#Writing is inherently limiting sometimes

[letswritestories101]

There is something very devastating to me about writing.

I don’t know, it’s about writing being one oldest form of share thoughts but, at the same time, the most... “limited”.

Music, drawing, animation. These things also take time to be made. It’s all ways of art that requires just as much effort and dedication. But I can’t help but feel that they are easier ways for your art to be shared, objectively speaking.

A painting can be comprehensible due to its aesthetics and style. Just like a song, it sticks in your head, holds your attention. I can tell if the sound is sad or happy or angry.

A book can't do that.

You don’t watch or hear a book. It won’t reach people with its visuals or sounds, things that are so common to humanity as a whole... and that hurts me.

Feeling that the art that I love so much can’t be as universal as I want it to be. A song can reach people who speak different languages, and so can na image. A book will always have a language barrier. If it is not translated, others will not have access.

I cannot rely solely on sound and vision and feelings that go beyond language. Not like a artist or a musician can.

I am a communicator blocked by my own way of communication.

And that hurts.

[daydreamerdrew]

The Incredible Hulk (1968) #297

[felassan]

David Gaider on Cassandra (the last of these retrospective character threads), under a cut for length:

"This is the last of the (major) characters I wrote during my time on Dragon Age. I could go into others, and considered moving onto Stray Gods... but I feel like fewer would be interested, and I honestly can't keep up the pace. So let's make this the last, for now. So, yeah. Cassandra. We knew early on that Cassandra would come into DAI as a companion, along with Varric, that this was part of what DA2 set up for the sequel. Now, I'd written Cassandra's short scenes in DA2, yes, but I wasn't her writer for DAI. Initially, she was Jennifer Hepler's character. By mid-project, in fact, Cassandra was more or less fully written. Jennifer did a great job - solid character, solid quest. The sticking point, it turned out, was her romance. Now, to be fair, Jennifer told me straight up when we began that writing romance wasn't her forte, but she'd give it a go. The problem with the romance as she wrote it wasn't in its execution but more a clash between the character as Jennifer envisioned her and the requirements of her being a romance. See, I mentioned previously that a romance arc inherently limits the kinds of stories you can tell with a companion. Many responses I got can be summed up as "lol skill issue", but consider this: a companion romance isn't a fic you can just throw up on AO3. It's an investment of a lot of resources. If a companion has one, most of their resources need to be devoted to it - it's not "now let's ALSO add a romance"."

"That means it needs to take priority in who they are as a character and their arc. What's more, they need to be *appealing* to a big chunk of the player base - or at least someone we can imagine being broadly appealing, anyway. Thankfully, there are still many many stories this can accommodate. 😊 This, however, wasn't one of those. Was Cassandra a fascinating character? Absolutely. Her romance, though... Well, Jennifer DID warn me. She'd written Cassandra as a serious, self-righteous, pious woman who put the Inquisitor on a messianic pedestal. Romancing her meant changing her view of you. You did this by being... pushy. Jennifer didn't mean it to, I'm sure, but sometimes it came off as, at best, negging. At worst, a bit harassy. And Jennifer would have fixed it. This was a 1st draft, and the issues - while serious - were something a skilled writer like her could handle. No problem. Thing is, Jennifer left. You may not remember, but this was around the time a bunch of GamerGate dudes decided Jennifer was somehow responsible for ALL of BioWare's faults. Oh, the power she wielded! She, a writer, could even command the combat Bio made! The result was a LOT of ugly harassment. 😞 Is this why she left? You'd have to ask her, but it undoubtedly didn't help. The important thing is, she left - and there was nobody as senior nor as superhumanly fast as her to take over any unfinished work. This is where Patrick Weekes comes in: a solid, senior writer who could fill her shoes."

"It was great timing - not only did Cassandra need a writer, I'd slowly fallen more and more behind. It was clear by that point that I'd never be able to write Dorian AND Cole AND Solas as planned. They needed to pick up two. And I let them choose the ones who interested them, like all my writers. Patrick taking Solas was no surprise, and while I had Big Plans for Solas in the future I knew at least he'd be in good hands. I was reeeeaaaally hoping Patrick would then pick Cassandra... but they wanted Cole. My baby. Who I created in Asunder. I grumped, but Patrick clearly loved the character. They had ideas for Cole which... yeah yeah, sounded cool. Fiiine. 😅 Now I had to figure out what *I* was going to do with Cassandra. We couldn't move the romance to someone else, all the other female characters were well underway, and I didn't know the character well enough to fix her with tweaks. That meant a re-write. I didn't WANT to erase all that good work, but I needed to start from scratch. Yet how? A pious, self-righteous character was already a risk in terms of romantic appeal. There are only a small number of traits sorta considered universally unappealing but they're on that list. In this instance, Cassandra already being a known character helped. I came across a webcomic (by aimo, I think? AHH I wish I could find it now) that made a joke about Cassandra reading Varric's books. Off-hand, no basis for it, but funny. 😆 And I thought: YES. THAT'S IT. THAT'S WHAT I'M MISSING."

"I sat down and wrote the "fangirl" scene, just to test it out. Everyone loved it, and it served to change my image of who Cassandra was - a view of the inside, at the idealistic and awkward passion she felt, for so many things... AND the Maker. "Yes," I thought. "I could fall in love with this." Who knew Cassandra could be funny? Not anyone, coming out of DA2, yet here we were. It worked so well and her voice came so easily. Miranda Raison was game ofc, and amazing. Though Caroline did gripe that, if we ever met more Nevarrans THAT accent meant we'd have the Tali Problem all over again. 😅 Cassandra's romance is burned into my brain as the time when we THE most awkward conversation with the animators ever. See, that moment during the sex scene on the picnic blanket when she leans back and... there were suddenly these strategically-placed candles, juuuust covering the Sordid Bits. Thing is, they were so obviously placed just to do that. Plus, we'd already decided to do full nudity in DAI, hadn't we? WHY WERE THEY EVEN THERE? Turns out, the nudity thing was still pretty new to the team. They'd forgotten and put the candles there almost as a reflex. So prudish. So Canadian. 😂 I do find it kind of funny that, these days, what I mostly hear about Cassandra is from female fans upset at me because she wasn't a lesbian option. I mean, right? Who wouldn't want that? Technically not my decision, but I guess I WAS behind the companions having set preferences so... fair enough?"

"Some of them do take it to an entitled place, though, like Cassandra *should* have been a lesbian. Why? Because she looks like one, apparently, and that that's a bit of stereotyping which feels... odd? But it's not as if lesbian players are spoiled for choice left and right, so again: fair enough. It did lead to the best end credits VO perhaps ever, and overall I'm pretty happy with how Cassandra panned out. Things never end up like you expect, right? But such is game dev lyfe. 🥸🖖 Did you know Cassandra was THE most-romanced DAI character, by a good margin? Least, by a good margin? Dorian."

