#What is your archetype

[deweyduck]

peridot & hunter parallels

same character, different font

[marzipanandminutiae]

I walk around dressed like the mistress of a crumbling Gothic manse with a dark secret, c. 1880

and the straights are like "I never would have guessed you're [hushed voice] gay!!!!"

and the other gays are like "Oh That Is A Full Lesbian"

[mamaangiwine]

"Lol Who cares if it's a closed practice? Who's gonna stop me? Who's gonna know? 🤣😝"

The gods.

The gods will know.

[mochinomnoms]

For PTM nonsense, does Jade know what mistletoe is and would be be putting it up if he thought it may net him a kiss with the prefect? How much mistletoe? Where and on who's budget?

He does, he learns about it when he found some on a hike. Originally, he was fascinated that mistletoe is connected to such a romantic tradition, despite being a parasitic plant that feeds off trees. Humans are so strange!

He quickly changes his mind after falling for the Prefect, now wondering how much of the dorm he can cover in mistletoe to set them up for a smooch. Alternatively, he can just carry some in his pocket and hold it over their heads. Giving him the perfect excuse to smash his lips against them. All with the excuse of, "It's a tradition!"

[andromeda3116]

gah now i'm getting On My Shit about the discworld again and like i've said what i want to say about the witches and the watch but there's also small gods like i will never be over small gods i finished it and i was like... has this... has this healed some of my religious trauma?

if you've never read it, the plot is thus: on the disc, gods get their power from belief. therefore, the more believers a god has, the more powerful they are. and so, there is this god -- om -- who has risen in power, who has a country devoted to His worship, which hunts down and slaughters heretics and infidels, to whom people pray multiple times a day and make pilgrimages to His holy city, which has a huge citadel and huge structure of a complex religion devoted to his worship. and, on a whim, He comes down one day to see how things are going.

and discovers that he has no power.

that, in this country of millions who profess to worship Him with all their hearts, there is only one person left who actually believes in Him.

and there's a lot of meat there, and a lot more plot to delve into, but the core theme ends up boiling down to this:

can you forgive your god for how they failed you?

and do they deserve that forgiveness? how can they earn that forgiveness?

because ultimately, the forgiveness that the messianic archetype is embodying is not that of the god's grace, but of the people's -- to forgive their god his absence. to give their god another chance to be their god.

and whether or not you, in the end, can forgive, it gives you the language to realize that this is what you were asking for with your last prayers. whether or not you can ever go back, whether or not there have been other reasons since that have convinced you further, it gives you the language to accept that your god failed you. and it is not your fault.

this book speaks loudest, perhaps, to those of us who left our church with grief, not with anger. with hurt betrayal, not with the fires of defiance.

it didn't change my lack of religious belief, but it helped me conceptualize my feelings about the church, the things that went deeper than intellectual arguments. about that sense of betrayal, that hurt, that twisted-up knot within me that it had built, and it gave me the mirror within which i could see that i had been failed by my beliefs. it wasn't that i hadn't believed enough, it was that my belief had been betrayed by the absence of an answer.

there have been other reasons since then that have cemented my atheism, but small gods made me stop hating the church i used to love, because it made me recognize why i hated it so much and said "you're not wrong, it didn't have to be this way. you were betrayed and you were failed and you can let it go, now."

[fyeahygocardart]

Wake Up Your Elemental HERO

[uncanny-tranny]

One thing I really enjoy about transition is when the changes in hormones slow down...

It feels like I am a house settling, shifting ever-so-slightly, and becoming one with this new foundation.

I don't have a "typical" body, but so do the other guys in my family. I look like them now. I've been told I looked like my father when he was a teenager, and I feel as though I am in the mentality I need to be in.

So many people are excited when they get all these new changes all at once, and then they might become disappointed when their second puberty starts to slow down, but I find I am the opposite. I am so much more at peace than I was before, and that's saying something when I was at peace a month into my changes.

[skunkes]

might sound weird to say as a person with a couple ocs who have Big Horrible Event(s) in their backstories or as a person who has like 3 ocs total bc he sucks at writing and as a person who hopes their ocs arent too Boring with [the thing im about to mention] but the thing about writing [characters] and [people] is that like.

any little thing a person experiences can take up their whole existence... its actually something "fun" to experience as i meet new ppl and do more things. My friend had something happen that she'll be talking about forever. I had several things happen last year that ill never stop talking about, some of which other ppl think werent that bad actually. In the same way I'll forever remember about the way my sister accidentally insulted me almost 10 years ago, it's really interesting and Fun to find and assign smaller things like that to characters...its really Real. some people's dealbreakers are other people's solvable problems etc etc

[nightswatchdisbandmentera]

“Dead. He’s dead.”

