rages on because no one can think of any other solution, because the unspoken tenet is that what the 'root' is is solved and agreed-upon, and therefore the answer is just so damn obvious that the women who don't agree must be scared and stupid. I've been wanting to address this in some form or another for years now, and I guess I'm dipping my toes in it now.

at the very least, I'd like to know if someone has a good source on where the term 'radical feminism' came from and how its meaning has evolved over the years. in ariel levy's 'female chauvinist pigs' she touches on this debate that started in the late seventies that led to the fracturing of feminism and the creation of liberal feminism - and it seems to be along these same lines of separatism vs fucking men. I've always found it odd that there's essentially no middle ground here - like you don't need to embrace 'sluttiness' in order to want to have a healthy sexual relationship with a man, but it seems the liberal feminist side chose that, meanwhile the only other 'mainstream' option seems to be separatism. obviously a lot of the women in radblr don't actually fully agree with that - but all us hetties are suspiciously silent on that subject.

to me the issues with separatism go further than simply sex with men - sure it's psychologically good for you to only purchase from women owned businesses and only read books by women etc etc, and it financially uplifts other women. but also we live under capitalism, which obscures our reliance on each other. when you buy from that woman-owned business, the person delivering your package is likely to be male, the person who assembled the vehicle he drives is likely to be male, the person who constructed the roads he drives on is likely to be male. this is not to say that men are vital - but rather, your 'separatist choice' is a fundamentally capitalistic one that exists more for your peace of mind than being anything actually radical - as in, nothing about the 'root' of women's oppression is addressed in doing so. there's no ethical consumption under capitalism yadda yadda. and only speaking to women irl is also less of a capitalist action but still ultimately an individual one. there's so much emphasis on personal actions as the height of feminism and it screams liberal individualist to me. like you took 'the personal is political' and ran with it.

but if the root of the problem is men, then that's simple, isn't it? just don't interact with men. don't have sex with men. don't pay men, apart from the men who happen to be an inescapable part of the supply chain, they will inevitably get paid by your actions anyway, but you don't have to think about that because that's what capitalism does: it makes you think you have this magical power as an indvidual to make real radical choice in the world, to 'vote with your dollar'.

I'm not exactly calling for firebombing a walmart but I'm bored with the capitalism-loving individualistic liberalism of what this community calls 'radical feminism' - but that same thought-terminating cliche keeps getting thrown at us: 'we're radical, which means we grasp at the root, and the root is male violence, so you can't call yourself a radical feminist if you don't want to do the basic things of not wearing make-up and not fucking men'. and nobody ever seems to stop and question, does any of that actually address the root of our oppression? capitalism isn't the only economic system that has ever oppressed women, but it's the one we live under, and it's very good at sneaking into the backdrop of our lives and naturalising hierarchies - capitalism becomes its own justification, e.g. women choose low-paying jobs just because that's what we gravitate to, yanno?

being genuinely anti-capitalist recomplicates politics all over again, because suddenly it's not an easy men vs women but also men vs women vs rich people, some of whom are women??? and like, what's the solution to that? do we stand with men agains the capitalist system and risk our voices getting silenced, or do we go full single-issue and just go fuck it, capitalism was created by men for themselves like solanas said, so if we stand against men then idk capitalism will just sort of fall by itself? or in reality it's just not addressed at all. separatism itself always sits there as a thought-terminating cliche in and of itself - an accusation ready to be levelled at anyone who wants to question any of these unspoken tenets of radblr. and the goal-post is ever-shifting - separatism is women's land, but if you say that's not a real solution in our capitalist interconnected world then you get accused of not wanting women's spaces because that's obviously what separatism has been about this whole time. also separatism is not fucking men, actually it's not about that it's about prioritising women (vague), and on and on and on - the argument always shifts so the word stays pure. but like, is separatism an end-goal? a political tactic? something you do to enrich your own life and psyche? something to give space for consciousness-raising? I saw someone ages ago claim that the suffragettes wanting the right to vote was somehow separatist because idk, the women were making spaces for themselves? but wanting to involve yourself in male politics is literally assimilationist, no??

I'lm going to stop rambling for now but this was good to get my thoughts out there - I enjoy my theorising in this space but I'm also deeply interested in questioning. I've noticed time and time again that discourse is always stopped by 'you're not a real radical feminist if you do/don't do x' and I've found it really odd and telling that no one's questioned that? like sure I know we've built our whole political framework on 'words mean things' but also it's always worth questioning the definition of 'radical' and what the 'root' of our oppression is, and what we can actually do to address it, and if our narratives and assumptions are too simplistic. the community would be all the better for it imho. I already think the influx of 'tirfs' in the community and the khelif debate has been opening up these unspoken simplistic narratives on the nature of gender vs sex, of socialisation vs low-key biological essentialism, and I think we can push that kind of questioning even further. ramble over.

[pseud0knots]

marvel.com slash contact

[communistcephalopod]

🌊 lugias-sopping-anus

Can't stand how people will learn that humans are related to Pokemon and somehow come to the conclusion that different people are different types. That's not how this works. That's not how any of this works.

🍑 pechaberrysoda

there are literally so many fighting type people what are you even talking about lmao

🌊 lugias-sopping-anus

Your genetic make up doesn't just magically change type because you took a karate class. Do you also think your Charizard is a Grass type now because it learnt Solar Beam?

✨ ace-trainer-luna

But aren't Psychic type people a thing? Some humans have telekinetic powers, I'm pretty sure there are a few gym leaders who have them. There are even rare cases of children born with psychic abilities.

🌸 cynthiasfuturewife

that's still just learning moves

🌌 mistyterrain

As an actual Psychic type, this post is really disheartening to see. The fact that people who still refuse to acknowledge the existence of psychics are so common is just shocking. We exist!

☣ deathtounova

no one's refusing to acknowledge the existence of shit, you just don't know how types work

🌌 mistyterrain

The sheer ignorance on display here, it's obvious you're just mad you're a normal type lol.

☣ deathtounova

how bout i karate chop your ass and we'll see how "not very effective" it is

🌌 mistyterrain

Typical physical attacker brutishness, resorting to violence as usual

🦧 return-to-mankey

didn't you claim you manifested the kyogre disaster in hoenn?

⚡ electrictypesfuckyeah

WHAT

🥀 cradilyzone

Actual professor here! Genetically, all humans are Normal types, though some of our relatively recent ancestors were Psychic. Part of what let us succeed as a species was reutilizing the brain power originally used for psionics to language and tool use. We do still have some vestigial psychic power that can be trained, though it's quite weak compared to most Pokémon. As for those born with psychic powers, this is considered nowadays to be like an egg move, passed down from parent to child. And no, obviously learning Fighting moves doesn't make you a Fighting type, there is no way for a human to change their type.

🌔 hexmaniac

my grandma became a ghost type

🔶️ bigjiggly

I-

🔞 mega-miltank

What about swimmers though, they're water type, right?

📀 HM-69

did you even read the post

🪴 n-did-nothing_wrong

Are we all just ignoring OP's url?

🌊 lugias-sopping-anus

Team Plasma apologist blog, opinion discarded.

🛗 mostlymukposts

This post single handedly evolved my Porygon-2

[thebibliosphere]

I was just playing gotham knights again and noticed some passive dialog regarding Babs having a back brace, which is at least acknowledging that there was damage done, but I'm a little sad for the loss of some really cool disability representation. What are your feelings on her (and on a similar note Batman's) miraculous recovery from paralysis in DC?

I think Gotham Knights handled her disability fairly well, considering this is a universe where magic, nanobots, and puddles of evil green goo that can heal the dead exist. All things considered, it would have been very easy for them to either erase it entirely or just handwave and say, "She worked really hard and got better," as previous iterations of the canon have done.

Because she did work hard and get better, but the hard work is ongoing because they depict her issues as chronic.

She's got a limp (it's the most obvious in her Talon suit with no cape in the way), which means she can't rely on speed or high kicks like the others can (I mean, she can kick, but it's her slowest motion, and until you max out her suit, it's the most liable to get her thrown to the ground), so she falls back on precision and her tech.

Jason punches for maximum pain, Dick moves with dizzying speed, and Tim's gonna sneak up on you and drop you like a rock, but Babs is going for the pressure points with ruthless precision. Not to mention her drones.

The conversation with Tim, realizing she might need help boosting her suit to compensate for her pain/strength issues, is a nice little way of making the player aware that she's got these ongoing problems because, honestly, a casual observer could mistake her back brace for athleisure wear if they didn't recognize the shape of it. It's also a good way of throwing in some exposition about how she's still going to physical rehab and that her PT would like her to "wean off" her back brace, but because her PT doesn't know her actual job as a vigilante, Barbara admits she can't and is essentially finding ways to manage her own care and create her own accommodations. Accommodations which they are all shown to be willing to help with.

It's a nice little touch when superhero narratives tend to revolve around self-sacrifice to the point of self-destruction. Alfred giving Dick into trouble for pushing himself too far and hiding injuries is a nice touch, too, even if it's like trying to bail water on the Titanic with a teacup.

I also like that not only do you see her wheelchair lurking around the Belfry—along with the disability adaptations they put in place, like the ramps, the wheelchair elevator, and the desks that move up and down to wheelchair height—but that she also still uses her chair from time to time.

[ID a screenshot from Gotham Knights showing the Belfry. Light streams in through a giant clockface, showcasing a bank of computer screens. In front of the screen, Barbara Gordon is using her wheelchair as Dick Grayson stands behind her, probably making a bad pun.]

Whether she's using it because she's tired or simply because it's more comfortable than the computer chair is never revealed. Nor is it brought up or commented on. It's just something that's normal for Barbara to do, and I like that. I like that it's normal. It's not a part of herself she's trying to erase. She works with it, not against it.

Is it perfect? No. Do they outright erase her disability like so many of the comics are guilty of? Also, no. I'd argue that, in fact, they kept her disability. They just changed the nature of it.

Barbara now has a dynamic disability, one which fluctuates and requires different management based on her day-to-day (or night) activity. She's in active treatment for it and will be for the rest of her life. Are some of the physical feats she achieves realistic for someone with an injury of her nature? Not really, but again, this is a world where nobody stays dead, and there are zombie assassins coming out of the walls. I'll take the attention to detail and care they put into her story any day over the "Willpower Fixed My Spine" narrative we could have gotten.

As for Bruce getting healed by magic, again, it's Batman. Comic book logic is wibbly-wobbly at the best of times, and realistically speaking, they couldn't leave Batman paralyzed. His whole deal revolves around being stealthy and punching the shit out of people. He wouldn't be Batman anymore, and frankly, I don't trust the comic writers as far as I could throw them to handle that right.