[source thread]

User: "Did you have any hand in her writing for Dawn of the Seeker?" David Gaider: "No, none. Nobody at BioWare had any hand in Dawn of the Seeker, outside of maybe Mike approving the script or direction? Only he could say for sure." [source]

User: "Was Miranda a specific casting choice by anyone on the team (similar to your picks for Merrill/Fenris/Solas), or was she simply a lucky find? I loved Miranda on the BBC series "Spooks", so I was very pleasantly surprised to learn she voiced one of my favourite DA characters" David Gaider: "I don’t remember how Miranda was cast. Auditioned, I expect, and she had a good “steely warrior voice” which is surprisingly uncommon among actresses. The accent she made up was all her, as well." [source]

User: "What's the Tali Problem?" David Gaider: "When Tali was the only Quarian, the actress doing a made-up accent was fine. Once there were others… do we get them all to mimic her? That’s a tall order!" [source]

User: "I'd say Solas is the most popular nowaday, but you need to be such a specific race/gender combo + most straight guys wouldn't go for him, i get hes not on top of the list, but I'd have expected Josephine over Cass." David Gaider: "You can’t go by how fans online talk about playing the game. There is almost zero correlation between the playstyles of the vocal hardcore and the masses." [source]

User: "I was a Dorianmancer. The cut content in Trespasser DLC was sad to read, it definitely felt short/abrupt for Dorianmancers. Anyway to share what was cut at all?" David Gaider: "I don’t know what was cut out of the conversation, as I never played it. I just heard about it after the fact." [source]

User: "Those end credits are truly incredible. Do you remember who wrote them? I'm guessing a combination of Mary Kirby & you?" David Gaider: "I wrote them, but I recall the entire team kind of took part in brainstorming the pieces of it." [source]

User: "I’m very curious- Do you know what direction you would have taken Cole and his story if you’d kept him?" David Gaider: "It's hypothetical at this point, but I suspect I would have been less willing to lose the serial killer aspect... or, at least, would have made that transition occur as part of his arc in DAI. Yet that's easy to say from this side of the divide. Who knows, really?" [source]

User: "With Cassandra you created one of the best characters in DA history." David Gaider: "Personally, my favorite response of hers is where she gets mocked for loving romance and she comes back with a retort about how it's a strength - how loving something and striving for the ideal takes courage. To me, that's central to her core." [source]

User: "inquiry: did you not write any of the Awakening characters?" David Gaider: "I wrote Anders, Justice, and Nathaniel in Awakening - but it was such a hurried project, my memories of it are pretty much a blur. "Yes, I worked on that" is almost all I can say about it, I'm afraid." [source]

[interstellarsystem]

Periodic reminder that "alterhuman" means a lot more than "nonhuman", "therian", "otherkin", "fictionkin" and all of those combined.

Alterhumanity is simply the state of not falling within your "societal norm" for humanity or what is considered the "normal human experience". That sounds maybe vague and broad, and that's because it absolutely is.

Is being otherkin or therian alterhuman? Sure! You're also more than welcome in the community. But if you're looking for a term to refer to otherkin, therians, and other people who identify as nonhuman? Well--just say nonhuman!

When writing something addressed to "alterhumans", be it a bunch of questions, or an experience post, or a survey, it should be addressed to alterhumans, not tailored to one specific group. Only explicitly talking about the therian or otherkin experience within an article or questionaire or similar things lends us to wonder why those aren't just labelled as therian/otherkin/nonhuman. That doesn't mean those groups don't belong in alterhuman spaces or tags either--this is simply a nitpick at how things are worded and seem to be sometimes misinformed about what alterhumanity is.

Alterhumanity includes (but isn't limited to):

Otherkin, therians, nonhuman headmates, nonhumans in general

Fictionfolk, fictives, fictionkin--including those who identify as human fictional characters.

Factfolk, factives, factkin.

Otherlinkers and other voluntary identities.

Otherhearteds and people with synpaths and/or hearthomes.

Plural systems of all origins--created, disordered, nondisordered, anything else.

Furry lifestylers.

Delusion-based and other neurodivergent and/or disability related identities, largely relating to the above points (such as clinical lycanthropes, systems due to psychosis, etc)

A lot of the above can absolutely include human identifying individuals (or systems). You do not need to be nonhuman at all to be alterhuman. You also don't need to "pick" one or the other--you might be both, or aspecies, or something else entirely. Humans can be included under the alterhuman umbrella, alterhumanity isn't the same thing as nonhumanity.

We've seen the claim that it's dehumanising (not to an individual's own tastes by the way, this was stated as an overall community fact) to be included under the alterhuman label, so more identites that include humans or are human-based need to be "written out". That is alterhumisia as well as nonhumisia and paints alterhumanity as an inherently dehumanising identity. You don't have to use any terms you don't like, but dehumanisation, alterhumanity and nonhumanity are all separate things.

Alterhumanity is as mentioned, having an identity that's alternative to the "societal norm".

Nonhumanity is identifying or the state of being nonhuman.

Dehumanisation is the act of treating a person/group as "less than" human. It is a form of discrimination revolving around the idea that you can even be "less than", and therefore are able to be treated without dignity, moral consideration and empathy. It's the denial of someone's human rights. (Attempt at summing up without going on for 5 paragraphs, please forgive strange phrasing).

Don't confuse them. They are different things. You might not like being referred to as alterhuman or nonhuman, and that's your right! But others including communities you happen to be a part of under that term doesn't strip you of the right to not take on the label itself, nor does it deny you your humanity in any way. You can opt out. Others opting in or being defined in from the start isn't dehumanisation.

And on a quick side note, we also noticed a distinct push to exclude systems from the alterhuman label in recent times or to say they never should have been included. While no one has to use the label if they don't feel it fits--you have to at least acknowledge that plurals were defined in from the beginning and many systems find the term useful and define themselves as alterhuman on the basis of their plurality alone. No one is forcing a label on anyone, but please don't leave systems out of your discussions of alterhumanity by default. Non-alterhuman systems don't need to participate in the community, and alterhuman systems don't need to be defined out of a term that had them in mind at its coining.

The coining post is linked here, for all who would like to read it. We know not everyone has, and we also know terms change over time of course--but the broadness is a huge point of the term itself. Don't make the box smaller. That's the overall point of this post.

[bone-and-butterflies]

How to hide plot twists from both your readers and your characters in a way that is not frustrating or annoying.

So I was watching a book review for a book that I liked but both loved and hated some of the plot twists. Of course this got me thinking about plot twists and why they work for both readers and the characters that are falling for these plot twists.

Readers

The key is to control the information that your readers have. Your readers aren't going to consider an option unless (1) that twist is really common for your genre and that reader has read that genre a lot and will therefore be expecting it or (2) you have very obviously given them the specific information nessesary to unintentionally figure out the twist before the characters.

Why does this information stand out, you may be wondering. It is because there is nothing else going on to distract away from a piece of information that can seem meaningless with the right context.

Most of the time, if you're not writing a very specific plot line with a very specific genre, your reader isn't going to immediately know where the plot is going so they may not be looking out for the information relevant to a later plot twist, so as long as you justify an informational choice that explains a later plot twist in a way that covers a variety of basis, they're probably not going to pick up on the one piece you left out, aka what is going to make this twist fun.

This piece of information should be something small and unassuming. It can be magical, but if you're writing fantasy that magic has to be hidden really really well. I find that a plot twist works the best when the piece of information that is missing is something you wouldn't really think about, like the reason a prince was able to infiltrate a prison and hide his identity was because he had his cousin standing in for him and we don't know that this cousin existed and knew the limits of that world's magic (this is actually a plot twist that fooled me btw despite how obvious at sounds now).

A good plot twist that fools the reader relies on twisting the information that the reader has and therefore twisting how they think the story will go.

Midway sidenote: not every plot twist needs to exist to fool both the reader and the character, sometimes it is really fun to watch a character fail because of something inherent to that character.

Characters

Remember how I said sometimes it's really fun to watch a character fail. That only works sometimes.

It is more annoying to figure out a plot twist that is really obvious and then have the character miss it because the author said so.

So how does a writer pull this off?

Be intentional. Have an idea in mind of when you want the reader to figure it out and ask your beta readers when they figured out your plot twists to control that as much as you can.

Your character does not know which genre they're in, so you have to both get inside the character's head and take the reader along with you so they understand why this character is making these poor choices and missing the most obvious villain in the room.

Why would a character miss a plot twist?

They are distracted or delusional. Characters have goals and they may ignore their better judgments to achieve these goals based on their personality. Put more emphasis on your character's motives to hide information that may make plot twists more obvious. Also, your characters may use information about their world to explain their motives and this information may also be vital to understanding a later plot twist

The average person does not go around thinking everybody around them is out to get them especially if those people seem incapable of that through the pov character's ego or the other character's demeanor. If your character has known somebody for a really long time or knows a piece of information that is vital to the worldview they're probably not going to immediately discard it. Fun fact: in the real world, when people have their views disputed, even with very good evidence, it can make them more likely to hold on to that old belief.

