#and also for relating personal experiences to fictional experiences

[catboygirljoker]

fun writing tip: you can justify making your blorbos as good at sex as you want if you also make it depressing

i will try not to be too graphic or horny and keep it mostly to character study analysis themes core motivations plot conflicts etc type discussion. still, id really prefer that folks under 18 do not interact with me on this post or about this topic in general, thanks!

for obvious reasons this post is gonna have a cut

UNLIKE HIS DIIIIICK [EXTREMELY LOUD AIRHORNS]

. sorry i just feel like hed appreciate that joke. uh anyway

Brief discussions of BDSM including sadomasochism, edgeplay, derealization/dysphoria, self-destructive recklessness in a sexual context.

ok. so there's this fictional guy. and i kiiiiiiind of have a crush on him. and i'm a basic bitch, so, like, obviously, when i think about him hornystyle, i want to imagine him being good at sex.

the thing is, "good at sex" is not always a particularly interesting trait to give a character! it can often be an eyerolling power fantasy trait. like "this is my oc Chuck Dongburger he has a ten pound cock and can make a babe cum just by lookin at her" yknow. it's a trait that, handled incorrectly, is more likely to flatten conflict than create it—more likely to make stories more boring than to make them more interesting.

also, "being good at sex" isnt a magical blessing that descends upon someone by chance. it is a quality that stems from a set of experiences and traits. it is a skill that one develops, or fails to develop.

so the question is, how do i justify him being good at sex? how do i make it feel believable and interesting?

the answer is simple! make it depressing! (that is, relate it directly to the character's central themes and conflicts, and therefore make it a natural part of/inclusion in their story)

in canon, xigbar has had multiple bodies, lost his heart multiple times, allowed himself to be a vessel for darkness on multiple occasions. he has endured all of this to carry out the will of his masters. every social role we've ever seen him take has been subservient to someone else, even if it has usually also involved social power over others, too.

here are the sex/relationship headcanons i have that expand on this:

related to: gender/sexuality

bisexual. for starters. obviously. his transness i have Deep Headcanons about, but his bisexuality is just "idk im bi so hes bi hee hee"

luxu is a binary trans man who experienced severe dysphoria in his original body and never felt like that body really belonged to him in the first place. to the best of his ability he has only chosen cis male vessels, including braig. in those cases he feels extreme disconnect from his body but not [very noticeable] gender dysphoria. the only thing connecting him to his cis male bodies is his sexual characteristics. theres this great art piece that has never left my brain that conveys the idea im going for. his face his hair his bones none of those are his, none of thise feel real, none of those feel right. but what does feel right is his dick.

related to: him being Good at Sex™

he is Very Experienced. he's tried a lot of shit and had a lot of bodies and largely had nothing better to do than be a horndog and kill time suckin and fuckin. he is down for just about anything with just about anybody. he knows how bodies work and knows how to deal with the exceptions and roll with awkwardness and uncomfortableness.

he is pretty good at reading people—it's a skill he has had to develop over his lifetime. he is sometimes wrong, but usually right, and reading people, understanding them, lets him feel like he has some kind of control or power over them. this is relevant because this is part of what makes him Good at Sex. he is shockingly responsive and attentive; not completely unselfish as a lover, but he won't blindly exert his will onto the other person and expect them to respond just because he has a big dick or is going faster or harder or whatever.

related to: his backstory as luxu

sex for him is a means of exerting control over the world, proving his own competence and worth to himself and another person, gaining some simulacrum of human connection, distracting himself from his derealization, grounding himself in his body, expressing and claiming his masculinity. all things, i headcanon, he also achieves (or seeks/has sought to achieve) from keyblade mastery.

he views his bodies as disposable, and knowing that he can just jump ship if he totals a body means that he processes pain differently than most people. not in a "all pain makes him horny" way*—it's more that pain doesn't make his self-preservation kick in the same way it does for other people. in bdsm/kink settings he is a masochist [as well as a sadist] and more reckless with edgeplay (when it comes to himself) than he really ought to be.

obviously i have specific personal motivation for wanting to headcanon this (he and his body are both Significantly Older Than Me) but i don't think he's too bothered by an age gap. some people it makes sense to me to imagine that they'd really want to date within their age and maturity range, but i think xigbar's chill as long as the person he's dating is a self-posessed adult. considering how long he's been alive, he's gonna have a significant gap in experience with ANYBODY; there isn't that much of a difference between him dating a 25 year old vs a 45 or 85 year old.

he has told close romantic partners about his Whole Deal before. it has never gone well. ("what do you mean youve been moving into random people's bodies in order to stay alive long enough to bring back a guy who intentionally manipulated his students into killing all of their students via senseless war??") they never understand and he doesn't know why they don't understand (i also headcanon him having severe cognitive dissonance vis a vis the MoM but that's a different post). his instinct is to put up a wall and go "well theyre just naive and stupid and haven't seen what i've seen, theyre too sentimental to understand this". he still keeps trying (if with less frequency) because he is desperate for someone to understand.

*i want to make this crystal clear: i do not headcanon xigbar as being automatically turned on by receiving or causing pain in every context, because he is a boss in a video game franchise where he fights teenagers. i am not comfortable sexualizing those fights! (i do however think there are contexts where he might indulge in some "battle sadomasochism" when fighting another adult—maybe he makes it weird for them on purpose to fuck with them, maybe they're both into it and it's all foreplay, etc)

related to: him being subservient

youd think that when i talked about him being subservient to others, i was building up to a headcanon about him being a sub. however it feels most correct [and fun] to me to imagine him being a dom-leaning switch vers (doesnt get dysphoria from bottoming because. prostate). social role and personal dynamics dont necessarily correspond to sexual dynamics!

the headcanon i was actually building up to was that he craves affirmation in specific ways from specific people. he is desperate for someone else to give him worth. he wants to do a good job serving an authority he deems worthy of respect. he wants to be useful, he wants to serve a purpose and have a role. he hates feeling like he needs something from someone else, and feels much more comfortable if they need something from him.

he doesn't have a praise kink in a traditional sense, but he does really get his rocks off from being Good At Sex and from his lovers clearly and obviously enjoying themselves. he doesn't wanna be told hes done a good job, he wants to know, to tell from experience that he's blown someone's mind.

furthermore, in romance, he becomes a massive simp. if he likes someone enough to fall for them then they hang the fucking moon for him. he is outside in the rain crying throwing up begging for a sniff. absolutely pathetic. its not a total transformation of personality, i think he'd really hide it and really want to hide it. but i think in most situations it'd be subtle but observable. every joke he makes is directed to them and checked against their reaction; he stands at a middle distance outside of conversation kinda watching them, observing every move, memorizing their gestures and tics and quirks. he feels i love you before the first date but won't say it until five years into the relationship.

related to: i couldnt put it in the other sections and i really only made these section headers so it wasnt just big walls of text oops

he's a low empathy emotionally constipated bitch at the best of times, so he substitutes emotional intimacy with physical intimacy. picking up people at bars or dances or what have you for one night stands, satisfying them thoroughly, and then immediately dropping out of their lives.

he actively avoids romance (and any emotional closeness, including the completely platonic kind). but he hasn't always been this way. i think Dark Road was the most recent in a long long string of experiences where he lost people he was close to. he's tired of hurting people and getting hurt.

