#and I don’t even have to write the story or characters myself!

[sing-me-under]

I have like ten different analyses of each of the the dsmp characters that are all very similar but differ slightly based on the varying interpretations of the world building of the SMP.

Like, are they hybrids or humans or completely nonhuman? How does that affect them? Does it change anything at all?

Are the members of the SMP the only ones in their world or are there hundreds or even thousands of unnamed citizens? How does that affect the importance of the nations? How deadly were the wars? How much grief permeates throughout the population? How bloody was Doomsday? Who has the most blood on their hands?

Were they just normal people pre-canon or did they have defining backstories? Or do they not remember their lives before the SMP at all? How does that change their world views?

Exactly what is the magic system of the DSMP? Is it just Minecraft mechanics or are there actual processes and knowledge that needs to be studied and practiced? If it’s the latter, who is better or worse at what? How does this affect their economy?

To what extent are the governments actually functional? Are there actual governing bodies or are they just groups of people? Is c!Eret an actual king who has to make complicated decisions or do they just sit and look pretty and occasionally send out royal decrees? Does anyone actually pay taxes?

Does the SMP take place in a server multiverse or is it just one giant planet and a bunch of lands that can be reached with long enough travel? How far does Dream’s adminship extend? Are Logstedshire and the Anarchist Commune actually outside Dream’s SMP? Is SMP just another word for territory since Wilbur called L’Manberg an SMP within Dream’s SMP?

How the fuck does procreation work???? Is it with the same logic as divine myths where people just spawn from random limbs or pop out of the woodwork? Is Mpreg a thing???? What about spawn eggs? How the fuck are babies? How the fuck does aging? What the fuck is anyone’s canon age??????

How does respawning work? Do people just have a lot of near death experiences and the canon deaths are the only ones actually perceived? Or do people just respawn like normal and they can only have three really traumatic deaths before they get stuck in limbo? What happens to their bodies after they die?

Gods are real, obviously, but why didn’t anyone believe in anyone other than Prime before they started fucking with people? Are these old gods with obscure pantheons or did they spawn into existence in response to a society? Exactly how godly are they? Are they even real gods or just very powerful eldritch beings calling themselves gods?

What the fuck even are comms? Are they redstone? Or are they a technology more similar to the nukes or robotics? How do they display canon vs noncanon deaths? To what extent do the comms function like Minecraft settings? Do they even have any functions besides the chat feature and coordinates?

What other technology exists? Kinoko watches anime, but is it a screen or is it a theatre? Do cars and guns and the like exist within their world but the DSMP specifically just doesn’t have the resources to build them? Or do they not exist at all?

HOW DOES THE TIMELINE FUCKING WORK???? HOW LONG WERE THE WARS? WERE THEY A COUPLE DAYS OR WERE THEY YEARS???? HOW LONG WAS EXILE??? WHAT THE ACTUAL FUCK IS TIME??? WHEN THE FUCK DOES LITERALLY ANYTHING TAKE PLACE??? HOW OLD WERE THESE MOTHERFUCKERS???????

[ninawolv3rina]

Me: Ok robot story is done let’s get back to long form content—

My brain this morning, entirely unprompted: Gay/trans werewolf fur trappers.

Me: … what?

Brain: You fucking heard me the first time.

[compacflt]

I just wanted to say as someone who has stumbled across your blog and has read your Wednesday wips and posts about anything topgun related that your thought process and consideration of mav and ice, specifically their political beliefs and relationships with their own identities, is honestly so impressive and cool. You have brought such realism and life to these characters which is just so refreshing to see. idk i just wanted to express how cool and awesome i think that is

Because of the thought into these characters does it make it difficult to like them or understand them if you have differing opinions from them? for me personally i feel like if i were to ever actually have a convo with ice or mav regarding identity politics i would actually start to lose my mind (like how one feels when your dad or fun uncle talks for too long at thanksgiving dinner). If it does make them difficult to like, does that make it difficult for you to write them sometimes?

oh yeah! i think, my ice i really empathize with & really love & really could get along with, once he grows out of the sexism of his teens & twenties, but my maverick drives me crazy. someone sent in an ask a while ago that was like “WHY is cyclone simpson your one true love??” And it’s because i too would absolutely hate maverick & hate working with him lol. people who are overly cocky & un-self-aware & a bit self-centered make me CRAZY. (narrator voice: compacflt is a hypocrite as all these things also apply to compacflt.)

Politically… It’s difficult to say. no one really wants to hear the intricacies of one person’s political journey, which is why i won’t give you mine, but suffice to say—since the start of the russian invasion of Ukraine, and my semi-concerted effort to learn more about the political landscape of modern warfare, my own personal beliefs have shifted a whole bunch. definitely aided in that shift by my top gun fic project that specifically aims to understand the conservative straight-passing male mindset as it relates to military matters… there are many end goals to a project like mine, but one end product is a filter you can take away and hold up in front of your eyes and see the world through it. When writing from the eyes of a conservative straight (passing) white man, your priorities totally shift. I had to write from the perspective of someone who doesn’t care about identity politics. Because they don’t! A core tenet of conservatism is very proudly not caring about that stuff, and being very annoyed when people (usually left-of-centers) make that stuff very visible and want you to care about it! “Don’t shove it in my face,” etc., etc. Don’t force me to care about this taboo, private thing I really don’t care about. It violates my freedoms, or whatever, to be forced to care—or even bear witness to—stuff that i don’t care about. Etc. And then, to be nominally a part of that community that you really, really don’t care about, and then to be told that you have to care about it because of your publicity… people asking you to be proud of something that has had a negative connotation for much of your entire life… that’s not a transformation that happens easily.

Jesus, I could write an essay about this. I have, several times by now in responses to asks over my blog. But there is so much that I could talk about. I think… I really worry that some of my writing falls into the first of the below categories:

I really try not to romanticize conservatism in my writing—I tried to show that ice and mav’s happiness is the price they pay for their conservatism. They’re actively choosing to be unhappy—but because they prioritize their honor over everything, due to EXTERNAL PRESSURES they cannot control, and which I think are often ignored in the fandom space for one reason or another. The fact of the matter is, in 99% of IPs, characters prioritize something other than their sexualities. It’s never Maverick’s personal identity that is at stake in either Top Gun or Top Gun: Maverick, because he has built himself so impermeably masculine that there are no grounds upon which to question his personal identity. He just isn’t thinking about it. He’s thinking about how to get into Charlie’s pants, how to win the Top Gun trophy, how to uphold his promise to Goose, et cetera. If he’s fucking guys on the side, it’s because he wants to and because hes maverick and he does what he wants without thinking about it—that’s the whole point of his character, from a story-construction standpoint. That’s his archetype. He’s a renegade maverick superstar who is both thoughtlessly brilliant and thoughtlessly dangerous. He’s thoughtless. His priorities are to survive and to look cool doing it, and that’s it. He is a savant in the Naval Air Force, where honor is your lifeblood, who feels he has been dishonored by his own family name, and who willingly joined the conservative post-Vietnam Navy right when/after Ronald Reagan was elected President, and who wears cowboy boots and who disrespects women to their faces, and who is eager to get into altercations with Soviet-Chinese-DPRK-X-second-world-country-coded-but-EXPLICITLY-Soviet-manufactured-Mikoyan-Gurevich-MiG-28s(-F-5s-painted-black)… I’m sorry. In my opinion, the conservatism is baked into him as a character. I find it extremely difficult to separate him from his conservatism, because in some ways his patriotic conservatism is his raison d’etre. IMO if you take that away from him, he ceases to exist.