Expectation of harm. Different characters have different experiences with shape how bad they think things can get. For example, if a character has never experienced something, they may not know what can lead to that thing. (FYI older characters are more likely to know more things so be careful with this one.)

The Twist

For a twist to work, it must make sense with both real world and in world knowledge as well as common sense, so keep this in mind as you plan.

Conclusion

This isn't comprehensive because good plot twists require a lot of information to make them work and that's makes them very specific. While I would love to explain why different plot twists work, part of them working is them fooling you and hindsight bias is kind of a thing.

Keep writing. If a plot twist just isn't working either scrap it or let it sit until you have the information to build reasons why it should work.

[anim-ttrpgs]

Why I Dislike PbtA Games, and How Eureka: Investigative Urban Fantasy is Their Opposite

@tender-curiosities

It is no secret that I hate PbtA games.

Though due to a recent misunderstanding regarding another post, I’m going to preface this post by saying that this is going to be a very opinionated post and

I do not seriously think that PbtA games are inherently bad, though I may sometimes joke about this.

While I do often question the taste of people who make and play PbtA hacks, I do not think poorly of their moral character.

While I am going to call for PbtA to be used less as a base for games in the future, I’m not saying that the whole system and all games based on it should be destructified. It’s good for what it’s good for, but unless you’re doing that, I really think you should use something else.

Now that that is out of the way, here’s what I have to say about it.

My first experiences with PbtA games were pretty rough. Monster of the Week was not the first, but it was one of the first ‘indie’ TTRPGs I played after having previously played mostly only D&D3.5e and 5e. I really appreciated that the use of 2D6 over a D20 meant that the dice results would be more predictable, and I really liked the various “classes” I was seeing. (At this time, I didn’t really understand that they weren’t really “classes” at all, though I think I can be forgiven for this because many people, even people who like PbtA games, still talk like “classes” and “playbooks” are interchangeable.)

I was very enthusiastic to play, until it came time to start actually “making” a character, and found that I couldn’t “make” a character. I wanted to make a nuanced, three-dimensional PC who was simultaneously stereotype-affirming and stereotype-defying, with a unique backstory and dynamic with the other characters—but when I went to actually fill out the character sheet for basically any “class”, I found that most of the backstory and most of the personality for my character was being set for me by the playbook. It felt like the only thing about the character I really had a say in was their name, and that two PCs of the same playbook would actually turn out to be almost identical characters. At the time, I thought this was very restrictive and very bad design.

Later, now that I understand the design intent behind it, I still think of it as very restrictive, but I think of it as very bad design for me, not inherently bad.

When I play a TTRPG, I want more freedom in who my PC is. That doesn’t mean I want less rules, in fact having more rules can often increase freedom, but that’s a different post. I want to create original, unique characters, that I won’t see anywhere else. If it’s a class-based system, I want that class to barely touch the details of my character’s backstory or personality, so that I can come up with something original and engaging for why and how this “Fighter” fights. This means that two level-1 Fighters, despite having almost the same mechanical abilities, will potentially be very different people.

PbtA games don’t let you do that. In a lot of PbtA games, you’re not playing your own original character, you’re playing someone else’s character, that every other player that has picked up the same playbook before you has played. It’s more like “character select” than “character creation.” I think I could liken it to playing Mass Effect or The Witcher. Every player may pick a few different dialogue choices in those games that change the story, but we’re still all playing Shepherd or Geralt. No one is going to experience a new never-before-seen story in Mass Effect or The Witcher, which is very much a factor of them being video games and not TTRPGs, and therefore limited to the amount of code, writing, and voice-acting that can go into them.

This anonymous asker who sent a message to @thydungeongal seems to feel pretty similarly to me about PbtA games, and @thydungeongal's response is a very good response about how people find this appealing.

I have more respect for PbtA now than I did, but I still don't like it because to me it seems to play so much against what I consider to be the strengths of TTRPGs as a medium, much like how video games like The Last of Us and David Cage games play against the strengths of the medium of video games, and I will never like it. But other people clearly do, so to each their own.

Then another reason I don’t like it is because I think it’s oversaturating the TTRPG space. I’ve referred to PbtA before as “indie D&D5e”, and i do think that’s a reasonable comparison, because in much the same way that you always hear “D&D5e is a system that can do everything”, I think a lot of people seem to be under the impression that the PbtA system is a system that can do anything. It’s kinda the système du jour for indie TTRPGs right now, and many iterations of it make it clear that many designers do not consider how PbtA differs from more traditional TTRPGs, and how it is specialized for different types of TTRPG gameplay. Just like how I feel PbtA isn’t playing to certain important strengths of TTRPGs, I think that many—maybe even most—PbtA hacks don’t play to the strengths of PbtA. But this isn’t really PbtA’s fault, that comes down to any individual indie TTRPG developer on a case-by-case basis. And the cure for that is something I’m always saying: If you are going to be a writer, you have got to read lots of books. If you are going to be a director, you have got to watch lots of movies. If you are going to be a video game developer, you have got to play lots of video games. And if you are going to be a TTRPG designer, you have got to read and play lots of TTRPGs. That and you have to understand that TTRPGs are specialized. Even "agnostic" systems like PbtA are somewhat specialized, and therefore might really not be a great fit for the game you’re trying to make.

That and, to get more subjective again, there’s like an ocean of them, and I don’t even like the ones that are actually good.

Now that I’ve talked about how I don’t like PbtA games, I’m gonna talk about a game I do like: Eureka: Investigative Urban Fantasy. Obviously, I like it because I’m the lead writer for it, but I would also like it even if I wasn’t the lead writer for it, because it’s just my kinda game. Eureka is the opposite of a PbtA game. I wrote it to play to what I feel are the strengths of the TTRPG medium.

Eureka’s character creation uses personality traits as a mechanical element of the character, but it does so in a deliberately freeform way. You build your character’s personality out of a list of traits, so who your character is is very much linked to what your character can do, but we aren’t just handing you a pre-made character.

Eureka is designed to incentivize organic decision-making by the PCs, most often by the mechanics of the game mirroring the world they live in. Every mechanic aims to create situations wherein “what will the PC do next?” is a question whose answer can be predicted - it doesn’t need to be ordained by a playbook.

One of my favorite examples of this is, rather than a “Fear Check” forcing the PC to run away if they fail, or “Run Away from Danger” being a “Move” on their character sheet, Eureka opts for the Composure mechanic. The really short version is that one of the main things that lowers a PC’s Composure is encountering scary stuff, and the lower a PC’s Composure, the more likely they are to fail skill checks, and the more likely they are to fail skill checks, well, the less brave they and their player probably feel about them standing up to this scary monster. So if the PC has low Composure, they are more likely to choose to run away. The lower their Composure, the better idea that will seem.

This system really really shines when it comes to monster PCs in Eureka. Most monsters benefit a lot more from having high Composure, but have fewer ways to restore Composure than mundane PCs. Their main way to restore their Composure is by eating people. The rulebook never says “your monster PC has to eat people”, but more likely than not, they’re going to be organically steered towards that by the game and world itself. Sure, they could decide to be “one of the good ones”, and just never eat people, just like you reading this could decide to stop eating food. You technically could, but when your body starts to fail, how long would you? (This is a big part of the themes of Eureka and what it has to say about crime, disability, mental illness, and evil. People don’t just arbitrarily do bad things, it is often their circumstances that leads them down that path until they see little choice for themselves in that matter, and “harmful” people are still just as deserving of life as people who “aren’t harmful”, but that really deserves its own post.)

It has been said that Eureka: Investigative Urban Fantasy actually arrives at much the same end as the PbtA game Monsterhearts, and I actually don’t disagree, but it gets there from an entirely different starting point and direction. The monster PCs in Eureka are very likely to eat people and cause drama, but it won’t be because they have “Eat People and Cause Drama” as a “Move” on their character sheet.

Monsters in Eureka have a lot of abilities, which they can use to solve (and create) problems as the emergent story emerges organically.