. im not gonna get into it because im trying not to be like too too horny in this post but hes So fucking brat tamer coded to me. i think you will understand at least the surface level reasons for this. i guess if i wanted to relate it to Themes i'd say something like "there is a specific romantic and sexual fantasy in being an asshole and even hurting someone and them still wanting you and trusting you and loving you and even enjoying it" but. well we dont need to go there do we

these are just the Depressing / Character-Related / Themes-y headcanons. some of my headcanons are just like "i think this would be funny and/or in character and/or hot" but you see how long this list is anyway. if i started in on all of that then we'd be here forever.

also, these are just headcanons! they're informed by analysis but shaped heavily by what appeals to me personally, what i find hot, what i find compelling about his character. if your headcanons for him differ from mine in any way, i don't think you're Wrong, because we're talking about the sexuality of a guy who comes from a video game franchise where characters are barely allowed to hold hands. this is all just toys and playing

anyway thank you for reading this post lmao its so long

JUST LIKE HIS DIIIIIIIIIIII—

[bisroses]

stan and ford gave me the dysfunctional twin rep i needed

[five-of-cr]

here's the thing about matthias: he isn't the honorable, reformed hero some of the fandom seems to see him as.

yes, he was raised by a tight-knit family of comrade soldiers and decides to betray them in the end. of course that took incredible strength. i don't deny that. but we also need to recognize that the drüskelle are not just some rogue cult. they are a core part of the fjerdan government, who is trying to wipe out the grisha because they are seen as dangerous. that's literally just genocide. however indoctrinated someone is, this is something that is evil from every angle, even if the character can't or won't see it.

and look, i love a good redemption arc, but matthias is such a passive actor in his. he falls in love with nina against his will. she changes his attitudes toward grisha because she's beautiful and kind so all grisha can't be bad, right? this a classic example of the trope of separating the "good ones" from the rest, where you cherry-pick specific individuals to point to as exceptions to a group's nature, which is still implied to be evil. you have to do a lot more than fall in love to truly unearth and address the roots of bigotry.

tbh, this is my biggest critique of the books as a whole. i loathe the "love conquers all" trope that pairs together a character from the oppressed group and one from the oppressors, letting the one show the other through the power of love that being bigoted is not nice. it puts all the responsibility on the former to prove their humanity, and gives all the credit to the latter's ability to be persuaded to recognize it. and then it inevitably leads to forgiveness, because the character has "earned" it by changing their views, once again making the victim seem like the villain if they don't absolve the oppressor of their past "mistakes". also, it's incredibly unrealistic for someone to fall in love with a person who actively hates them and considers them sub-human. in real life, people have to work on their bigotry before that happens, not use the relationship as a plot device for character development.

i think the idea of writing a character like matthias is neat. i think portraying someone's struggle to throw off the suffocating, hateful dogma they've been fed all their life is a story we need more of. i think personal growth of this variety should be celebrated, because otherwise people would never change. but i don't think the people, fictional or real, get to do this without facing profound consequences. it is not enough to feel sorry. it is not enough to apologize. it is definitely not enough to fall in love. and i think writing that lets people off the hook like this grossly oversimplifies power and oppression, and ends up being a feel-good way to romanticize people who cause a lot of harm.

a last note: my opinion is 100% influenced by my being bipoc. matthias is a classic aryan supremacist, even if being aryan isn't the thing he's being supremacist about. my gut reaction to that type of character is always going to be mistrust, both because people in real life have given me reason to be mistrustful and because characters like these are often written in a way that makes you sympathize with oppressors. i don't think matthias earns that trust, and i don't see why i owe him my affection as a reader.

[mechanical-sunchild]

I am once more asking KFFers to not post on the actual kin tags -sigh-

Edit: I just wanna clarify I have no problem with people who 'kin for fun'. I have no problem with people who have strong links towards characters due to relating to them a lot or just really liking them. I have no problem with people who literally funlink and become that thing or character because they thought it would be fun to do it. I just want to be able to browse tags for x-kin and not come across people whom I don't want to/can't talk to because my identity is probably 'too serious' for those who simply like the thing/character a lot but aren't actually them.

[pallas-cat]

next therapist appointment im dedicating time to my horribly, horribly frayed relationship w writing and reading before school starts again lmao

[rosenecklaces]

now that i sit and think about elain mental state after the cauldron violation (because that's how it was described) then to her seer powers acting up...I really feel disgusted at how people made fun of her for it and even still find her weak by being quiet and crumble emotionally when things became too much in less than a year

She had depression you guys, just as feyre had it on the second book and just as nesta destructive habits growed on hers

To keep it short, i have my share of depression since i was 14, not only I didn't knew how to call it back then but also, when i realized what was happening to me, i just didn't tell my parents nor anyone for that matter (and we had no money for therapy anyway, so)

How did I handled it? acting like everything was normal, going on into my day and life as regular without really showing signs of someone being "sad", just being tired here and there, not sleeping and then releasing all my pent up despair at night, crying. And as more I think about it the more i realize Elain was probably handling her fragil mental state the same way

She was trying to talk normally to her closed ones, keeping up to herself to not call attention to how she really felt or tought and in some way distracting herself with chores and gardening while only letting be seen how her broken proposal affected her, and her prophetic dreams (since people saw it and actively kept an eye on her about that situation)

Like is so weird to me because in one hand they wanted her to stop crying about a very serious matter that literally changed her life and on the other they called her brain dead and too bland just because she didn't asked for help and wasn't being loud about it, is just‼️She can't fucking win with this people and is so sad and also makes me angry! like if this is their reaction to someone silent mental health declining in fiction i could only imagine how would they be with someone irl presenting this same signs of depression...

[musical-chick-13]

The THING is. When people (I am including myself in this) try to talk about how "Why is there overall less of an emphasis on women's stories and female characters and f/f shipping, especially when according to the stats we see being shared, fandom is significantly populated by queer women, hmm this seems a bit strange," there's ALMOST ALWAYS this assumption that it comes from a place of gender essentialism or purity culture or hating every single man for existing or something. ARE there some people who mean that? Yeah, there are going to be people like that in EVERY group of people who try to talk about anything. But when people complain about this, it's most generally because WE EXPERIENCE STRUCTURAL MISOGYNY IRL, AND NOW WE ARE EXPERIENCING THE SAME SOCIAL EFFECTS WITHIN SOMETHING THAT IS SUPPOSED TO BE "FUN." THAT IS THE PROBLEM.