Same thing with Ice and his unwillingness to openly rebel or go against the grain. That is his whole reason to exist in the story at all. I know that I’m saying this in a fandom space where the whole point is to change characters & put them in different situations (fanfic) but… in kind of a perverse self aware way, as in I know I sound ridiculous and pretentious, i guess i don’t really understand an impulse to change the core tenets of a character irreparably in fanworks. We are shown that ice always goes by the books in TG. Then we are shown that he achieves the fruits of that labor (four stars) in TGM. So he is rewarded for never rebelling, whereas Maverick, who always rebels (but NEVER in a way that challenges his personal identity), has stagnated in the ranks at full-bird O-6. And that’s Ice’s character. That’s what he’s there for in the story—he’s a tool to show us the value system of rank and prestige you earn by following the rules of the Navy. Why take that away from him? That’s his priority! Canonically, that’s his priority and reason for existence! And historically the way to achieve that priority is through conservatism.

And you ask me if it’s hard to like my ice and mav. Yes, but that’s not my choice. The movie already did that for me. They are not, I’m sorry, likable people. I am not a straight white conservative male writing about straight white conservative men to validate my own beliefs—I’m a queer AFAB person of color writing about straight white conservative men because I want to understand the limits of their conservatism. What they do and do not care about, and what it takes to make them care. And from what we are shown in TG… ice and mav would not care about ME. At all. And they would not want to be forced to care about me. Ice’s casual careless dismissiveness… “the plaque for the alternates is down in the ladies’ room…” mav following Charlie into the bathroom… turning the key in the ignition and driving away while pretending not to hear her… “what?? i can’t hear you! 🙉” … they do not care. They have no desire to care.

Again. Maybe I subscribe to a very very old-school and labored and pretentious ideology when it comes to writing… I know a lot of people write just to have fun. I do not. I wish i could, but I don’t. And when you’re not writing to have fun, you don’t have to like the characters you’re writing about. They’re nothing more than tools at your disposal to get your point across more effectively. No, I don’t like them! Of course not! My ice is cruel and cowardly and careless and hypocritical and subservient and weak, and my mav is demanding and dangerous and dismissive and oblivious and so, so, so unbelievably bitter.

And that’s what my story needed, to get my point across. So, shrug. My point was my priority. I don’t care too much about the characters themselves.

Re: icemav & identity politics. Part of hopefully selling this story is the attempt at empathy for the conservative male, to bring this discussion back to the top. Why write fiction at all if you’re not going to write about people different from you, and why write about people different from you if you don’t want to understand them? So… part of trying to understand them was to understand and have empathy for this shift in priorities. Conservative guys do not want to care about labels, or sexual orientations, or, God forbid, discussion of their gender identities. I can kind of see Ice tolerating it by the end… but, there are limits. Again, it’s supposed to be private. I think he’d chafe against getting labeled gay—he wouldn’t want to be called the first gay compacflt, or SECNAV, etc. He can’t say, “i slept with like a hundred fifty women before I even MET the ONLY man ive ever slept with,” because that’s like intensely private personal information!! No one deserves that information, but people still want to call him gay, even though in his head he really is not!!!! Again—from the conservative perspective, it’s a public imposition of left-wing, overly sexualized, too-neat labels and politics onto an area of life that has typically been kept private and respectable—I don’t agree with the conservatism, but I can at least empathize with it. Pre-Maverick’s death (pre-coming to terms with it), it would’ve been shameful & embarrassing to him; but even after coming to terms with it, it’s still not something he “takes pride” in. I think he thinks of it like this—most people aren’t proud of being straight. Like, it’s weird if you are. Same thing with being proud of being white, etc. Why be excessively proud of things you have no control over? Why not take pride in your ACTIONS—for instance, his career that he has actively sacrificed so much of his pride for? I can really empathize with that thought. I don’t necessarily agree, but I get it, especially in his professional circumstances, where he has so much to be professionally proud of, and yet people keep wanting him to publicly care about this private part of him he has no control over and can’t change.

Maverick though. I think he’d be actively hostile about talking about it in public. He Does Not Care. he does not want to care. It’s all an insult. They call him the first openly gay Ace cause he’s married to another man— “okay, but, like, I’m not. Stop calling me that. Neither of us are. Oh my god we have slept with so many women. Stop calling us that.” Ok then what do you want us, the press corps, to call you? First openly bisexual Ace? “No that’s worse!! That’s a word some teenager made up and doesn’t mean anything!! I’m sixty years old stop asking me to talk about this stuff im too old.” What do you have to say to LGBT kids who want to go into the navy? “😎👍 there’s a place for you etc etc. Let’s go back to talking about all the planes I shot down.” Maverick does what he wants without thinking about it. That’s the core tenet of his character. Very conservative. Don’t ask him to care too much.

Idk. No I don’t like them. But I understand them, if that makes sense. Like their conservative anti-label logic does make emotional sense to me. So that’s part of what I took away from this project, for better or worse… probably worse: I understand why conservatives don’t like the modern over-publicity of sexuality. They don’t care and they don’t want to care. And because they are small-C conservative, my ice and mav still don’t care lol. So, yeah. It doesn’t make them hard to write, because thats why I wanted to write them in the first place.

[sunnibits]

is anyone else like a huge fan of various medias, huge fan of characters, loves exploring plots and themes and character development, genuinely very enthusiastic about storytelling in general… but like, somehow physically incapable of making plot lines you care about with your own original characters. or like straight up being unable to create ocs you’re actually invested in???

like, you know what you like, you enjoy so many stories, you spend so much time digging into and delighting in the themes and tropes you like, and yet every time you try to make an original concept yourself it’s just impossible to make something compelling to you???? which makes no damn sense bc it’s literally coming from your own head so wouldn’t it be as self indulgent and perfect for you as possible??????

or is this just a unique me problem bc I swear to god it’s driving me insane

[lieutenant-amuel]

Emilio is officially the main source of comedy in WBTL now.