(Oh and Eureka is about adult investigators investigating mysteries, and sometimes those investigators are monsters, not about monster kids in high school, to be clear. The same “end” that Eureka and Monsterhearts reach is that of the monsters being prone to cause problems and drama due to the fact that they are monsters, though this isn’t the sole point of Eureka, just one element of it.)

You can pick up the free shareware version of this game from the download link on our website, or the full version for $5 from our Patreon.

And don’t forget, Eureka is fundraising on Kickstarter starting on April 10th, 2024! We need your support there most of all, to make sure we hit our goals and can afford to make the best version of Eureka we can make!

Interested in branching out but can’t get your group to play anything but D&D5e? Join us at the A.N.I.M. TTRPG Book Club, where we nominate, vote on, and play indie TTRPGs, all organized by our team with no strict schedule requirement! Here's the invite link! See you there!

We also have merchandise.

[solisitude]

remus lupin headcanons

for the lovely @moonandstarshangoutinbars

• is a to-do list enthusiast. has a to-do list for absolutely everything because it helps him organise tasks to be more manageable and less overwhelming

• will say he's going to have a power nap and will sleep for a full 5 hours straight

• will drink tea at literally any hour. it could be 2am but if he wants tea. he has tea.

• prefers to do most menial things the muggle way. folding laundry, cooking etc.

• a surprisingly good swimmer

• has absolutely no hair-care routine. absolutely none. uses one of those 2-in-one shampoos and calls it a day

• very conscious about the amount of space he takes up and will hunch his shoulders to make himself smaller

• tutors the younger years for free regardless of their house (lily helps him sometimes)

• has to cut out the tags on all of his clothing because they irritate his scars

• (if any of the marauders buy him him clothing as gifts, they make sure to do this first)

• ((the first time it happened it was in second year and james bought him a jumper and remus cried that night))

• chews on the end of his quill when he's thinking

• prefers muggle ballpoint pens to quills

• cuts his sandwiches diagonally. thinks vertical cuts are sacreligious

• likes being the little spoon

• is that student that makes eye contact with the teacher and nods so they know that at least someone is paying attention

• is a deeply empathetic person

• finds it very difficult to talk about his emotions but is very good at comforting others about theirs

• will not buy new shoes unless his are literally falling apart and disintegrating

• is so bad at taking compliments. like so bad.

• knows how to braid hair really well because Hope taught him how so the girls (also sirius later on) all come to him often to make him do it

• is a really friendly person but does not initiate conversation very often because he can be pretty socially awkward

• does not raise his voice unless its around the full moon and he's extremely on edge

• bites his nails as a nervous habit

• always goes over the limit when writing essays and has to cut out a good porton of his writing

• can be very snarky when he wants to

• is a very distrusting person inherently but he's never mean about it

• has a slightly crooked nose because he broke it and it never set quite right

• used to love climbing trees as a child

• his feet get cold so easily so he's always wearing socks

• is anemic

[utilitycaster]

Inspired actually by me nonstop thinking about the Young Witch Solving The Disappearance Of Her Neighbor's Cat In The Alps tweet since last night and a number of other unrelated posts I have been thinking about the concept of maturity in media, because I think there's a lot of different dimensions to that. It's a series of spectra, rather than a binary, and if you use the terms "mature" or "immature" you can quickly realize that a lot of our societal metrics for what's adult-appropriate vs. child appropriate are very skewed in specific and in my opinion untrue and unhelpful directions. This could honestly be a 10 page essay and I may very well write that when I'm on break but just to give you my outline here:

Stimulation - is it grabbing your attention with bright lights and loud sounds and fast action, or do you have to actively focus? Action films can be just as "jangly keys" as children's animation despite being an "adult" work, whereas something like Mad Men can have vivid colors but would bore a child to tears in terms of pace and action. However, and this will be an ongoing theme, you can have a very choppy, fast-paced narrative that is complex and a very slow and dull one that is incredibly simple and childish.

"Ratings" Subject Matter: Sex/Violence/Profanity. This is the one I think is most misleading, because you can have an incredibly puerile R-rated film, and you can have an immensely complex narrative without any of the above. [note: I have zero patience for people who act like sex and violence are inherently unnecessary wastes of time; they are merely things within a narrative that can be executed well or poorly, but it is true that something can have a simple plot and constant bright lights and stimulation and essentially be big old jingling mobile for infants but there's a sex scene in it so it's Adult Now. Unfortunately a lot of people are like "and this is why YA is inherently better" which we shall see is not the case.]

Other Difficult Subject Matter (I don't have a good name for it, but to give examples, death, racism, genocide, abuse, serious or chronic illness, etc). This one is tricky because all of the above are topics present in works for quite young children, because they can experience all the above or have someone close to them experience them, and fiction is a powerful teaching tool. Obviously the nature of how this is presented varies, and later points will cover it, but while in my opinion the simple presence of these topics says nothing about the work's level of maturity on its own I'm including it because you do get people who think that children should be shielded from all the above and would consider the mere inclusion of those topics as inappropriate. They're wrong, but it's definitely an axis of judgement/categorization that exists.

Adult-level processing of information (probably a misnomer in that teens can do this but like, teens read adult books all the time, and as Tumblr has shown us, many adults cannot do this): does the narrative require you be able to pick up on subtext? Do you need to understand what is relevant to the story and what isn't? Do you need to be comfortable with or at least able to tolerate not knowing entirely what is going on right away? Do you need to have a sense of irony? Is there an unreliable narrator?

Adult-level processing of moral complexity (in my limited, not a parent or educator experience, I honestly think teens do better with the information processing than this, ie, this is one of the last things to develop; also Tumblr is even worse): does the narrative require you accept that sometimes things are unfair and will never be fair? Do you need to accept a story in which the Quote Unquote Bad Guys walk free without real consequence? Do you need to accept a story in which no one's actions are entirely defensible or in which no choices are easy and clean and harmless? Do you need to attempt to understand an alien perspective? Is there senseless tragedy? This incidentally is how you separate out the children's books from the adult books on topics like illness or catastrophic events; a lot of children's books end with a message of "it's hard and sad, but it will be okay eventually" and focus on very relatable POV characters which is understandable! But, to use an example as someone who went to a Jewish school with a robust Holocaust education, elementary schoolers read Number the Stars in which the (entirely fictional) Jewish family escapes to Sweden; middle schoolers read Night in which Wiesel's (real) father dies painfully in front of him.

None of this is to say that escapism/cozy fiction/whatever you want to call it is bad - I am not interested in a diet entirely made of thorny moral quandaries and no happy endings. I enjoy a stupid turn off your brain action movie, or a fluffy romantasy. But I do think that a demand that every ending be happy and that Justice Be Served in every story is no less immature than saying "ew, there's kissing in this???"

[dumb-down-under]

discipline and real consequences

( work in progress, don't bother reblogging yet 😘 )

Another punishments list?

not exactly. i love being a good girl; my punishments are few and generally funishments anyway. sometimes we do toy with things that make me nervous and he might try to push my tolerances, but my desire for these things is stronger than any fear or hesitation, so even in that, i still want them. so bad.

If not that, then what?

what if my dom had the power to actually discipline me, if he so chose? that idea feels right. 🥰 uncomfortable, real consequences that aren't a limit, but also don't become a funishment by playing into my love of power exchange, or the fact that i'm a masochist. 😳 these are less sex/pain based, and more unfun based 🥺 but weirdly something i crave for guidance, on the rare occasions when daddy's decision isn't enough to motivate me.

because of the nuance inherent to preferences, i'd have to write (and score) the list myself. this is that post.

an early bedtime until told otherwise, and no naps (unless I absolutely need to, aka I safeword out of the punishment). 8pm rides the line of healthiest but also actively frustrating because me-time feels so precious.

kneeling/crawling on rice for 1hr+ (rice is deceptively horrible, so this is a long time)

order me to drink syrup of ipecac no longer available 🥺.

a ban on all 'fun' purchases for myself until told otherwise (generally 1-4 weeks but at his discretion). if i'm unsure, i have to check before spending.

tight tit bondage - it's not a limit, but it's a form of play that i disfavour.