By contrast, the Gotham Knights writers handled Barbara with much more care and nuance than I ever expected. And I'm thankful for that.

---

*I also like that both Dick and Barbara are often shown wearing joint braces. Dick's are especially reminiscent of the way gymnasts and people with hypermobility tape their joints to reduce pain and prevent injuries. It's a nice little touch. They're not invincible. Their bodies hurt. They're just like me but with money and much bigger problems like giant killer robots and zombie assassins.

[cripplecharacters]

Does Your Scarred Character Have to Hate Themself?

[large text: Does Your Scarred Character Have to Hate Themself?]

(TLDR: no. literally no.)

A frequent topic that shows up around facial differences is the self-hatred, self-disgust, self-insert-negative-emotion that we must surely experience. I want to ask* writers without FDs - why? Why do you feel about us in such a way that that's the most common way of depicting us?

*- rhetorical question. I promise I know the answers, but I'm not sure if writers do.

It's frankly worrying to me. Is it really that common to assume that disabled people have this internal, never-ending hatred for themselves? The overwhelming majority of us don't. We hate inaccessibility, when people stare, or some symptoms when they get in the way, or how expensive being disabled is, but I find the concept of us being so completely disturbed by our own disabilities extremely strange. It’s “tragedy porn” intersecting “most basic ableism”.

“But trauma!”

[large text: “But trauma!”]

Trauma of what! People with facial differences don't have some sort of default trauma that we come with like it’s a factory setting. We are a group of people with tens of thousands of stories and experiences!

“Trauma of experiencing ableism/disfiguremisia” - that's better, at least this means something. If you're writing a story about this, please get a sensitivity reader with a facial difference. You can assume how we feel all you want, but in my experience these assumptions are often bizarre and unrealistic. Or just end up writing the same “disability so sad” sob story that everyone has seen a billion times. If you want to write about disfiguremisia, you need to understand the nuance and have more than just the basic level knowledge (which 99% of people don’t have either). If you can’t do that, don’t write about it. Simple as that.

“Trauma of the accident” - thankfully, the accident is an event and a facial difference is a disability. If you want to connect these two like they're one and the same, you're almost surely going to demonize disability. People with traumatic spinal cord injuries, acquired amputees, people with TBI, people with acquired facial differences - we participate in our communities, we have hobbies, we date, we play with our dogs. Disability isn't a death sentence. Media who make it feel like it is certainly don't help people who do suddenly become disabled, don't you think?

Here's a post by @blindbeta about blind characters becoming blind through trauma that’s better made than anything I could hope to write here. I heavily recommend giving it a read.

And, I can't stress this enough - most of us didn't have “the accident”, most of us are born like this! "Traumatic scars" isn't the only facial difference that exists, far from it, it's only one of thousands. It's 99% of our representation and "representation". If you want to make a character with FD - please consider that we aren't a monolith. Just like not all physical disabilities are "wheelchair user with paralysis", not all facial differences are "traumatic scar with somehow no nerve damage".

The overrepresentation of it is incredibly telling, and sometimes - or very frequently - feels like the writer doesn’t actually even want to deal with us. They want to use our disability as a way to cheap drama, moral metaphors, tragic backstories. Not to represent us as living people who are much more similar to you than you apparently think.

Now, I do have enough awareness to know that that's a big part of the appeal. “Horrific Thing #2456 happens” and boom, instant drama! Of course, it's a reasonable response that they would hide their disability for years, avoid talking about it in any way, and magically change their personality to be mean and reclusive, or at least be constantly soooo sad about how much it sucks to be disabled, right?

Do I really need to say that having your character becoming disabled be the worst thing ever is ableism 101? We have been talking about this for so long at this point. Writing about the process of adapting to a specific disability is better left to people who have actual experience in it.

To give an example that will hopefully resonate more with Tumblr users, I will use the fact that I'm also gay. It's not perfect by any means but probably much more familiar territory.

Imagine, let's say, a character. He's gay. The story he's in is supposedly progressive, certainly not trying to be homophobic. The character has experienced an incident, maybe an act of aggression or a hate crime, that happened because he’s gay, which was traumatic. Happens IRL, sure. So of course the character starts hating being gay. He talks about how gross and disgusting it is, he never lets anyone know that he could be “one of them”, certainly not take a stance against homophobia. You can't mention him without mentioning the accident, they're seemingly fused together. No gay love, joy, even basic happiness, he would actually choose to be straight in a heartbeat if given the option to and complains that he can't. This is shown as a neutral, obvious thing that a gay man would do, no one comments on it. He stays like this the whole time, unless there’s a plot twist in the last 10 pages where the world is now magically perfect ("we fixed discrimination, yay!"). This is the only LGBT character in the story.

Keep in mind that there are people similar to this in real life, living with extreme internalized homophobia.

Is this, in your opinion, realistic and thoughtful representation? How does it feel when written by a cishet writer, versus a gay writer who is recalling his experiences? Do you think that it's reasonable for the majority of media representation to be like this, or very close to it? How would it affect younger gay people who might already be uncomfortable with being queer? Are gay men the target audience, or are they not even considered as a group of people who read books? Is this helping or damaging the general public's idea of how it is to be gay? Why or why not?

The Masterpiece

[large text: The Masterpiece]

From 13 to 19 of May, we are celebrating Face Equality week (what a coincidence!). It’s important to me in general - and I wish it was more important to abled people, but I digress - especially its theme for this year.

“My Face is a Masterpiece”

Great statement, it represents the community well, I do enjoy how bold it is. Very cool stuff, I love the work our advocates are doing!

But why do I bring this up?

Well, to very non-subtly show that we aren’t a self-hating group of people. We are a community, a community saying “our faces are beautiful, look!”, we are saying “treat us equally, and do it now!”. Our activism isn’t about self-disgust. It’s about fighting your-disgust. 

Why can’t writers keep up? Why are you still stuck decades behind?

Is this the only reason I bring it up?

The Call to Celebration

[large text: The Call to Celebration]

FEI, the org behind organizing it, asks a very simple question (emphasis mine):

“Why do we so often see stories about facial difference as a ‘tragedy’, when they should be about triumph?” “Calling all artists, allies, creatives, galleries.  You can rewrite the story to bring about #FaceEquality and celebrate the unique artistry found in every face. Your participation this #FaceEqualityWeek will help to tell the real story, that there is a masterpiece in every face.”

Here. We are calling for you to stop. Directly from the biggest international advocacy alliance group that's out there. If you create, this is for you.

The last argument to not have your character with a facial difference hate themselves? Because we don’t want this. We are tired and frustrated. For me personally, I’m also offended by this kind of assumption. We aren’t tragedies or cheap entertainment for abled people to pity or be horrified by. We are people, and if you can’t internalize that, you have no reason to write about us.

For once, celebrate us. Happy Face Equality Week!

mod Sasza

[alcedeerie]

🪄 lingwizard Follow

Magilinguistics and magiconlinguistics are so underrated. The idea that the specific language and syntax used to cast a spell can alter the efficiency and flow of a spell is amazing; it’s honestly infuriating how many people, including many mages, think Latin is the only valid conjuring language even though glossolalia is a WELL-DOCUMENTED PHENOMENON. I use many other languages in various spells and it’s really fun. Would recommend.

🪶 featherspells Follow

YOU CAN DO THAT? YOU CAN TRANSLATE LATIN SPELLS INTO A DIFFERENT LANGUAGE AND THEY’LL WORK!?! EVEN YOUR NATIVE LANGUAGE?!

🌱 gandalfbignaturals Follow

Yeah, welcome to the club! Using your native language isn’t recommended for summoning forces from other realms, though. The portals tend to collapse if you do that.

🗝️ keytomychest Follow

Wait wait wait, I just consulted my familiar about this, is magiconlinguistics modifying or inventing an entire language to optimize your magic? Because that sounds like something both extremely commendable and also batshit insane.

🌳 druid-ruin Follow

Yeah, that’s basically exactly what it is. We’re surprisingly pretty chill. I mean, except for that one time where someone hyper-optimized Taikureiden Suomen Kieli V5 to create the first, and most dangerous, known instance of the Everything-Damage Fireball spell, but we usually don’t talk about that.

🪄 lingwizard Follow

Ah, Taikureiden Suomen Kieli, the most absolutely broken magilang to ever exist. Go Finland, give us more fucked-up spells!

🪶 featherspells Follow

wait, the Everything-Damage Fireball is REAL? I thought you guys were joking.

🌳 druid-ruin Follow

We WERE joking. ONCE.

🔥 icastfireball Follow

on one hand, this is really cool and all, but on the other hand, i'm scared of what this can do. However, on the secret third hand, i kinda wanna modify a language to make demonic creatures physically sick upon hearing it, cause i wanna do a little trolling.

🪄 lingwizard Follow

Grand Mage Amara Lightningchain coming up with the idea for the Volapük Silananazunik experiments be like:

🔥 icastfireball Follow

hold on let me look something up

🔥 icastfireball Follow

wh. what the fuck

[samara444]

everything i learnt during my break (ie all you need to know about manifesting)

hi guys, i took a months long break from tumblr. i used to be depressed, suicidal, constantly looking for results, having only failures, whining, being affected by the 3d every turn, crying almost everyday, to now not being affected by the 3d at ALLL, knowing my true power, and having it all easily conform in the 3d, i dont have anxiety/depression anymore and i feel so blessed, now i literally cry happy tears.

i used to be someone who used to spend my whole day on here, morning to night, looking for answers and the final "key" to manifesting/shifting, taking a break was much needed. here are the things i finally learned after so long.

dont be double minded // i would like to start by saying, see its a choice. we have 2 very distinct sides in this world, one full of lack, negativity, failures, sadness, losing, wishing, wanting....and the other of fulfillment, belief, positivity, determination, persisting, having, being, awareness etc. and whatever we choose, stick by it. i see so many people complaining and trying to say manif/shifting isnt real, and yes thats true FOR YOU in your reality. whatever you have choosen, a life of suffering or one of happiness through the law, please stick to it. if you want to say the law doesnt work, great, but if you have even a slight hope that its true and real, then give it a shot, and dont doubt, and with faith watch how it changes your life.

no circumstance can stop you // be it time, or the past, or trauma, every condition and circumstance only exist because we identify with it. the difference between a broke guy working a 9 to 5 that they hate, no purpose in life, debt and all relationships failing and a multimillionare, who doesnt have to work a single day in their life, life full of luxury and happiness, people who love them etc who probably doesnt even deserve their money but still gets to enjoy it, is simply their beliefs. believe better for yourself.

