#a lot of people have this idea of how things can only be presented as bad or dread inducing or horror if they're dark

[alatismeni-theitsa]

In "KAOS" nothing is anything, and everything is wrong

Two disclaimers: I am no stranger to modern art, and I have no issue with queerness in shows, or in my own mythology (I'm Greek). I am also aware that KAOS is a comedy. It's in the gutter of British comedy, but still part of the genre. At least I laughed every time they said "Oh God!". I don't believe this is the same person who wrote the great and amusing "End of the F**king World"! The premise of "The gods in our modern world" appeals to me a lot, so that wasn't my problem either. My general issue with KAOS is its horrible delivery, bad writing, and piss-poor Greek representation.

This is gonna be long and full of stupid gifs, so sit comfortably, grab a coffee or some popcorn and... pame!

The "ILoveGreekMythology" Kid

Art without context is just a pretty thing to look at. Most of the time, this context can be found within the art piece itself, as the artist has taken care to weave it in. KAOS refuses to connect itself to any context besides the names and a few vague powers. It aims to exist outside of those "boring old stories of the Greek myth" and be entirely "fresh and modern". Something impossible when the entire show and the meanings are based on ancient recorded material. In other words, KAOS is so meta that it ends up being nothing. KAOS cannot stand on its own because you need more than the viewers being familiar with the Greek myth basics to pull such a show off.

KAOS tells us "See? I know all the names of the gods, and what they did, and I know all the locations, so I am qualified to tackle this". More or less like any Western kid who takes all their knowledge from PJO and Marvel and proceeds to unironically hate ancient deities and make a girlboss out of Medusa.

Here's a Greek word for you guys, ημιμάθεια, meaning "half-knowledge". Α Greek saying very well declares "Half-knowledge is worse than no knowledge". The confidence of thinking you know enough often leads you to grave mistakes whereas the humility of not knowing prevents you from touching shit that you shouldn't. When you have no idea what the original myth is trying to say and spit on its meaning, knowing a few names and locations is just smoke and mirrors. I don't believe the audience fell for that.

And don't get me started on the "subversions". A good subversion is intriguing and thought-provoking. In KAOS, every twist was hollow - Greek myth related or otherwise.

"What if Euridice doesn't love Orpheus?" I don't know, babe. What if??? What was the point of that? What did you show us? That women's stories are dominated by men and men don't listen to women, perhaps? And you chose to twist... the love story of Orpheus and Euridice to show this?? One of the best and most tragic love stories Greek mythology has to offer?? You just mocked the myth, you didn't make anything profound out of it.

The Greek Stuff (Nothing salvageable)

I was surprised to see they had a Consulting Producer (Georgia Christou) and an Assistant Script Editor (Isabella Yianni) who happen to be Greek. And I stress that because those people probably weren't hired or utilized for being Greek. We are not sure they were involved in cultural decisions because we have no evidence and because shows with no Greek elements can have more Greeks than that on their staff.

Okay, perhaps they took 5 seconds to ask Isabella about a greeting - which they proceeded to say in a wrong intonation 🙄🤌It's where Poseidon says "ya sás" in the Fates, by the way. How he said it sounds more like "for you (pl.)" than "health to you (pl.)".

Surprise! The only Greek actor present (Peter Polycarpou) has less than 5 minutes of screen time and plays the caricature of an immigrant with a thick (and inaccurate Greek) accent. He has a canteen, selling falafel which is not Greek, and Dionysus buys from him an unidentified tortilla wrap (which... is also not Greek, if you haven't caught up).

For the show they brought in actors of Maori, Nigerian and Sierra Leonean, Pakistani, Black American, Latvian-Jewish, Iranian, Egyptian, Indo-Fijian and Malay descent and you tell me it was impossible for them to seek and find an English-speaking, skilled actor of Greek descent in a show regarding Greek heritage. Sometimes I wonder, do y'all hate us so much?

They considered Greeks only to give us a simple (and wrong) greeting and a stereotype. Crumbs, we are supposed to be happy with. By the way, there are over 70.000 Greek immigrants just in the UK, usually in the urban centers, many of them students or fairly young employees in the corporate workforce. Not the largest minority but not hard to spot either.

Another plague of Anglophone shows: Almost everyone's Greek name is shortened. Yes, we know their full names but we are told that we will use the short ones. Greeks and their "long and difficult" names am I right fellas? Because saying "Ariadne" apparently requires 5 years of Greek language training, and no English word ever has more than two syllables.

Coincidentally, short names are cool in Anglophone imaginary universes and the "long" names are not. it's so strange Anglophones never make universes where it's cool for Greek names to be spoken in full hmmm... They don't even want to practice saying a whole Greek name for just 2 minutes in preparation for a show full of Greek names. And don't give me that "Greek is hard" shit when we only talk about a few syllables. If Greek kids can learn English since first grade and people here can sing English songs and spell English names, you have no excuse.

They also said the name "Fotis" means light, which is close enough but... ugh.. It's like saying Sebastian means "respect". I am not sure if they asked anyone or what their research was here. If I had the writers in front of me, I'd be like:

(This character from an all-time favorite Greek show is called Fotis)

They also made the flag of "Krete" an alteration of the Greek flag and the local Cretan flag. Which is the stupidest move, because they had to remove the religious symbol of the cross to make the flag fit the universe. These are flags created based on 1) Christianity 2) the Greek Revolution of 1821.

National Greek flag to the left, local Cretan flag to the right:

Flag of the KAOS' "Krete":

The only time they seriously took into account anything Greek, was the time when they decided to remove the religious symbol of our ethnoreligion AND (from what I could observe) keep the nine stripes?? The nine stripes of our national flag represent the syllables in "Freedom or Death". The colors are from the white foustanela of the mainland attire and the dark blue vraka of the island attire, the clothing of the Revolution fighters. (That's more of a meta explanation but the characteristics of the flag were decided during and nearly after the Revolution.)

I think I don't have to explain it more but it's not a homage to put the nine stripes in an ancient era where they have no meaning, and to replace a cross??? Let's... not replace religious symbols on national flags, okay? Thank you.

Another cultural element they changed was making everyone have a dedicated coin to pay Charon. Orpheus has Euridice's coin, "her coin", and he's meant to put it on her before she got buried. In Greek culture, any coin would do. Sorry that our culture restricts your script, dear writers. I guess you had to bend this too, in order to create a cohesive plot with a semblance of a twist.

Finally, the many "Kerberus" dogs were cute and I can understand the creative decision behind that. However, in a show full of inaccuracies, this made me roll my eyes a little. I think the showrunners know that Kerveros is not a breed of dog, and there can only be one of him because he doesn't have any other "Kerveros" to breed with. On the other hand, as demonstrated from art/writing on the internet, quite a lot of Westerners are not exactly aware of how our monsters work, so forgive my uncertainty 😅

Nothing is Anything

Every element KAOS played with ended up meaningless. In the words of a Lifo article:

“Zeus is a paranoid authoritarian dictator in mid-life crisis who fears losing his power and murders his aides to vent. Hera is a promiscuous goddess who repeatedly betrays Zeus and has mutilated mute priestesses for protection. Dionysos is a spoiled and immature zoomer who, apart from pranks, indulges in orgies with all genders. Poseidon a sadistic god of the sea, who tortures the crew on his ship for fun. Prometheus is gay and killed his lover so he could overthrow Zeus. Orpheus is a famous pop singer and Eurydice does not love him. Theseus is black and gay. The Erinyes are tough-as-nails mechs that look like they stepped out of ‘Sons of Anarchy’. The Fates resemble a three-member jury in a talent show. The Trojans are a terrorist group that acts against the gods. Crete is more reminiscent of California than the Mediterranean.”