And this goes for when people try to talk about racism in fandom spaces as well. And ableism. And transphobia. And any other form of prejudice you can think of. Is talking about this in one (1) context that is not directly political going to forever eliminate bigotry? No. Obviously not. But the thing about systemic bias and prejudice is that IT IS PRESENT AT EVERY LEVEL, EVEN THE "FUN" ONES.

[blackvahana]

you ever just see an alternate version of your life flash before your eyes though.... Im so glad im getting into this now. Im so glad lull didnt let me near kos lmfao because like. im sitting here... fully ready to be dissected myself and to dissect and experiment with these things and im. oh boy! getting glimpses like alternate universe memories of having awoken this in front of him and with him and being. absolutely used. and dissected. and my body broken up and given out like bread at communion. i absolutely can see the ultimate timeline where he convinces me im nothing but Kos and its not a mask but my reality and then he just. does what he wants with my body because Secret Broken + he'd have free reign to pull the instincts i connect to her of. communion and self-death and whatnot

and im not even exaggerating. that absolutely would be where it was going. hes done so much fucked up shit to my astral body, he refused to take no as an answer to having a kid with me, my body was just to be eaten and uh. yeah. it was already a fucked up 5 years lmfao

see. emphasis on "fully ready". full like a full belly. like the full moon. like a full field ready to be harvested. ive grown into myself now, theres a huge difference between being the whale that falls on purpose to feed the populace and one hunted. and i get to experiment now because. the moon is ripe. the sun is ripe. the ocean is pregnant. theres peace in the salt in the air

[gurorori]

continuin the prev post here cuz i feel comfy hidin my talks in tags but i always near the tag limit

[jonnywaistcoat]

What’s your opinion on the contrast between “silly” and “serious” spaces? Do you think people can have very serious interpretations about a genuine piece of media and also be goofy about it? I’m asking this particularly because I’ve seen people in the Magnus podcast fandoms fight about people “misinterpreting” characters you, Alex, and the many other authors have written. Are you okay with the blorbofication or do you really wish the media you’ve written would be “taken seriously” 100% of the time?

And follow up question, what do you think about the whole “it’s up to the reader (or in some cases, listener) to make their own conclusions and interpretations and that does not make them wrong”, versus the “it was written this way because the author intended it this way, and we should respect that” argument?

This is a question I've given a lot of thought over the years, to the point where I don't know how much I can respond without it becoming a literal essay. But I'll try.

My main principle for this stuff boils roughly down to: "The only incorrect way to respond to art is to try and police the responses of others." Art is an intensely subjective, personal thing, and I think a lot of online spaces that engage with media are somewhat antithetical to what is, to me, a key part of it, which is sitting alone with your response to a story, a character, a scene or an image and allowing yourself to explore it's effect on you. To feel your feelings and think about them in relation to the text.

Now, this is not to say that jokes and goofiness about a piece of art aren't fucking great. I love to watch The Thing and drink in the vibes or arctic desolation and paranoia, or think about the picture it paints of masculinity as a sublimely lonely thing where the most terrible threat is that of an imposed, alien intimacy. And that actually makes me laugh even more the jokey shitpost "Do you think the guys in The Thing ever explored each other's bodies? Yeah but watch out". Silly and serious don't have to be in opposition, and I often find the best jokes about a piece of media come from those who have really engaged with it.

And in terms of interpreting characters? Interpreting and responding to fictional characters is one of the key functions of stories. They're not real people, there is no objective truth to who they are or what they do or why they do it. They are artificial constructs and the life they are given is given by you, the reader/listener/viewer, etc. Your interpetation of them can't be wrong, because your interpretation of them is all that there is, they have no existence outside of that.

And obviously your interpretation will be different to other people's, because your brain, your life, your associations - the building blocks from which the voices you hear on a podcast become realised people in your mind - are entirely your own. Thus you cannot say anyone else's is wrong. You can say "That's not how it came across to me" or "I have a very different reading of that character", but that's it. I suppose if someone is fundamentally missing something (like saying "x character would never use violence" when x character strangles a man to death in chapter 4) you could say "I think that's a significant misreading of the text", but that's only to be reserved for if you have the evidence to back it up and are feeling really savage.

I think this is one of the things that saddens me a bit about some aspects of fandom culture - it has a tendency to police or standardise responses or interpretations, turning them from personal experiences to be explored into public takes to be argued over. It also has the occasional moralistic strain, and if there's one thing I wish I could carve in stone on every fan space it's that Your Responses to a Piece of Art Carry No Intrinsic Moral Weight.

As for authorial intention, that's a simpler one: who gives a shit? Even the author doesn't know their own intentions half the time. There is intentionality there, of course, but often it's a chaotic and shifting mix of theme and story and character which rarely sticks in the mind in the exact form it had during writing. If you ask me what my intention was in a scene from five years ago, I'll give you an answer, but it will be my own current interpretation of a half-remembered thing, altered and warped by my own changing relationship to the work and five years of consideration and change within myself. Or I might not remember at all and just have a guess. And I'm a best case scenario because I'm still alive. Thinking about a writers possible or stated intentions is interesting and can often lead to some compelling discussion or examination, but to try and hold it up as any sort of "truth" is, to my mind, deeply misguided.

Authorial statements can provide interesting context to a work, or suggest possible readings, but they have no actual transformative effect on the text. If an author says of a book that they always imagined y character being black, despite it never being mentioned in the text, that's interesting - what happens if we read that character as black? How does it change our responses to the that character actions and position? How does it affect the wider themes and story? It doesn't, however, actually make y character black because in the text itself their race remains nonspecific. The author lost the ability to make that change the moment it was published. It's not solely theirs anymore.

So yeah, that was a fuckin essay. In conclusion, serious and silly are both good, but serious does not mean yelling at other people about "misinterpretations", it means sitting with your personal explorations of a piece of art. All interpretations are valid unless they've legitimately missed a major part of the text (and even then they're still valid interpretations of whatever incomplete or odd version of the text exists inside that person's brain). Authorial intent is interesting to think about but ultimately unknowable, untrustworthy and certainly not a source of truth. Phew.

Oh, and blorbofication is fine, though it does to my mind sometimes pair with a certain shallowness to one's exploration of the work in question.

[creatingblackcharacters]

Lesson 7: "That's the Black one!"- Imagery and "Black-Coded" Characters

Now, you see me writing it!! I'm writing the lesson on Black-coded, non-human characters!! Y'all better go tell your friends and reblog, y'all been asking me forever about it!