thinking from your desire and not of it // wishing and wanting and creating up fake scenarios is very different from knowing you HAVE your desire rn. the former is daydreaming, the latter is creation. you can waste years of your life thinking you're manifesting but its just us THINKING OFFF our desire. the results only show up when we HAVE right now. not to get, not to change the 3d but haveeee right now.

imagination is the only reality // we live in a multiverse, idc if people believe in that or not because its true for me, and every possible circumstance is possible and already created. already done. all our job is to HAVE it, and to CHOOSE to live in the state of having. and being fulfilled in our imagination instead of looking for in the 3d. if we look now we'll forever be looking, but when we close our eyes and know its done because our minds is the true consciousness, thats when it actually shows up.

stop manifesting with the intent of changing the 3d // physically trying to change the 3d is so hard, its so tiresome, its futile and useless, but being fulfilled and in the present moment, not worrying about the past or the future. just focusing on staying in the state of the wish fulfilled with our eyes closed is the key, dont worry about what you see with your eyes open. the 4d is the creator, the 3d will AUTOMATICALLY follow.

stop overconsuming/more techniques and enjoy life // you know already what you have to do. most of us know that living in the end means being the person who already has it. so does your dream ideal self do a million techniques trying to get? does you ideal self spend their whole day scrolling on tumblr looking for another technique? another magic affirmation? subliminal? post? that will fix it all? no. they enjoy their lives knowing its done. their wish is in the greatest hands and its all done. so really, stoppp STOP with the overconsumption, trust that you know everything that you are supposed to. everything is within you. stop searching for it outside.

i yap a lot. i love to write so dont blame me, but i wont make this post too long, my dms are always open for help/ or to make friends. ily guys, i feel so happy now being on tumblr, i used to read others success stories and now i have my own hehe so yes slay. bye

-love, sam <3

[aesethewitch]

Ghosts 101

Spirit work has always been the ultimate base of my spiritual and magical practices. Some of my earliest clear memories are of encounters with spirits, and I’ve always had a talent for sensing them. In a horror movie setting, I’d be that person who gets the weird feeling in the hallway right before all the doors slam shut at once, feeling the shift in the air before whatever ghoul’s around makes its mischief.

I mention this right out of the gate so that you, the reader, know that most of what I know about ghosts (and spirits in general) comes from personal experience. Not books, not videos, not other people’s work. There’s a lot of UPG in this little essay. Just keep that in mind as you read.

If there’s something you disagree with or have different experiences with, I’m not surprised! Everything in the realm of spirits, including ghosts, can really only be theorized about. Disagreeing opinions, experiences, and theories are very, very welcome. Drop ‘em in the replies, reblogs, or my inbox. Or, if you want, make a post of your own and tag me in it. I want to see them!

Anyways, with that lengthy UPG disclaimer out of the way, let’s get to the good stuff.

What is a Ghost?

I think it’s important to note, though kind of obvious, that ghosts are a sub-category of spirit. All ghosts are spirits, but not all spirits are ghosts. But what is a ghost, exactly?

As with most things, theories differ. In general, ghosts are thought to be… well, dead people. Some folks think that ghosts are the soul, essence, or spirit of a person who has died. Others believe that ghosts are just a fragment of a person’s spirit. But I’ve also seen theories stating that ghosts aren’t really ghosts, they’re echoes or imprints of human energy that once existed in a place.

Then, there are folks who think ghosts don’t exist at all. I can’t really blame them; empirical, repeatable proof of ghosts is tough to get in order to be satisfying in a scientific way. The only reason I personally believe in ghosts is because I’ve had several encounters that can’t otherwise be explained. Plus, for me, it goes hand-in-hand with other types of spirit work. Ghosts being real just makes sense with the framework I use to engage with the world.

So, obviously, there isn’t one single, concrete answer as to what a ghost is. We can only theorize.

My Theories

My personal theory aligns more or less with one of the more common theories. I think that ghosts are the lingering spirits of living beings who have died. Note I say living beings — some people think that only humans can become ghosts, but I think that any living thing can become one. In the case of plants and trees, ghosts behave somewhat differently than animals; but that’s a whole other conversation to be had. For the sake of this post, I plan on focusing mainly on human ghosts.

The way I understand it, ghosts are the whole, complete essence of a person that lingers in the physical realm for a time after their physical body no longer functions. I believe there are also energetic imprints — energy left over from the living, often (but not always) caused and fueled by strong emotions and lingering ties of memory in a place. These imprints can seem like a haunting, but the key difference is that they aren’t sentient. They may echo when you call, but they won’t give answers that are intelligent or timely according to questions asked or stimulus provided by the living. Sort of like recording a ringing bell; playing the bell’s chime back doesn’t ring the bell again. It just plays the sound it knows.

Now, death does funny things to the mind. Depending on the circumstances of the death, a ghost might have full awareness that they were alive, have died, and are now a ghost. I find this is most common for people who died of old age and long-term diseases: people who knew they were nearing the end, for one reason or another.

Ghosts formed from more sudden deaths, on the other hand, are likelier to not know what happened. They may figure it out given time, or they may never learn the truth. As with most other things dealing with individuals, the exact circumstances vary. No two ghosts are exactly the same. Some people don’t become ghosts at all, I’ve found! They simply move on.

Another important aspect of my theories on ghosts is that I think they fade. Unless they’re continually tied to a space, fed a steady supply of energy, and purposely kept in the physical realm, I believe that they can’t sustain a form here. Without a physical body to keep the spirit, soul, consciousness, or whatever we are, a ghost is gradually pulled into the more ethereal side of things. The astral plane, the other side, the afterlife, et cetera; I’m not sure, personally, where they end up. Maybe it depends on what they were attached to in life, maybe it doesn’t. Who knows!

I think this is where I draw the distinction between ghosts and ancestor spirits. “Ancestor spirits,” in my practice, aren’t individual people from my past. Rather, they’re a sort of collective consciousness made up of all the people who came before me who are connected to me through familial, cultural, and blood ties. I like to believe that ghosts become part of that collective when they fade out of the physical world. All this is to say, ghosts are just people who are dead. They won’t be around forever unless they’re bound and kept “fed.”

On Hauntings

The first half of the things everyone wants to know is: How do we know when a ghost is actually present? It’s a good question, one that’s hotly debated in ghost hunting circles. For the sake of argument, I think we need to define the word haunting first.

To be clear, a haunting isn’t just when a ghost is present. A ghost just passing through or lingering for a little while doesn’t necessarily make a haunting. That would be better described as a presence. A haunting, in my opinion, is a long-term, sustained presence of a ghost or imprint.

And the first step to dealing with a haunting is to determine whether the place you’re in is actually haunted. You don’t have to have super sensitive psychic powers to detect the presence of ghosts. Some folks might have an easier time of it than others, but anyone can learn how to discern when a ghost is hanging around.

It’s important to note that commonly-reported signs of ghost presences and hauntings are also symptoms of other issues like mold, electrical issues, pressure changes, carbon monoxide, stress and anxiety, noisy neighbors, animals outside or in the walls (including bugs), sleep apnea or insomnia, and more. It’s important to consider mundane reasons before leaping to magical, spiritual, or ghostly ones.

With that in mind, let’s say that you’ve ruled out all the mundane possibilities, and you’re still left wondering whether that place is capital-H Haunted. How can you tell?

In my experience, there are a few signs that will stick out:

Disembodied sounds, such as voices, knocking, and walking

A pervasive chill or prickling feeling, particularly on parts of the body that are covered

A feeling of being touched, poked, or prodded

Visual disturbances like mist or shadows

Sudden smells that can’t be explained, such as perfume, tobacco, or food

Batteries in things like phones and cameras draining very quickly

Now, note that even with these signs, a lot of these things can happen with spirits that aren’t ghosts. The only way to know for absolutely sure that you’re dealing with a ghost and not a mischievous, physical-realm-poking non-human spirit is to make contact and ask.

My fellow sensitive individuals may experience other signs during a haunting. Depending on where your abilities lie, you might experience stronger sensations or detect signs of a haunting earlier than others who haven’t trained these senses.

What Causes a Haunting?

It’s hard to say. Some people (particularly ghost hunters with big TV shows who need to make those viewer numbers go up) say that ghosts stick around because they’re pissed off or had some tragedy befall them in life. Trauma ties them to their surroundings, trapping them between life and death as a specter, or something like that.

Honestly, all that tells me is that these guys are trying to sell you something (their show). I’ve met maybe two ghosts that were like that, and they had extremely good reasons for it. That’s not to say there aren’t traumatized ghosts out there; just that they aren’t nearly as common or the only explanation for a haunting.

I’m personally not sure what causes some ghosts to linger over others. I think it does partly have to do with emotion, but it may also have to do with the amount of energy the person had left when they died. For example, the ghost of my great-aunt faded within a couple weeks after she died, because she was old, tired, and ready. On the other hand, the ghost of a guy I went to school with who died in an accident a few years ago is still lingering on the train tracks where it happened. It’s an extremely individual thing.

Another part of lingering ghosts and hauntings, I think, is interaction with the living. Without a physical body, the ghost has no native source of energy. Part of working with ghosts, for me, has been learning how to share energy (mine or from other sources) with ghosts to help them communicate, interact, and continue existing. When the energy runs out, they fade. With a steady supply of energy sources, a ghost could theoretically haunt a place indefinitely.

So, what causes a haunting? I don’t really know for sure! What causes a haunting to linger? A steady source of energy, I think.

Making Contact

So, you want to talk to a ghost. Cool! You’ve got a ton of options at your disposal.

There are the witch-typical methods of spirit communication, most of which would work fairly well for talking to ghosts. I’ve talked a little bit about spirit communication methods before in a more general sense, but I find that ghosts don’t always respond well to divination.

In my experience, simpler tools are better. Unless I knew for a fact that a person understood tarot in life, I would be unlikely to use it to talk to their ghost. Tools you can easily explain that provide clear answers would likely serve you best for most ghosts. My biggest suggestions are pendulums, which are easy for ghosts to understand and manipulate, and ouija boards. Yes, yes, I can hear the gasping and booing already.

Listen. Ouija boards are not evil. Ouija is a game. But talking boards really are good tools for talking to ghosts. Again, they’re easy to understand and manipulate. Plus, you can get really clear answers from a talking board if your ghost is chatty.

There are other tools that have been popularized by ghost hunters that may come in handy, too. Personally, I’ve had success with voice recorders catching EVP (electronic voice phenomena) and, on one notable occasion, a ghost box.