The "River Styx" is a sea, the "River Lethe" is a lake, the gods are nothing more than spoiled humans, the Moirai are drag queens, the Cave is a club where you have to take a quiz to enter the underworld, and generally everything is modern, flat, mundane and anticlimactic. The producers aimed to achieve a work so meta that a "river" is now a concept, a metaphor, whatever you have in your heart. And those who want to see a river when we speak of a river are probably uncultured swines and don't understand postmodernism. Never mind that rivers are rivers in Greek mythology for a reason. That's not culturally interesting enough to explore compared to the new, cool approach of not assigning meaning to anything. That totally shows love for the original rich and meaningful material...

And the reason behind all this subversion? Probably the shock factor. They brought the characters to a point where they said "We have to save the world from Zeus" - Zeus! The father of gods, heroes and humans! - just because they could. It gives off a certain type of smugness that I personally don't like. I mean, I would like the smugness and cheekiness of KAOS if it wasn't a vapid and practically meaningless show. As nothing symbolizes anything anymore, we are just led from hollow plot point to hollow plot point.

If you cut it out of any cultural influence and see it as a story then it's... okay, I guess. But when you consider that it's meant to derive from certain material and it fails spectacularly, it's not a good story. It forgets its bases and doesn't play with the ancient elements at all. Disney's Hercules did it better, FFS!

Bad Writing (pt.1)

KAOS is not without recognizable themes but their demonstration is so juvenile and heavy-handed that it fails to influence a viewer of average intelligence. For instance, "Riddy" says to her religious mother "You dedicated your whole life to Hera, what about me?" Okay, KAOS, we get it. At the same time, this theme nulls itself because it turns out that Ridy's mother was right to do what she did, as she had a greater goal in mind. (And this, kiddos, is called Bad Writing, because your themes and scenes contradict each other)

The biggest theme I spotted was a criticism of religion and religious people who say "Do as I say, not as I do" and create exceptions for themselves. Only, it's not a criticism of anything real, in this case. It's a fact that some people in the clergy tend to preach peace and love and then they do harm, but we don't know, for example, that The Goddess of Marriage is a cheater and yet she pressures everyone into strict marriages. By focusing their wrath on divine beings who are not known for their hypocrisy, the creators missed the mark.

I can give KAOS props for how it handled Trojans to reflect real issues regarding how immigrants and war refugees are mistreated and blamed. I'd argue it was the only (nearly) well-done theme in the whole show because it had the least on-the-nose delivery and some genuine/serious scenes. But that's it.

More Bad Writing!

Jeff Goldblum's Zeus is shit. He'd crap his pants in an argument with a stern Greek dad/uncle his age. Is this character supposed to be intimidating? (Laughs in Mediterranean) That's not to say that Goldblum is not a good actor, but this role wasn't for him. The same can be said for the other actors, too. They are competent but they only give off the air of "The Greek gods if they lived in London, from the minds of people who think beards and body hair are an affliction". In addition to being misplaced, the actors cannot show their talent when following a script that resembles a children's book.

Why does THE GOD Dionysus have the maturity of a 15-year-old? I repeat, The God Dionysus. He's a freaking deity, and a very old one at that. He is not a teenager neither in appearance nor in experience. In our culture, he is mystical, mighty, wise. Why did they downgrade him so? Just for the plot? This is not Dionysus just because you named him so.

The dialogue rarely takes itself seriously to the point it has you wondering at times "Do people talk and behave like that?". In a comedy where everything is meant to be already extreme and parodied. Even in comedies, something must occasionally be serious so there is a healthy fluctuation in tone and the funny moments can hit you. In KAOS very few scenes treated their impactful dialogue as it should be treated.

The queerness and diversity (good elements, in general) were worse off for being in KAOS. Like, I want these elements to be there. I'm just sad about the whole situation. It's not enough that the show is shit, now you also give an additional reason for conservatives to shit on diverse and queer characters because they are part of a stupid narrative.

I'm the type of person who doesn't mind the queerness of Astyanax and Theseus being lovers in the context of this specific show but they're still the oddest pairing to me because they're from the most irrelevant myths and eras. Also, Astyanax in my mind is a baby who died tragically, for little reason if we are honest, so to bring him back and make him a love interest is... ekh.

In addition, isn't Astyanax supposed to be crippled after a fall from the city walls when he was a baby? Sorry to change subjects but the show is so convoluted and with so many issues that it's extremely difficult to stay on track with what's wrong.

To the person who thought this show was a good idea:

Whatever. Bye. I'm fucking done.

[1moreff-creator]

Select Two, Choose One: How will the Culprit get Found?

Since the latest DRDT chapter seems to have narrowed down the suspect list to just two people, many have speculated on how exactly the cast is going to pin down the correct suspect, and whether or not the audience has the tools to do so. I thought I’d throw my hat in the ring too! And while I’m still really 50/50 split, there is one piece of evidence that could change the murder method… in a way that points us to the culprit. Very inconclusive evidence, but it’s there. Let’s get into it.

Spoilers up to CH2 EP14. CW: Hanging, murder, blood, Eden and Ace!Culprit discussion

As a starting point, I’ll assume that the deduction that the culprit must be one of Eden or Ace is accurate, to simplify things if nothing else.

I will start with what I’ll call “meta only” arguments. In other words, things that characters can’t reliably use to narrow down the suspect, but that we the audience can take into consideration for theory-crafting.

-Mindset post-Nico murder attempt: Immediately after Nico runs out of the gym, the killer needs to be in the correct mindset to grab the tape, and they also need to be able to more or less figure out what Nico did to replicate it with Arei. Although, importantly, the killer doesn’t need to come up with the full plan on the spot, and they don’t need to fully understand what Nico was doing. At the end of the day, the only real similarities are the general idea of a pulley and a hanging.

Here’s more or less the train of thought Eden might have had if she’s the killer.

Eden: Hmm… The fan is broken and there was wire on it, Ace’s neck looks cut… Maybe Nico used some kind of pulley to hang him and it broke? Maybe I could do that… This tape looks useful for that.

Meanwhile, since Ace woke up in the middle of the murder attempt, he has to do a little less deducing.

Ace: Did I just get knocked- HOLY SHIT NICO IS HANGING ME WITH SOME SORT OF FUCKING SPINNING DEVICE AAAA-! Ooh, tape! :D

The actual planning of a murder would come later in the morning for Ace, once he sits down and has A Thought about it. Grabbing the tape in that context seems insane, but there may be precedent for Ace being prone to stealing the weirdest shit (we’ll get to it), so…

I think both of these are plausible. I wouldn’t say either can be disqualified like this, so we keep looking.

-Ripping/reconstructing the note: The note to Arei was ripped up and thrown into the trash, then Eden, Rose and Whit put it together.

Ace has no real reason to destroy the note, he could have just left it as it was. Maybe throw it in the trash since “it’s what Eden would have done”, but destroying it runs the risk of people not being able to put it together to point at Eden/Arturo. Although, you could argue Ace was trying to frame Nico specifically, so the note wasn’t useful and he threw it away because it made sense in his mind.

