#and they're very accurate to the source material

[endiness]

Debunking misinformation about Netflix's The Witcher (Part 1)

"Henry Cavill is a massive fan of the books and the games and he quit the show because the writers wouldn't stick to the books and he just cares about the source material so much."

Henry Cavill not only did not know that the books existed when he started pursuing the role of Geralt, but he actually thought that the books were based off of the video games (and he still didn't bother to read them) and he didn't learn that the games were actually based off the books until Lauren told him (even though the first thing in the game credits is that they're based off the books); as of 2021, he as only read the full series once — right before he was cast in 2018; while he has played TW3, he has only played a little of TW2 (and I've never found any evidence that he's played the first game); and he also has not played the DLC for TW3.

Henry Cavill also started heavily pushing the narrative that he's just such a massive fan of the books and how important adhering to the source material is to him during the press for S2 to deflect from how it was due to his acting choices of cutting Geralt's lines and either saying nothing or just grunting instead that Geralt's characterization — who is much more verbose in the books — was book inaccurate in S1:

He also lied about the situation and tried to act like Geralt was never originally written as being verbose and blamed the lack of dialogue on Yennefer and Ciri's prominence, which cannot be true as confirmed by Lauren:

And tried to act like the lines he was cutting weren't that important anyway so it wasn't really a big deal, which also cannot be true as confirmed by Joey:

He also started pushing the narrative that adhering to the source material is so important to him and it's 'tricky' to do that with Lauren's vision, but his definition of "Lauren's vision" is the show being an ensemble piece with Yennefer and Ciri at the forefront (like the books) and the show in general heavily centering around women (like the books):

So the idea of him caring so much about "book accuracy" is, in fact, not accurate to the books at all as his problems were the prominence of women in the show when Ciri is the main character of the main book series, which the show started adapting from S2 onwards (which is when Henry Cavill started to complain about wanting "book accuracy" in the first place), and when women are very prominent, central, key figures in the books and they often drive the plot forwards.

Lastly, S3 was the closest adaption of the books out of all the seasons so far, so the idea that he quit after S3 because the writers just weren't respecting the source material and the show wasn't following the books doesn't make any sense anyway.

"Henry Cavill is the only reason why the show was even close to the source material at all."

I've not only never seen any evidence of this, but if anything, I've seen the exact opposite: Henry Cavill was either directly responsible for or at least contributed in some way to a lot of things that went against the books or didn't happen in them.

As I already pointed out, he cut Geralt's lines in S1 and either said nothing or just grunted instead which is inaccurate to Geralt's characterization in the books. Here's another quote from Joey affirming that:

(Just to note: During the press for S1, he frequently talked about how the games inspired his performance as Geralt — sometimes talking about them even more than the books despite how the show is based off of the books, not the games — and it wasn't until S2 press that he suddenly changed his tune and started talking about how important adhering to the source material ie the books is to him. He also only started advocating for a more book accurate Geralt because he got dunked on by reddit for his book inaccurate performance in S1.)

He didn't want to play Geralt and Jaskier's friendship as directly as in the books and buddy-buddy with each other:

He didn't want to have any kind of conflict in Geralt and Ciri's relationship in S2 — at least on Geralt's side of things:

Nor play Geralt struggling with fatherhood at all — all of which led to the domino effect of Yennefer's betrayal:

Eskel's death (which in itself also led to things like Vesemir trying to create new witchers and Lambert's attitude toward Ciri):

And Voleth Meir being the big bad of the season:

He didn't want Geralt and Triss to even just platonically find comfort in each other in S2 — which is what happens in the books:

He nixed a sex scene between Geralt and Yennefer in S2 because he didn't think it'd be in character of them to have sex after reuniting which, uh, is absolutely in character of them:

While this is an incredibly inconsequential change, given the prevalence of this idea that Henry Cavill is such an ardent defender of the source material ie the books and how much he wanted the show to adhere to them, I do think it's important to note that he pushed for — and got — more signs into the show even though by his own admission that is more of a game thing than a book thing and he got it into the show for the explicit purpose of catering to game stans:

This is also another incredibly inconsequential change, but again, given how prevalent the idea of Henry Cavill pushing for perfect source accuracy is, I do just want to point out that he would wear his armor 24/7 to make it look worn down:

Even though it is canon in the books that Geralt will buy himself brand new clothes, so the idea that Geralt's clothing has to look worn down and can't be brand new is not actually book accurate.