“No.” The eunuch’s voice seemed deeper. “He is here. Aegon has been shaped for rule since before he could walk. He has been trained in arms, as befits a knight to be, but that was not the end of his education. He reads and writes, he speaks several tongues, he has studied history and law and poetry. A septa has instructed him in the mysteries of the Faith since he was old enough to understand them. He has lived with fisherfolk, worked with his hands, swum in rivers and mended nets and learned to wash his own clothes at need. He can fish and cook and bind up a wound, he knows what it is like to be hungry, to be hunted, to be afraid. Tommen has been taught that kingship is his right. Aegon knows that kingship is his duty, that a king must put his people first, and live and rule for them.”

(ADWD Epilogue)

Varys’ words to Kevan Lannister about Prince Aegon are so interesting because of the overarching insinuation that the boy has had a slew of advisors and teachers who have carefully and extensively prepared him for the task of ruling. His listed examples to that point are rather peculiar, however: a knight to train him in arms, a septa to train him in the faith, and various tutors to train him in history and languages.

Now there’s nothing inherently wrong about Aegon’s educators but one has to ask, what do these people even know about actual ruling? What have they seen about the nature of ruling and the nitty gritty of it? What experience do they have? And if they themselves don’t really know what it means to rule, what does that say of their young prince’s education?

It’s an important question to ask when we consider Aegon’s narrative foil: Jon Snow. Jon does not have the expectation of ruling. In fact, as a bastard, he knows that he can never ever get a lordship let alone a crown/throne. Yet Jon has, unlike Aegon, a crew of experienced tutors who have shown him the nitty gritty of ruling. Every single one of his on-page mentors is either a ruler or a leader of men; in addition to the other tutors he had growing up.

So I wanted to take a look at Jon’s mentors and the positions they have held to contrast their experience (and thus the validity of the lessons that they give Jon) as opposed to the lack of experience in Aegon’s crew.

Ned Stark - Jon’s first and (arguably) most impactful mentor. While teaching Jon important lessons about rulership, he was serving as the Lord of Winterfell and Warden of the North; thus making him one of the most powerful men in the entire realm. He then went on to serve as Hand of the King - the most powerful official save for the king. The irony is that Ned didn’t teach Jon as a successor. Robb was the one meant to succeed him. Yet Jon absorbed his lessons all the same.

Benjen Stark - we don’t actually see much on-page mentorship from Benjen, yet he still is one of Jon’s many father figures in the series. He is a a man of the Night’s Watch so he is sworn to hold no lands or titles. Yet as First Ranger, he is undoubtedly one for he highest ranking officials in the Watch and potentially a skilled warrior. He takes on the role of the knight or leader of men among Jon’s teachers.

Tyrion Lannister - despite being an ‘outsider’, Tyrion comes to hold considerable power. He is an exceedingly learned and intelligent man and managed to impart important life lessons during his short time with Jon. He rises to become Hand of the King and later Master of Coin. Though he doesn’t actively teach Jon how to rule, he’s still an important part of Jon’s character development.

Maester Aemon - one of the anomalies in this list. Yet his impact on Jon’s life cannot be understated. He is a teacher to Jon; we have various references to Jon going to Aemon for advice on how to lead. Aemon also gives Jon advice meant for kings: “kill the boy and let the man be born”. What makes Aemon an interesting addition is that he is a would-be king. And an interesting contrast between Jon and Aegon is that both parallel Aegon V; Jon more organically, Aegon rather artificially. If we remember, Aegon V was a hidden prince who ultimately became king. This is the very same trope that Jon and Prince Aegon are following. And it’s interesting that Aemon, Aegon V’s brother, gives advice on governance to Jon; the same advice given to the unlikely king. So it’s Jon who is carrying the torch of kingship from Aegon V, not Young Griff.

Jeor Mormont - one of the most direct mentors in Jon’s arc. Not only is he a surrogate father to Jon, he does what Ned never did: he directly grooms Jon to be his heir. Jon gets to watch Jeor actually govern the NW as his steward but it’s interesting that he shadows the LC through servitude. Though Jon is intended to succeed the Old Bear, he has to humble himself; he has to follow before he can lead. It’s a contrast to Aegon who would hold power over most (if not all) of his tutors.