This one was a bit hard for me to write. It didn't feel… New. It felt like a regurgitation of everything I'd already discussed. I was honestly confused every time people sent me questions; I thought we all understood how it worked. But I realized: that's not a bad thing! We can consider this an application of everything we've learned so far, because that’s all coding is, is an application!

The Definition

Coding (in media): giving a character or a group certain traits (physical or cultural experiences) that are similar to/that of a real-world specific group, without explicitly saying this fictional group is the real-world group. One may or may not mean to do it in their writing (which is where the opportunity for racist stereotype can leak in).

E.g., “queer-coded characters” gets used a lot on Tumblr; whether accurate or not, it is understood to mean that the blogger sees their/a queer identity portrayed by that character, or that the character was written with ‘queer’ traits in mind. Another example; Darwin Watterson is a goldfish in a world with no humans, but Darwin is Black-coded. The Fishmen in the One Piece Live Action are fantastical creatures, but they are Black-coded (of a very specific type of Black person; even!)

Youtuber KermitCurry explains and reinforces what I’m also going to explain here, but with a cool drawing of (the gorgeous) Grimmjow. She’s a Black artist and animator; go check her out and support her!

Here is a list of a few characters both canonically and Black-fanonically Black-coded:

When Coding Characters as Black

To keep it simple: if the rules apply when designing and writing a Black character, the same rules apply when designing and writing a Black-coded character! The moment you decided that this nonhuman entity was going to resemble a human group of people, you were obligated to be aware of the cultures and stereotypes of those people!

You can’t have a Black-coded character, emphasize a stereotype of Black people, and then say “oh, well, it’s not actually racist because they’re actually a cat-wolf creature!” Yes, it is. You’re still being racist, and upon noticing or being told, there’s no need to be defensive about it- just acknowledge ‘ah yes, I’ve messed up, I'm sorry for my actions’ and then actively work towards a better design or writing that does not include those things.

Example: Hair

Let’s say you want to draw hair on a fish-like Mer species, and you want them to be Black-coded. It would still be racist to give that Mer-woman pickaninny hair, even if "well they're not really Black!" You could find fancy fish scales or seaweed or something fish related to draw ‘Black hair textures’, so that we understand what it’s visually supposed to represent while still being fantastical. Or a robot! Someone mentioned tubes for locs, and you could do curly wires for twists. It's possible! Get creative!

I’ve been asked numerous times about Black hair on furries. Not that I’m the most educated on furries or furry culture- I am not- but they’re already anthropomorphic animals that talk, have human hobbies and habits, and often have pretty rainbow colors. It should not, then, warrant a complaint of “unrealistic” if you respectfully add Black hairstyles to them.

Example: Species

The point about furries actually brings up another good point. Watch out when you're coding Black characters on animals or animal-like species. Often people will have the “dark-skinned, struggling with balancing their humanity monster” Black/Black-coded, and the “pale skinned monster that somehow understands this battle more than them and can save them from themselves”. This is rooted in racist imagery.

I have mentioned it before in response to an ask, but if the only people you find yourself coding as your ‘monkey/animal/monster/beast’ creations are Black and/or dark-skinned, you are- however intentional it is or isn’t- replicating a racist, dehumanizing pattern in league with King Kong and ‘ravishing the white woman/body’. I’m not inherently ‘rugged and masculine’ as a queer Black woman, thus meant to be pushed into the werewolf role. Black men aren’t beasts that can’t control their violent impulses, thus meant to be pushed into the animalistic role. Why do you think Black bodies being beast-like is sexy? Why do you think we are not physically capable of delicacy? Of gentility?

This doesn’t mean that Black characters can’t be werewolves or those sorts of creatures- but you need to be writing/designing with intent, and that means recognizing when you just ‘thought it looked cool’, and that thought turned out to be a racist belief upon further reflection.

Example: Skin

Let’s say your demon species has dark grey skin bc they're rock people or something- yes, the grey skin is because it's a demon species, we recognize that it's not desaturated brown skin. Fine. But God forbid that this grey-skinned ashen group of Black-coded characters are the unequivocal villains? And everyone else that isn’t Black-coded are the ‘good guys’? But ‘it’s okay, because they’re not Black, they’re grey!’? Yes, this is still racism. There’s no getting out of it.

Example: Intelligence

If your Black-coded species is the one that is ‘less cultured’, ‘talks funny’, supposed to be ‘stupid’, or in need of some good (white) character to ‘change their ways and become better people’… Just don't do that. I should not have to say this. Black people are not less intelligent, or ‘more inclined to brawn over brain’, 'more likely to act out of instinct', ‘in need of more education/direction’, or every other reason that was used to justify our enslavement and now, present arrest and imprisonment rates.

Example: Culture

This segues from my last point on intelligence. There’s arguments on coding species that are meant to be "savage" or "inhuman", giving them stereotypical loin cloths or tattered clothes and having them "need to be saved". Now, I'm not informed enough about D&D to make valuable commentary on the existence and history of orcs. However, if you've decided to create an Orc culture, and it's clear that your imagery is taken from Black and/or Indigenous cultures, in addition to the language of savagery and white saviorism itself… That's extremely racist. And if you're thinking "Ice, of course no one would do that in 2024", Yes. Yes, they would. The bar is low, but don't ever assume people can't, don't, and won’t find a way to limbo under it.

Black and Brown people don’t need to be ‘saved’ from our own cultures or ‘introduced’ to anything. We don't need to be 'made better'. If that’s the narrative that you find yourself buying into while you write your story, Black or Black-coded characters, you need to step back and evaluate.

How This Imagery Lasts

Jim Crow Museum- Racist Cartoons and Anti-Black Imagery

This is obviously not everything I could put here as a example, but I wanted to offer a small example of how heinously racist imagery has made its way into the present. From depicting Serena Williams as an overgrown, childish, large-lipped Black woman (and whitewashing Afro-Japanese woman Naomi Osaka into the ideal, victimized blonde white woman), to Lebron James’ Vogue photo (this Black, married man now suddenly slave to the intensity of ball and white women for this cover), to the entirety of the Black Pete festival in the Netherlands.

This is imagery and behavior that evolves and lasts. What you put to paper will have an effect on someone else's ideas. You might not even think you believe these things, but someone looking at your art or reading your work will think you do! You should not want to be evoking any of this, coded or not, regardless of ‘if there’s a human involved’ because frankly… well, people already don’t see Black people as humans. We need to be treating our Black and Black-coded characters with care, and that means doing good research and avoiding replicating caricatures.

[rmstitanics]

* GENERAL OBSERVATIONS

CANCER MOONS and 4H MOONS might enjoy media with the found family trope.