[ringwraithmd]

had a convo with someone about fandom and writing and moralization and purity culture and they were against it and yet when we started talking about problematic media and authors the arguments they used were literally the same as moralizing arguments

still trying to understand their logic

won’t go into too much more bc they’re on tumblr too but I’m still thinking about it

think I came off as a dick bc I didn’t just nod my head and agree

but mostly I’m just real fucking tired

[floral-hex]

no see I WILL write something eventually, I haven’t been putting it off, I’ve just been uhhhhh cultivating the story for a couple of years yeah yeah

[inkykeiji]

Hi Clari! It's the Japanese-speaking anon here. Is it possible to join the anon club? I wanted to use 説 this Kanji, because I remember one of the first times I talked to you I mentioned it literally has "older brother" in it, and also means to explain... which reminds me of Touya-nii. But if not, that's fine too!!

Also, I see you're super excited about FFXVI, which makes me so happy! I happen to work for Square Enix (which sounds so fake, I know, but seriously) so seeing you enjoying it makes me feel like, somehow, I'm able to give back to you in some way? I love love love your writing and it's a great feeling to give back through another art medium in a way that I hope affects you the same way that your writing affects me emotionally.

hi hi!! so lovely to hear from you again!! (´∀｀)♡

omg absolutely, of course you can join the anon club with that kanji!!! welcome to the club 🥳🥳 i’ll add you to the list! <3

I AMMMMM LITERALLY I LOVE IT SO SO SO MUCH the story has blown me away and clive has already become SUCH a comfort character for me, genuinely it’s an incredible game and i am so happy. i am also going absolutely feral for 28yr old joshua like,,, honestly i apologize for what you may see in coming weeks LMAO (*/ω＼*) tho i am making a final fantasy side blog so you may be able to spare yourself from my absolutely unhinged feralness for the rosfield brothers anD THEIR DADDY WHEW

wow that’s so flippin cool what!!!!!!! i’m totally jealous!!! holy shit that’s so insane i don’t even know what to say other than i’m so honoured to have you here and a massive thank you to everyone at square for delivering such a beautiful, emotional game. it truly is a masterpiece in every regard, it has made me sob and i’m not even done it yet. you guys did incredible and you should be so proud!!!

honestly i love clive as a character, i love his depth and his complexity and his HUMANITY. his struggles with ifrit and his struggles with accepting past mistakes is extremely relatable to so many people, and i feel like ifrit himself can be used as a metaphor for a lot of different things: everyone will interpret it differently and relate to it differently depending on who their are + their life experiences and background, and that’s one of my absolute favourite things about art. and it was done so beautifully with clive in that regard. i, for example, relate to it by seeing ifrit as a metaphor for mental illness; not for clive himself but for me, and that already has brought me such immense comfort. so yeah, this game has definitely affected me on a deep, deep emotional level <3 thank you so much, you are so so sweet and i am genuinely so glad (and also flattered!! wow!!!) to have you here with me!!

[rodismancave]

.

[wekillitwithfire]

finished reading the last book of a series that i’ve been madly in love with since i was fourteen today. feeling. many things

[whimsyprinx]

guess who made themselves sad because they realized they’re not creative lol

[artist-issues]

“At least it's not ferociously attacking God quite as directly as Steven Universe did…”

Not that I’m surprised by this statement, but can you elaborate on this? Kinda intrigued by your thoughts on Steven Universe.

Okie dokie, you’re not the only one who has asked me about this, so I suppose I’ll poke the hornet’s nest. 😅 I haven’t talked about this before because I assumed that everyone who wanted to hear my kinds of opinions on stories wasn’t watching or interested in Steven Universe.

It’s like asking vegetarian if they enjoyed a turkey dinner. The turkey dinner was so obviously not made for vegetarians to enjoy, so why would the vegetarian even bother analyzing the turkey?

But I think if some people are asking me why I think Steven Universe is anti-God (of the Bible) its because maybe they don’t know what the turkey is. Not completely. (Maybe not you, because like you said, you’re not surprised by my comment.) So I’ll explain my thoughts on Steven Universe.

If you’re just following me because you liked some stuff I posted, but didn’t realize that I’m a Bible-believing Christian and don’t want to hear about it, unfollow me now. Because I’m going to talk about some hot button issues here and the trolls will come out.

Steven Universe is really well-done. The jokes are funny, the writing is believable, the characters have great chemistry, great design, the concept is fascinating, the slow build-up and reveal of the plot elements is great. But when you watch the throne room scene in the last episode of Season 5 “Change Your Mind,” it’s alarmingly clear how much the whole show is not just settling for defending and championing the LGBTQ+ worldview—it goes all the way to attacking what Christians believe, on the other side.

Anything that’s pro-LGBTQ+ is doing that by default, but this show goes out of its way to do that.

You have to understand: God created and designed us. Deeper than that; He created and designed romantic relationships, and invented marriage. He didn’t just create love—He is love. So when humans come along and do what we’ve always done since the fall, and say, “I’d rather define what Your thing is and how it works for myself, God,” it’s not only an incredible slap in the face, it’s an attack on God’s actual identity—and it’s destructive for us and the people around us. Like a fish insisting it can breathe oxygen.

But Steven Universe goes beyond that. It knows that the Christian worldview is it’s biggest opposition. It digs right down to the heart of the worldview-battle. LGBTQ+ worldview says, “I should get to love what I want and be who I am, because I’m me. Love is love. (By which I mean, any action or relationship I choose to call love is love, because I’m the one calling it that.)”

Biblical worldview says “No, wait, you shouldn’t base your decisions on you alone; what you want changes day to day, and you’re broken, so you can’t ever be satisfied based on what you want—the Bible says God made you for something, and you rejected that, and it broke you. You’re not how you’re meant to be: even what you want and what you think love is is twisted up and can hurt you and others. But if you submit to God He’ll help you, He’ll fix what’s broken and give you new life by making you how you were supposed to be: He’ll live in you and through you.”

Are we beginning to get the picture?

See, the whole thing with the opposing views between LGBTQ+ and Christian people is as old as time. It’s not a new debate. It’s Satan and Eve in the garden. She says, “This is not how God said things should be,” and Satan says, “Are you sure that’s what He said? He knows if you do this thing, you’ll be like Him. You’ll be god: you’ll get to decide ‘how things should be’ for yourself.”

He lied and said that disobedience would satisfy her. That she knew what her own heart needed better than the God that made it did. That the very act of being imperfect would make her godlike.

And then Steven Universe comes along and says ��if every pork chop were perfect, we wouldn’t have hotdogs.”

And has a cast of created being characters who’s imperfections (Garnet’s forbidden “love,” Pearl’s obsession, Amethyst’s insecurity) are supposedly “the best thing about them; what makes them who they are.”

And has a main character who used to be a part of the god-like creator relationship, but used her power to come down to earth and completely change who she is into a fully different person.

And has a godlike Creator character who claims she “doesn’t need” her created beings (just like the God of the Bible) but they all have a little part of their creator in them so she has to repress their imperfections; she holds them all to a standard that’s impossible to reach called “perfection” and punishes them when they don’t meet it even though it hurts them to try; she expects them all to do what they were created by her for; she fixes them when they can’t meet her standard by shining her light through them and making them extensions of their Creator.