Donal Noye - the other anomaly save for Maester Aemon. He is a humble Blacksmith. Yet he has been in the service of kings (having served the Baratheon boys who would all end up as kings). He plays an important role in bringing Jon’s ego back to earth and helping him sympathize with those less fortunate than himself. Despite his humble origins, he does briefly take command of the Wall during Mance Rayder’s attack and then transfers that command to Jon, purely because he believed in Jon’s ability to lead (and he was right).

Qhorin Halfhand - another who takes on the role of a skilled master at arms for Jon. He is an undoubtably powerful warrior. But he is also a leader of men. He teaches Jon important lessons on leadership during their time together beyond the Wall - e.g., to lead your men you must first know them. And in true ‘fridged mentor’ fashion, Qhorin dies so the young prince can take over and grow as a leader.

Mance Rayder - the King Beyond the Wall and one of the most important leaders in the books despite spending all his time in the North. Mance’s role as a mentor for Jon is doubly important given that he also takes on the role as a Rhaegar proxy. Despite Jon coming to him as an (undercover) enemy, he’s still able to impart powerful lessons on how to command an army and wrangle support from different factions of men. Jon learns a lot about diplomacy from observing and being under the KBTW. Mance is a skilled warrior, commander, and politician. A charismatic and gifted man - the picture perfect king for Jon to emulate.

Tormund Giantsbane - a leader of the freefolk who rises to become an unlikely ally for Jon. A skilled warrior and proven leader (we know that he took charge of a couple of thousand of freefolk), Tormund becomes important when there’s a transfer of power from Mance to Jon as leader of the freefolk.

Stannis Baratheon - by law, he is the rightful king of the seven kingdoms. According to prophecy, as Melisandre says, he is the promised messiah. Despite a less than ideal personality, he’s still an important part of Jon’s political arc in ADWD. Arguably a man of immense administrative potential, Stannis is also one of the most successful military commanders in the series; which is great for Jon since he also learned from Ned, who ran an undefeated streak as a battle commander.

The total count now comes to: two kings, two Hands of the King, a ruling lord, three warriors, one wise maester (who has counseled a king), and one commander. That quite a resume for Jon. All these men have some experience leading men and commanding armies, however big or small. So Jon’s preparation has been quite thorough.

What a stark contrast between the two boys, then. Varys’ words give us a roadmap of a “perfect ruler” (or as perfect as one can be) yet when we actually take the time to examine what we see in the text, Aegon is not at all suited for that role - Jon is. In fact, not a single character in ASOIAF has had the intensive preparation to rule that Jon has.

It’s beautiful irony. The prince, the one promised to rule, is actually quote underprepared for the task of it. Meanwhile the bastard, who is at best promised a life of servitude, is the one with the most preparation (and experience) for rulership. It’s the way Aegon, as a narrative foil to Jon, acts as one who validates Jon’s journey. There are certain things needed of a ruler. Jon has them, Aegon doesn’t.

Winds isn’t out yet so we don’t yet know for certain where these two boys will end up. But I’m almost sure that young Prince Aegon is doomed and though he may hold the throne for a while, he will not be the king at the end of the story. And it just might be his inexperience that ultimately dooms him. So what does that say for Jon then? Aegon can’t hold the throne as he’s unprepared for it, but what about Jon who is?

[knifeslidez]

ok i know everyone has different interpretations of the killjoys and i love that but the second someone he/him's party poison my immersion is broken

[yellowocaballero]

At this point you've written at least four different roleswap AUs, so I was wondering if you had any thoughts or takes about how a roleswap AU should be? - someone who's planning on making a roleswap AU

Please don't remind me. I'm embarrassed about this. I know I need to write other things. I don't know why the AU concept is so incredibly fun to write. I can't explain it. Roleswaps are very easy to write and a lot of fun and involve being a freak about everything. Who wouldn't write 10 of those bitches.

But yes, as someone whose roleswap AUs are like 9 out of her 51 fics, I feel qualified to talk about this. These are just my own opinions and takes, and other people might do it differently - if you write roleswaps too, feel free to add in your two cents!!