Those that have an 8H STELLIUM, PISCES MOON, 12H STELLIUM, or SCORPIO URANUS would make great divination witches, tarot readers, astrologers, and / or ghost hunters.

MERCURY OPPOSITE MARS folks have no filter in every sense of the concept. They tend to speak their minds and say the MOST out of pocket things, and also might be prone to swearing like a sailor.

“Taylor Swift only writes music about her exes—” NO. Her entire discography reflect the journey to heal the inner wound of CANCER CHIRON, which is all about feeling unloved and abandoned by others. If you’ve got this placement, you probably relate on a spiritual level to her song “The Prophecy”.

12H STELLIUMS may have had some paranormal experiences in their childhood or early adulthood.

SUN SQUARE URANUS aspects may be prone to a feeling of always being at war with themself — whether spiritually, emotionally, or psychologically. Although they do a good job at hiding this inner conflict, it might still manifest in social interaction by others perceiving them as contradictory due to actions not aligning with words.

AQUARIUS MOONS are natural humanitarians, and would find lifelong emotional + spiritual fulfillment in community service or philanthropy.

I encourage individuals who have NEPTUNE TRINE MERCURY in their chart to try astral projection or lucid dreaming — you’ve got a natural affinity for it!

If you have your SUN PLACEMENT AND CHIRON PLACEMENT IN THE SAME SIGN, your Chiron wound is likely a major and crucial part of your core personality. For example, Abraham Lincoln had his sun sign and chiron sign in Aquarius, indicating that the core wound of always feeling like an outsider in the community was a foundational aspect of his character.

CAPRICORN CHIRONS might enjoy writing or reading historical fiction — especially historical fiction that features characters who others view as “outsiders” achieving succsss in the public eye against all odds.

4H SATURN placements may have chosen or will possibly choose to attend university far away from home in a desperate attempt to break free from strict parents.

SATURN TRINE NEPTUNE aspects make for individuals who care deeply about topics related to social justice and are driven to take action and participate in organizing their communities. They could be involved in social media activism and have accounts dedicated to posting about certain issues, but it is essential for these natives to also take concrete actions locally.

[kairologia]

Your untapped talents according to your fifth house.

In traditional astrology, being Venus’ joy, the fifth house is (among others) a signifier for natural talents, as well as hobbies you would enjoy most or thrive at.

Which are yours?

· Aries in the 5th house (Sagittarius rising): you possess a proficiency in competitive or energetic sports and activities, a natural ability to lead a team, an uncanny ability to face & overcome your fears, as well as high stamina & endurance. Steadfast in your beliefs and capable of debating in their favour anytime of the day.

· Taurus in the 5th house (Capricorn rising): you’re naturally talented in gardening & cultivating a beautiful, lush & luxuriant outdoor space, effortlessly skilled in arts like painting, sculpture, or pottery, and excellent at cultivating artistic talent in others (would make a great art professor).

· Gemini in the 5th house (Aquarius rising): you have unrivaled storytelling and writing skills, an innate versatility in performing arts such as acting or comedy, & skilled in employing incisive language to convey complex ideas or emotions. You may have a talent for photography, drawing, or manual/visual arts.

· Cancer in the 5th house (Pisces rising): you’re skilled in acting out intense scenes or writing emotionally charged stories, talented in interior design and making every new place you inhabit feel like home. Usually talented in cooking &/or baking. Great swimmers too.

· Leo in the 5th house (Aries rising): Leo fifth houses are highly creative in fashion-related endeavors such as designing clothing items or costumes, have natural flair for performing arts and a natural ability to captivate an audience or command attention. Great at improvising and coming up with stories on the fly.

· Virgo in the 5th house (Taurus rising): you’re talented in crafts like knitting or woodworking, editing or artistic critique, photography. You’re the go-to person for event organization & planning. Skilled at DIY crafting projects, scrapbooking, manual creations such as jewelry making or ceramic works. Great debators, too.

· Libra in the 5th house (Gemini rising): you have outstanding diplomatic skills & are capable of negotiating your way through just about any situation. You're skilled in creating harmonious compositions in visual arts or music. You would definitely enjoy ballroom dancing, painting, & decorating spaces. You also have a natural sense for aesthetics & beauty.

· Scorpio in the 5th house (Cancer risings): you would make a great taboo/erotica/crime fiction writer or visual artist. You're also talented in writing intense and charged scenes or lyrics, & are capable of evoking strong emotions through artistic expression. You would probably enjoy investigating mysteries & delving into occultism.

· Sagittarius in the 5th house (Leo rising): you’re amazing at inspiring others through creative expression, great at documenting experiences through photography or journaling whether in remote destinations or within your hometowns & making the mundane seem interesting. You’d make a great writer of philosophical or esoterical fiction or analysis.

· Capricorn in the 5th house (Virgo rising): usually great at forms of art that demand focus and discipline. you're the type of person that can master more than one classical instrument if you were to put your heart into it. You would enjoy collecting antiques as a hobby, & have potential to be an eloquent & articulate speaker & writer.

· Aquarius in the 5th house (Libra rising): terrific at advocating for social change & making unheard voices feel heard through artistic or creative expression, and creating experimental or avant-garde works. Potential great musicians. The type of person who can turn even the blandest looking items into something uniquely gorgeous.

· Pisces in the 5th house (Scorpio rising): you have an innate versatile talent at anything creative as you’re capable of creating immersive artistic experiences that can even cloud the senses. Potential talent for dancing, occult or spiritual pursuits and intuitive painting as well. Would definitely enjoy swimming & marine life exploration.

P.S : one configuration cannot describe your entire experience. you may not relate to certain points, as you have had life experiences that shaped you and an entire chart consisting of inextricable elements that need one another to make sense.

Click here for readings !

[hayatheauthor]

How to Write Relatable Characters: A Writer’s Guide

Relatable characters are the lifeblood of any compelling story. They're the ones readers root for, cry with, and remember long after they've turned the last page. But what exactly makes a character relatable? Why do some characters feel like old friends, while others fall flat? 

In this guide, I’ll walk you through the key elements that contribute to creating characters that resonate with readers on a personal level. From building a strong backstory to crafting authentic dialogue, this blog will equip you with the tools to create vivid, compelling, and believable characters that will captivate your readers and add depth to your narrative.

1. Understanding Relatability

Definition: What Makes a Character Relatable?

A relatable character is one that readers can connect with on a personal level. This connection might stem from shared experiences, emotions, values, or even flaws. Relatability is about creating a character who feels real—someone who could exist in the reader’s world, or even in their own life.

Importance: Why Relatable Characters Matter

Relatable characters are crucial because they engage the reader emotionally. When readers see a piece of themselves in a character, they become invested in that character’s journey. This investment is what drives readers to keep turning pages, eager to see how the character will overcome their challenges or achieve their goals.