And has a main character who argues, fights back, tries to stop her, and is answered with lines that sound surprisingly like what LGBTQ+ people hear when Christians argue with them: “you’re only making things worse; you’re just deceiving yourself; even while you resist it your actual light can’t help shining through,” etc.

White Diamond just wants everything to be perfect. Like her. She just wants her created beings to “be themselves.” But what she means is, be how she created them to be.

And she’s the bad guy. She’s playing God in this show, and Rebecca Sugar is saying, “If God is telling us that can only be happy by being perfect, as He is perfect, and doing what He created us to do, then He’s wrong. Our imperfections are what make us special—unique—individuals—free—and there is nobody who has the right to take that freedom away from us, not even out creator!”

And you know what?

If God were like White Diamond, like Rebecca Sugar believes Him to be, Steven Universe would be right.

But He is NOT.

God is not a dictator who forces us to conform to a standard of perfection and then smashes us when we don’t meet it. He is a King who made us perfect to begin with, and we rejected him, because He allowed us to do that. He knew that true love was love that had to be chosen, and He wanted us to love Him by choice, so he gave us the option. But Rebecca Sugar doesn’t understand—there was never “Choose God or Choose Yourself.” There was only, “Choose God or Choose Nothing.” There was nothing except God. Then He created everything. There is no version of reality where you have something better than God, or even slightly less good but different, to pick. You’re not jumping from one ship into a smaller one, but at least it’s yours—you’re jumping from one ship into a void, and then complaining that there’s no other ship. That’s humans. That’s not God. / White Diamond didn’t make her creations perfect (Amethyst) and she didn’t make them for love. She made them for power. That’s not the God of the Bible.

Even when we did choose to try and love ourselves instead of God, and therefore warped our ability to perfectly love at all, He didn’t smash us. True, everything fell and was cursed, which is exactly what He warned us would happen if we chose it, but it was a natural consequence of breaking ourselves. And then He didn’t leave us that way. He didn’t give up on us. And He certainly didn’t just zap us, snap His fingers, quick-fix it and turn us all into robots who are extensions of Him, who say they love Him but only because it’s His voice puppeting us to say it.

No. He came to us, chose to give up His life at the exact point on the timeline when Romans, masters in the art of slow, humiliating, torturous death, would be the ones to carry out His crucifixion, and saved us Himself. Through the sacrifice of His own life. And even then, we still have a choice. We get to choose to accept that incredible self-sacrifice when we don’t deserve it, and be given new life and a relationship with the Creator who knows us and loves us better than we can love ourselves or receive love from others—OR we can just keep stubbornly insisting that our slavery to the opposite of what God wants is somehow freedom, and our twisted versions of love are genuine, and we’re not broken, and die like that. Die broken creatures who lived their whole lives stomping their feet and screaming “I’m not a creature, I’m a god!”

White Diamond sacrifices nothing, because Rebecca Sugar doesn’t know the God of the Bible. She just knows her idea of Him. She’s never actually gotten to know Him. If she had, she’d learn how silly and twisted her idea is.

Because you know what, yeah, if every pork chop were perfect, we wouldn’t have hot dogs. But people aren’t pork chops. And hot dogs have flavor (not better than pork chops) but they are awful for you.

Christians aren’t perfect cuts of meat with no individuality or flavor. Just because we all know and love the same God doesn’t mean we have no personalities. It just means we don’t think so freaking much about what we are, or who we get to be, or what we like and want. Jeez, what a self-centered, narcissistic, self-obsessed way to live. She plays Steven like he’s this wonder-child, innocent and full of heart, who encourages his friends to love and keep trying. But honestly?

This is very pretty animation but it’s not real. Steven looks happy hugging Steven but self-love doesn’t ultimately get you that.

That’s all based on the premise that what he’s encouraging them to do is actually good, and will make them happy, and will help them love better. And it just won’t. Not in real life. That’s not how any of this works. Self-love is just self-obsession. And that is a sure-fire way to hurt you, and everyone around you.

You’ll never be free by choosing to run to a worse master. You’ll never be satisfied with your crappy attempts at loving yourself, because you were made to be loved flawlessly and forever by someone who is Love Himself.

And choosing to identify with your imperfections doesn’t make you uniquely you. It just makes you exactly like every other human being marching in the same line since the Fall.

White Diamond’s not relational. She’s up high and distant. That’s not God. He made you to be in relationship with Him. He loves you, totally and perfectly, and He proved it by sacrificing for You.

So yeah. That’s the problem with Steven Universe. Come get me, SU fans.

[she-who-fights-and-writes]

how do i get my character out of the corner i wrote myself in without a dues ex machina😭

How to Not Write Yourself Into a Corner (and How to Write Yourself Out of a Corner if You’re Already In One)

One of a writer’s WORST fears is writing themself into a corner.

It’s easy to write your characters into death-defying situations…but it’s not as easy to write the actual “defying death” part.

Some writers, in their desperation to get their characters out of a bind, employ the use of a Deus Ex Machina, as mentioned by anon:

Deus Ex Machina: (Translates to "god from the machine") A plot device where a seemingly unsolvable situation is fixed by an out-of-the-blue occurrence. The term “deus ex machina” is a reference to Greek plays, when actors playing a god would literally be lowered into the scene via a machine to magically solve any situation.

Unfortunately, this plot device is often ridiculed by readers, cited as a hack-job solution for a writer out of ideas.

How do we avoid this situation, then? Here are some tips and tricks on how to not write yourself into a corner, and how to write yourself out of a corner if you’re already in one!

Note that these tips may not work for everyone, so make sure to use your own intuition as a writer— you know your story best.

1. NIP IT IN THE BUD— OUTLINES ARE KEY!

I’m sorry to all of you pantsers out there, but the key to prevent writing yourself into a corner is to already have an idea of how each scene is going to turn out; don't make a problem without making a solution! If you keep on top of your outline, you should have no worries about writing your characters into a situation they can't get out of it.

It may be easiest to jot down ideas about a couple of scenarios and then select the one that works best, especially when it comes to dire climax scenes that have a lot of moving parts. 

Check out my posts below for more in-depth advice about outlining!

How to Outline

Plotting for Pansters and Pantsing for Plotters

This advice, although essential, does require a ton of foresight and time to plan…and if you’ve sought out this post, it may mean that it’s too late for preventative measures. The subsequent tips in this post are going to be for people who are already in the thick of it and need a way to save all of their writing progress. 

2. FORESHADOWING IS YOUR FRIEND (AKA “CHEKHOV’S GUN YOUR WAY OUT OF THAT SHIT”)

Foreshadowing: A narrative device wherein a writer gives an advance hint of what is to come later in the story. It helps maintain believability while subverting expectations and making plot twists.

Chekhov’s Gun: A narrative device wherein a seemingly insignificant element or object in the story becomes useful later on. Sometimes used synonymously with foreshadowing, but usually refers to a specific object.