Before sitting down to write literally anything I always figure out the rules of the story. Writing is little more than a nonstop series of decisions, and if you abide by the rules of your story or characters then your decisions will be coherent and cohesive. By rules I don't mean worldbuilding - I mean the internal logic of the story and the characters. "X character will never explicitly say how he's feeling" or "the leads have to both win and lose every encounter".

I find establishing writing rules for roleswaps especially important - it's figuring out exactly how the roleswap works. Here are the ones that I find important, and kind of the process:

Decide what is swapped. Is it more of a universal swap, personality swap, backstory swap, chronology swap, or alignment swap? No matter which one you choose, all of these things are probably going to change anyway, but there has to be one central point for each character that guides your decisions. Are you actually swapping the narrative role in the story, or are you just changing it? You have to be really precise and have a very good idea of what exactly is swapped, and it has to be consistent throughout the story. It can't just (just) work on what you'd like to see, it has to be exactly the same between characters.

Decide the point of divergence. Sometimes that point is pretty abstract (She's a teenager in the 90s instead of the 20s). Sometimes it's much more specific, just one moment (He developed his superpowers at this moment instead of that). The point doesn't have to be immediately obvious, but you should know it - I did a backstory swap ages ago, and it seemed like a complete change, but like 150k in I dropped that a character dropped out of the police academy instead of completing it and that her entire life changed from there. If the swap is more abstract, then maybe it's just a series of smaller decisions - character A has these seminal points in his story, and I'm swapping him with character B, so here's what character B did during these seminal points instead, and how it changed him and his narrative.

Decide who the character is. This might be more personal, but for me, I think of the character as...there is a central tenet of them, of who they are as a person, that does not change no matter what. That's three or four traits of who they are, that you will not change, and that's what makes their swapped life their own instead of the OG dude's. But there's a lot of traits and behaviors around that core personality that's the result of their environment, backstory, and experiences. That's what should change. It's about figuring out how these essential traits + what is swapped + the point of divergence = an entirely different character and story. The roleswap you'll end up with will be a combination of all of these things: how the essential aspects of a character mix with what's swapped to create an entirely new environment and set of behaviors, which cause a chain reaction to create something new. As a writer, you sit down and say, "I'm keeping these parts of the character, I'm swapping out those parts, this new mix changes these points in their backstory, this results in this new person".

This is more of a guideline, but it's the most important to me: your characters have to be recognizable as the character. The reader shouldn't go, "this OC is making some weird choices". The reader should go, "I don't know how, because he's the exact opposite of his canon self in every possible way, but somehow he still feels like my favorite character". This is why you isolate those basic traits before changing the rest - so long as your character is still who they are deep inside, then they still feel like that character. And that's the fun of the story. You're selling something insane, and the reader is buying it.

It's a lot of really heavy character work. You have to really understand the characters you're writing - the less I get the original character, the more issues I'm perpetually having. I tend to fly fast and loose with characterizations, but when writing roleswaps I have to refer back to canon and the source material a lot ("In canon he did X thing, with his newly different backstory how would that decision change?"). The more you're rooted in canon, then the funkier and more divergent you can get.

Personally, I like to play a fun little game I call: how exactly opposite can I make this character until he stops feeling like this character? I Sometimes my goal in writing is "how deeply can I ruin this story". This is not a good game and people should not play it. I find that the lazier I get about getting in touch with the canon character, about keeping track of the canon decisions, and about following these guidelines, then the more difficult a story is to write. If you structure a story well then it's easy to write, and roleswaps are pretty easy. Thanks for the question!

[theshadowrealmitself]

Not to sound like a broken record, but fuck I love thinking about how things would change in the future, especially horror movies

“I actually really enjoy horror movies, especially the slasher kind. Did you know that many of the tropes found in it are the result of things that were condemned in the late 1900’s in western society? Many of the plotlines of the time were “teenagers have premarital sex and do drugs and get killed off, and the one that lives is the “good” girl who doesn’t do those things.” As you can imagine, those things were very looked down at the time.”

“Now, even though those things are no longer condemned, those character types still exist in slasher films, and have even evolved. There’s still the “slutty girl”, but instead of it being a Human playing a character that’s meant to be “punished” for premarital sex, it’s now always played by an Orion woman. In fact, the current most popular slasher franchise in today’s time involves an Orion woman who does everything right by playing up the “slutty” stereotype. So rather than being condemned for her sexuality, she’s venerated for it.”