Here’s where we get introduced to a pretty big problem of having Ace as a suspect; that thing Teruko said, that sometimes assuming people will always act logically is a bad idea. Ace is the prime example; a lot of shit in this case makes a lot more sense if you assume Ace did it because he’s not smart enough to notice the problems with it. Such as using the method to frame Nico when only a few people in the class know what the method is; he maybe wouldn’t have noticed that that could point towards him as well. Ace is erratic, it’s very difficult to pin down why he does half the shit he does.

Eden, at least, makes sense. By destroying the note, then rebuilding it herself, she throws off suspicion with the exact argument she used in the trial; if she’s the killer, why do that? Just leaving the note as it is runs the risk of someone finding it and presenting it, which removes that argument, meaning tearing it is imperative.

And she would want the class to find it, not just because it makes her look more innocent if she talks about a building friendship with Arei, but because the note is where we get the “7:30” time, which combined with the fish making people think the murder was at nighttime, appears to give Eden an alibi.

In conclusion, the note being ripped makes more sense with Eden as the culprit… but it doesn’t disqualify Ace because he’s an idiot. And speaking of that…

-Fish Paradox: As outlined in my Ep13 murder theory revision, the problem with the fish is that everyone who benefits from the fish being at the crime scene only benefits if they have an alibi for nighttime, but that coincides with the time the fish disappeared, as Nico fed them and counted all of them after having dinner, so they couldn’t have taken it. Meanwhile, people like Ace who could have taken the fish, wouldn’t have a reason to as they don’t benefit from the nighttime alibi.

Except, it’s fucking Ace. It’s genuinely possible he thought people would see fish and instantly jump on Nico for some reason. See the problems that arise when you can no longer assume the killer is acting rationally?

Anyways, inconclusive (we’ll talk Eden later).

-No blood on tape: This heavily depends on exactly how Ace could grabbed the tape. His hands sorta get covered in blood instantly, so it’s hard to imagine he’d be able to do that without staining the entire roll of tape with blood. He couldn’t have easily washed it, either, since he passes out shortly after, and the blood would have likely dried by the time he woke up. This is definitely a point towards Eden, but can the cast use this? I don’t think so, because it relies on what we saw during the episode, which is not easy to prove in a trial setting.

-Dialogue and trial behavior: This one’s difficult, and as you might expect, inconclusive.

I would argue Eden has a higher amount of outright suspicious lines (“Teruko, wait—“ haunts me), but she also has a higher amount of seemingly anti-suspicious lines that make her look very innocent (see: the entire speech at the end of Ep 14).

She also has a moment where she steers the trial in the right direction by denying that Arei could have committed assisted suicide, but it’s worth remembering that if the class thinks that’s what happened and they learn of Eden’s relationship with her, they might assume Arei and Eden worked together to get Eden out. In other words, by denying the notion of assisted suicide, Eden!Culprit avoids the class reaching the right conclusion through the wrong method. Of course, if she’s innocent, it’s just genuine.

Comparatively, Ace operates at a much more stable level of suspiciousness I can only call “Ace level.” He’s constantly throwing suspicion on Nico, who the killer seemingly tried to frame with the method; he kept David and Arei’s conversation hidden; and was one of the first to jump on the “David’s the culprit” bandwagon. In a vacuum, this is super suspicious; hell, Levi was the fandom’s prime suspect for less.

But… it’s Ace. His behavior isn’t too different from the first trial. So while it’s possible he’s doing all this because he’s the culprit, it’s also possible he’s just being Ace.

Impossible to tell, I fear.

-Eden’s Night 2 paranoia: You might recall Eden being very worried someone was following her in night 2, which could suggest she was doing something suspicious (eg setting up the ball of clothes, more on this later) and was scared she’d get found out.

The problem is that there’s a perfectly fine explanation for Spotless!Eden. This is the night after her confrontation with Arturo, and Teruko did enter the same room as her; she could have just been paranoid because of the former, and felt someone was following her because of the latter. Moot point.

(I don’t think anyone else was following Eden because Teruko would have presumably seen them. Then again, I have overestimated our protag’s perceptiveness in the past)

-Eden’s strength: Eden is the weakest of the cast, so it’s very possible that half the Arei murder method is just impossible for her. But… we can’t know for absolutely sure what “weakest of the cast” means, and it’s not evidence that can be used in a trial. Ignorable.

-Motive, character writing and themes: I’m lumping these in together because I’ll give the same answer to all of them: the dev can just add an explanation in the inevitable post-trial trauma dump. We don’t know absolutely everything there is to know about these characters, or the way the narrative is going, so it’s impossible to confidently argue based on this. Physical evidence will always take precedence over these things in my books.

And that kinda settles it for that. There’s minor arguments like “Eden won’t die before we explore the Fork CG” (well, Xander did, so) or “if the Scrum Debate is Ace vs Eden then Ace is probably safe” (we don’t know what the Scrum Debate will be), but I’ll skip them to get to the more pressing matters.

That being trial-worthy evidence. What can the most dysfunctional cast of any fangan ever (/affectionate) use to fully commit to a culprit?

-Fish Alibi: If Ace has the problem of “no reason to bring fish,” Eden has the problem that her alibi literally starts directly after dinner. If Nico ate dinner with her and Hu, she couldn’t have taken the fish.

Except, of course, Nico could have had dinner earlier, and this point is completely moot. We can’t know yet.

-BDA: This is very obviously not what the cast will use to come to the conclusion given the discussions we’ve had, but I’ll bring it up anyways. This was explained in the episode though, so…

-Playground floor: sorastar6’s idea; since the floor of the playground is made of the same stuff as the relax room, it’d become sticky after getting wet from the water in the jugs, and thus, the culprit could have some stuck to their shoe. Unfortunately for some of you, we can’t easily look at the cast’s feet all the time, so this would only work for the characters, not us. However, Hu does mention heels as an example of something that can scuff the floor, and Ace wears heels, so small point to him.

-Missing glove: I still have no idea where this thing went. My only guess would be that the killer removed it to more easily put tape on Arei’s wrists, but by the time they’d strung her up, they decided putting the glove back on would take too much time (? I have no concept of how hard it’s be to properly put a glove on a dead person’s hand), and they wanted to get out of there as fast as possible. If true, that would mean they still have the glove on them, as it wasn’t in the trash. Again, if I’m right about this, the cast can use this, we can’t.

-Random garbage:

Something here. Rose would remember everything about it, so it’s usable. Maybe Ace’s gloves were damaged and he had to use the needle and thread to fix them? Maybe one of those napkins is the cloth with turpentine Nico used and only Ace would have identified and used it (assuming it wouldn’t have dried and MonoTV wouldn’t have thrown it out for some reason)? What even is that pink paper thing? Who knows.

-Ball of clothes: Held together by something Teruko identified as starch, there’s been around three hundred theories involving this thing. The only one that’s actually incriminating (for the two possibilities being discussed) is thebadjoe’s idea of the starch being from the enriched formula of the relax room, which could implicate Eden as she was acting suspiciously around the dress-up room on night 2.

I’ve seen it argued that the clothes would be dirty in that case, but that can be solved with an extra layer of clothes under the clothes that actually get starched up, which would later be either discarded, washed, or simply put inside the ball itself.