Examples of Foreshadowing/Chekhov’s guns in media:

The 1981 Quarter (Or Extra Life Quarter) in Ready Player One

“Don’t Cross the Streams” in Ghostbusters (1984)

Winchester Rifle Hanging over the Bar in Shaun of the Dead (2004)

The Rita Hayworth Poster in The Shawshank Redemption (1994)

The Water Bottle in Bullet Train (2022)

In my opinion, a Chekhov’s Gun is the more refined twin of the deus ex machina; although it may seem like it comes out of nowhere, observant readers or those who go back into the story will realize that this event was set up from the beginning.

Foreshadowing is the key to turning a deus ex machina into a Chekhov’s Gun. It’s spreading breadcrumbs to maintain believability even when unbelievable things happen.

My advice: plant a line here and there referring to the object/element that will get you out of the corner.

These lines can be about a healing potion that a character carries around to save them when they’re at the brink of death, the fact that the city they’re fighting in often suffers from sinkholes, or that a character has a seemingly useless skill. 

However, haphazardly inserting foreshadowing into your story may come across as heavy-handed; make sure it aligns with the narrative beats. Particularly big Chekhov’s Guns, especially ones that “save the day," may require multiple foreshadowing elements.

It can take a lot of work to incorporate the foreshadowing smoothly, so make sure it actually saves you time in comparison to rewriting the whole scenario/plot point.

3. TAKE A BREAK

Sometimes, the solution to your problem may not come to mind because you’re too immersed into the writing process and not thinking of the bigger picture. Or maybe it might just be good old-fashioned writer’s block. Take a step back, reassess, and return with the scene properly re-evaluated. Maybe start a new book or TV show to get some inspiration, or check out one of my posts below!

How to Overcome Writer’s Block

How to Get Inspired to Write and Regain Creativity

4. ASK FOR HELP

Sometimes, it might be best to have another set of eyes on your story! A situation that may seem unsolvable to you may have an obvious solution to a writing buddy.

5. KNOW THAT SOMETIMES RE-WRITING IS NECESSARY

I know this sounds horrible. It’s something that I wouldn’t wish upon any writer.

Sometimes, however, no amount of foreshadowing can get your characters out of the debacle they’ve put themselves in. Either that, or the work that it would take to insert the foreshadowing would be more than it’d take to rewrite the scene or the plot point.

My suggestion would be to search for the last place that you didn't feel lost, and then cut out everything after that.

(NEVER DELETE MAJOR CHUNKS OF YOUR WRITING! ALWAYS CUT IT AND SAVE IT IN A SCRAP DOC—IT COULD COME IN HANDY LATER!)

Then, take the time to outline the scenario and figure out the solution to your problem beforehand. It will suck, but trust me, it'll be worth it in the end.

HOPE THIS HELPED, AND HAPPY WRITING!

[starlightandfairies]

Hiii 🫶🏼 I hope you're still up for doing an Elijah request! 🤗 I can't get this man out of my head haha

Soo it would be an idea where they met somewhere in Mystic Falls and immediately felt some bond between them, so it happens that they start falling in love (she's human but knows about vampires) but she's too afraid to get hurt so she also tries not to get too close to Elijah. One night he sees some stranger following her home from the Grill and even starts attacking her, Elijah is immediately there saving her and taking her home with him to treat her wounds (mostly some scratches) and he's just super worried. There she realizes that Elijah would never be the one hurting her and they finally share their feelings with a lot of kissing and cuddles afterwards and he holds her, telling how much she means to him.

Oh I hope this is not too weird at all 🙈❤️

Description: Upon meeting Elijah Mikaelson, the feelings start to come but in fear of being hurt, the reader decides to keep her walls up to protect herself. This changes after Elijah protects her after being attacked.

Warnings: fluff, small angst, physical assault (mild), she/her pronouns, maybe swearing?

*Requests are open, please send through as many requests as you want, check my character list and requesting rules.*

Thanks so much for making this request! I can never get sick of Elijah, this man is always on my mind and please feel free to request again if you wish :) I really enjoyed writing this, thank you again :D

Key: Y/N = Your Name, POV = Point of view

Word Count: 2,125

First Person's POV

Tonight at the Grill was a ‘live acoustics’ night, some of the performers were good and others were quite frankly not that great. Bonnie, Elena and Caroline were off on the next big adventure for the vampiric save-the-day business and while I knew about all the vampires, witches, werewolves and all that extra fun stuff. Besides Matt, I was the only human in the group and somehow I was pushed aside to be kept ‘safe; despite Matt always being dragged into the whirlpool of drama even if he didn’t want to be. 

“The music is wonderful for the atmosphere tonight, don’t you agree?” That voice would haunt my dreams, haunt my every thought, I couldn’t fathom how gentle and warm a voice could sound. I glanced to the side, shooting a polite smile to the impeccably dressed man and nodded in agreement. 

“I do agree, I feel like I’m in like a cute little romance story, the warm lighting and the music-“ I cut myself short, realising I was babbling to a random stranger who more than likely did not care for my ideas and thoughts. 

“I can see how you would see that.” Oh, gosh- those eyes! That smile! This man would haunt me forever, picture perfect and everything I would want in a man. I continued to share a polite smile with the man, fiddling with the straw in my chocolate milkshake and turned myself slightly to face the man a little better. 

“It’s a pleasure to meet you…?” Realising that he was waiting for my name, I placed my drink down and took his hand. 

“Y/N L/N” He softly cupped my hand, shaking it and proceeded to share his name.

“Elijah Mikaelson.” I wish I could’ve hidden my reaction better, my eyes went wide, and my smile flattened for a moment before I quickly made sure to continue to be nice and polite. Elijah carefully rested my head on the bar, took a small sip of whatever his drink was and gazed at me with a quizzical look. 

“You know who I am…” His tone was neither harsh nor hurt, Elijah seemed to have suspected my knowledge of his name and he even seemed curious by the idea of my knowledge. 

“I know of your brother Niklaus… Elena told me about you, I think she might have exaggerated a bit. You don’t seem like the antagonist she kinda painted you out to be. From what I’ve heard, you’re the nicer brother… the noble one and I'm sure first glances can be deceiving but… I don’t know- you don’t seem like a bad man.”  He briefly licked his lips, eyes shooting up to the ceiling and seemed to be contemplating his next moves. 

“I suppose you know-“ 

“That you’re a…” I leaned closer to whisper so people passing by wouldn’t hear. 

“An Original.” 

“You don’t seem to be phased.”

“Team doppelgänger has built up my immunity to supernatural beings.” I let out a weak chuckle, cringing internally and turned my focus back on my drink. I wanted to keep speaking with him, I really did want to keep speaking with him but I knew the world that I happened to live in and I didn’t fancy the idea of being bait or hurt as collateral damage. 

“It was really nice to meet you Elijah but I have to go.” He nodded, that handsome smile appearing once more, his actions made me gush and brought butterflies into my belly as he grabbed my jacket and assisted in placing it back on. 

“I hope that you have a good evening, Y/N” 

“Same to you Elijah.” He seemed to have a thought pop into his head, I stopped in my tracks, allowing for him to have the benefit of the doubt and give him the chance to speak his mind. 