Honestly, I’ve had little use for tools like these outside of ghost hunting scenarios where we’re trying to prove ghosts’ existence in a scientific sense. Voice recorders catching wisps of voice in the background are super cool, and I definitely would suggest having one on hand when doing a ghost adventure. But they’re not great for in the moment communication, since you have to stop a recording to listen back to it and then react who knows how long later.

Where ghost boxes are concerned, I’ve only had the one opportunity to try it out. We were in a location I knew to be haunted thanks to previous visits, and it did seem to work okay. I’d like to try it again sometime to see if it was just a fluke or if it’s an actual, viable thing to use. With any tool commonly used in ghost hunting TV shows (or that’s otherwise Popular By Spectacle), I always approach with serious skepticism. Those shows are all about creating a reaction that can be captured; and when they don’t receive a response, they’re liable to make shit up for the cameras. It’s annoying, especially when a tool might really be useful but it’s shrouded in the very necessary skepticism around these shows.

Now, my personal go-to method to connect to ghosts is to just… talk to them. I don’t usually need to use any tools for it. But I’ve spent many, many, many years honing the skills needed to do this. It’s worth learning how to do if you plan on working with spirits, but it does take effort to get good at, even if you have an innate talent for it. If you can, take some time to develop a sense for spirits. Learn what spiritual presences feel like for you. You may not get immediate results at first, but the skill of sensing energy can apply across the board. And even if you get no “real” response, you can still talk to the ghosts.

When you go to communicate with a ghost, just remember that they’re still a person. They’re not a spectacle, though they are fascinating. Not all ghosts are going to want to talk to you. Not all ghosts are going to like you. Be respectful. Treat that ghost like you’d treat any stranger out in the wild. Don’t be an asshole.

On Mediumship

This is mostly just a brief note, since it’s an adjacent topic that I’ve gotten questions about before.

Not everyone who talks to or works with ghosts is a medium. A medium is a particular career or path that describes someone who acts as a connector between the living and the dead. I tend to think of mediums as the telephone in a conversation — relaying messages back and forth. I used to do medium work all the time. It’s an exhausting path that requires a lot of self-discipline and solid boundaries dealing with both the living and the dead. I don’t do it anymore, though I do still communicate and work with ghosts regularly.

Just keep in mind that you don’t have to take on the title or mantle of “medium” in order to talk to, work with, or research ghosts.

Ghostly Q&A

I received a handful of questions about ghosts in the run up to posting this; thank you everyone who sent in a question! If you’ve got a question and want my perspective on it, feel free to drop it in my inbox or in the replies/reblogs of this post.

From @moonmargaritas: “How do you tell the difference between nervousness at discerning the presence of a ghost (new practitioner who still gets jitters 🤙) and sensing actual hostile intent?”

This is a really great question! This is something I had to work through myself when I got started. And honestly, I still get jitters sometimes many years later! It can be scary, even when you’re used to it.

The biggest piece of advice I have is to learn how your body experiences nervousness or anxiety. Where does that sit in your body? What kind of feelings to you experience?

For me, nervousness is a sort of itchy tingling around my shoulders and tightness around my ribs. It also manifests as the feeling of being watched or observed too closely. It’s easy to misattribute those feelings to a ghost’s presence — tingling and feeling like something’s watching? Those are classic ghost interactions! But I know that’s what anxiety feels like. That’s how I feel when the lights go out too fast or I hear a branch snap in the distance.

Once you know, you can work past those feelings and focus on what’s actually happening with the ghost (or spirit). I think of it like knowing when someone’s mad at me. Are they mad, or am I just anxious? It’s the same idea.

And, as a note, ghosts with hostile intent are few and far between. I personally don’t think that most ghosts, even the nastiest ghosts, can actually hurt you; they don’t have the energy resources for it. The ones that do are obvious, and you won't really have to question their intentions. However, you can always work with the communication methods mentioned above to determine the ghost’s feelings and intents. If you’re worried about negative interactions, a bit of salt and rosemary in a little pouch placed in your pocket goes a long way for protection.

From anonymous: “What’s an unusual way people could use to communicate with spirits? Like an expected divination tool or something we should pay more attention to.”

Hmmmm! Honestly, I think that classic, actual call and response is underrated specifically when it comes to ghosts. Yeah, we’ve all seen the Ghost TV Guys call out for a knock or a word or whatever, but when they get a response, they wig out and don’t do anything with it. It’s annoying!! Because genuinely, saying “tap once for yes, twice for no” and asking questions is a really, really solid way to communicate with a ghost when you have no other tools that will work on hand. I’ve had ghosts lead me to important places and objects within houses doing this. I think more people should give it a try without falling prey to the over-the-top reaction of “DID YOU HEAR THAT?!”

From anonymous: What advice would you give someone dealing with a haunting?

For a run-of-the-mill, regular old haunting? Let it run its course. Most hauntings, when left alone, will fade. However, if you’re inclined to talk to the ghost(s), get them to leave quicker, or get them to be less intrusive in your life, there are a few things you could do.

To talk to them, choose a method of communication and try to reach out like I described above. Get to know them if you can, and set some ground rules. If they won’t (or can’t) communicate with you, and you really want them gone, I would probably recommend a gentle banishing ritual. Something that doesn’t scream “get out” so much as kindly say, “It’s time to move on.”

Or, if you don’t want the ghost gone, just a little quieter at night or out of your bedroom, you could set up wards or activity-dampeners around specific spaces. Choose ingredients and spells that protect against unwanted spirits or just unwanted activity. Keep it activated all day long or just at night while you’re trying to sleep.

Thanks for Reading!

Posts like this are usually put on my Ko-Fi as exclusives first, but since the questions in this one came from Tumblr, I decided to post it in both places at once! (:

With that said, if you did enjoy this post, consider throwing a couple dollars at my tip jar. Tips, commissions, and shop purchases get you 30 days of access to my entire backlog of exclusive posts and upcoming ones. Monthly members get continuous access plus extra benefits! All support helps me keep the lights on, so it's very much appreciated.

If you've got Ghost Questions, shoot 'em my way! My inbox is open.

[shmaba]

I’m going to assume that at this point you’ve all seen Critical Role’s new show Candela Obscura and at least skimmed through the Quickstart Guide (you have done all that riiiight??) So I wanted to compile all the things I’ve done that have been shown so far. Its long so read below the line!

I’m going to try to avoid spoilers. So feel free to read without worry. I’m also going to try and avoid breaking any NDA like a good professional. So I will not be doing some deep dive behind the scenes thing. Only visuals that have already been publicly shared are going to be on here

The very first thing I did on this show was the concepts for the main set. Everything is practical. Nothing is green screen or cg or whatever. Some people think it’s just good cg but nope that's all real. You could touch it! (don’t touch it, there are ghosts)

There were multiple iterations on the design, each with their own vibe and statement piece. CR narrowed it down to what you see in the show: a sort of storage hall with an odd clock contraption behind the GM. I think I called this design version the “Abyssal Hall” or something like that (I gave the different versions names to better keep track of which design was being discussed)

The company Flip This Bitch built the physical set. They turned my silly little art into a real thing. So they did all the actual magic of making this set come together in the end! They deserve a lot of the credit for it looking so good in the end.

Also that little piece of art in the bottom left of the preshow is a section from the final concept art of the set.

That contraption behind Matt is based on astrolabes and clocks. This isn’t really meant to be a literal astrolabe or a clock as we would use them in our world. Narratively this isn’t a device that measures either of the things that a traditional astrolabe or clock does. This is a special magickal tool that does a secret third thing.

Also I did concepts for the GM screen. You don't really see it besides in the fancy-shmancy preshow. There were a number of more intricate designs for it but CR went with the simpler option since the only part that would be visible on stream is the top, so that's where I put the most detail.

I should also note that I did not design the logo! It’s pretty prominent on the GM screen but I was supplied an already existing logo for this.

NEXT is the Taliesin enclosure set that you see in the trailer. This is actually meant to be like the lantern room on the top of a lighthouse, minus the big light beacon (You could say Taliesin is the beacon).

Also in the trailer you see a couple brief sketches I did for some world building concepts:

Speaking of sketches there are a number of art pieces of mine in the Quickstart guide

A lot of my art is sketches. They’re all meant to be like notes and drawings from members of Candela as they travel and notate their findings. Most of the notes on these sketches are my actually my notes when I was doing world building concepts, but they replaced my handwriting with a font because my handwriting sucks lmao (also likely for ease of future localization).

Also the cover of the Quickstart guide uses line art of a part of that astrolabe clock set piece. This line art was part of the deliverables that was sent over to Flip This Bitch for construction. They’re just using pieces of those set concepts everywhere!

As you can see I’ve done a lot of art for this project. I was part of this project when it was still early in development. It’s changed quite a bit from where we started. 

I wasn’t the only one that made all this art happen though. Other artists, writers, and designers got to add their own vision to this. It was very much a collaborative effort that took a long time to happen. It’s very exciting to see everyone’s hard work come to fruition and there is a lot more to come!

[weirdsht]

Platitude (Cliché pt. 2) - LoTCF & Venion Stan! Reader

notes: I didn't plan on making a pt. 2 but the idea has been haunting me even in my sleep. If you haven't read pt. 1 I recommend you do. Most of the context in this fic will be seen there.

tags: Reader will be referred to as Venion, Raon focused, mention of torture, mention of vomit, hints of eating disorder, angst (not really I think), hurt/comfort(?), hopeful ending

English isn’t my first language so there will be grammatical errors

Pls don't repost my work anywhere without my permission

Constructive criticisms and any kind of interaction are more than welcome

Requests are currently closed but my ask are still open (read navi)

Buy Me Dessert

Navigation Masterlist Cliché (pt. 1)

He is great and mighty.

The dragon believes– knows that he is great and mighty.

He has known it since his he hatched from his egg. Knows that his kind is the greatest existence to ever grace this world.

Despite all those things, he can’t show just how great and mighty he is. 

And it’s all because of these stupid chains that shackle him down. Chains that restrict his movement. Chokers that rendered him unable to speak and use magic.

It doesn’t make him any less great though. He’ll be even more great and mighty once he can use magic but he is plenty great and mighty now.

That’s what he tells himself every day. What he tells to comfort himself as this atrocious noble named Venion Stan tortures him. What gets him by day by day without giving up. Without succumbing to the pain.

Words that he whispers to himself might be words of comfort, but it is not unfounded. Even at merely 3 years old. Even without magic. He is still a majestic existence. 

For he still has his wits. 

Hence why he noticed that Venion Stan is unwilling in the things he does. At first, the black dragon thought someone else was ordering him and he had no choice but to follow. Perhaps someone like the Marquiss, his father.