(This might be the last murder diagram I make for this case. Holy shit I can’t believe that)

Which is all well and good, but this is still ultimately assuming both that the cast has some way of making sure Ace couldn’t have done this, which I’m not sure exists, and that the starch comes from the relax room in the first place.

Because something I learnt, like, last week, is that people put starch on clothes. Like that’s a thing they do. So it’s entirely possible there’s starch for clothes in the dress-up room and anyone could have done this. If that’s the case, this cannot be used to argue at all. I don’t love the idea, since we don’t know if there really is starch there or not, but it’s there.

-Grammar: The letter to Arei pretty famously misspells “responsibel” (responsible), has horrible punctuation, etc. It’s possible someone in the trial will realize, ask Ace and Eden to spell the word, and whoever gets it right is cleared. We can’t know, but it’s a possibility. This also has the benefit of being obscenely funny.

-Custom weapon: If the killer used their custom weapon, it may point to them as guilty, as only they have access to it. However, I fail to see how a riding crop (Ace) or a wrench (Eden) would help in the slightest.

There is, however, one more item that only one of these characters has access to. And while I am very unsure of this assumption, if you ask me right now what is the decisive piece of evidence that will close the case once and for all, I will tell you:

-The shoulder band thingy:

Ace: Too fucking bad. Mine now. I’m keeping it.

Yep. This one.

For starters, remember that thing I said about the tape? That Ace has precedent of stealing completely random shit for no reason, and so it’s plausible he grabbed the tape just because? This is the precedent.

More importantly though, it’s something only Ace has access to, so if it can be determined it was used in the crime scene, it’s curtains.

And there is actually one place I could see it being used. Followers of my method theories know that, through the fire and the flames, there’s been one deduction that’s remain constant: the rope was tied to the ball of clothes, which was thrown over the railings to get the rope as high as needed. The ball also hit the lights, displacing the bulb and causing it to flicker.

(He he I snuck the image into a fourth post >:D)

I’ve always sorta assumed DRDT takes place in a physics exercise where air drag is ignored, but it’s true that this might be harder than I’ve been presenting it as.

So, we get the use for the shoulder band; a slingshot. I’m unsure on how it would be constructed (swingset maybe? seesaw?), but the idea is that. Create a slingshot, throw the clothes, badabim badabum, Ace is the culprit.

I’m not the only one to think of this btw. Reddit user (yes we’re cross-platforming for this) Makatrull seems to have arrived at the same conclusion. Great minds think alike ig.

Of course, this comes with its own issues. Mainly, how do you connect the shoulder band to the crime scene? The only way I see that happening is if the cast determines this is literally the only way the lights get broken, which… yeah, I’m gonna have to let them do the math on that one.

It’s impossible to judge without existing in the DRDT world. Is the ceiling higher than I’d previously assumed? Then it’s possible to come to this conclusion. Is it lower, and possible that even Eden would have managed to just throw the ball over the railing? Certainly. So, for now, inconclusive. When I say it’s the most likely to be the decisive evidence, I mean by like, 0.1%, I really have no clue.

———

There’s probably more, but that’s all I can think of for now.

Seeing as we’re reaching the end, I’m gonna say that regardless of the outcome, this might be one of my favorite trials in all of both canon and fan-made Danganronpa. So much shit happened. I’ll save my full thoughts for a more dedicated post, but goddamn, I can’t wait to see the conclusion!

Hope you enjoyed! If you made it this far, you deserve a shoulder band thing. Do with it as you please. See you!

[howlsofbloodhounds]

So glad someone else sees the weirdness of people being gross about fem body nightmare it always comes off as somewhat fetishy too bc they reduce him to just being hot

Yes! Absolutely. Seeing the weirdness not only in how nightmare is treated, but also how killer is treated! If he supposedly respects his boss, then why the hell is he drooling over him and treating him vastly different just because nightmare has tits now?

I also see this a lot with female killer or feminine killer—female killer always has huge breasts and small waist and it hardly seems like killer. Even when it’s just normal killer wanting to dress or express himself more feminine, it makes me uncomfortable when it’s done in an overly sexual manner for no reasons?

And of course nightmare and killer are adults, so there’s absolutely nothing wrong with being attracted to them or writing/drawing them in adult situations with eachother or others, it’s just that it feels very fetishized and hyper sexualized to have characters drooling over nightmare when hes just existing and also has breasts.

Even with killer as he is now, vastly hypersexualized as a character for not even any real reason either. He only flirted like once or twice in his canon drawings, clearly as a joke even and mostly because people asked rahafwabas to draw those things with killer, and yet it somehow became his entire character. Not to mention how people took “flirty” and “romantic” and immediately went “lustful creepy pervert.”

To the point where people just cant seem to let these aspects of killer’s character be just that; aspects, something interesting and fun, but not his whole entire character.

Don’t yall find it interesting to explore how a character who views themselves as emotionless and is dissociated from themselves and their actions most of the time navigates things like physical intimacy?

Especially when this character has very likely not felt any kind or comforting touch that wasn’t just a way to keep him further manipulated and controlled? How his experiences with abuse and torture and control have become so normalized it taints every aspect of his life, from the ideas of consent to the idea of boundaries.

Can he even feel much sensation that is too gentle, would it send him reeling in discomfort and disgust at first. would he hate how his body reacts even if it’s something that feels good—wouldn’t he feel viscerally unsettled if someone could provoke bodily reactions like flushing cheeks or a beating “soul beat” or even genuine arousal from him.

wouldn’t he think with contempt if his body reacts positively or negatively to receiving comfort. wouldnt he try to find a way to maintain control and detachment because too much stimulation or stress or feeling threatened or trapped or controlled or afraid for his safety and life could trigger higher stages and he lashes out and literally could kill his partner(s) because his mind mistakes the situation for something else. wouldn’t he need a level of either trust or control to willingly engage in something that feels deeply threatening.

Anyway i got off topic, but you’re absolutely correct. I love female or feminine Sanses, especially with the apple twins, and i don’t think there should be any need to hyper sexualize and fetishize the female body. (especially if these feminine/fem presenting or female bodies also happen to be trans/queer bodies; such as with transfem dream.)

like just let nightmare exists as nightmare, regardless of if he happens to have breasts or not—and don’t have his subordinates drooling all over him and behaving super strange just cause nightmares got boobs now.

(and I also don’t wanna see any situation where nightmare who usually doesn’t have boobs has boobs one day and the gang make a big deal about it, since nightmare is a shapeshifter and all. he could realistically just decide he wants boobs one day and the gang could just go “interesting. Anyway..” and hardly even that.

unless it’s to like, ask for today’s pronouns or something, i don’t see no need to comment on the breasts unless in the context of, nightmare is engaging in intimacy with their partner(s) or something. a context where it would make sense. Anyway just be normal about female/fem killer and nightmare please.)