“Do you think the Orion director was aware of the Human history of these kind of slasher films and did this purposely to subvert the trope, or do you think it was a natural outcome because of the difference in how Orions view sex and sexuality? As a director, it would make sense that she’d do her research, but also it’s been so long since the 1900’s on Earth, I wouldn’t be surprised if information like that is too difficult to find, I wish I could ask her myself.”

- person from the 21st century who’s not aware of how much of their knowledge is still common or not

[zlobonessa]

hm. i feel like I'm not unhinged enough for the past few days. here's my old-but-reworked omegaverse headcanon tier list.

[britcision]

Anyway in case anyone was wondering why I do firmly aver I did not get to DPxDC from DC and am not a DC fan despite having consumed all of the Harley Quinn and Suicide Squad runs up to 2018

(And have an exciting grab bag of shows, movies, and assorted trivia under my belt besides

Batman vs Dracula was fucking great fight me)

It’s because DC as a whole is hostile as fuck to the concept of being a casual fan

(And about 90% of the main heroes annoy the hell out of me for the very tropes that DC is known and praised for in their heroes I am here for villains, antiheroes, and sidekicks exclusively)

There is no such thing as consistent characterization, especially as you consume more content or fall down a rabbit hole, and the rabbit holes are ENDLESS

Everyone cameos everywhere else, referential jokes are often dropped in as Easter eggs for people who have read every single other DC comic put out in the same decade and yet within the same comics you get glaringly inconsistent characterization and different retcons for the same events

Big stories are retold and retconned every couple years, we got 3 separate Spiderman origin movies and the exact same Batman origin in more than half the live action movies; DC PAYS PEOPLE to make up their own different versions of canon events

There is a REASON that the Marvel and DC cinematic universes are both officially divorced from comic canon; the sheer volume of canon content is inaccessible to most of the population, and DC and Marvel know it

That’s why the New 52 was a big divorce from all previous canon too - it’s an on ramp for new fans, because sorting through the web of old content is off putting as fuck

It’s the one thing not a single DC fan I’ve spoken to who complained about “canon characterization” has bothered defending or even acknowledging, and yet it has been the core of all of their arguments:

“Canon is what I want it to be, not what any of the sources say”

And listen, I was a Torchwood fan, we were the archetypal example of “canon only happened if I acknowledge it” (so sad that show ended after only two seasons and nothing else ever happened again Children of Earth who), you just gotta acknowledge that that’s what you’re doing

But you frankly cannot have a serious conversation about canon characterization with someone who does not acknowledge entire swaths of canon and cannot understand why that makes their argument completely invalid

Any kind of conversation about the “right” characterization for a DC character necessarily has to involve the acknowledgement that it’s your personal preferred characterization, not a One True Canon, because I guarantee there are canon incidents for every single big name and most of the small ones that directly counter the ones you like

You may note I share a bunch of posts with things like “My Batman would never do this”, as opposed to “canon Batman would never do this”

Hell, on Batman specifically there are hundreds of beautifully put together posts talking about how the different canon runs get him wrong; I too prefer a Bruce Wayne who does genuinely care about his family and tries to protect them, but isn’t perfect or always right over the massive asshole elitist who just grunts and treats them like soldiers

Canon Batman slaps his kids around, it’s the meme that broke containment and you don’t have to like it or accept it as something your Batman would do!

But it’s still canon

Both versions have a massive well of canon support, and exist simultaneously in the multiverse

Every single characterization of a character is true and exists in the multiverse

And that is why the idea of a “canon version” of any DC character is utterly meaningless

TL;DR: write DC characters however the fuck you want and do not worry about it for more than 10 minutes together, that is what the paid DC writing staff do

There will be at least two pieces of canon media to back up whatever interpretation of the character you pick

Not everyone will like that characterization or agree with how you see the character, and that is all fine and good! But “canon” is meaningless in this context, neatly encapsulated by the “multiverse” explanation

Everything is canon, which means that nothing is canon

[uncanny-tranny]

Another thing that I've learned as I have undertaken my craft is just how satisfying it is to use what you make - to have known that you made it. Even now as I make my big project, the fabric is big enough that it's warming my lap up as I make it - even that is satisfying.

People want to make an effort - even small ones. What people don't like is pseudowork - bullshit jobs. Honestly, it's partly tragic to think about, partly infuriating.

[athanasynt]

Not them fucking up your computer behind your back