“May I have the pleasure of seeing you again?” 

“Maybe… There’s always tomorrow.” I knew I had given myself away, I could feel my heart skip a beat, I’m sure he could hear it, his facial expression didn’t change but I could feel that he knew what I was feeling. 

“Have a good evening,” I whispered, brushing past him to carry on my way. 

+++++++

I had seen Elijah a couple of times since our first meeting, we had small conversations and I tried my best to conceal my heart, I didn't want to get close to this man despite enjoying his presence, his voice and the true appearance of his gentlemanly ways made me fall into a daydream greater than any story or dream I could ever have or read. 

The next time I saw Elijah was three months after our first meeting, as I said we had multiple different meetings and they were all the greatest moments of my life despite how much I tried to protect my fragile heart. I had left my home for the park, I wanted to read outside of my home and get some fresh air away from the stuffiness of my bedroom. I rested the picnic blanket underneath a large tree, I read three chapters of my book before I felt a presence looming nearby, I placed the book to the side and stood up, surveying the area for a figure and jumped in my skin seeing Elijah approaching me. 

"I'm sorry, I didn't mean to frighten you, may I join you?" I nodded, smiling at the man, watching as he unbuttoned his shirt and sat down with me on the picnic blanket. He gently picked my book up, staring at the cover with intrigue, I observed him with butterflies growing in my stomach, a blush wanting to form on my cheeks as I continued to drown in what was possibly a huge crush for the Original Vampire. 

"Ignite Me by Tahereh Mafi... I'm not sure I've heard of this one before." 

"I doubt you would've, I don't exactly picture you reading a book like this?" He smiled, tilting his head slightly, a deep chuckle leaving his mouth and he handed me back the book. 

"Why is that?" 

"Well... I don't know, I picture you reading older books nothing from the late 20th century to the early 21st century." Elijah briefly nodded in agreement, I smiled proudly at my guess and fiddled with the tassels hanging off of my bookmark. The vampire took off his suit jacket and began rolling up the sleeves of his button-up, I bit the inside of my cheek, begging myself to remain calm and avoid giving away any kind of emotions being revealed. 

"Enlighten me, will you though, please? What's it about?" I cleared my throat, leaning closer to him with joy forming, giddy that he was showing interest in something that I liked and enjoyed. 

"It's the third book in the series, I've read it before, and this one is one of my favourites. Essentially the series is all about control some people have these powers and the leaders are trying to control these people. The relationship of the main characters is what I happen to enjoy the most about it, I love how Tahereh created their bond from..." 

"Why did you stop?" Elijah gently questioned, his face furrowing in concern, I wanted to cringe but I forced the words out before I could let that show. Taking a deep breath, I turned my gaze back to him, scrunching my face up briefly and proceeded to explain to Elijah what was going through my head. 

"Whenever I ramble on to the Salvatores and all that, it's clear that they don't care and I'm not wanting to force that onto you. I'm sorry." Elijah tutted, shaking his head and holding out his hand for me to take. Hesitating for a moment, I finally rested my hand in his, holding my breath for a moment and kept my eyes focused on him as he rested his other hand on top of mine. 

"You do that too often, Y/N, I can see you trying to protect your heart and you have a wide range of information waiting to come out and you shut yourself down because you expect everyone else to do that. I hope you find someone... someone who makes you realise you don't need to do that." 

"Could possibly end up being you, Elijah," I whispered.

+++++

When someone unknown came into Mystic Falls, it was always a concerning event, the vampires were always the most suspicious of strangers and most of the time they were typically right for not trusting the stranger. It was late when I left the grill tonight, Elijah was growing on my mind more and more, and I would be hit with a wave of memories at random moments. 

"Up ahead, there's an alley to your right, walk down it. Try anything-" 

"Okay... I understand." I whispered, complying as I walked a little quicker and turned down the alleyway. I cried out as I was instantly shoved against the wall, my head ached and the world spun around me, I bit back a sob as I hit the ground and hissed as the gravel bit into my skin. I kicked off my heels, not fancying a broken ankle and lept to my feet running towards the street but missed as the man tackled me to the ground and which resulted in blood slightly trickling down my forehead and more cuts forming against my skin. 

It felt like something out of a vampire movie, I heard a whoosh and then a light thud. Elijah appeared, holding the man against the wall effortlessly with one hand and easily compelled the man to walk off and not commit any sort of crime again. I let out a few sobs as the pain sunk in and the adrenaline started to fade away.

Elijah swooped me into his arms, effortlessly taking me to his mansion and rested me down on his obnoxiously large bed. He crouched down, gently cupping my face in his hands, observing my facial features and swiftly disappeared somewhere before running back. 

"Are you okay?" He questioned, focusing on grabbing the things from the first-aid kit to treat my wounds. 

"I'm okay..." I whispered, hissing as he wiped an alcohol wipe across the graze on my palm and watched as he apologised profusely for inflicting any added pain onto me. Elijah was so attentive to my needs, he cleaned the blood and dirt away from my cuts and grazes. Covering them with bandaids, doing what he could to assist in caring for me. It was as he was lingering for a moment, observing my form that I realised that Elijah Mikaelson would never hurt me. He would never cause any harm to me, Elijah Mikaelson would protect me and I knew that I wouldn't need to worry any longer. 

"You wouldn't hurt me..." I whispered, staring at the vampire as he grasped my face and held eye contact with me. 

"Y/N L/N I would never dream of hurting you, you... you're perfect... Y/N you are the epitome of perfect, I haven't met someone as intelligent, kind, sweet, and funny in a long time. Y/N I love you and I hope that you'll allow-" I pushed myself closer to him, carefully cupping his face to kiss the man who had possessed my dreams too often. 

"Elijah, please, never let me go, I can't keep guarding myself-" 

"Shhh, I've got you." He kissed my forehead, pulling me into his arms and pushing himself to lay against the headboard of his bed. I inhaled, holding onto the warm and mesmerising smell of his cologne, I curled into his chest and hummed gently as he rested another kiss on my forehead. 

I felt protected, Elijah was my guardian angel, and he made me feel warm and gooey. Made me giddy and the butterflies a constant swarm in my belly, I fiddled with his hands, staring at the family ring that rested on his finger and glanced to him as he pulled my face to meet his. I hummed as he rested a kiss against my lips, sucking in another deep breath and curling in closer as he strokes my hair, his touch comforting and loving. 

"Can I stay here? Just in your arms? Where I'm safe and with you, you Elijah who looks after me and takes the time to listen and know me?" Elijah's smile made the butterflies come to life, my cheeks flushed red and his simple words reassured me for an infinity of time. 

"Always and forever." 

[cybernaght]

The fandom echo chamber: fanon, microanalysis and conspiracy brain 

As someone who has been in fandom spaces, on and off, for 20 years, I find some fascinating trends popping up in the last decade that I thought to be fandom-specific but clearly aren’t. So, I would like to do a little examination of where those things come from, how they are engaged with, and what it says about the way we consume media. This is a think piece, of sorts, with my brain being the main source. As such, we will spend some time down the memory lane of a fandom-focused millennial.