[crazylittlejester]

*points at what you said in Sunny’s ask about hair stuff (which are all wonderful and yes) and Wars bleaching and straightening his hair*

Silly or Hero-warship previous mostly blond heroes gotta look the part perfect soldier image peer pressure whatever? (Basically, silly little guy or sads?) (My brain immediately went to this but it kinda falls apart with some of the others in the chain having different hair colors (which, again awesome, curly hair Rulie and Wind my beloveds) but thought why not ask anyways)

Taking this as a Yap opportunity because it’s been so long since people have sent in asks about my Wars headcanons and I feel like I haven’t gotten to talk about this in a while >:) SO THANK YOU FOR THIS

edit: apologies if theres any spelling mistakes im dyslexic but also just an idiot

So I hc Wars came from a very small village on the outskirts of the kingdom and when he got to Castletown and joined the army things were very different, HE was very different. He didn’t feel like he fit in with them, so he tried his best to force himself to fit in which is why I hc he does a fake accent, a Castletown/British one so people assume he comes from there. The way people view him is very important to him because he worries if they don’t see him through the carefully crafted lens he’s set up for himself to be viewed through, people will not like him or they won’t think he’s worthy or they’ll think he’s pathetic and he can’t handle that. So everything about how he’s constructed and built himself, from his hair to his accent to his walk to his laugh, his smile, voice, posture, all of it is carefully and deliberately crafted so that his image and how he presents himself is consistent, reliable, and “hero worthy”

Him straightening and dyeing his hair was 100% because he saw the heroes of legend and realized he didn’t look like them. I hc the Hero of Time was a huge figure, and one of the most noted heroes in Wars’s era, so little Wars compared himself to that a LOT. (and I also hc he never knew Mask was the Hero of Time because the kid called himself the Hero of Masks because HE didn’t think he could live up to his own title.) He thought if he looked more like what the people of Hyrule envision the great hero to look like in their minds, he’d be taken much more seriously

Of course now, seven years after the war, after he’s had a lot of time to come to terms with things and start to heal, Warriors doesn’t feel the need to look like the other heroes in order to be worthy, and he realizes this before he even meets the others. But NOW he’s stuck because he hasn’t felt like himself or like he KNEW himself at all since he was like 14/15, and he’s nearly 28 now and after over a decade of being in the army or “Hero of Warriors”, he doesn’t really know HOW to be him. He’s not yet at a point where he can fully realize the only thing that’s going to make him happy is becoming himself again, he knows he feels more relaxed when he feels safe but hes not really aware of how much his guard drops and how his act disappears when he’s completely at peace. He feels like he needs to keep playing this character of himself he’s made, and that includes keeping up appearances

He’s getting better about relaxing how strict he is with himself, he’ll allow himself lazy mornings where he doesn’t straighten his hair or do his makeup, but he almost obsessively dyes his hair and that’s the last thing he’ll stop doing, because I hc he looks VERY much like his mother and where he’s at right now, he couldn’t handle seeing that. (I hc his mother is alive, and so are all the sisters i hc he has, and they haven’t seen him since he left all those years ago because he feels like he CANNOT go back because hes so different now and he cannot handle the idea that home wouldnt feel like home anymore because he’s become a monster at war and he wont belong there anymore. He still writes home, and keeps in contact, and he’s seen Linkle (his twin), but he can’t bring himself to see his mother in his own face or just go home until he relearns who he actually is)

*wet cough* sorry for the yap 🥺 i have a lot of thoughts and he’s my special guy and this is how I characterize him in my writing (unless its an au or a specific other thing) so i think about him a LOT

if anyone is interested in this characterization of him heres a link to my main Wars series:

*collapses and dies*

[i-cant-stop-fandoming-help]

Bored so. Dra characters and if i think theyd be shit parents or not. (Not including people who are canonically parents)

I will reblog this with the sdra2 characters and what i think theyd be like as parents.

Mitch: he'd be an absent father

Kiyoka: i mean. She'd probably do decently enough. She wouldnt be perfect but she wouldnt be awful, either.

Kizuna: it really depends!! If shes a single mother, i think she'd really struggle with it. Both of her parents were bad, but still in her life, and as a single mother... i think she may unintentionally be bad. BUT!!! If she has a good partner, i think she, like kiyoka, could be a decent mother. I think she'd also definitely need to get some sort of therapy before being a mother, just so she can unlearn things that minako taught her.

Ayame: she'd definitely be a good mother! She'd make sure her child has a good balance between everything. 25/25/25/25 for games, excersize, schoolwork, and anything else. She would care a lot.

Kakeru: probably a good dad. I think he'd adopt kids, maybe teenagers, and try his best to make sure theyre happy as can be.

Kanata: like kakeru, i think she'd be adopting. And i think she'd be a good mom. After the good ando and his wife did for her, by adopting her and raising her with care and love, she'd want to do the same for other children out there.

Kinji: part of me is tempted not to include him because of the orphans.... hes actually their dad now. He was willing to kill to keep them safe so... hes at least decent. At most hes a great parent.

Haruhiko: probably decent. Not the best, not the worst.

Satsuki: i mean... i dunno she feels a bit complicated. She was raised in a large family. Her parents basically saw her as something else to help them profit, as they probably did with all of their kids. Almost all of her siblings saw her as competition instead of family. Keisuke was basically acting as her father, because neither of their parents did a proper job raising her. I think she'd have to realize how wrong all of this was before having her own kids-- only then do i think she'd be better than decent. Also i think it'd be best if she only had 2-3 kids because we are NOT repeating what her mother did. 21 KIDS???? JESUS CHRIST

Yamato: from the sounds of everything, Hanzo did a good job raising him. Because of his strong sense of morality, i think he'd be a good father. Not great, but not just decent, either. I think he'd help his kid with a lot of things, but possibly, unintentionally, make his kid worry about living up to expectations.

Mikako: i think she'd be a very caring mother. Not overprotective or a "they can do no wrong!" mother, but she'd care for her kids as if her life depends on it. I think, if there were ever a possibility of her finding out what kokoro did to her, it'd mess her up a bit and she'd worry more about failing as a mother.

Utsuro: ........would he even be present? I dont know. I dont think he'd even want to be a father.

Akane: its easy to imagine her as a mother, but shes gone through hell and back and she's experienced lots of poor treatment. She didnt really have a mother for a lot of her life, because her mother died when she was still young. She never knew her father. I dont think she really had any good parental figures in her life, other than the possibility of another maid or two caring for her when she was just starting out and when she grew up. But so many people have harmed her that... i think she'd be scared of having a child. I think she wouldn't want to bring a child into the world, knowing they could suffer the same hell she did. Knowing how cruel the world is. So, i dont know if she'd be a good or bad mom. I don't think she'd want kids.

Teruya: kojiro set a good example for him! He'd probably be a good/great dad! Bbbbbut theres a chance his kid could end up being terrified at the idea of being the heir to otorimart.

Tsurugi: SHIT FATHER!!! Maybe in a happier timeline, he would be decent. Maybe if given the time to escape the beliefs that his father placed on him, he would be decent. But if we go by the tsurugi seen in sdra2... i just dont think he'd be a good father at all.

Rei: AMAZING MOTHER. LISTEN TO ME. She's smart. She knows that what she experienced as a child was wrong. She would not want her own child to feel as unloved as she did. She was abandoned and had to fend for herself on the streets while she was still young. She would be hesitant on having a child, but she'd be an amazing mom to any offspring she has. I actually have written a fic with her as a mom! it's uh. for the fankidronpa i'm helping write. Here's the link. (it's going to be released in parts bit by bit as the fankidronpa itself actually releases, to expand on a character more :3)

Keisuke: i said it in satsukis portion, but he practically raised her. She was practically his daughter. (Meaning he likely experienced parentification of some sort which is a topic for another time.) But I think he'd actually do pretty good! At least... that's regarding DRA keisuke. SDRA2 Keisuke would not do as well, probably. He'd be decent, still, but after beginning to follow the same beliefs that Tsurugi follows... I don't know how to explain it, but I think he'd fail a bit in certain areas.