Connection to Audience: How Relatability Creates Reader Engagement

Relatability bridges the gap between fiction and reality. When readers connect with a character, they experience the story on a deeper, more personal level. This connection makes the story more memorable and impactful, as readers are more likely to empathize with the character’s struggles and triumphs.

2. Building a Strong Backstory

Personal History: Adding Depth and Relatability

A well-crafted backstory is essential for creating depth in a character. It’s the foundation that shapes who they are, how they think, and how they react to the world around them. A character’s past experiences, upbringing, and the events that shaped their life provide context for their actions and decisions in the story.

Key Elements of a Backstory

Family and Upbringing: The influence of family, culture, and environment on the character’s development.

Past Traumas and Pivotal Events: Significant experiences that have left a lasting impact on the character.

Personal Motivations and Desires: The underlying drives that push the character forward.

Examples of Effective Backstories

Consider Harry Potter’s backstory: growing up as an orphan, mistreated by his aunt and uncle, and discovering he’s a wizard. This backstory not only explains his initial naivety and longing for acceptance but also makes his journey into the wizarding world all the more compelling.

3. Developing Flaws and Imperfections

Humanizing Characters Through Flaws

Perfect characters are boring. Flaws make characters human and relatable. They allow readers to see themselves in the character, imperfections and all. Flaws create tension and conflict, driving the character’s growth and development throughout the story.

Common Character Flaws

Insecurity: A character’s self-doubt can lead to relatable internal conflicts.

Fear: Whether it’s fear of failure, rejection, or the unknown, fear is a powerful motivator.

Pride: Excessive pride can lead to mistakes, making the character’s journey more complex.

Balancing Flaws with Strengths

While flaws are essential, it’s important to balance them with strengths to avoid making the character too unlikeable. A character’s strengths should complement their flaws, creating a well-rounded and realistic individual. For example, a character might be stubborn (a flaw) but also incredibly determined (a strength).

4. Creating Emotional Depth

Internal Conflicts and Emotional Complexity

Relatable characters often face internal struggles that mirror real-life emotions and dilemmas. These internal conflicts add layers to the character, making them more complex and interesting. Readers are drawn to characters who experience a range of emotions, from joy and love to anger and despair.

Techniques for Showing Emotional Journey

Dialogue: Use conversations to reveal a character’s feelings and thoughts.

Internal Monologue: Dive into the character’s mind to explore their inner turmoil.

Actions: Show emotions through the character’s reactions to situations.

Creating Reader Empathy

To create empathy, your character needs to be vulnerable. Show their fears, hopes, and insecurities. Let readers see the character at their lowest points, struggling to overcome challenges. This emotional journey is what will resonate with readers, making them feel invested in the character’s fate.

5. Crafting Authentic Dialogue

Realistic Speech Patterns

Authentic dialogue is crucial for making characters relatable. People don’t always speak in perfect sentences or with flawless grammar. They interrupt, hesitate, and sometimes say the wrong thing. Capturing these nuances in dialogue helps make your characters feel real.

Voice and Tone

Each character should have a unique voice that reflects their personality, background, and emotional state. A character’s tone can convey their attitude, whether they’re sarcastic, serious, or playful. Paying attention to how your characters speak can add depth and authenticity to their interactions.

Dialogue as a Window into Character

Dialogue is a powerful tool for revealing character traits, flaws, and emotions. For example, a character who speaks in short, clipped sentences might be guarded or angry, while one who rambles might be nervous or insecure. Use dialogue to show, rather than tell, what your characters are feeling and thinking.

6. Relating Through Common Experiences

Shared Struggles and Universal Experiences

One of the most effective ways to create relatable characters is by giving them experiences that resonate with readers. These can be universal struggles, such as dealing with loss, searching for identity, or falling in love. When readers see characters going through similar experiences, they’re more likely to connect with them.

Cultural and Social Touchpoints

Characters can also relate to readers through cultural references or social issues. This could be anything from navigating family traditions to dealing with societal expectations. Incorporating these elements into your character’s life can make them more relatable to readers from similar backgrounds.

Examples of Characters Relating Through Shared Experiences

Consider Elizabeth Bennet from Pride and Prejudice. Her experiences of navigating societal expectations and family pressures are relatable to readers, even centuries after the book was written. Her wit and independence make her a character that many can see themselves in, despite the historical setting.

7. Avoiding Stereotypes and Clichés

Unique Characterization

While some character traits may be common, it’s important to avoid reducing your characters to stereotypes or clichés. Stereotypes can make characters feel one-dimensional and unoriginal. Instead, aim to create characters with unique, multi-faceted personalities that go beyond surface-level traits.

Subverting Expectations

One way to avoid clichés is to subvert reader expectations. For example, instead of making the “tough” character emotionally distant, show their softer side. Or, instead of the “nerdy” character being socially awkward, make them confident and charismatic. Subverting these stereotypes can create more interesting and relatable characters.

Writing Diverse Characters with Authenticity

When writing characters from diverse backgrounds, it’s crucial to do so with respect and authenticity. Avoid relying on stereotypes and instead, research and understand the nuances of the culture, experiences, and perspectives you’re portraying. Diverse characters should be as complex and fully realized as any other character in your story.

8. Giving Characters Agency and Growth

Active vs. Passive Characters

Relatable characters are often those who take control of their own destinies. Active characters make decisions, face consequences, and drive the story forward. On the other hand, passive characters who simply react to events can feel less engaging and relatable.

Character Arcs

A well-developed character arc shows how a character changes over time. This growth can be in response to internal conflicts, external challenges, or both. A character who evolves in a believable way is more likely to resonate with readers.

Growth and Change

Show your character learning from their experiences, whether it’s overcoming a fear, letting go of pride, or learning to trust others. This growth makes characters more dynamic and relatable, as readers witness their journey from start to finish.

9. Testing Relatability: Beta Readers and Feedback

Beta Readers

Beta readers are an invaluable resource for testing the relatability of your characters. They can provide feedback on whether your characters feel authentic and engaging. They can also point out any areas where the character’s actions or dialogue might seem out of place or unrelatable.

Character Surveys

Consider creating character surveys or questionnaires for your beta readers. These can include questions about the character’s likability, believability, and relatability. The feedback you receive can help you refine your characters and ensure they resonate with your audience.

Revisions

Use the feedback from beta readers to make necessary revisions to your characters. This might involve tweaking dialogue, deepening backstory, or adjusting character arcs. Revising with a focus on enhancing relatability can significantly improve the impact of your story.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[calder]

Released in 2010, Obsidian Entertainment's Fallout: New Vegas actively concerns itself with the realities of gay existence, and is widely recognized as a noteworthy work of queer science fiction. New Vegas extensively examines social attitudes towards homosexuality among the game's major factions, and primarily conveys this lore through gay and bisexual characters describing their own experiences. It also allowed the player to mechanically set the Courier's sexual orientation. By taking both available perks, the player character can be bisexual. By choosing neither, the player can opt out of seeing flirtatious dialogue options.