This is largely brought about by Good Omens. But it’s also not really about Good Omens at all.

Part one. Fanon.

The way we see characters in any story is always skewed by our very selves. This is a neutral statement, and it does not have a value judgement. It’s simply unavoidable. We recognise aspects of them, love aspects of them, and choose aspects of them to highlight based entirely on our own vision of the universe. 

Recognition comes into this. There is a reason so many protagonists of romance novels have a “blank slate” problem. Even when they do not, we love characters who are like us or versions of us that we would like to be. And when we say “we”, I also mean, “me”. 

(I remember very clearly this realisation hit me after a whole season of Doctor Who with writing which I hated utterly when I questioned why I still clung so incredibly hard to Clara Oswald as my favourite companion. Then I looked at myself in the mirror. Oh. Well. That would do it, wouldn’t it?)

Then, there is projection, and, again, this is a neutral statement. Projection exists, and it is completely normal and, dare I say it, valid way of engaging with — well, anything. Is the character queer? Trans? Neurodivergent? Are they in love? Do they like chocolate? Are they a cat person? Well, yes, if this is what the text says, but if the text does not say anything… You tell me. Please, do tell me. Because, in that moment of projection, they are yours. 

And then, there is fandom osmosis, and that is the most fascinating one of them all, the one that is not very easy to note while you are inside the echo chamber. It’s the way we collectively, consciously or not, make decisions on who or what the characters are, what their relationships are, and what happens to them.  

(Back when I was writing egregiously long Guardian recaps on this blog I actually asked if Shen Wei’s power being learning actually was stated anywhere in the canon of the show. Because I had no idea. I have read and reread dozen of fanfics where that is the case, and at some point through enough repetition, it became reality.)

We are all kind of making our own reality here, aren’t we? 

Back when things were happening in a much less centralised manner - in closed livejournal groups, and forums of all shapes and sizes - I don’t remember there being quite as much universally agreed upon fanon. Frankly, I don’t remember much of universally agreed upon anything. But now, everything is in one place: we have this, and we have AO3, and it’s wonderful, it really is so much easier to navigate, but it’s also one gigantic reality-shifting echo chamber, with blogs, reblogs, trends, and rituals. 

Accessibility plays its part, too. If you were, say, in Life on Mars (UK) fandom between seasons, and you wanted to post your speculation fic, you had to have had an account, and then find and gain access to one of the bigger groups (lifein1973 was my poison, but ymmv), and then, if you feel brave you may post it, but also, you may want to do so from your alt account if you wanted to keep yours separate, and then you would have to go through the whole process again. And I’m not saying that fan creations then were somehow inherently better for it than fan creations now (although Life on Mars Hiatus Era is perhaps a bad example - because some of the Speculation Fic there was breathtaking), but there is something to say about the ease of access that made the fandoms go through a big bang of sorts.

(I mean, come on, I can just come here and post this - and I am certain people will read it, and this blog is a pandemic cope baby about Chinese television for goodness sake.)

The canon transformations that happen in the fandom echo chamber truly are fascinating to witness as someone who is more or less a fandom butterfly. I get into something, float around for a bit, then get into something else and move on. I might come back eventually when the need arises, but I don’t sustain a hiatus mind-state. This means that when I float away and return, I find some very intriguing stuff.

Let’s actually look at Good Omens here. Season two aired, and I found it spectacular in its cosy and anguished way; deliberately and intelligently fanfic-y in its plot building; simple but subversive, and so very tender. (I will have to circle back to this eventually, because, truly, I love how deliberately it takes the tropes and shatters them - it’s glorious). And, to me - a person who read the book, watched the first season, hung around AO3 for a few weeks and moved on - absolutely on-point in terms of characterisation. 

So imagine my surprise when the fandom disagreed so vehemently that there are actual multi-tiered theories on how characters were not in possession of their senses. Nothing there, in my mind, ever contradicted any of the stated text, as it stood. This remained a strange little mystery until I did what I always do when I flutter close to an ongoing fandom.

I loaded AO3 and sorted the existing fic by popularity. And there it was, all there: the actual earth-shattering mutual devotion of the angel and the demon; willingness to Fall; openness and long heart-aching confession speeches. There was all of the fanon surrounding Aziraphale and Crowley, which, to me, read as out of character, and to one for whom they became the reality over the last four years, read as truth. 

Again, only neutral statements here. This is not a bad thing, and neither this is a good thing, this is just something that happens, after a while, especially when there are years for the fandom-born ideas to bounce around and stew. I can’t help but think that so much of what we see as real in spaces such as this one is a chimaera of the actual source and all the collective fan additions which had time and space to grow, change, develop, and inspire, reverberating over and over again, until the echoes fill the entirety of the space. 

Eventually, this chimaera becomes a reality. 

Part two. Microanalysis 

Here are my two suppositions on the matter:

1. Some writers really love breadcrumb storytelling. 

Russel T Davies, for instance, on his run of Doctor Who (and, if you are reading it much later - I do mean the original one), loved that technique for his seasonal arcs. What is a Bad Wolf? Who is Harold Saxon? Well, you can watch very very carefully, make a theory, and see it proven right or wrong by the end of the season. 

Naturally, mystery box writers are all about breadcrumb storytelling: your Losts and your Westworlds are all about giving you snippets to get your brain firing, almost challenging you to figure things out just ahead of the reveal. 

2. We, as humans, love breadcrumbs.

And why wouldn’t we? Breadcrumbs are delicious. They are, however, a seasoning, or a coating. They are not the meal. 

Too much metaphor?

Let’s unpack it and start from the beginning.

Pattern recognition colours every aspect of our lives, and it colours the way we view art to a great extent. I think we truly underestimate how much it’s influenced by our lived experiences.

If you are, broadly speaking, living somewhere in Western/North-Western Europe in the 14th century, and you see a painting in which there is a very very large figure surrounded by some smaller figures and holding really tiny figures, you may know absolutely nothing about who those figures are, but you know that the big figure is the Important One, and the small ones are Less Important Ones, and the tiny ones are In Their Care. You know where your reverence would lie, looking at this picture. And, I imagine, as someone living in the 14th century, you may be inspired to a sense of awe looking at this composition, because in the world you live in, this is how art works. 

If you, on the other hand, watch a piece of recorded media and see the eyes of two characters meet as the violins swell, you know what you are being told at that moment. You don’t have to have a film degree to feel a sort of way when you see a green-tinged pallet used, when cross-cuts use juxtaposing images, or notice where your focus is pulled in any given shot. This stuff - this recognition of patterns - has been trained into us by the simple fact that we live in this time, on this planet, and we have been doing so long enough to have engaged recorded media for a period of time. 