Ryutaro and Midori: Honestly? I don't know, with these two. But... I think they'd have to adopt. If they wanted children at all, I think they'd have no choice but to adopt. Why am i including them together?........ Listen they're the only ship i'm going to include in this post. They're their own people away from the ship, yes, but i think it'd be the same either way. The only difference is that I think ryutaro might not want children, and Midori would be worried about adopting a child at all due to the fear that she could die from any sickness at any random time.

Anyways it's 2:08 AM and I am your locally insane dra fan.

[gobstoppr]

first draft at a john design..

some design notes in the tags

[thefirstknife]

What are your thoughts on the critisism that Neomuna, and more specifically cloudstriders, feel "out of place", or the feeling some have that Lightfall has a whole has thematically defied their expecations in a bad way? (insert that comparison of the key art from the BL reveal vs the current key art here.)

Really hard to critique any aspect of it currently before we know more and play it.

A lot of stuff in Destiny can feel really odd and out of place without any context! I remember similar doubt and questions about Lucent Hive for example. For any serious critique, I'll have to see the expansion first, learn more about Neomuna and Cloud Striders and see if their story fits and has something valuable to add to the setting.

So far, I don't think they're out of place. The ECHO ships and surviving human colonies outside of Earth have been seeded almost 3 years ago and I've quite literally accurately predicted how that specific lore is tied to Neomuna. I think it's a pretty cool way to tie in an older open-ended storyline with something new that they need for an expansion.

A story about "survivors of the Collapse" is pretty much a given, as that's something that we've always wondered about in the setting. Could some humans have escaped? Could they have survived? What would've happened if they did and how would've they developed if the Collapse hadn't stopped us? Going there and examining that story can give us valuable information about our past (Golden Age and speculation on what we could've achieved if it continued) and our fall (the Collapse, how it happened, what exactly happened, how to prevent it a second time). On top of that, it's giving us super cool scifi concepts about neo-human civilisations and advanced development through nanotechnology.

And yeah, the original key art was really striking; no colours, grim, very evocative with imagery of a Pyramid eclipsing the Traveler. It was of course simply just a base for the expansion. It was a placeholder. I've seen a lot of people saying that Bungie "robbed" us of something; they did not. They cannot rob us of something that never existed. Concept art is a really long process with millions of ideas being thrown around, especially placeholder concept art.

For what it's worth, from what we know about Lightfall, the base idea for the expansion is still the same. We are very much in deep trouble, especially if we're correct in our predictions that the Traveler is about to run and if the trailer's footage of a massive battle in Earth's orbit is anything to go by. Neomuna itself is under massive siege by a new disciple and the Witness itself. There are new enemies and enemy threats that we haven't seen for a long time acting up again (the Vex).

Is the expansion much more colourful in comparison with a black and white placeholder image? Yeah. But that doesn't remove the danger the system is in. I'm not sure what people expected. Destiny is not a super edgy setting of only doom and gloom. It certainly has a basis of incredibly terrible stuff going on, but it never presents it without a balance. Even in the Red War and Forsaken, things were still colourful and beautiful and had a lot of different vibes packed together.

To me, a massive fleet of Pyramid ships descending on colourful Neomuna is an incredibly powerful image with a really visceral theme of how nobody can successfully escape the Darkness forever. You can buy yourself time, but ultimately it will find you. I think that's a pretty doom and gloom theme. I feel like the only reason people aren't seeing it is because the original was black and white, while the current is colourful.

My only proper concern is that they're introducing a whole new aspect to the setting this late. Introducing it itself is not the issue as much as that we're 2 expansions (including Lightfall) until the end. There's still a lot of stuff to go through and solve and deal with so I'm not sure how wise it is to introduce a whole new set of characters and a setting of this scale. Of course, as with the rest of the question, we can't really fully make a judgement on that before we play.

[brown-little-robin]

.

[arcaneyouth]

started making a power point presentation about my ocs, made 2 slides, and then just stopped. i <3 creativity

[majimassqueaktoy]

Some fans: Oh Majima canonically had sex with someone other than *insert either Makoto or Kiryu depending on the person's preferred ship*? better hate Mirei for existing!

It's kinda ridiculous.

Honestly I don't have beef if people don't like her because sometimes you just simply don't like a character and that's fine, I'm not here to tell anyone who they should or shouldn't like but yeah we are playing a game about gang members who do immoral shit pretty frequently... let me enjoy a character who was a bit morally grey and a woman... Also you hit the nail on the head tbh, I think if she had been someone else's ex she wouldn't be nearly as divisive but because she was Majima's ex, well... 😬

[bunn-iiii]

pov I'm literally gonna ask for maybe two things for Christmas cause I still feel guilty about last Christmas since I was gifted expensive things by my parents and our house needs repairs

[mayspicer]

Ok, the boss is no more! There were some super stressful moments but surprisingly we all survived o:

My animal companion got hit with disintegrate, but we had hero points to make him avoid it. I would cry actually, because disintegrate means no resurrection x_x

The war is prevented! At least this one, because Cayden's party is right at the center of a much bigger one just starting. Today we saved the country. Cayden is trying to not even save the whole world, just maybe slow the whole thing down and save as much people as possible...

[medicinemane]

It's just a fact that nothing I do matters or has any impact

I can prove it, and I do mean that

I wouldn't want to because I think it would bother people, but I have... endless proof

[3hks]

How to Write REALISTIC and SMOOTH Dialogue

In a story, dialogue is quite important, it helps the readers paint a picture of what's happening and the characters themselves. However, it can be difficult to avoid the unnaturalness and choppiness that comes with a lack of experience. But luckily, I have put together A LOT of advice on how you can get over that rockiness and improve!

*** KEEPING YOUR DIALOGUE REALISTIC, AND PACING ***

>> Keep your characters in character:

Dialogue is a remarkably quick way for readers to determine your character's personality. Thus, you want their speech patterns to remain fairly consistent so the audience won't get confused. If your character is more serious, then they will use less slang and perhaps a more impressive vocabulary. If your character is more relaxed, they will use more slang and compress the words. (such as "dunno," "kay," "y'know," etc.)

Basically, you want their tone to match their traits so the way that they talk is more realistic and personlized to themselves. If the way all your characters speak is the same, there's something wrong. A strong tip is to put yourself in your character's shoes and imagine how they would respond!

>> Take the situation into consideration:

This is another part of keeping your characters in, well, character. Different emotional situations will have a different effect on separate people, so make sure that you have an idea of how your character will act during stressful, irritating, and sad times.

If your character is normally cold, they will struggle if it comes to comforting other people because they have less experience in that field.

>> Don't take too long with their words:

Unlike when narrating something, most people talk just to get the idea across. They will be more specific and quicker with what they say. (This excludes any character who likes to talk a lot.) Unless it's on purpose, they won't dance around the topic. Think of when you casually chat with your friends; you're pretty unlikely to use certain words and/or phrases that might be common to use while narrating.

If you want to explain something complicated, instead of writing out a paragraph of just one person talking, use a question-and-answer prompt! This is where another character continuously asks related questions that get answered by another person, so you can indirectly reveal your explanation.