"Lauren wanted to make Roach's death a joke."

Just to address this point specifically, Lauren wanted to make a meta reference about how all of Geralt's horses are named Roach. That in no way, shape, or form means that she wanted to make Roach's death into a joke or even that the scene had to be played comedically. This is what Lauren had to say about the subject and the 'joke' in question (which, js, actually fits the tone of the books more):

And as far as the "Henry Cavill is the only one who cared about the source material and he's the only reason why the show even stuck to the books at all" front goes... Henry Cavill did change the dialogue in this scene to a book quote/reference; however, the quote in question ("Enjoy your last walk across the meadow and through the mist. Be not afraid of her for she is your friend.") is not something that Geralt himself says and the line/scene from the books foreshadows Geralt's ending in them.

So, at least imo — especially taking into account the incredibly high standard the fandom has set for Henry Cavill as the #1 defender of the books — I don't think this change was actually book accurate especially given the narrative significance of that exchange in the books.

[etz-ashashiyot]

Generally radicalized people are radicalized for a reason: their radicalization does something for them and/or they believe that their desire to reshape society in a way that they believe will fix things does something for them. The key to deradicalizing them, then, is to figure out what that need is and fill it with something else.

Most of the time, people don't actually want rivers of blood, they want justice for wrongs that they feel aren't being heard.

Most of the time, they don't actually hate [X] minority - they don't even know anyone of that minority! They hate the false strawman version of that minority that is completely detached from reality, but that's been sold to them as the source of their problems.

And most people are honestly kinda lazy, lol. They are not going to physically fight for their fucked up ideas unless either (1) they are backed into a corner and literally must, or (2) they get swept up as part of a larger mob where the bully mentality takes over and the few people leading it decide to turn it into a violent mob.

So you gotta suck the wind out of their sails.

This works best if they are in or adjacent to your own communit(ies), because you will have more insight into what this is doing for them.

For the goyische leftists that have been radicalized into Jew hate lately, it's a combination of things. It's a feeling of powerlessness as the world slides rapidly towards fascism and climate crisis. It's the ghosts of unaddressed colonialism that they are choosing to impose their emotional catharsis on this unrelated and falsely analogous situation to enact what they feel would be just in their own society on people safely half the world away. Why there? Well, it's because it's a very small area with all of the culturally significant places that they grew up hearing about from the Bible in church, so it carries emotional weight. Most importantly, both parties are small and neither party has much international power to stop them, so they are able to impose their own narrative on the situation and speak over everyone actually there. Anyone who tries to correct them is drowned out. And, it's the history of Soviet antisemitism that is baked into the DNA of most western leftist movements and which Jews have never had the numbers or power to force them to actually confront.

Jew hatred is extremely convenient and Jews have been murdered in large enough numbers that we are easy to talk over.

Now usually, when you start pointing these things out, and especially when you start pointing out how ineffective and self-serving their "activism" on behalf of Palestinians is, they are too radicalized to do anything but react emotionally. They will spit out talking points, but none of these things actually address any of the above. They usually just devolve into "but but, Israeli war crimes!!" like it's a talisman against accurate allegations of antisemitism.

Why won't they listen to reason? When you show them how what they're saying is literal Nazi propaganda with the swastikas filed off and "Zionists" being used as a stand-in for Jews while they simultaneously vociferously deny any connection between Jews and Zionism? Why won't they take any accountability for their bigotry? Why won't they, at a minimum, listen to the Palestinians who want peace even if they won't listen to Jews advocating for the same thing?

It's because then they would have to give up the major benefits that they've been reaping from this situation: the social capital, the excuses to act out, the glow of feeling totally righteous in their fury, the catharsis - and trade it for the extremely unappealing process of actually becoming a decent person and a better advocate for their cause. It's hurting people they don't care about and they have a whole lot of organizations and institutions and people with actual power who materially benefit from their misdirected anger stoking the flames, and helping them lie to themselves that they are actually helping someone besides themselves and the handful of true beneficiaries behind the conflict.