“Sto– ugh!”

“Did you say anything, young master?”

“No. Something just got stuck in my throat.”

That was the moment the dragon decided to look at it from a different perspective. 

He was sure Venion Stan was about to say “stop”, but was unable to because an unknown force was physically stopping him.

After that day he decided to observe the noble’s actions. 

Slowly but surely he connected the dots. Saw the signs of unwillingness in his eyes. Noticed how he would deliberately twist his words to sound evil because something would stop him if he didn’t. Felt the way Venion would secretly care for him. 

Witnessed how his eyes died a little more every visit.

The baby dragon is the one being tortured. However, he can’t help but feel pity for his torturer. Venion Stan’s mental anguish is deep. So deep that those green eyes of his almost look black from how soulless they are.

Both of them are unwilling victims in this situation. 

Once the dragon realised this fact, his heart could let go of some of his hate a little. It’s not fully gone. It can never be fully gone until he gets his revenge. Because how dare lowly humans capture and torture someone great and mighty like him?

However…

He is not irrational. He knows how to give credit where it is due. 

And in this situation that credit mostly belongs to whoever is controlling Venion Stan’s body. That and he once overheard that a secret organization is responsible for capturing him.

The black dragon believes that they must be the ones to pay the price of his wrath. 

Which was why he has decided to look kindly upon Venion. 

Over the course of the year, they have spent together, the cell the black dragon lives in has become more comfortable. Pillows and other soft objects are placed everywhere. Warm lighting replaced the white, cold ones. His chains are not as heavy and even have soft fur in them. Sometimes, he can even eat delicious and filling meals.

His living conditions are great. Well, great for a prisoner at least.

The same thing can’t be said for his torturer.

Venion Stan looks like he's the one being tortured. And honestly, the dragon also thinks so. He has gotten skinnier. The bags under his eyes have gotten deeper, as well as the despair in his eyes.

His not even eating anymore. At first, the black dragon thought that it was just an excuse to give him the food.

“Young master, I’m sorry to interfere but you did not eat dinner. You also barely ate during breakfast. This lowly servant of yours urges you to eat more.”

Oh…

It wasn’t just an excuse to give him the food.

The black dragon had at least hope that Venion Stan was eating his fill. He needed it, with all the vomiting he does. It’s bad for him to not eat anything…

Bleurgh!

Speaking of vomiting. Another thing the dragon had noticed was how there seemed to be blood in his vomit nowadays. He hypothesises that it has something to do with the young noble pushing the unknown restrictions to make him more comfortable.

Drip. Drip. Drip.

“Young master! Are you okay!? I’ll go call for a healer!“

“No need. This is just from the heat outside.”

The black dragon observes as blood drips down from Venion’s nose. It happened almost immediately after he ordered his men to lessen their business in the back alleys.

Blood must be the payment whenever a restriction is violated. However, Venion Stan doesn’t seem to be aware of it. It looks like he truly thinks it’s just from the heat.

Luckily it doesn’t happen again.

The blood in his vomit was still there, but he didn’t have a nosebleed after that incident.

Not that the dragon cares of course. He just thinks that it will be a pity if Venion drops dead before he can get his revenge.

Venion Stan must stay alive until he can get his revenge.

“I promise after tonight everything will get better…”

The fool whispered in his ear one random night. He was merely resting his eyes but Venion must’ve thought he was asleep and begun whispering a bunch of nonsense in his ear.

But he lets it be.

He doesn’t know why, but his instincts are telling him to pretend to sleep and see what Venion will do.

It was silent for a few moments, but then he suddenly felt a soft hand stroking his head. The hand was skinny. Boney even. It wasn’t the ideal head pat. Nonetheless, the black dragon felt an odd sense of comfort as Venion stroked his head.

Plop

Plop

He felt two lone tears wet his horns. Tears that are full of suffering. The tears of someone who is carrying a different shackles than what the dragon does.

After that, like a dream, Venion Stan goes out of the cave.

When he opened his eyes again he could see servants removing the decorations that adored his cell. Turning it back to how it used to be; cold and uncomfortable.

For a moment the dragon thought Venion Stan was abandoning him.

The thought alone makes him feel a sense of dread. But he doesn’t know why. For surely, it can’t be because he has learned how to care for that cold-hearted bastard.

‘But he isn’t really cold-hearted…’

He pushes his thoughts away as this mysterious red-haired man carries him out of the cave. Showed him what the night sky looked like for the first time.

The mysterious man sets him free. He doesn’t try to keep him. Tells him to live his lie how he wants to.

And that’s exactly what he does.

He felt a sense of attachment to the man named Cale. So he follows him around. Hunts food for them to eat.

But that’s not the only thing he has been doing.

One night, for just one night a few days after his escape. He doesn’t follow Cale Henituse.

Instead, he follows Venion Stan.

It was easy to track him down. Both men are going to the capital after all. It merely took minutes for the toddler to find out where he was.

Honestly, he has no good reason why he would visit his torturer. Maybe it was curiosity. Maybe it was to ensure he didn’t drop dead before he got his revenge.

Nonetheless, the dragon visits Venion to see the terrible state he is in.

Terrible doesn’t justify the state Venion is in.

As the black dragon peeks at the windows he can see the blonde sitting straight in his bed. With nothing but a singular candle to accompany him in his large, and lavish room.

Venison Stan looks horrific. There’s nothing behind his green eyes. No emotions whatsoever. His eyes were green but they looked like black holes.

He looks like those creepy things On has told stories about. The ones possessed by ghosts and don’t know who they are anymore.

Yeah, that was it. 

Venison Stan looked like someone who has lost his sense of self.

He looks like a puppet waiting desperately for his strings to be cut off.

“One more year… Just one more year and everything will end… I have laid out everything. Have done everything I could.”

Venison Stan started muttering to himself.

“But why? Why must I suffer like this? Was I that bad in my past life?”

His voice was emotionless, yet the dragon could hear his despair loud and clear.

“I think I lived decently… I did, right? Maybe I thought it wrong? Maybe I was atrocious… Maybe I deserve this. Maybe I’m meant to not be able to have free will. Maybe the gods thought that giving me free will is a bad idea…”

Venion did not spill a single tear. But the dragon could tell he was weeping.

Unable to hear anymore, he flew back to where Cale and the others were.

That night he feels his heart become as heavy as the choker that used to chain him down.

“...It’s okay. I said it’s okay”

The black dragon mumbled to himself as Venion Stan walks by.

He may feel a sense of kinship with the noble but it does not erase the trauma he has experienced. Even if he knows it was traumatizing for Venion too.

But just like he couldn’t stop his shaking limbs when Venion approached them with that vicious look he had. He also can’t stop himself from checking how the blonde is doing.

‘He still eats so little… His dizzy, he grits his teeth like that whenever he feels dizzy from not eating enough.’

The emotions other people had mistaken for anger... only the black dragon could decipher what they truly mean.

Maybe time really brings a sense of familiarity.

But he keeps his mouth shut. Doesn’t tell anyone, not even Cale, of Venion’s real state.

Because he doesn’t care. He shouldn’t care.

He doesn’t care but he still checked on Venion during the terrorist attack. Makes sure that he is alive and in one piece. 

He doesn’t care but still thinks about him every night. Thinks about those mutterings he heard that night.

He doesn’t care but he hopes and prays that Venion has not dropped dead yet. Hopes that his eating as well as Raon is doing.

He doesn’t care, it’s all just part of his revenge. He must get the perfect revenge.

But the sweet, young dragon could only lie to himself for so long.

“Human…”

Raon spoke the night before they were supposed to kidnap Venion Stan.

“There’s something I haven’t told you about that bastard.”

Cale opens his ears as Raon spills everything. Listens to every word coming out of the toddler's mouth. 

And after all that Cale asks him.

“What do you want to do now?”

If he doesn’t want to proceed Cale wont force him. That’s what he likes the most about his human. Cale respects every decision he makes. Attentively listens to everything he has to say.

“I still want to kidnap him. But… I don’t want to torture him. He has already been tortured enough.”

Raon buries his head on Cale’s chest. He stops his tears from flowing.

“Human, his still suffering. Even after my chains got removed, his shackles remained.”

“Okay, we’ll do what you want.”

Cale doesn’t fully comprehend what he means but he respects his decisions. Raon knows that Cale doesn’t understand.

“You’ll understand what I mean once you see his eyes.”

That was the only thing he said to his human. He wanted Venion’s gaze to tell the rest of the tale.

Venison Stan did not disappoint.

He delivered exactly what Raon wanted to show everyone.

Showed everyone just how much melancholy his eyes held.

In fact, there’s so much anguish hidden behind those eyes of his that even Raon was shocked.

If Raon thought Venion’s state was terrible a year ago, he has no words to describe him now.

The man looks dead. No, he looks like his desperately waiting for death.

And it brings a sick feeling to Raon’s stomach.

“Do you have any questions left for him?”

Cale asks after the blonde man faints from coughing blood. He says no, his curiosity has been quenched. The answers he provided and the clear repercussions of his restriction satisfied Raon.

“Human ask him for Venion’s servant! The granny that wears her hair in a bun! She knows just how little that punk eats!”

“Tell him about how he can’t control his words and actions! Tell him about how doesn’t want to do most of the things his doing!”

“Human what sentence did Venion Stan get? Is he okay? You told them to not send him to prison right? You told them he didn’t have a choice right?”

“Human, are you busy? Can you call Taylor and ask him how Venion is doing?”

“Are we going anywhere this week? If not can we go visit the Stan territory?”

“Maybe if I bring him apple pies he’ll eat more?”

Raon doesn’t even know what his doing. He doesn’t realise just how much he is looking after his supposed torturer.

However, no one calls him out on it. They just indulge the child and let him do whatever he wants.

“Venion is inside that room young master. You can try to speak to him but it’s unlikely that he’ll respond… Are you sure you want to go in alone?”

Taylor Stan asks one more time and Cale just nodded in affirmation.

“If you need any assistance a servant will be waiting here.”

With that Taylor leaves leaving Cale to enter Venion’s room alone. Well, he and Raon but Taylor doesn’t know about the dragon’s existence.

“He also looked like this when I visited him that one night.”

As soon as the door closed, Raon turned off his invisibility and flew over to the bed where Venion was sitting up.

“But that time he looked more alive. He looked like he was looking forward to something. Turns out he was looking forward to his death but that it was still a better look than what he has right now.”

Cale clicks his tongue but Raon ignores him. Instead, he directed his words to Venion.