*** HOW TO WRITE A SMOOTHER CONVERSATION AND DIALOGUE TAGS***

>> Having a variety of dialogue tags:

This is a pretty basic thing to look out for if you're new to writing conversations. Using words like "said," every other sentence can easily make it feel choppy and robotic. Instead, use words like "murmured," "smirked," etc. to paint some emotion into their words. Additionally, vary the location of the dialogue tags! They don't all have to go after the statement, you can include something in the beginning or even the middle, too!

Examples:

Beginning - She tilted her head, "What are you talking about?"

Middle - "Oh," he blinked, "I actually never thought about that."

End - "Wait up!" She exclaimed loudly, waving her hands around.

>> Using no dialogue tags to create a smooth conversation:

Having too many tags can also overwhelm your reader--remember, sentence variety is a crucial part of writing--so you can always drop them if they're unneeded. This applies when your characters (two is the suggested amount) are talking back and forth in a pattern straightforward enough for the reader to understand who's talking without it having to be labeled.

Dropping dialogue tags in these moments can create a smoother atmosphere during the conversation because the reader only has to focus on the talking present.

*** USING SLANG, STUTTERS, FILLER WORDS, AND PAUSES ***

Human speech is often not perfect; when talking, we often make mistakes such as filler words, grammatically incorrect phrases, etc. Hence, for more natural-sounding dialogue, it's important to incorporate some of these.

>> Pauses and stutters:

When reading dialogue, we read it at a steady pace unless it's written otherwise. However, that steady pace can soon get too robotic and too smooth. Luckily, there are several ways to change this! You can use dialogue tags, (ex: she quickly spoke) commas, and ellipsis (...). These are often integrated when the character is hesitant, nervous, answering something, or when they need to admit something. The same idea applies to stutters--they're mainly used to demonstrate anxiousness, which can be found in varying situations.

>> Filler words and slang:

Filler words can really just be used where you see fit. They may be used in the situations I previously mentioned (because it shows someone stumbling over their words) but it's ultimately up to you!

Slang, just like everything else, should not be used too often, or it will seem forced and exaggerated. The point is to sound natural, and increasing amounts of repetitiveness can ruin it. It's also important to remember that in real life, our conversations move slower; when someone speaks, another person usually doesn't respond quite literally, right after. However, in writing, dialogue can actually often seem that way, which is why using tags and these imperfections of speech is pivotal for building a realistic conversation!

*** CONCLUSION ***

Lastly, a key point when writing dialogue is to ALWAYS read the conversations! Whether it be in your head or out loud, it can often help you catch anything that seems off! Additionally, like I mentioned at the very beginning, write dialogue from your character's perspective! Imagine yourself as them and how they/you would talk. Try to keep your dialogue tags, sentences, and word use varied to create a natural conversation!

If you were struggling before, I hope that this (extra) long guide was able to really offer you some insight and useful tips! If you read this far, thank you!

Happy writing~

3hks <3

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[taeyongdoyoung]

wolf and bunny

summary: you ask your best friend to fuck you in your sleep but your bottled up feelings come out to the surface... pairing: chan x reader genre: smut, best friends to lovers warnings: cnc/somnophilia, discussion of boundaries, eating out, touching, groping, unprotected sex, spanking, stranger+wolf/bunny roleplay, little red riding hood references, face-slapping (once), size kink, cockwarming, multiple rounds, feelings (ew), pet names, discussion of future scenario 👀 (i know i said this is the end but...we'll see) author's note: hii everyone, this is the third and final part of my wolf and bunny series, thank you so much for going on this nasty journey with me 🤍 part one & part two word count: 2k

You and Chan are having a bit of a disagreement in connection with the circumstances surrounding your next game.

“But I want to know exactly which night you’ll do it.”

“If you know, you won’t be able to fall asleep,” Chan reasons with you. “Kinda like Santa Claus. Kids stay up all night waiting for him and then he never comes.”

“Please, even if the kids were asleep, he’d still never come ‘cause the parents are putting the presents under the tree!”

“It was just a metaphor.”

“A bad one. You’re gonna have to work harder to convince me.”

“Hey, wasn’t this your idea in the first place?” Chan reminds you teasingly. “You’re the one who wants me to fuck her in her sleep.”

“Ey, don’t pretend you won’t be into it,” you shake your head.

You are both so stubborn you don’t see this ending unless one of you retreats. Then, after a brief consideration, you speak again.

“Fine. You can keep the secret of the exact night you’ll do this. On one condition.”

“Sure, bunny, let’s hear it,” Chan listens eagerly.

“If I wake up, you won’t stop. I’ll just pretend I’m still sleepy and we keep going.”

“Is that even possible? I mean, for you to not wake up?”

“It is if you drug me or something,” you shrug.

“Ugh, don’t give me such evil ideas. You never know when I might take advantage of you.”

“Oh, I’m counting on it, wolfie.”

“But are you sure the sleep thing is a great idea? I mean, you wouldn't be able to say a safeword...” Chan can't help but worry, always putting your needs first and planning every scenario in great detail to make sure you're alright. Damnit, could he get any more perfect? He's so sweet and considerate you wish you could just tell him how you feel. But what if that scares him away? What if you lose not only your wicked game buddy but your best friend in the entire world? You wouldn't be able to live with yourself.

“Yes, I'm positive, Chris,” you place your hand on top of his. “I trust you 100% and know that you'll look after me. The question is, do you trust my judgement?”

“I mean, I do trust you. It's just that last time you didn't communicate your discomfort clearly and I wouldn't want to risk messing up to the point of accidentally hurting you,” Chan verbalizes his anxieties.

“I get what you're saying but it's not like I'm open to doing this with a stranger. It's you we're talking about. You've always been great at taking care of people so I know you wouldn't go too far. But at the same time, I wouldn't mind if you went loose. If anyone can take it and accept you fully, it would be me.”

“Yeah, I know. You're right. But just in case, I want you to know beforehand that I care about you and respect you like a lot. So, even if I get carried away, I still want you to feel safe.”

“Aww, Chris, ya old softie! I always feel safe with you, it goes without saying!” you insist.

“Well, I like hearing you say it.”

You gulp nervously. His voice is so commanding and yet so reassuring that your words have never rung truer. He's more to you than a safety net and you hope he knows it. He's incredibly thoughtful and infinitely kinder than the first expression. He's a riddle in the way he keeps surprising you and yet you wanna keep learning more about him. He's hundreds of the loveliest words in the dictionary multiplied. He's more comforting than your favourite blanket. He's warmth personified and you would be an idiot to let him go.

“I'll try to say it more often, then,” you promise. “When I'm with you, I know no harm will come my way. But here's the thing...you're the only one I'd willingly let hurt me.”

“I don't want to hurt you, though.”

“You don't?” you pout, suddenly feeling guilty. Then, what have you been doing? Was he forcing himself to act out these fantasies for your sake alone? You genuinely thought he was enjoying them as much as you were.

“Sorry, that came out wrong,” Chan is quick to explain. “I like our games. I meant that I don't want to hurt you emotionally. Ever.”

“Ah, yeah, that makes sense,” you chuckle, feeling a little stupid. “Well, you don't need to worry about that. Glad we had this talk.”

“Me too,” Chan gazes at you fondly.

“So, which night are you fucking me while I'm asleep?” you attempt to find out while he has this dazed look in his eye.

“Next- Hey, nice try! I'm not telling you, you impatient devil.”