As humans, we notice things. Our brains flare up when they see something they recognise, and then we seek to find other similar details and form a bigger picture. This often happens unconsciously, but sometimes it does not. Sometimes we do it on purpose: finding breadcrumbs in stories is a little bit like solving a mystery. It allows us to stretch that brain muscle that puts two and two together. It makes us feel clever. 

So yes, we love breadcrumbs, and, frankly, quite a lot of storytelling takes advantage of this. It’s very useful for foreshadowing, creating thematic coherence, or introducing narrative parallels and complexity. It’s useful for nudging the viewer into one or the other emotional direction, or to cue them into what will happen in the next moment, or what exactly is the one important detail they should pay attention to.

Because this is something media does intentionally, and something we pick up both consciously and not, it is very hard to know when to stop. We don't really ever know when all of the breadcrumbs have been collected. It becomes very easy to get carried away. There is a very specific kind of pleasure in digging into content frame by frame, soundbite by soundbite, chasing that pleasure of finding. 

But it is almost never breadcrumbs all the way down. They are techniques to help us focus on the main event: the story. I truly believe those who make media want it to reach the widest possible audience, and that includes all of us who like to watch every single thing ever created with our Media Analysis Goggles on and those who are just here to enjoy the twists and turns of the story at the pace offered to them. And I think, sometimes in our chase to collect and understand every little clue we forget that media is not made to just cater for us.

One can call it missing a forest for the trees. But I would hate to mix my metaphors, so let’s call it missing a schnitzel for the breadcrumbs. 

Part three. The Conspiracy Brain. 

If you are there with me, in the midst of the excited frenzy, chasing after all those delicious breadcrumbs, then patterns can grow, merge together, and become all-encompassing theories. Let’s call them conspiracy theories, even though this is not what they truly are.

So, why do we believe in conspiracy theories?

One, Because We Have Been Lied To. 

All conspiracies start with distrust.

If you are in fandom spaces - especially if you are in fandom spaces which revolve around a queer fictional couple - especially-especially if you have been in such spaces for a period of time, you have most certainly been lied to at one point or another. 

We don’t even have to talk about Sherlock - and let’s not do that - but do you remember Merlin? Because I remember Merlin. Specifically, I remember the publicity surrounding the first season, with its weaponised usage of “bromance” and assertions that this whole thing is a love story of sorts, and then the daunting realisation that this was all a stunt, deliberately orchestrated to gather viewership. 

And, because we were lied to in such a deliberate manner for such an extensive period of time, I genuinely believe that it forever altered our pattern recognition habits, because what was this if not encouragement to read into things? Now we are trained to read between the lines or see little cries for help where they might not be. Because we were told, over and over again, that we should.

(Yes, I think we are all existing in these spaces coloured by the trauma of queer-bating. I am, however, looking forward to a world where I can unlearn all of that.)

Two, Cognitive Dissonance.

The chain reaction works a bit like this: the world is wrong - it can’t possibly be wrong by coincidence - this must be on purpose - someone is responsible for it.

Being Lied To is a preamble, but cognitive dissonance is where it all originates. In so many cross-fandom theories I have noticed a four-step process:

A) this is not good

B) this author could not have made a mistake 

C) this must be done on purpose

D) here is why 

(Funny thing is, I have been on the receiving end of the small conspiracy spiral, and it is a very interesting experience. Not relevant to this conversation is the fact that a lot of my job revolves around storytelling. What is relevant is that my hobbies also revolve around storytelling. And one of them is DnD. Now, imagine my genuine shock when one of the players I am currently writing a campaign for noticed a small detail that did not make a logical sense within the complexity of the world, and latched on to it as something clearly indicating some kind of a secret subplot. Their thinking process also went a bit like this: this detail is not a good piece of writing — this DM knows how to tell stories well — this is obviously there on purpose. It was not there on purpose. I created a clumsy shorthand. I erred, in that pesky manner humans tend to. And, seeing this entire thought process recited to me directly in the moment, I felt somewhere between flattered and mortified.)

This whole line of thinking, I think, exists on a knife’s edge between veneration and brutal criticism, relentlessly dissecting everything “wrong”, with a reverent “but this is deliberate” attached to it like a vice, because it is preferable to a simple conclusion that the author let you down, in one way or another. 

Three, Intentionality 

I believe that there is no right or wrong way of engaging with stories, regardless of their medium, and assuming no one gets hurt in the process. While in a strictly academic way, there is a “correct” way of reading (and reading into) media, we here are largely not academics but consumers; consumption is subjective.

However, this all changes when intentionality is ascribed. 

The one I find particularly fascinating is the intentionality of “making it bad on purpose” because, as open-minded as I intend to always be, this just does not happen.

It certainly does not happen in long-form media. Even in the bread-crumb mystery box-type long-form media. 

When television programs underdeliver, they also underperform, and then they get cancelled.

If all the elements of Westworld Season 4 that did not sit together in a completely satisfactory way were written deliberately as some sort of deconstruction for the final season to explore, then it failed because that final season will now never come.

(There will likely never be a Secret Fourth Episode.)

And look, I am not here to refute your theories. Creativity is fun, and theorising is fantastic. 

But, perhaps, when the line of thought ventures into the “bad on purpose” territory, it could be recognised for what it is: disappointment and optimism, attempting to coexist in a single space. And I relate to that, I do, and I am sorry that there is even a need for this line of thinking. It’s always so incredibly disappointing that a creator you believed to be devoid of flaws makes something that does not hit in the way you hoped it would. It’s pretty heartbreaking. 

Unfortunately, people make mistakes. We are all fallible that way. 

Four, Wildfire.

Then, when the crumbs are found, a theory is crafted, and intentionality is ascribed, all that needs to happen is for it to catch on. And hey, what better place for it than this massive hollow funnel that we exist in, where thoughts, ideas and interpretations reverberate so much they become inextricable from the source material in collective consciousness. 

Conspiracy theories create alternate realities, very much like we all do here. 

So where are we now?

I am not here to tell you what is right and what is wrong; what is true, and what is not. We are all entitled to engage with anything we wish, in whichever way we wish to do it. This is not it, at all. 

All I am saying is… listen.

Do you hear that echo? 

I do. 

[graysans-art]

*It’s been a long 9 years, hasn’t it?

*It’s not always been perfect, but unless you’re invincible, nothing really is.

*But its okay that it wasn’t perfect.

*It was human.

*It was unique.

*And most of all…

———————————————————————

Thank you Toby Fox, Temmie Chang and anyone who contributed to UNDERTALEs creation. UNDERTALE is genuinely the single most important piece of media I have ever experienced, and it’s changed my entire life. That’s not hyperbole. It’s what inspired me to do more with my art and myself. Its taught me how to write stories and characters, how it’s okay to have fun moments even in serious situations, and most of all, that I’m still me after all of it.

I don’t think this art I made in 20 minutes at like 2am can properly explain how much UNDERTALE means to me, but eh, I tried.

“*Try as you might, you continue to be yourself.”

- Toby Fox, UNDERTALE