[sepublic]

            And I find the discourse about “Amity was reduced to Luz’s GF” to be annoying for a lot of reasons. It’s completely ignoring that she already had development with Willow and Alador. It’s ignoring that in this limited runtime, of course the writers will want to emphasize an actually queer couple because even IF the show wasn’t canned for being queer, the fact that it happened to an actually queer show is still an inherent injustice. So having that other development at all shows care.

            They earned that WLW, so they’re going to use it! It’s like how people had the gall to criticize Rebecca Sugar for knowingly getting her show Steven Universe cancelled for an onscreen kiss, because sometimes explicit stuff on a kids channel says more than elaborate subtext ever will. Sometimes that exemplifies a message more than a fleshed out story does.

            Not only does it feel like fans claiming the writing for a female character is bad when it’s not, and then hiding behind that defense to not examine their own misogyny. But also?

            Y’all had NO issue with the reverse back in S1; Because in S1’s peak, all of the fanon around Lumity was about reducing Luz to just being Oblivious, to just being Amity’s supportive therapist GF who’s always happy, who’s always there to get her out of a slump, who has no real needs or insecurities or vulnerabilities of her own. Amity was reduced to a borderline Damsel in Distress who couldn’t think for herself, who always needed Luz.

            And it’s hilarious because in S1’s canon, and later S2’s, Amity is shown to be stronger than that! She’s shown to be more aware than people give credit for. She doesn’t always need Luz to lift herself up.

            Likewise, it’s great that S2 reversed this bad fanon by emphasizing that Luz is the one who’s also a huge mess, who also needs Amity to support her. She’s not this perfect Manic Pixie Dream Girl, she’s genuinely afraid of the relationship as much as Amity is, and she has F ups that Amity has to help her around with this time.

            It’s weird. With Luz, it’s perfectly acceptable when she goes out of her way to be compassionate towards Amity, even when it’s not really warranted on Amity’s end. But when Amity pays back the favor, suddenly it’s demeaning, how dare they treat her like this?! People complain she didn’t get much in S3 and it’s like Fellas. They’ve already spent so much time on Amity, and need to address other things. Just be glad she has her storyline overall, instead of focusing on a specific part of the show; Do y’all complain your fave was done dirty because they weren’t present for an episode?!!?!

            And in the end I think it’s just racism. It’s acceptable for this brown girl to exist for this white girl’s angst and vulnerability, for Amity to be a self-insert for fans’ own angst and vulnerability. But y’all can’t empathize with Luz when she’s the one who takes that role, instead you just think she’s overreacting or reduce it to just teenage angst. And then y’all are up in arms about Amity getting that treatment, so like You agree? You think this portrayal is demeaning? And then are fine with it being assigned to Luz?

            It really goes to show that if PoC are set pieces for a white character, it’s fine; But if it’s the other way around, it’s abominable. To top it all off, yeah; Amity DID have other things going on. Sometimes her stories about being Luz’s GF were really about HER development, like her parental abuse priming Amity to accept another abusive dynamic.

            It’s a very sad fact IRL, that victims of abuse will often move into abusive relationships, only recognizing the ills of their past abuser and not the pattern itself, nor knowing what a good relationship should even be besides slightly better! Only for Amity to realize those parameters, alongside the relief that Luz fulfills them. Or Amity learning to be mindful of Luz’s privacy instead of being her mother, while also setting up her reconnecting with Willow. Huh!!!!!!

            And yeah, Luz still has other things to her character the whole time; Specifically more than Amity does. But maybe… MAYBE… It might have something to do with the fact that. Luz is the core main protagonist of the entire show, and Amity is a side character of second-tier billing, right below fellow core protagonists Eda and King.

[anneapocalypse]

Tired of the false dichotomy between "you should create for yourself without desiring any form of connection" and "feedback is everything and without it there's no reason to create." Neither of these things are wholly true, and it's frustrating to me that people have taken "create for yourself" to mean "you shouldn't want feedback or enjoy it, you should create in a vacuum with no hope of human connection" and are lashing back against what they think it's saying rather than what it's actually saying. I love comments and feedback and connecting with my readers as much as anyone and would never discount the value of that experience and I try to be the kind of engaged reader I would want to have because I know how much it means. I especially know how much it means to a niche creator because I've been that creator myself and I so treasure the readers who took a chance, gave my stuff a try, and stopped to say something supportive about it.

But that's also exactly the thing: the things I want to write are often things that do not in any way guarantee me an audience, but they're what I enjoy, and creating for myself is what gets me through those long first drafts where I know there is no guarantee of an audience because the reality is I'm choosing to write this thing and nobody owes me a readership. Internal motivation matters because there are parts of the creative process where internal motivation is all you have. I've seen people give up or nearly give up on projects that probably would have found an audience, if a niche one, because they convinced themselves that nobody would care and then couldn't motivate themselves to care. Or they decided that a small audience wasn't good enough; they need their work to be Popular or it was worth nothing.

And if someone doesn't want to invest themselves in creating something that might have a small audience, well, that's their choice. But creativity is inherently an act of risk, and a lot of amazing art would never be made if the creator wasn't willing to risk silence, rejection, loneliness. Yeah, those things suck. I'm not saying they don't, that's why it's a risk. But art isn't always about safety. Sometimes it's about creating because you simply have to get this thing out of your head, and you hope someone will connect with it, but you don't know until you try. So everything can't be external motivation. It just can't be. It's too limiting, it's too stifling. I can't live that way, personally.

[mooishbeam]

『♡』 General’s Day Off

♡ featuring: jing yuan x f!reader

♡ summary: the general has been stressed as of late. a day of relaxation is what he needs. wc: 2.8k+

♡ cw/tw: non-sexual nudity, fluff!

notes: whew I've been waiting to do some jing yuan fluff for a while my lil smoochie. the next one is gonna be so long oof but I can't wait. art by ArtRobiins on twitter :) <3 comments and reblogs are appreciated!

The dozing general hadn’t had a moment of peace since Phantylia’s invasion. The Xianzhou Luofu was still recovering from betrayal, and its people were on edge ever since. Jing Yuan wouldn’t admit his weaknesses, but the welfare of his people weighed on his consciousness greatly. It bled through his ghostly skin and sinking eyebags stretching at the tired corners. The threat of another disruption loomed, and so he obsessively prepared for the untold attack. He busied himself with preventative measures, documents upon documents stacked on his desk. Yanqing had never seen him behave so adamantly, so sure of some eventual calamity. Though his demeanor reflected that of a lazy, carefree man, his heavy heart and soul bore the curse of immense grief. He needed to portray a headstrong and unwavering strength, otherwise the reality of his situation would be too apparent to the Luofu. His close friends were lost to the unpredictable winding ties of fate; he couldn’t stand to mourn another. Especially with you around. 

If you and Yanqing weren’t by his side, he would be undoubtedly consumed by sorrow. Your warm smile on the mild sunrise planted a blossoming light in that dimming core. Patience was a virtue when it came to his stubbornness; you could tell he was unwell, but whenever you voiced your concerns, he aimed to ease your worries with fleeting promises of rest. He would sooner die than see tears in your eyes at his affliction. Bailu was overseeing his recovery, until he proclaimed a sudden influx of health, and steadied his posture as if it was as spry as before. Yanqing attempted to keep him in her care, but he was forced to watch Jing Yuan push himself beyond inherent limitations. 

Mornings on the Luofu are always quiet. It gets hectic during the afternoon, so you take the opportunity to do some calming activities. Jing Yuan was already gone before you woke; he hadn’t been getting much sleep lately. You stir the dark bitter substance in your cup and stare out at the endless blue, pondering how you fell in love with such an obdurate man. That is, before you glimpse his half naked body dreaming, shadowed by the snowy curls spilling down his back in your memory. You can’t help but smile. 