“That night, before the human got me out of that cave. I’m sure you remember it. Did you know that I heard what you told me that night?”

Raon feels like Venion is listening to him.

“You told me that after that night everything will get better. And it did, after that night everything did get better for me.”

The toddler placed his paw on top of Venion’s still hand.

“But what about you? Why did nothing get better for you after that night? Even now you’re still being tortured. You’re shackles are still holding you down even after you broke mine.”

Raon raised his shaking paws to hug the man. From the side, Cale merely observes, ready to step in when needed.

“Consider this as payment for patting my head that night.”

The black dragon feels a lone tear grace his head. He doesn’t say anything about it. He didn’t even raise his head to look at Venion.

They stayed like that for at least 2 minutes. At some point, Venion’s arms had also embraced Raon. His hold was weak and lifeless. Like when you force a teddy bear to encircle his arms around you. 

But it’s the best he can do right now, and Raon will take it.

“We have to go, but before we go I’ll leave you one of my apple pies.”

Raon places a lone apple pie on the nightstand.

“Beacrox made it! He makes delicious food! Maybe if you eat something that tastes good you’ll eat more! Next visit I’ll try to save some of the Crown Prince’s cookies for you to try!”

With that, Raon waved his hand goodbye after promising to visit again.

A few days after that meeting, Cale receives an update from Taylor Stan saying that his brother is eating a bit more now. He excitedly tells Cale how he's been eating the desserts Raon sends.

Cale smiles at the thought of Raon’s happy face once he hears how Venion Stan is slowly recovering.

And indeed Raon was elated at the news. He immediately urges Cale to go visit Venion again.

He may not be fond of the guy, but Cale smiles a little as his kid frantically packs a bunch of things to bring to the Stan territory.

[wandasreallover]

Threads of Resilience

Wandanat x reader

Warnings: i dont believe there is any?

The world was a tempest of chaos and uncertainty, a battlefield that stretched far beyond the physical realm. For many, every day was a struggle against the shadows of the unknown. But for you, there was a flicker of warmth amidst the coldness—the two women who had fought alongside you through countless trials: Wanda Maximoff and Natasha Romanoff.

You didn’t know when you had fallen for them, or even how it had happened. Perhaps it was the way Wanda shifted the winds with her mind, weaving reality into existence with a mere thought. Or maybe it was Natasha’s fierce loyalty, her unwavering resolve that drew you in, like a moth to the flame. Whatever the reason, love had nestled itself in your heart, its roots digging deep, intertwined with comfort and solace.

Yet, today felt different. The weight of the world pressed down upon you like an unrelenting force as you sat on the edge of the couch in your shared living quarters at the Avengers compound. You could hear the faint hum of power sources and the flurry of activity beyond the walls. Outside, the world was still trying to recover from the battle that had left scars on both earth and soul, but within you, a deeper battle raged.

"Hey, you okay?" Natasha's voice broke through the fog of your thoughts, her eyes searching yours with a fierce concern that made your heart skip. Dressed in her usual black attire, with her hair cascading in soft waves, she looked every bit the formidable warrior, yet here she was, softening into a supportive presence.

You forced a smile but the weight behind it faltered. "Just tired," you murmured, hoping it would end there.

Natasha’s hand reached out, gently squeezing yours. “Tired of fighting. Tired of all of it,” she said, her voice a soothing balm that soothed the cracks in your heart. “You don’t always have to be strong, you know? We’re all fighting our battles.”

Before you could respond, a burst of energy flared up, and Wanda appeared, her crimson attire blending seamlessly with the energy around her, wild strands of magic weaving through the air. “I could feel you, my love.” She approached with a mixture of concern and determination. “What’s bothering you?”

Her presence was like a candle flickering in the dark, illuminating the shadows you had been trying to hide from your soulmates. But you weren’t ready to bare your burdens yet. You shook your head softly. “It’s nothing, really. Just… thinking.”

“Thinking too much,” Natasha interjected, a knowing smile playing on her lips. “Come here.”

You let them pull you into their embrace, the warmth of their bodies wrapping around you like a shield. Wanda’s soft voice hummed a comforting tune while Natasha rested her chin atop your head, her grip grounding you.

In that moment, the barriers began to dissolve. “I just feel… lost,” you finally confessed, words tumbling out like marbles that scattered through the air. “After everything, I don’t know where I belong anymore.”

Wanda’s fingers paused in their gentle weaving of magic as she listened intently. “You belong with us, here. But you need to feel that, feel it in your soul,” she said, her tone sincere.

Natasha gently tilted your chin up, her green gaze piercing into yours. “You’re not alone. You never have been and never will be as long as we’re together. We’ll face this together, no matter what.”

“But what if I can’t find my way? What if I’m just a burden?” Your voice faltered as tears threatened to spill, the weight of your insecurities crashing over you.

“Listen,” Wanda said, a glimmer of determination sparking in her expression. She moved closer, creating a small bubble of intimacy. “Every battle we have fought has its own scars, but they don’t define us. They remind us of what we’ve overcome. You are stronger than you know.”

Natasha nodded, brushing a few stray hairs from your face. “And burdens? We all carry them. But we also help each other carry those burdens. You’re never a burden to us.” Her voice turned softer, more intimate. “You are our light, our joy. You breathe life into this place.”

That was the moment when it clicked in your heart—their love was a force of nature, unyielding and bright. You grasped tightly to Wanda’s sleeve and Natasha’s hand, feeling the solidarity of their presence. Their faith in you fortified your spirit, helping the brittle edges of your heart mend.

“No more hiding,” you declared, feeling a surge of strength in your voice. “I want to let go of this doubt. I want to start fresh. But I’ll need you both.”

Natasha’s smile radiated warmth. “We’re with you, always,” she vowed, pulling you tighter into their embrace as Wanda hummed a melody that spoke of peace and healing.

“Let’s have a night to ourselves,” Wanda suggested, her eyes sparkling with mischief. “No missions, no threats—just us. We can bake, watch movies, anything you like.”

You laughed softly at the sudden shift in mood, the idea of retreating into your own little bubble of comfort both enticing and empowering. “That sounds perfect.”

As the night unfolded, laughter echoed through the compound. There were flour fights in the kitchen, playful jabs regarding baking skills, and a cacophony of terrible singing during movie time. In moments of chaos and joy, your heart felt lighter, free from the burdens that had weighed it down.

Later, as the three of you nestled together on the couch, the tender warmth of their presence enveloping you, you realized that your world, once blurred by uncertainty, was now filled with colors you never knew existed. The shadows may remain, but with Wanda and Natasha by your side, you were ready to face them head-on.

As you drifted off to sleep, lulled by the soft sounds of their breathing intertwined with the joy of companionship, you embraced the truth—that in love and comfort, you had found your way home.

[lurveinn]

I’m so curious about Wizarding fashion. JKR isn’t very physically descriptive- we just know that wizards wear robes, which are outlandish to muggles, and pointy hats, but what does that really mean? What kind of robe? Magical fashion clearly isn’t very gendered, since Harry remarks on a man at the Quidditch World Cup wearing a dress and insisting that it’s unisex (certainly not the case in Britain at the time), but we don’t have any other parameters. Keeping in mind the uniform from the movies, and the fact that in SWM, Snape isn’t wearing any trousers, here’s what I think wizards wear:

1. Flowing silhouettes and cloaks; clearly, wizards love a good statement cloak. Think tassels and frills (not like Ron’s Yule Ball fit!), massive extended sleeves and lots of draping.

2. Skirts: let’s be honest, just one singular robe, without any layering, doesn’t give us much to work with. Skirts go with the general silhouette, explain why the World Cup wizard thought muggle men wore dresses, and keep with the no-trousers thing from SWM. I’m South Asian, so I like to have a little fun with it and think of wizards in ghararas (my favourite item of clothing); the Wizarding World is quite insular, travel is relatively unrestricted (hello, they have magic!), everyone has a common enemy in muggles (and other species- goblins, house-elves) etcetera, so race probably doesn’t function the same way and I headcanon a lot of cross-cultural exchange. Plus, wizarding fashion isn’t restricted by weather- they have warming charms- so wearing clothes made for hot climates in England, for example, wouldn’t be a problem.

Plus, I actually think saris are a natural fancy dress option- flowy, drapey, colourful. Speaking of which-

3. If there’s one fanon idea that I hate (aside from fanon!Sirius, of course), it’s this image of wizards (specifically high society wizards) as reserved. Sorry, did we read the same books? Wizards, even posh, rich wizards, like the Malfoys and Blacks, are camp and very outlandish. They do house-elf taxidermy, they keep their wands in canes. Just because Hogwarts uniforms are black doesn’t mean that people dress like they’re in mourning all the time. People can be total snobs and obsessed with their image and still wear bright pink, insane robes, because guess what? They have different social conventions than we do. Men and women dress basically the same, so there is no reason to believe that a man wearing a flowing robe would be against the norm. I say this as someone who believes misogyny and homophobia are well and truly alive in Wizarding society, especially in pureblooded families where the emphasis is on continuing the line; they definitely exist, but they probably look different.

4. My personal obsession and headcanon: rich wizards wearing bones. Look, I might not think of them as racist in the traditional sense, but they are undeniably speciesist, if that’s a word? They think of themselves as superior, and other sentient magical species either work under (goblins) or are enslaved (house-elves) by wizards. We only see Veelas very briefly, but despite them being admired for their beauty, I doubt wizards treat them very well. So- show me blood-purists wearing corsets made of goblin bones and teeth. Show me Veelas being hunted for their blood to stain and dye clothes with. Show me exotic “magical creatures” that are humanoid and capable of reasoning and should have rights, like mermaids and werewolves, being hunted for their scales and pelts while also being ostracised for being ‘non-human’. It’s terrible, but that’s the kind of archaic jewellery and fashion the old families that the fandom likes to fetishise would like to wear.

[katakaluptastrophy]

Stele raise really interesting questions about how necromancy *works*.

We hear a lot of talk about theorems, and the idea that necromancers are seeing the way a particular bit of magic works written out - one has to assume - like maths or scientific notation. But generally speaking, the necromancy we see is being done is in a moment, by a person, to an organic substance.

The exception is spirit magic, which seems to be very diverse. We have ghosts and siphoning, which seem more straightforward, but also psychometry, and also conjuring fire?! And then there's stele. The glossary in GTN says that spirit magic

"is diverse, and can range widely from creation of anti-thalergy and anti-thanergy spaces (impregnation of spirit energy into non-River spaces) to...forming conduits to the River..."

It makes the distinction that all of this is different to the living physically accessing the River, which can only be done by Jod and the Lyctors.