Uniquely, Fallout: New Vegas explores homosexuality in the context of wasteland societies, and touches upon related issues. The core theme of New Vegas is that the desire to recreate the past is driven by irrational nostalgia, and any endeavor to manifest past glory is dangerous and doomed. The social issue of homophobia is used as a demonstrative example. The resurrection of corporate and military power structures presents new avenues for Old World problems such as institutional homophobia to reemerge. One of the many issues that divide the New California Republic and Caesar's Legion is the latter's open persecution of gay people. The NCR is described as tolerant and even accepting of same-sex relationships, though acceptance tends to fall off the further one moves away from the developed, urbanized core of New California. In recent years, the Republic's rapid economic transformation has led to an unforeseen erosion of the humanitarian ideals which it was founded to serve. In practice, to recreate America was to take on its shortcomings and its sins. As subsistence scavenging has dried up, the people of the NCR increasingly turn to wage labor, entrepreneurial venture, or military enlistment to keep their families fed. Meanwhile, their government enacts morally corrosive imperialism (narrative verbiage), their dominion expanding indefinitely as their infrastructure crumbles from within. This has led to a profit-based imperial monoculture which must conquer, consume, and coerce to perpetuate. As personal politics and service labor grow in importance, people find themselves more inclined to present as "normal" in the interest of financial stability and political expedience. A loading screen visualizes this culture of artificial social normalcy: the portrait of President Aradesh on the NCR 5$ bill neglects to depict his unibrow, earring, and facial scarification, overall portraying the once-chieftain so cleanly-cut as to be unrecognizable at first glance. He also appears to be wearing a collared shirt or suit as opposed to the robe he wore in Fallout.

In the Legion, Caesar has mandated that every legionnaire take a wife and produce children, citing high infant mortality rates and the constant need for soldiers, and going as far as instituting child quotas. He treats human beings as a resource to be exploited for war. Ostensibly in this aim homosexuality has been declared a capital offense punishable by death. Historically, routine demonstrations of violence towards women and gay people are a deliberate feature of fascist societies, the only logical cultural conclusion of a government devoted entirely to war and control. In Forlorn Hope letter 9, an NCR soldier wrote wrote the following to his boyfriend:

Dearest Andrew, Writing this seems pretty morbid, but tomorrow we march into the no man's land between our camp and Nelson, which is crawling with Legion. The Major insisted I write this damn "if you get this, I'm dead" letter so here it is. What a crock. I have the luck of the devil and your love on my side, so I'll be home soon. Keep the porch light on for me. We'll party in New Vegas when I get back. I love you. —Devin

Devin believed he would prevail over the Legion because his love would keep him safe. He was found dying or dead on the battlefield, the letter was found on his body. In a post-release patch, the injured soldiers were removed from the battlefield for performance reasons, and never re-implemented. Driven largely in reaction to the Legion's hyper-masculine posturing and misogyny, rumors persist across the Mojave that gay male relationships are not only common within the Legion, but condoned. These rumors are repeated commonly in NCR society. A closeted NCR Major mentions that the Legion is "a little more... forgiving" about close male "friendships," speaking in a hushed tone to avoid suspicion. At the same outpost, the player can encounter Cass, a bisexual civilian woman. She may flirt with a male Courier, who may imply they are gay, prompting her to imply gay men are more common in the Legion. Even as gay men fight and die in the name of love under his command, NCR General Oliver may remark to Courier Six at the Second Battle of Hoover Dam: "If you think after all that's happened, I'm going to grab my ankles and take it like the Legion..."

This writing pertains to institutionalized homophobia which manifests in practice though power structures and social interactions without being written into law. Simply put, in his derogatory remark, the general expresses to his army that military surrender is gay, much like their gay enemy. From the brevity and bluntness of this remark, it's clear that this sentiment is already well understood among his ranks. Logically, to project strength in the eyes of such a leader, one might also project homophobia by scrutinizing and harassing one's peers and subordinates. In this atmosphere, the expression of homophobia is not only normalized, but materially incentivized. For the ambitious, it becomes a tool, and a way of casting shame upon rivals. For the closeted, homophobia becomes a survival tactic, hoping to throw scrutiny off oneself. This is why Major Knight is immediately frightened when a male Courier flirts with him. He is so profoundly alienated that he romanticizes life as a gay man under the Legion. The Legion punish homosexuality with death, and yet Knight characterizes them as more "forgiving" than the NCR. Through these apparently disparate events, the audience can trace how a distorted perception of gay people emerges among insecure men in a military environment, and subsequently becomes ingrained in the corresponding civilian culture. At the 188 Trading Post, a lesbian from the Brotherhood of Steel named Veronica also wryly remarks that she believes legionaries have gay sex about as often as straight sex. She also notes that this only applies to men, as women have no rights whatsoever in Legion society. In this aside, she conveys a pre-existing frustration with lesbophobic social norms. Veronica also mentions that the people of her bunker would rather she remain on the surface. The Mojave Brotherhood of Steel has no official policy prohibiting homosexuality, but an implicit attitude among its dominant members that their limited numbers require everyone to have children to avoid extinction. Numerically, this may seem logical on the surface, given their reluctance to recruit outsiders. However, given their tiny population, this is an ineffective countermeasure, as they do not have nearly enough members to maintain genetic diversity for more than a few generations. This approach is not universally supported by all family units within the Brotherhood, but every individual is ultimately at the mercy of the elder. Veronica was in a lesbian relationship, but they were quietly separated by Elder Elijah, due to the dominant culture of enforcing heterosexual pairing among their population.

Caesar's law has not ended homosexuality within his domain. Despite the obvious risks, some legionaries have continued to pursue relationships behind closed doors, especially given their access to slaves. So long as members complete their societal obligations and fulfill the child quotas, they are able to pursue romance with other men in secret. Homosexual relationships in the faction are noted as being relatively equal compared to the average Legion husband and wife, in a "Don't Ask, Don't Tell" sort of open secret policy. Gay legionaries must always make sure to keep their activities hidden. A centurion was once almost caught fraternizing with the teenage boy he had chosen to tend his tent. Despite previous "romantic" intentions, he quickly resolved to dispose of the slave to dispel suspicion. Had they been caught together, the centurion would have been charged with homosexuality and sentenced to death. This story is only known because the enslaved young man, Jimmy, managed to escape execution. Further illustrating the cruelty intrinsic to Legion governance, it's stated that homosexuality was the crime, and not the rape of a young slave; in fact, it seems Jimmy was forced to contribute to the child quota despite being a gay teenager, and the experience left him traumatized. He has resolved to never have sex with another woman, as the very notion triggers memories which fill him with disgust, and (in his own words) makes him feel like a slave all over again. The Strip is indifferent to gay people, viewing them as another opportunity to make caps. Both the Gomorrah and the Atomic Wrangler are interested in maximizing profits, and their prostitution services cater to clients regardless of their orientation. The openly gay Jimmy works at nearby Casa Madrid, but there is some tension among his peers due to his co-worker Maude's blatant homophobia. She supposes he's "okay, for one of those," and if propositioned by a female Courier, Maude will direct them to Sweetie for such "perverted" services. Pretty Sarah must regularly intervene to keep the peace among her staff.