You receive a knock at the door, and rush to answer it. These days, news about Jing Yuan and another injury shaded your mind. You open the door, and it’s Yanqing, at attention as if he’s facing the general. 

“Good morning, ma’am, I have something to report” he says, straight and dutiful. You giggle at his professionalism, and a tinge of pink grazes his ears. “It is a good morning. You know you don’t have to be so formal with me, Yanqing.” He drops the soldier-like pose and sighs with a slouch. “I know, ma’am. But I really need to talk to you.” You invite him to come inside, and you both sit at the dining table quietly. You notice him shifting uncomfortably in the chair, a far stare in his contemplation. 

“Did you eat? I can make something.” He cuts back to reality from the broken silence. “Ah! No thank you, I ate already” he stammers. You offer your most welcoming smile. “What would you like to discuss, Yanqing?” 

“It’s...about General Jing. I’m really worried about him. He spends a lot of time working now. I’ve tried to get him to relax once and a while but he’s always up and out the door. I can’t get in contact with him for hours. And he’s so tired! Sometimes when I look over his shoulder, the things he’s writing are nonsense!” You allow him to continue, it seems that Yanqing became more relieved with honesty for each grievance he admitted to. “He struggles to hide it, but I see him grab his side in pain whenever he stands...I don’t know what to do. So, I wanted to tell you.” Your head is propped by your hand, taking in all the information you suspected was occurring. Perhaps you should’ve strapped him to a hospital bed for eternity. You click your tongue in annoyance, Jing Yuan is truly a gorgeous handful. 

“I knew it.” 

“Oh, you did?” 

“A sneaky suspicion, I guess.” 

“I can’t get through to him.” You let out a dejected chuckle. “Me neither. He’s really the worst, stressing us out like this.” Yanqing subconsciously nods his head, fumbling with his thumbs. “I never thought you’d help me go against the general” you tease.  

“N-no! I’m just trying to help him recover, is all!” he splutters, waving his hands over his face. “I’m kidding. I know you care about him. I do, too. I love him more than anything in this universe.”  

Your mind replays every kind gesture; the fresh bouquet of flowers he got you every few days, sharing unending stories that kept you awake at night while you both gazed at the stars, his tendency to be horrible at games that weren’t chess, and the warm hug enveloping you just as you dozed off in his arms. You endured to be strong for him up until this point, but bittersweet longing pierces your thoughts. The truth spills down your cheeks. 

“Oh no, I’m sorry I didn’t mean to-” 

“It’s okay, it’s not your fault. If you’re willing to help, could you do me a favor?” you whisper, wiping the persistent staining tears. Yanqing stands at attention as if he’s accepted a life-or-death mission. “Of course.” 

“Please make sure his schedule is clear tomorrow.” 

You aren’t sure if your plan will convince him to stay home, but he doesn’t have much of a choice. Unfortunately, he didn’t come home as you expected. You slept intermittently. By the time you woke, the sun was just rising, casting a rose-colored gradient across the sky. Still nowhere to be found. 

Click. The door creaks open. Jing Yuan stealthily moves his hand behind it and tiptoes past the welcome mat. The screech makes him pause briefly, before sliding against the wall to get past the snitching door. Right as he closes it, he whips around, only to see your figure swaddled in a quilt waiting for him on the couch. Too tired to react, he flashes a weak smirk, and sets his scroll on the table. His shirt is wrinkled and turned a dirty beige, most likely from fighting, with the collar undone. Truthfully, he was elated to see you after hardly being home for weeks. You made the blood and bruising worth it—it ensured your life and protection. 

“Oh? What’s this?” You make grabbing motions with both hands, reaching out to him from your spot. “You ordered a general?” he jests. You unfold the plush quilt and beckon him to your embrace. “Mhm. Come here, honey.” Be it lack of sleep or resolve, your body looks too comfortable in this moment, and he falls to temptation. Kicking off his boots, he quickly strides towards you and dives in your arms. He’s extremely heavy, nearly twice your size and probably the fluffiest weighted blanket you’ve ever felt. He melts in your hold. The buckles from his waist prickle your soft flesh, but the vibration of his breath soothing in your ear makes you forget. You rub the firm muscle of his back with one hand, it’s taut and anxious. You untie the red bow and tangle your other hand through the puffs of marshmallows between your fingers.  

“Your delivery is here” he mumbles. 

“Finally, I’ve been waiting for it for sooo long.” 

“My apologies. I got caught up at work.” 

“I’m sure.” You pull his hair back to gaze at his jagged features, those dark ringed orbs filled with amber. “Do you want me to have a heart attack wondering when you’ll come home?” 

“If that were to happen, I’d jump in the coffin right after you, my dear.” You pinch his nose, and he laughs. “However, I must return soon.” His voice sounds flat, defeated. You go back to stroking his hair. “No. You have the day off.” 

“Really? And who arranged that?” 

“Yanqing. He told me about your...reluctance to relax.” Jing Yuan half rolls his eyes, but never moves to leave your warmth. “That boy, he’s nervous over nothing.” You poke his side to test the pain and watch him instantly wince. He sighs deeply at your irritated expression. 

“(Y/N), I can’t just stop over a feeble injury.” 

“You took a spear in the chest, and nearly died. I wouldn't call that a feeble injury.” 

“The Luofu needs me.” 

“I need you.” He surveys your upset expression. Did he ever stop to consider your feelings, how despondent he’d made you from reckless habits? He deemed himself fortunate that you chose to stay. He gently pecks your temple. 

“You’re right. I won’t go anywhere.” Your face lights up, and you wrap your legs around him tighter. “Good, you’ll enjoy yourself. I have something planned.” 

You start preparing your plan, arranging the master bathroom to a calming variety of aromatic trimmings and sheer drapes hanging just above the tub. Jing Yuan didn’t know what constitutes a spa day, and so you briefly described it as a “day of relaxation”. You didn’t want to ruin the whole surprise. When you get back to the living room, you have a pen and paper with scribbles on it. 

“Mr. Yuan?” you say, pretending that his name is somewhere on the unwritten list. He grins and plays along. “Are you here for the spa package?” 

“Yes, I am. I didn’t know the receptionist was so breathtaking” he teases. He always knew how to fluster you. You do some fake calculations and nod to yourself, ignoring the hands wandering on your body. “For everything your total comes out to…3 kisses.”  

Jing Yuan cradles your face with calloused hands. “Hmm, that's quite expensive, but I think I can manage.” Pressing a soft kiss to your awaiting lips that lasts too long between breaths. It feels desperate, like you’ll float away if he lets you go. You part for air and place your finger over his mouth. “Payment accepted. Right this way.” He kisses your finger, and you guide him to the bathroom. You nudge him inside, and immediately the aroma of vanilla and perfumed petals escapes from the steaming shower. It was spotless and arranged similar to an exotic getaway. “Please undress and get comfortable. I’ll join you inside shortly.” He nods and starts undressing. You gather everything you need and head inside. 

He’s sitting on a stool under the rainfall showerhead, scrubbing down his body. The water bounces off his admittedly neglected hair, and he turns so that the heat doesn’t creep into his wound. You hadn’t realized showering was painful for him. You follow him into the shower. “May I?” you ask, motioning for the semi wet loofa in his hand.  

“Be my guest.” His knees support his elbows, and you kneel behind him to massage mild soap into the sudsing loofa. His scars are much more apparent now, healed but carved roughly on the war-torn muscle. You delicately lather the product across and down his mole dotted back, gingerly kisses littering his shoulder blades. You spread the soap to his sternum and stomach, and you feel his tense form caving to your touch. Jing couldn’t recall receiving affection of this caliber, and so it was nice to be pampered, to feel you closer than he’d ever imagined. It was as if you two were the only people existing in this moment, and he wouldn’t have it any other way.  