We don't know how stele travel works, but we have to assume it's through one of these mechanisms. Which is apparently done by constantly bathing a monolith in oxygenated blood. And what's been carved on the monolith, by highly specialised adepts, seems to also be key. Which is the only instance we see of a non-organic object apparently being used for necromancy. Perhaps the carvings are lined with bone or impregnated with blood, or perhaps it's the shaping of the blood that's important, but I'm intrigued by the mechanism by which an adept can carve something, causing an interaction with blood that can then allow a non-specialist such as Judith (who is technically a spirit magician as a siphoner, sure, but is definitely not doing ghostly interdimensional physics on the regular) to pilot a craft.

Shaping blood to make wards or symbols of some kind would make sense with what we know about necromancy. But when Mercymorn describes a stele, she says: “A stele is eight feet tall, covered in the dead languages by special Fifth adepts, and continually bathed in oxygenated blood”. Which makes it sound like the langagues, and therefore what's written in them, are significant.

But I think that what the glossary definition is getting at is that what unifies spirit magic is energy manipulation: you're drawing energy from someone or using it to manipulate a spirit, to harness raw spirit energy like Isaac's fireballs, or using it to make a conduit between our plain of existence and the River. In the latter case, that's either to call ghosts from the River into a contained space in our world (perhaps warding is creating anti-thalergy or anti-thanergy spaces?), to control those spirits once they're in our world, or to otherwise manipulate those conduits. The latter bit is probably what's relevant here.

I suspect that stele travel is literally doing some kind of necromantic warp bubbling. If Jod and the Lyctors can literally just tether their spirits into their bodies and physically traverse the River with just a ghost ward, is stele travel the creation of some kind of anti-thanergy bubble or conduit - bending spacetime via the River but being protected from physically entering it?

[cripplecharacters]

The Mask Trope, and Disfiguremisia in Media

[large text: The Mask Trope, and Disfiguremisia in Media]

If you followed this blog for more than like a week, you're probably familiar with “the mask trope” or at least with me complaining about it over and over in perpetuity. But why is it bad and why can't this dude shut up about it?

Let's start with who this trope applies to: characters with facial differences. There is some overlap with blind characters as well; think of the blindfold that is forced on a blind character for no reason. Here is a great explanation of it in this context by blindbeta. It's an excellent post in general, even if your character isn't blind or low vision you should read at least the last few paragraphs.

Here's a good ol’ tired link to what a facial difference is, but to put it simply:

If you have a character, who is a burn survivor or has scars, who wears a mask, this is exactly this trope.

The concept applies to other facial differences as well, but scars and burns are 99% of the representation and “representation” we get, so I'll be using these somewhat interchangeably here.

The mask can be exactly what you think, but it refers to any facial covering that doesn't have a medical purpose. So for example, a CPAP mask doesn't count for this trope, but a Magic Porcelain Mask absolutely does. Bandages do as well. If it covers the part of the face that is “different”, it can be a mask in the context used here.

Eye patches are on thin ice because while they do serve a medical purpose in real life, in 99.9% of media they are used for the same purpose as a mask. It's purely aesthetic.

With that out of the way, let's get into why this trope sucks and find its roots. Because every trope is just a symptom of something, really.

Roughly in order of the least to most important reasons...

Why It Sucks 

[large text: Why It Sucks]

It's overdone. As in — boring. You made your character visibly different, and now they're no longer that. What is the point? Just don't give them the damn scar if you're going to hide it. 

Zero connection with reality. No one does this. I don't even know how to elaborate on this. This doesn't represent anyone because no one does this.

Disability erasure. For the majority of characters with facial differences, their scars or burns somehow don't disable them physically, so the only thing left is the visible part… aaand the mask takes care of it too. Again, what's the point? If you want to make your disabled character abled, then just have them be abled. What is the point of "curing" them other than to make it completely pointless?

Making your readers with facial differences feel straight up bad. I'm gonna be honest! This hurts to see when it's all you get, over and over. Imagine there's this thing that everyone bullied you about, everyone still stares at, that is with you 24/7. Imagine you wanted to see something where people like you aren't treated like a freakshow. Somewhat unrealistic, but imagine that. That kind of world would only exist in fiction, right? So let's look into fiction- oh, none of the positive (or at least not "child-murderer evil") characters look like me. I mean they do, but they don't. They're forced to hide the one thing that connects us. I don't want to hide myself. I don't want to be told over and over that this is what people like me should do. That this is what other people expect so much that it's basically the default way a person with a facial difference can exist. I don't want this.

Perpetuating disfiguremisia. 

"Quick" Disfiguremisia Talk

[large text: "Quick" Disfiguremisia Talk]

It's quick when compared to my average facial difference discussion post, bear with me please.

Disfiguremisia; portmanteau of disfigure from “disfigurement” and -misia, Greek for hatred. 

Also known as discrimination of those mythical horrifically deformed people.

It shows up in fiction all the time; in-universe and in-narrative. Mask trope is one of the most common* representations of it, and it's also a trope that is gaining traction more and more, both in visual art and writing. This is a trope I particularly hate, because it's a blatant symptom of disfiguremisia. It's not hidden and it doesn't try to be. It's a painful remainder that I do not want nor need.

*most common is easily “evil disfigured villain”, just look at any horror media. But that's for another post, if ever.

When you put your character in a mask, it sends a clear message: in your story, facial differences aren't welcome. The world is hostile. Other characters are hostile. The author is, quite possibly, hostile. Maybe consciously, but almost always not, they just don't think that disfiguremisia means anything because it's the default setting. No one wants to see you because your face makes you gross and unsightly. If you have a burn; good luck, but we think you're too ugly to have a face. Have a scar? Too bad, now you don't. Get hidden.

Everything here is a decision that was made by the author. You are the one who makes the world. You are the person who decides if being disabled is acceptable or not there. The story doesn't have a mind of its own, you chose to make it disfiguremisic. 

It doesn't have to be.

Questions to Ask Yourself

[large text: Questions to Ask Yourself]

Since I started talking about facial differences on this blog, I have noticed a very specific trend in how facial differences are treated when compared to other disabilities. A lot of writers and artists are interested in worldbuilding where accessibility is considered, where disabled people are accepted, where neurodivergence is seen as an important part of the human experience, not something “other”. This is amazing, genuinely.

Yet, absolutely no one seems to be interested in a world that is anything but cruel to facial differences. There's no escapist fantasies for us.

You see this over and over, at some point it feels like the same story with different names attached.

The only way a character with a facial difference can exist is to hide it. Otherwise, they are shamed by society. Seen as something gross. I noticed that it really doesn't matter who the character is, facial difference is this great equalizer. Both ancient deities and talking forest cats get treated as the same brand of disgusting thing as long as they're scarred, as long as they had something explode in their face, as long as they've been cursed. They can be accomplished, they can be a badass, they can be the leader of the world, they can kill a dragon, but they cannot, under any circumstances, be allowed to peacefully exist with a facial difference. They have to hide it in the literal sense, or be made to feel that they should. Constantly ashamed, embarrassed that they dare to have a face.

Question one to ask yourself: why is disfiguremisia a part of your story?

I'm part of a few minority groups. I'm an immigrant, I'm disabled, I'm queer. I get enough shit in real life for this so I like to take a break once in a while. I love stories where transphobia isn't a thing. Where xenophobia doesn't come up. But my whole life, I can't seem to find stories that don't spew out disfiguremisia in one way or the other at the first possible opportunity.

Why is disfiguremisia a default part of your worldbuilding? Why can't it be left out? Why in societies with scarred saviors and warriors is there such intense disgust for them? Why can't anyone even just question why this is the state of the world?

Why is disfiguremisia normal in your story?

Question two: do you know enough about disfiguremisia to write about it?

Ask yourself, really. Do you? Writers sometimes ask if or how to portray ableism when they themselves aren't disabled, but no one bothers to wonder if maybe they aren't knowledgeable enough to make half their story about their POV character experiencing disfiguremisia. How much do you know, and from where? Have you read Mikaela Moody or any other advocates’ work around disfiguremisia? Do you understand the way it intersects; with being a trans woman, with being Black? What is your education on this topic?

And for USAmericans... do you know what "Ugly Laws" are, and when they ended?

Question three: what does your story associate with facial difference — and why?

If I had to guess; “shame”, “embarrassment”, “violence”, "disgust", “intimidation”, “trauma”, “guilt”, “evil”, “curse”, “discomfort”, “fear”, or similar would show up. 

Why doesn't it associate it with positive concepts? Why not “hope” or “love” or “pride” or “community”? Why not “soft” or “delicate”? Dare I say, “beauty” or “innocence”? Why not “blessing”? “Acceptance”?

Why not “normal”?

Question four: why did you make the character the way they are? 

Have you considered that there are other things than “horrifically burned for some moral failing” or “most traumatic scenario put to paper”? Why is it always “a tough character with a history of violence” and never “a Disfigured princess”? Why not “a loving parent” or “a fashionable girl”, instead of “the most unkind person you ever met” and “total badass who doesn’t care about anything - other than how scary their facial difference is to these poor ableds”? Don’t endlessly associate us with brutality and suffering. We aren’t violent or manipulative or physically strong or brash or bloodthirsty by default. We can be soft, and frail and gentle and kind - and we can still be proud and unashamed.

Question five: why is your character just… fine with all this?

Can’t they make a community with other people with facial differences and do something about this? Demand the right to exist as disabled and not have to hide their literal face? Why are they cool with being dehumanized and treated with such hatred? Especially if they fall into the "not so soft and kind" category that I just talked about, it seems obvious to me that they would be incredibly and loudly pissed off about being discriminated against over and over... Why can't your character, who is a subject of disfiguremisia, realize that maybe it's disfiguremisia that's the problem, and try to fix it?

Question six: why is your character wearing a mask? 

Usually, there's no reason. Most of the time the author hasn't considered that there even should be one, the character just wears a mask because that's what people with facial differences do in their mind. Most writers aren't interested in this kind of research or even considering it as a thing they should do. The community is unimportant to them, it's not like we are real people who read books. They think they understand, because to them it's not complex, it's not nuanced. It's ugly = bad. Why would you need a reason?

For cases where the reason is stated, I promise, I have heard of every single one. To quote, "to spare others from looking at them". I have read, "content warning: he has burn scars under the mask, he absolutely hates taking it off!", emphasis not mine. Because "he hates the way his skin looks", because "they care for their appearance a lot" (facial differences make you ugly, remember?). My favorite: "only has scars and the mask when he's a villain, not as a hero", just to subtly drive the point home. This isn't the extreme end of the spectrum. Now, imagine being a reader with a facial difference. This is your representation, sitting next to Freddy Krueger and Voldemort.