They are being used.

And in twenty years they'll wake up and realize that they spent their youth shouting Nazi and Stalinist slogans of hatred that only benefitted right-wing hawks on both sides who make actual money and power off this conflict at the expense of two persecuted minorities. But they will be ashamed and will bury that behavior underneath silence and excuses.

This happens in every generation, by the way. Every 70 - 100 years, people find a socially plausible reason to hate and kill Jews because it is easier than standing up to the people with actual power. We are people they know they can hurt, and so long as they lie to themselves about who they're hurting and why, it feels really good.

Overcoming that directly has never worked.

It doesn't work because catharsis and punching down or laterally feels productive and owning their biases and bigotry and developing practical long-term strategies is tedious and often feels like shit.

What I've seen real activists do is to address the need for catharsis, praise, and to feel useful in other ways, because they are often less attached to the specific lowest hanging bigoted fruit and more in the rewards it gives them.

If we want to see this change, yelling at leftists that they're being bigoted morons feels good (productivity! feeling a sense of reclaiming control and power from helplessness! catharsis! We are not immune to these human needs either) but it's counterproductive. You don't convince a toddler to give up the shiny dangerous toy by trying to just snatch it away - if anything, you've now cemented this as an epic struggle for all time against the cold, cruel, injustices of the parental controls. No, you have to give them a new, safer toy.

My position is that if we want to see movement on this, we need to suck it up, stop yelling at the radicalized, and start finding ways to help Palestine that both feel gratifying and are actually pro-peace.

And, for the true sick fucks who really do want rivers of Jewish blood (and if a bunch of Gazans are martyred in the process, oh well)? That's where we need our true allies to help us fight back the most. This type of person will never respond to anything but power, so they will back down if they feel that they are truly threatened. To get the rest of the fair weather friends on board, we need to show how these violent tantrums are actually threatening their new catharsis, gratification, and progress so that they aren't swayed by the bullies and instead want to guard their new emotional investment and moral high ground.

Ultimately, we all want to feel like we're the good guys. We want catharsis. We want instant gratification. We want to see movement. We want justice for the wrongs committed against us and those we choose to see ourselves in community with. Many of us have real-world serious grievances that are intractable and that we don't have the individual power to fix, but are intolerable as things currently stand. These people aren't special; they aren't different from us and we aren't different from them in those ways. The problem is that activism - real activism that actually moves the needle - will typically not give you that satisfaction or meet those needs, and most people don't have the mental space to meet those needs in a better way, so punching laterally becomes the quick fix solution. Meanwhile, the people in actual positions of power benefit from this gladiator fight.

And until actual activists reckon with that reality, we are going to see more and more of the same.

[perseidlion]

I'm new to the KAOS fandom, and I honestly love the way the show is riffing off myth.

I've seen some rumblings of some people thinking they're changing too much. But, uhhh, the show definitely never promised they'd be sticking close to myth by its whole *gestures broadly* deal. Also like...WHICH version of the myths? There are so many and they changed, sometimes drastically over time. KAOS is just really continuing the tradition of remixing these characters and the stories.

I feel like the people who are saying this takes it too far probably have a superficial understanding of Greek and Roman mythology. Cause if you really dig into it, these stories are weird, contradictory, raunchy, violent and tragic.

I was a Classics major for two years (before I decided I couldn't learn Latin or Greek which was required to study primary sources, so I switched majors.) And let me tell you, KAOS is VERY accurate to certain portrayals of the gods. Not all, of course, but many.

Zeus is absolutely a horndog dick who sleeps with all sorts of people and spreads his seed everywhere. I mean, he straight-up disguised himself as other people to have sex with their partners. Animals, too!

Hera is incredibly petty and vindictive and transforms people into all sorts of things as punishment. She was especially hard on any of Zeus' lovers she caught, or his kids from different mothers.

Everyone was doing adultery all the time.