After he’s properly washed, you expose his skin to the dew and allow it to run down his back, making sure to block the scar from further distress. You stand and grab the shampoo bottle, squirting an ample glob in your palm. You plop it onto his scalp, and begin working it through his thick mane. Your nails massaging and manipulating the sensitive skin makes him nearly drool. It’s as though you’re shaping his brain, and hums of approval rumble up your hands. He leans back on your stomach and enjoys your digits frothing substance. You almost see a ghostly tail wagging violently at each caress. When you pull his bangs back to wipe his hairline, you gaze at his face, a content smile prodding the crinkling corners of his mouth. “Are you falling asleep?” you whisper, washing away the soap from his forehead and roots. He groans in response and snuggles his head under your breasts. The sounds of serene rain beading the floor echoes in the humid foggy space, and the sweet scent of citrus conditioner crowds your nose. You squeeze out the remaining water. His eyes ajar from infinite slumber once your hands leave his cleansed scalp. You turn off the shower and escort him to the tub. An iridescent blue sparkling liquid stills in the marble stone, complete with botanical flora bobbing aimlessly.  

“There’s more? You’re spoiling me.” He soaks in the room temperature tub, unwinding above bath salt gradually dissolving. You undoubtedly added a concerning amount of eucalyptus and lavender to the water, hoping it would miraculously restore him instantly. Positioning the stool behind him, you pull his hair back with a headband and start to mix a face mask in a small wooden bowl. His head lays in your lap, watching you diligently combine cream with medicinal powders and clay.  You brush the blend over his face and neck, cool to the touch. 

“Feels nice.” he breathes. “Doesn’t it? It’s made with-” you go on a passionate tangent about the ingredients included, he simply stares at you, the twinkle in your eyes while you trace his cheekbones. What did I do to deserve someone so kind and selfless, constantly seeking out my well-being and nurture- 

“Are you even listening?” you accuse. He snaps out of the trance, and nods unconvincingly. 

“I was.” 

“What did I say then?” 

“Mm, something something, your beautiful eyes and lips, I want to kiss them.” he drawls. You grunt disapprovingly, and place thin slices of cucumbers over his eyes. “No looking until it's over.” He pouts like an unruly child. You snicker and scoop a chunky clump of brown sugar scrub between your palms, rubbing together to coax warmth. Kneading the grains along his robust biceps and torso in wide circles, you’re sure you heard snoring at some point. Your hands unrolled a dull ache, and you wanted to stop, but his chest heaving deeply in relaxation pushed you to continue. You ladle water over the sugar and face mask, rubbing it dispersed. With a pristine face, you pat serum and moisturizer into the skin and admire the glowing haleness slowly returning. He sits up, freeing his eyes and gazes at you. 

“How do you feel?” 

“I always feel good whenever you’re around, my love” he flirts. You huff and drain the water. “You should dry off. I’m gonna give you a massage.” He steps out the tub to dry but attempts to follow you out of the room. You turn and he’s right behind you, his massive presence covering your silhouette. “Jing, I’m getting stuff ready. Can you wait here?” He says nothing and embraces your nude figure, nuzzled in your hair. You grab his arms, prying room to look up at his hiding face. You’re shocked to see tears brimming in his eyes threatening to overturn. You wipe them as they fall; somehow, he’s still grinning. He couldn’t register why he was crying yet. “Are you okay-” 

“I missed you greatly.” he murmurs. You kiss his nose and pillow his shaking arms and legs. Dispelling the fears and insecurities that strangle him to a gasp. It’s easier to breathe. "I missed you, too.” He picks you up bridal style, and you yelp. 

“Wait, but the massage” you contest. He walks to the bedroom, swaying you without a care in sight. “That won’t be necessary. I just want to hold you.” He lays you on your back and climbs over you. Despite all the space on your king sized bed, he intertwines your bareness with the velvety sheets, and locks you in his arms. His cuddles are cushiony and pure, cocooned like a life-sized teddy bear. You had numerous things planned today—you'd make him dinner, cater to him, watch a movie—now that you’re snuggled cozily, you couldn’t envision leaving this bed. “I didn’t get-” you yawn lengthily “-everything done.” 

“You've done more than enough. It’s time I take care of you.” He kisses your forehead, and your eyelids feel dense as they ultimately come to a close. He wished your eyes would remain open, he wanted to stare into them for as long as possible. “Truly, thank you, (Y/N). I needed this.”  

He listens to your soft breathing, your heartbeat pounding methodically against his. “I love you. So much” you say in trailing hushed tones before drifting to a distant dream. Maybe you’d dream about him, somewhere on a different planet with your children, spending forever together. For now, things are just as they were before.

“I love you more.” 

[joeloverture]

whist i get what you are saying about confederate flag, why is it deemed completely okay to write about joel saying that he would have fucked his 15 year old daughter given the chance. this isn’t trying to be hateful, i’m just genuinely curious

okay hi! thank you for being sane about this and actually approaching from a place of wanting to widen your scope. id direct you to @whataperfectwasteoftime for more on the confederate flag stuff. they made a well developed post on that for a much more aggressive version of this ask.

im sure u can guess what’s under the cut so heed any triggers you may have and put u first.

i want to make something clear here that i previously haven’t. i don’t think this fic belonged on tumblr. it’s ambiguous in its TOS whether its actually a violation or not, but since tumblr operates in areas where writing csa is illegal, it was never meant to be here in the first place. ao3? sure. whatever. but this is stirring things up because it was in an unexpected place. tumblr has more rules whereas ao3 is the scarcely contained Wild West of fanfic.

furthermore — i wouldn’t say it’s completely okay. these things have nuance. i read the fic, because I saw something like this coming from down the road considering the fandom climate. i do think the fic was stylistically written in a way that was self aware of the characters mutual destruction of each other. i also think it was intentionally inflammatory in some ways. however, everything was adequately tagged. people were free to move on if it caused discomfort, which i also want to make clear is a normal feeling. whether it be interacting with eroticized fanfiction or fiction in general, it is an inherently uncomfortable feeling sometimes! it’s up to us to determine what agitates our personal limits. i don’t think others should be held responsible for our consumption. what joel said in that fic was repulsive. it was meant to be! i also want to reiterate here that darkfic isn’t for me. dark fiction, though? that’s my shit — and i don’t mean dark romance or a little life, but the same theory can apply to those.

if we begin to crack down on eroticized fanfiction, the terminology they use will bleed into other areas of literature. suddenly the language used to describe a minor in an erotic work (and trust me, the thought of this does nauseate me — emphasis on this not being for me) is forbidden in a work that is raising awareness or telling a story. these may seem like far jumps, but loopholes like this exist everywhere in the law. it is why worries about rights to privacy emerged during roe v wade. especially with the right, famously laden with pedos and their enablers, they will pretend to be protecting people by silencing any dubious erotic work, then trans and queer voices (notice how they are constantly called pedos), and then real csa stories will be suppressed so they can get away with more.

id direct you to a pending law in tx, in which any obscene depiction of a minor or someone who looks like one. (senate bill 20)

big win, right?

nope. it’s far too up to interpretation at the prosecutorial level. scotus actually deemed this unconstitutional in 2003.

it is legal to marry a child in texas. these lawmakers use fiction as their scapegoat to avoid the moral consequences of actions they participate in. laws like this may start at the level of, say, anime or manga. but it very rapidly will spread to appropriate television, art, etc that depicts trans and queer people. and even beyond that.

i worry where this goes. if we don’t speak up now, who will speak up for us when they come for us? because they will.

additionally, fiction ≠ reality. this is an important distinction. fiction can be a powerful tool to explore what we fear, what we have experienced, and what we wish would happen. i cannot police what others do. only what i write and how i respond to their words.

[seeingteacupsindragons]

Aro Week 2024: Let's Talk About the Limits of Representation

A lot of the discussion around writing marginalized identities comes down to one thing: representation. Representation in the books versus the authors, what the representation looks like, the variety of representation, what representation is present and allowed, what diversity is there and what isn’t.

For aro week, I want to talk about how limited that is for aro (and ace) people. Because the thing about representation is that to be exist beyond Word of God, it’s got to be discussed in the text. And that means romance (or sex, for ace people, but while I’m ace, and most of this is going to cross-apply, this post is for aro week so this is just a global note) has to be discussed in the text.