The Followers of the Apocalypse, well-read punks who seek to embody healing through anarchistic values, are not concerned with gender. Most are openly and casually sexually active. Upon meeting Courier Six, Arcade Gannon offhandedly makes his gayness known, unprompted. The audience must face the fact that Arcade's apprehension of the Legion is far from abstract; under Legion law, he would be put to death. One possible ending gives further insight into Caesar's hypocrisy: should the player sell Arcade into slavery and leave Caesar alive, he will keep Arcade as a personal physician and philosophical advisor. They intellectually spar at length, and Caesar grows singularly fond of him. Accordingly, Arcade imitates the historic suicide of Cato the Younger by disemboweling himself. The Legion's remaining medics attempted to save his life, but none were Arcade's equal. Caesar understood his doctor's final gesture of contempt, and mourned him for months.

New Vegas ventures further into themes of healing from the trauma of sexual violence, from the perspective of a lesbian character. Corporal Betsy, an NCR sharpshooter, is a rape survivor, and suffers with PTSD from the incident. Her unprocessed trauma has manifested as a maladaptive tendency to aggressively and explicitly proposition the women she encounters, in an effort to reassert a sense of control. This defensive hypersexual impulse has negatively impacted her ability to connect with other women. A male superior officer notes that her behavior is inappropriate for anyone of her stature, but abstains from disciplining her out of sincere concern for her mental health. The Courier can help her begin to recognize these problems, and convince her to seek treatment from Doctor Usanagi at the New Vegas medical clinic, which proves helpful to her as she processes and heals from her trauma.

In Old World Blues, the Think Tank are five floating brains in jars who express themselves by waving robotic arms bearing screens depicting facial features. Before the War, they were federal scientists who committed crimes against humanity in the name of weapons development. Each is stuck in some sort of neuro-bionic feedback loop which prevents them from moving forward with their projects, mentally binding them to their central laboratory. Walking through their homes at Higgs Village, it's clear each was deeply neurotic before they were transformed into floating brains. Now without bodies, they attempt to maintain the illusion that they are exempt from sexuality as purely mental beings, but each displays obvious interest in the human form. They have codified this shaming with the term "formography." Most of the men are obsessively defensive over their complete disinterest in penises, which they talk about constantly. However, the shameless Dr. Dala shows overwhelming interest in observing and recording any and all human functions. Already androgynous in her pre-War life, Dala has taken to self-identifying as a "gender neutral entity" (though she is not known to use they/them pronouns). Regardless of the Courier's gender, they may coquettishly scratch themselves, clear their throat, and stretch in front of Dala until her biomed gel decoagulates. Dr. 8 also responds positively to graphic masturbation advice from Couriers of either gender. The X-8 research facility is ostensibly a massive immersive shrine to Doctor Borous's hatred of Richie "Ball-Lover" Marcus, a long-dead child who bullied Borous centuries ago. He also clings to his resentment of one Betsy Bright, who refused to attend a dance with him, supposedly so she could "go smoke with RICHIE MARCUS." Clearly arrested in development, Borous has literally built a temple to the fantasy of torturing his adolescent romantic rival and feeding him to dogs. His frozen, static characterization of the jock Richie Marcus as a "pinko-commie" who "likes balls" reflects the shallowness, pettiness, and overall misanthropy underlying his patriotic identity. It remains apparent throughout Old World Blues that the Think Tank are all chronically sexually repressed, which is inseparable from the values of the violent and judgmental pre-War culture which created them. With time and isolation, this ingrained repression has manifested as various intense and deranged psychosexual behaviors, including rage-fueled homophobia, voyeurism, and the obsessive performance of puritanical pretense.

____

“Although I’ve been out for a very long time, I made a conscious effort to be out with relation to this project, as I wanted to be visible as a lesbian in the game industry. New Vegas itself is, I think, one of (if not the) best games out there in how we treat homosexuality – and all of that is very intentional.”

“If my work on FNV, if my being out has helped even one gay person, then I have succeeded.” — Tess “Obsidian’s Gay Cowgirl” Treadwell

____

written (with help from other editors) for fallout.fandom.com/wiki/LGBT_representation_in_the_Fallout_series criticism welcome

[boombox-fuckboy]

2024 Fiction Podcast Zine Festival

When: The entire month of September, 2024

Goal: During the month of September, make one (or more) zine of any quality, that is in some way related to fiction podcasts. You can share it using the tags #fiction podcast zine event and #fiction podcast zine festival

On Zines: A zine is a paper booklet that can function as art or an informational pamphlet. These are traditionally very cheaply made and hand-folded.

Zine vs Art Book: Sometimes, fandom or personal projects function under the title "zine" to produce glossy, professionally printed projects. These are more often elaborate, gorgeous group art efforts, and more art books than true zines. You could make one of these if you really wanted to, but I'd encourage you not to, and instead spend just a spare hour (quick), afternoon, or weekend (long) on it.

What should it be about? Whatever you want, so long as it is related to fiction podcasts! Click here for a list of suggestions, or ignore those entirely.

What medium should I use? Literally whatever you like. Hand-drawn/written zines that can be photocopied are traditional, but digital art or documents are fine too. You could experiment physically with all kinds of mediums, too.

Do I have to make them printable to contribute? You do not! While I'd encourage you to if you're able, you can also just make one for yourself.

I want to make something, but it won't be very good. Do it anyway.

I don't own a scanner/printer/copier but would like to make use of one. Any suggestions? Associates who work in offices and schools might be willing to scan or print them for you. You can also check your local library, post office, corner store, and university (in that order, probably). The first three will often charge a small fee for printing, rarely more than 20c, the last will definitely charge a fee higher than that.

Hey, I've got something to add! Let me know! If you have advice to give (to me or more generally speaking), or useful resources, I'd appreciate you sending it my way.

Resources:

Wikihow: How to Make a Zine

Google drive folder containing personal templates (.docx) for one-sided and 2-sided 8 page digital zines.