“Aw, man, I was so close,” you bemoan the uncertainty of your future.

“You wish.”

The long-awaited night finally arrives. Chan has a key to your place so entering it is too easy. He makes sure he picks a night when you’ve complained about being exhausted and sleepy all day long. And he is certain that you’re passed out in your room, not suspecting a thing. Well, a part of you is always anticipating what could happen, but still.

He’s beyond glad to find you sound asleep. You’re wearing nothing but a t-shirt and some flimsy panties. Chan admires your sleeping form for a couple of brief moments before he gets down to business.

He wonders where to start. Should he tear them up? Or maybe push them to the side? Should he grope your boobs through your shirt? Or perhaps slide his hands beneath it, stroking your nipples directly? So many opportunities. He wants to do everything, he decides.

Chan starts by moving your panties to the side and licking your tiny pussy. He touches you with his fingers, gently prodding your entrance but not exactly sticking them inside yet. Then, he sneaks his hand underneath your shirt, teasing your nipples. Fuck, you’re so soft.

He marvels at the knowledge that you’d trust him with something like that. Though the previous scenarios were hot and intense as fuck, this one hits different for him. Maybe because last time you were awake, you were still in control because you could say the safeword whenever. Maybe because you want him at your most vulnerable even in your sleep. Or maybe because he’s slowly falling for you, but he doesn’t know how to say it.

It’s okay. Chan’ll show you, instead. He pinches your nipples lightly and continues to make out with your pussy. You are so wet already it’s adorable. He wonders if you’re dreaming of him, as you shift slightly in your sleep. He wants to drag this out. But how?

He uses his nails to trace circles on your skin, which causes goosebumps to appear. Are you cold? He wants to keep you warm and full at all times. Chan can’t take it any longer and takes his cock out, sliding in so perfectly. As if you were made for him. Made to take his cock and let him do crazy things to you. His sweet little bunny…

You moan desperately and the spell is broken. You’re awake. He wanders if you’ll speak or he’ll have to make you. Both options sound quite appealing. But he wants to hear your voice more than anything.

“Shhh, go back to sleep, sweetheart,” Chan whispers gently.

“W-who are you?” you cry out.

Aw, you’re gonna pretend not to know him? That hurts. But it can be fun, he thinks.

“Just the big bad wolf,” he chuckles at the irony of it.

“Please, don't do this,” you fake not wanting it, even though you've never wanted anything so badly in your life.

“Oh, bunny, but I already am,” Chan replies, spanking your ass a couple of times in the meantime.

“G-gonna split me in h-half,” you mumble, voice muffled against your pillow.

“Yeah? G'na ruin my sweet girl?” he speaks to you so softly you want to melt right there and then.

“Feel so full 'n so s'eepy,” you slur helplessly.

“Aw, tiny, go back to sleep, then,” Chan pats your head soothingly.

“Can't. What a deep voice you have!” you play along too well.

“All the better to degrade you with, my slutty bun,” Chan laughs, while still continuing to fuck you.

“What big hands you have!” you keep saying.

“All the better to grab your tits with,” Chan chuckles and makes good on his promise by playing with your boobs.

“And slap me with!” you remind him playfully.

“As you wish, princess,” Chan growls and slaps you across the face harshly but not harsh enough to actually leave a mark.

“What big eyes you have,” you sigh wistfully.

“All the better to stare at you fall apart,” Chan responds cleverly.

“And what big cock you have!” you scream, barely resisting the urge to laugh. Are you a silly little bunny or Little Red Riding Hood? At this point, you don't care, but it feels too good regardless.

“All the better to fuck you with,” he grunts loudly, spilling inside of you.

You follow rightaway and urge him to stay like this for a while. Maybe round two is in order?

“You know what else is big?” Chan teases you.

“Oh, shut up, Bigfoot!” you reply and are no longer able to hold it in, breaking into laughter. Chan also finds the interaction hilarious and buries his head in the nook of your shoulder. You stroke his hair without realizing. Shit, he's so adorable you almost say the three words. Is it too risky? Too soon? You need a distraction. You need... “Fuck me again.”

“Already? Aren't you tired?” Chan wants to make sure.

“Fuck me till I fall asleep again,” you ask him.

“Um, okay, sure,” Chan looks a bit confused but does as you ask.

This time there is less talking and more fucking but no matter how many rounds you go, sleep doesn't come again. You both orgasm more times than you could count, but somehow, it isn't nearly enough to distract you from the inevitable. You love him. Your heart knows it, your pussy knows it, even your brain knows it but is stubborny telling you not to confess for fear of somehow ruining things.

Once Chan decides he's completely spent for the night, he pulls out of you and rips off the bandaid.

“Are you alright? Something suddenly shifted but I can't quite place it,” he tucks a piece of hair behind your ear and nudges you softly with his shoulder.

“Do you want the truth that might mess up everything or do you want me to lie to you and say I'm fine?” you ask, even though you're already on the verge to tell the truth.

“With you? Always the truth, please,” Chan clearly states his preference.

You sigh deeply and tilt to the side so you're facing him properly.

“I think...no, I know I love you.”

“I love you, too, babybun,” Chan responds fondly and kisses you on the nose.

“In a non-friendly way. And I don't mean just sexually, either. I mean, the friendly way and the sexual way haven't diminished, of course. But I also love you in a...I want to be yours, your girlfriend, your lover, your romantic partner, your everything.”

Chan is taken aback by your words. You...feel the same?

“You already are,” he confesses genuinely.

“Huh?” you blink in shock.

“I mean...you are already my everything. But, if you'd like me to officially ask you, then...will you be my girlfriend, angel?”

“You...you'll have me?” you are still in disbelief.

“I thought I already had ya,” Chan pinches your cheeks lightly.

“Damn right you do, Mr. Wolf,” you giggle and pull him into a kiss.

He smells like autumn, his embrace exudes warmth and his lips taste like home.

“You have no idea how badly I've wanted to tell you about my feelings,” Chan confesses. “When I found that story of yours in your drafts, I just couldn't resist the opportunity. I hoped that if I turned your fantasies into reality that you'd eventually fall for me.”

“Oh, Channie...I've been falling for you for longer than you realize,” you admit shyly. “How could I not? You're everything I've ever wanted.”

So, this is what it feels like to have the world in your hands. Huh. You could get used to it.

Bonus:

“No, I'm not kidnapping you!” Chan is adamant as you two sit in a nice restaurant.

“But Chriiiis,” you whine. “You said you'd do anything for my birthday.”

“Anything but that!” Chan shakes his head in amusement.

“Why not? It can be fun!”

“Fun? What if something goes wrong, what if someone sees us and thinks I'm actually kidnapping you, what if...hear me out, here, I go to prison for it?”

“Well, duh, then I'd bail you out!”

“As if you could afford it,” Chan rolls his eyes.

“Hey! But seriously, I'll just tell the cops that I asked you to kidnap me.”

“What if they don't believe you and think you have a Stockholm syndrome?”

“I'll...think of something. Come on, we're going too far with the what-ifs.”

“You gotta be prepared for any situation. You'd know that if you carried the heavy burden of being a dom,” Chan tsks at you.

“I'd know that if you let me,” you give him a wink.

“That will only happen the day I agree to fake-kidnap you.”

“So, tomorrow? It's a date!” you grin excitedly.

“Keep dreaming, darling.”

“Oh, I will.”

The End