But a lot of time what I want as an aro person is to just not have to think about it. I think in general I’ve seen similar sentiments expressed across marginalized groups: we always have to think about our differences, and it’s a mental load and burden that other people don’t have to deal with. And as an aro writer and reader, a lot of the time what I want, and what most allows me to lay down that burden is to just not have romance in the damn thing. It’s hard to figure out how to write sometimes, it’s something I have to mentally keep in mind while I read.

While I go through life in general, I often just…forget it’s a thing. I forget when Valentine’s Day is often. I forget that people are normally dating. I forget people want to discuss with their romantic partners when making plans with friends. I forget they want to go everywhere as a group. I forget things look like dates. My life is one in which romance is rarely a factor unless imposed on it by outside forces. It’s not relevant.

But if I write that for characters, or for readers, a place where romance is not just imposed on their mind, the characters aren’t actually…aro. A story in which romance, romantic attraction, or interest in such things never comes up is one in which no character is canonically disinterested in or not in possession of such thing. It’s one which has no moments of obvious recognition of the aro experience or joyous bursts.

It’s a story in which, “Eh, they could or couldn’t be attracted. It never came up, so anything is valid because nothing is canon.”

The definition of being aro might lie in not experiencing romantic attraction. And sure, the character might not. But this is fiction. Not reality. And in reality, aro people’s experiences are more than the dictionary. People have relationships to romance and attraction and interactions with the concept are often recognizable and definitional. No real person can live without interacting with romance and attraction, and those relationships to it are as definitional and important to being aro or being gay or being straight or bi or whatever as the dictionary definition is.

Characters don’t have to interact with it. I’ve said romance isn’t relevant to my life as an aro person much of the time. If romance isn’t relevant to a character’s story—well, lots of things aren’t relevant to stories we assume are happening, like…most bathroom trips, or meals, or menstruation. A character isn’t representing an eating disorder because they’re never shown eating: it’s more complicated than that.

Being aro is more complicated than that.

A story in which character relationships wholly rely on and depend on something other than romance, a story where character relationships are undefinable and not attempted to be defined but only described and developed, a story in which characters and societies and people exist outside the omnipresent framework of romance inherently comes from a place of aroness and the aro experience. It speaks most to that place.

Most people who experience romantic attraction are often thinking about it. A story without such things is one which is lacking something they’re looking for and expecting, not a story where everything proceeds as usual without being interrupted by Oh, Yeah, That.

So, then, if alloromantic people will notice something is Different and aro people might seek it out, this way of writing around romance because it’s not relevant to the story the way it is not relevant to my life needs to be framed in the metatext so people, aro and alloro alike, know what to expect and what they’re getting into.

But when all talk about marginalized stories comes down to “What Types of Characters Are Here?” and “What Culture Is This World Based On?” there’s this empty space to explain stories like mine.

There’s so many things to the aro experience that don’t revolve around rejecting romance. But if you ever look for an aro story about something else, how can you even find it? It’s so difficult to talk about an aro story that isn’t Representative and exists in a way you don’t even have to think about it and there are no smooth bumps to remind you of yourself so you can immerse into it that…I think people forget stories like that can even exist.

[wings-of-fire-confessions]

I truly don't like how people talk about Kinkajou on the internet like her not being irreparably damaged by her trauma forever makes her "uninteresting" or a badly written character. Being cheery and optimistic in the face of strife, despite clearly holding a self-awareness about her previous trauma as shown in how she thinks during Moon Rising, is what MAKES her interesting. It was also not a repeated trauma she endured throughout most of her childhood, it was a singular, absolutely terrible event that happened to her but which she had a support system coming out of in the form of Glory. I am not trying to diminish Kinkajou's trauma but the fact that she had anyone to support her through the worst events of her life makes it a ton more logical that her personality would be less effected by it than the rest of her winglet, who all experienced traumas like abuse or neglect that was on-going and largely for the ENTIRETY of their lives up to the point of attending Jade Mountain. I think sometimes people forget that not seeing a POV of a character does not immediately erase the internal logic that their character functions by. It's like when people claim Clay gets flanderized post Book 1-He doesn't, nothing about his writing changes, your perspective of him is just inherently limited because you are reading about what Other Characters Think of Him. It's the strongest element of Tui's characterization in her POVs but I think it leads to a lot of misjudgement about characters books outside of their own. Even though we aren't getting a Kinkajou book, I'd love one just so I could stop feeling crazy about already thinking she's a fully three-dimensional character while everyone else seems to think she's flat as a piece of cardboard.

.

[criticalcrusherbot]

Here’s the thing I DON’T understand ever since being in the Helluva Boss fandom.

I’ll never be one to claim that Helluva Boss is a masterclass of storytelling, because it’s not. It has its flaws: plot structure is a bit disjointed at times, tonal consistency could be better, sometimes the humor is not well balanced with the emotional moments, and some episodes can suffer from speed rail pacing, “Mastermind” is the first episode that comes to mind.

But also a lot of what this show does well with its characters still makes up for it, and the show has been getting better about ironing out the flaws I mentioned.

The show’s writing isn’t perfect, but it’s far from having the worst writing I’ve ever seen, so…why does is it THIS show that pushes people’s buttons so much?

Why is THIS the show that sparks the creation of hundreds of YouTube videos with over 50k views or more yelling about how much people think it sucks?

🤖💁🏽‍♀️: Your point about the disproportionate criticism of Helluva Boss touches on a significant issue in media reception: the relationship between production context and audience expectations. It’s undeniable that Helluva Boss faces an outsized level of scrutiny, and much of that can be attributed to the fact that it’s an independently produced series created by Vivienne Medrano, a highly visible and accessible online figure. Unlike shows backed by established production companies, Helluva Boss operates without the institutional legitimacy that often insulates mainstream media from this level of hyper-focus.

For comparison, consider Avatar: The Last Airbender and Bojack Horseman, two critically acclaimed shows produced by major companies—Nickelodeon and Netflix, respectively. Both series benefit from larger budgets, industry connections, and an inherent credibility that allows their audiences to extend more generosity toward their flaws. And while these shows are widely celebrated, they are not without their shortcomings. Avatar, for all its masterful world-building and character development, struggles with romantic subplots. The dynamic between Aang and Katara often feels forced and awkward, with Aang’s possessiveness clashing against Katara’s more maternal demeanor. Meanwhile, Zuko and Mai’s relationship lacks chemistry, (💁🏽‍♀️: though Mai’s defiance of Azula? “I love him more than I fear you.” — rad af).

ANYWAY.

Similarly, Bojack Horseman, while lauded for its exploration of mental health and the consequences of fame, is deserving of some of its criticism for its jarring tonal shifts between absurd comedy and bleak drama. Bojack himself frequently escapes meaningful consequences for his actions in ways that challenge narrative cohesion. However, these flaws are typically contextualized as part of the show’s complexity rather than as fundamental failures, largely due to its association with a respected platform like Netflix.

In contrast, Helluva Boss is rarely afforded the same critical nuance. The show’s tonal experimentation (arguably a feature, not a bug) and character-driven storytelling are often dismissed as structural weaknesses rather than creative choices. This disparity can be partly attributed to the persistent “hate boner” directed at Medrano, whose visibility as a creator makes her a convenient target for criticism. The expectation that independent creators should produce flawless content, while mainstream studios are forgiven their imperfections, reveals an inherent bias in media consumption.

Ultimately, no media text is perfect—not Avatar, not Bojack, and certainly not Helluva Boss. But the point of analysis should not be to determine whether a show is “good” or “bad” in absolute terms. Thoughtful critique involves engaging with a text on its own terms, recognizing both its achievements and its limitations without letting external biases dictate its value. The disproportionate vitriol directed at Helluva Boss says more about the audience’s biases and expectations than it does about the show’s quality.

And on a personal note? We enjoy our gay demon furry cartoon 🤷🏽‍♀️🤖💖