How do you feel?

F.A.Q. [frequently asked questions]

[large text: F.A.Q. [frequently asked questions]]

As in, answers and “answers” to common arguments or concerns. 

“Actually they want to hide their facial difference” - your character doesn’t have free will. You want them to hide it. Again; why.

“They are hiding it to be more inconspicuous!” - I get that there are elves in their world, but there’s no universe where wearing a mask with eye cutouts on the street is less noticeable than having a scar. Facial differences aren’t open wounds sprinkling with blood, in case that's not clear.

“It’s for other people's comfort” - why are other characters disfiguremisic to this extent? Are they forcing all minorities to stay hidden and out of sight too? That’s a horrible society to exist in.

“They are wearing it for Actual Practical Reason” - cool! I hope that this means you have other characters with facial differences that don’t wear it for any reason.

"It's the character's artistic expression" - I sure hope that there are abled characters with the same kind of expression then.

“They’re ashamed of their face” - and they never have any character development that would make that go away? That's just bad writing. Why are they ashamed in the first place? Why is shame the default stance to have about your own face in your story? I get that you think we should be ashamed and do these ridiculous things, but in real life we just live with it. 

"Now that you say that it is kinda messed up but I'm too far into the story please help" - here you go.

“[some variation of My Character is evil so it's fine/a killer so it fits/just too disgusting to show their disability” - this is the one of the only cases where I’m fine with disability erasure, actually. Please don’t make them have a facial difference. This is the type of harm that real life activists spend years and decades undoing. Disfiguremisia from horror movies released in the 70s is still relevant. It still affects people today.

"But [in-universe explanation why disfiguremisia is cool and fine actually]" - this changes nothing.

Closing Remarks

[large text: Closing Remarks]

I hope that this post explains my thoughts on facial difference representation better. It's a complicated topic, I get it. I'm also aware that this post might come off as harsh (?) but disfiguremisia shouldn't be treated lightly, it shouldn't be a prop. It's real world discrimination with a big chunk of its origins coming out of popular media.

With the asks that have been sent regarding facial differences, I realized that I probably haven't explained what the actual problems are well enough. It's not about some technical definition, or about weird in-universe explanations. It's about categorizing us as some apparently fundamentally different entity that can't possibly be kind and happy, about disfiguremisia so ingrained into our culture that it's apparently impossible to make a world without it; discrimination so deep that it can't be excised, only worked around. But you can get rid of it. You can just not have it there in the first place. Disfiguremisia isn't a fundamental part of how the world works; getting rid of it won't cause it to collapse. Don't portray discrimination as an integral, unquestionable part of the world that has to stay no matter what; whether it's ableism, transphobia, or Islamophobia or anything else. A world without discrimination can exist. If you can't imagine a world without disfiguremisia in fiction... that's bad. Sad, mostly. To me, at least.

Remember, that your readers aren't going to look at Character with a Scar #14673 and think "now I'm going to research how real life people with facial differences live." They won't, there's no inclination for them to do so. If you don't give them a reason, they won't magically start thinking critically about facial differences and disfiguremisia. People like their biases and they like to think that they understand.

And, even if you're explaining it over and over ;-) (winky face) there will still be people who are going to be actively resistant to giving a shit. To try and get the ones who are capable of caring about us, you, as the author, need to first understand disfiguremisia, study Face Equality, think of me as a human being with human emotions who doesn't want to see people like me treated like garbage in every piece of media I look at. There's a place and time for that media, and if you don't actually understand disfiguremisia, you will only perpetuate it; not "subvert" it, not "comment" on it.

I hope this helps :-) (smile emoji. for good measure)

Mod Sasza

[starry-bi-sky]

Names, Marbles, and Fae-vors - More Lore on my Changeling Danny Au

In my last post I talked about the Infinite Realms and the three different planes existing inside it - the Long Far, Home to the Ancients and Celestial Beings. The Fey Wilds, Home of the Fey and other such Mythological Constructs. And the Ghost Zone, Home to the Mortal Spirits. - as well as three of the different ways beings inside the Infinite Realms can travel between planes; the Lake Portals, the Cave Tunnels, and the Starflare Currents. The Lake Portals and the Cave Tunnels don't have an official term for them yet, but I'll come up with something :).

In this post we'll be talking about some of the abilities of the fey! Specifically the things they're most popularly known for: their name stealing and etiquette thing.

For those who are not as well-versed in Fey Lore, or need a refresher, (and because I just want to yap infodump), one of the first rules you learn when interacting with the Fey is that you never, ever, say "thank you" or "I'm sorry" to them! Which is crazy, because they're really big on etiquette and being polite to each other, which is why one of their epithets is "the Good Neighbor/s". So why should you not say two phrases most commonly used when being polite to someone?

There are two big reasons for this, and the reason I'll be focusing on for this au is because, to the Fey, saying "Thank You" is acknowledgement of a debt that's owed to them. It turns the action or gift into something transactional, and results in a verbal contract that the receiver must then repay later down the line -- and whatever point in time, and with whatever the Fey they are indebted to sees fit. Whether that be food, valuables, or your firstborn child.

The other big reason is because some Fey just think it's rude, and view "thank you" as something that dilutes their act of kindness, and/or implies that they are there to serve you. One of the best summarizations I've seen for fey is that they're bros; they're doing this because they think you're friends -- or something similar to the sort. It's deeply insulting to do all these nice things for a friend, only for that friend to reveal that they don't view you the same way at all.

It's for similar reasons that you also shouldn't say, "I'm sorry" either, except instead of repaying a gift, you are now making reparations for a wrong you have done. A misdeed must be repaid in full, now how are you going to make it up to them? And also because well, I imagine that if saying "thank you" is seen as rude, "I'm sorry" is the exact same way because it dilutes the act.

If you're in a situation where you must say "thank you" or "i'm sorry" there are ways to get around it. "I'm grateful", "you're too kind", "I apologize", or "I feel regret" are just some examples I saw used.

NOW! How is this used in my Changeling AU? The Fey work by these same rules, the only difference is that I've added a physical aspect to it! If Fey are capable of stealing the abstract and turning the incorporeal corporeal, then lets run with it!

"Thank Yous" and "I'm Sorrys" are debts, and Fey can magically bound you into a verbal contract with that alone. However, it's not uncommon -- and actually pretty standard -- for Fey to weave the excess magic of that debt into something physical. They create these delicate-looking, iridescent threads that they then weave into their hair for decoration. And in some areas of the Fey Wilds, use it as a way to show off wealth and/or their own wit.

Ever heard of Fairy Hair? Yeah, same concept.

Debt Threads, as I am temporarily calling them, are thin and airy, and not that much thicker than gossamer. Since it's a debt that is intended to eventually be paid back, it's not practical -- nor is it seen as such -- to use the threads for anything more than temporary cosmetics. As a result, they're usually used for decorating the hair, but some crafty fey use their threads to decorate other appendages, or as form of makeup. Despite their dainty appearance, the threads are actually very sturdy and can only be unweaved by the Fey that created it.

You can, technically, take back your debt thread. However, the threads are made using excess magic of the debt, and not made of the magic of the debt itself, which is why it's so thin and airy. So if you do manage to get it, congrats! All you've got is some pretty string and a pissed off feyrie whose hair you probably just yanked out.

Danny's managed to accrue a few "debts" before he realizes he's a fey, mostly from his friends and sister -- although there are a few from his parents, and some from the other student body from when he was unknowingly and instinctually doing Fey Bullshit. As a result, he starts forcing Sam and Tucker and Jazz to stop thanking him for things, and typically makes them repay him through petty, menial stuff. Like getting him food, or buying him a small but relatively inexpensive trinket he's been eyeing for a while. Never usually anything super important - it's his own way of apologizing for indebting them to him in the first place.

As for his parents... well, he'll hold onto those debts for now. Having a way to magically get them off his back with no questions asked is a boon he's pretty willing to keep close to his chest, and no amount of persuasion will convince him otherwise. Sorry Jazz, Fey side wins out on this one. As for some of the students he's got, Danny manages to psych himself up and release some of them from their contracts without repayment -- even if it makes his bones itch.

AND NOW THE NAMES! You never give a Fey your name because they say everything literally. "Can I have your name?" is a literal question -- they are asking for your name, and thus ownership over you. The other thing is that Names have power, if a fey knows your Full Name they can make you do things for them -- however it goes both ways so you could do the same thing if you learn a Fey's name.

Knowing a Name and owning a Name are two different things, with owning a Name being, naturally, more dangerous as you are basically submitting yourself to permanent indentured servitude, among other things. Knowing a Name can be risky because it results in being more susceptible to fey charms, enchantments, and requests.

But! I digress! Just like how Thank Yous and I'm Sorrys can be turned into a physical object, so can Names! This is not obligatory, nor is it recommended to do often because unlike debt threads, these can be taken back, but it happens!

Names can be trapped in these little, colorful glass-like orbs -- marbles, they're marbles/pearls. They can be trapped in what are basically magic marbles, and just like debt threads, be used for decoration. They're more versatile though, and are used for different things since unlike debt threads, the pearls are meant to be permanent! They make beautiful jewelry, since the pearls come in various different colors depending on the person it once belonged to, and the intent behind its creation.

The marbles have a hard outer shell, with the cores having a fluid, shimmery appearance. Look up liquid core dice, and Name Marbles have a similar appearance, just more... ethereal, with different shades of the same color swirling inside. Not two pearls look the same, and even ones that have similar colors or appearances have subtle differences in them that are imperceptible to the mortal eye. Some pearls look like the deepest trenches of the ocean, blacks and dark blues swirling around each other as flecks of bioluminescence float inside. While others look like a lilac winter sunset, with hand-held purples bleeding into pink and gold.

Convincing Danny to return the Names he's gotten is harder than convincing him to absolve the debts. It takes a lot more psyching up on his part to actually do it, and more verbal coaxing and negotiating on his friends' part. Because on an instinctual fey level, those names are rightfully his. For all intents and purposes, he was given those names freely and without reservation, and so to be told that he has to return what were essentially gifts to him is... deeply distressing.

Lots of cognitive dissonance there. His human-raised brain and morals know why he needs to give them back, and he feels bad for owning them. But his new changeling-baby fey-brain is deeply upset at the prospect, and is a liittle bit stronger than the once-human part of him. He rapidly becomes overwhelmed when trying to convince himself to return the Names. He does, eventually, end up doing it, but he's unwillingly upset the whole time.

[physalian]

8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World.  The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding “candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

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Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.