Hades wasn't a meek corporate type, but he also wasn't a devil analogue as he often gets interpreted as in pop culture. He's definitely a big ole grump and doesn't seem to have a soft side, but he's not often portrayed as evil. Zeus is not God and Hades is not Satan. That's really applying a Judeo-Christian framework to Greek mythology.

The myth of Orpheus and Eurydice was always more about grief and not being able to let go than about the power of true love.

The gods gained obedience and worship through fear. They absolutely punished people who didn't worship they way they wanted them to.

The gods were a giant, powerful, highly dysfunctional family with lots of petty grievances and grudges.

The Greeks had no concept of gay or straight. They conceptualized sex and sexuality as acts, not an identity. They were more concerned about who was the passive person in a sexual encounter (for reasons of class and manliness) rather than what gender their partner was. So it makes sense that this modern retelling would have a similiarly open an undefined concept of sex and sexuality.

Greek myth is full of people who change genders or who swap back and forth through magic or prayer, or were both male and female at the same time. Caeneus in the show, is based on a real myth of someone AFAB who wished to become a man.

(sidenote: Misia Butler is so damned charming and handsome.)

It's also important to remember that the religion of the ancient Greeks lasted a very long time and changed over that time. There was also this really interesting dichotomy between the gods of plays and myths and the gods they worshipped in a religious context. That was one thing that is really hard to wrap your head around when you're studying Greek and Roman myth, especially when you're studying it alongside plays and epic poetry.

The gods of the stories who were being vengeful and petty and the gods they sacrificed to and worshipped were not the same - and they were. Sort of imagine it like Christian peoples' perceptions of Jesus vs Jesus in pop culture. Like, if you studied Dogma or Good Omens or something alongside the Bible and didn't distinguish between religion and pop culture, you'd definitely be confused.

So there are all these competing stores, some benevolent and holy, some raucous and scandalous. KAOS very ably continues in that tradition by remixing and recontextualizing the source material for a new audience.

They do some reaaalll weird thing with timelines, though! They squish together myth and pick and choose different versions and inspiration. But honestly that doesn't bother me because it's all done deliberately and not out of ignorance. They're changing what they've changed to serve the story.

Plus it's great fun. It's one of the most creative shows I've seen in ages. Go and watch it! As a bonus, it's also hella queer.

[toskarin]

some mostly flippant rambles on including elves in the Saltreave (that fantasy setting I write when I'm not working on my more serious projects) along with some setting notes in the margins

well. the setting notes are like 90% of the body of the text.

but we do get to elves. and we stay at elves for a while.

-

THERE IS NO ZERO IN THE ROMAN NUMERAL SYSTEM: Prologue to the Preramble

so I've written about my thoughts on elves as sort of "narrative level lifeforms" before, and that's still very much where my thoughts lie on them, but there are also just kind of elves around as fairly normal people in the Saltreave

this is a bit of a blurry line, because they're obviously not the nature-loving type of elf you see post-Tolkien -- which I'll go ahead and say feels like a deliberately obtuse misread of what Tolkien was implying by them living in harmony with a world that is literally described as the manifestation of a song -- but the bottom line is that Saltreave's elves aren't Tolkien elves, and they're not attempting to be subversions of them, but they are written by someone who quite likes those guys

all of that raises another question: what the hell are elves in the Saltreave?

-

I: Preramble

I put a bit of an information abyss at the beginning of the setting by design, outright saying that the "pre-apocalypse" might as well not exist at all.

to some extent you can say that it must have existed, and there is a bit of scattered writing that implies things about the state of affairs the world was in (mostly in terms of the politics between mortal civilisations and how that manifests in the modern politics of the remaining citystates), but the Advent is where the story starts

the most common explanations of what things were like before the current era are, at the end of the day, just attempts to explain what the people living in it are presently perceiving

the Advent, used as shorthand for a million things that each mean something different to everyone, is either the end of the world or the end of the old order of things. it is both the death of the symbolic plane and its violent merging with the material plane, severing every connection to the symbolic along the way

a bit further down that line of thought, even the present magic system gestures towards being derived from an older practice that was forced to adapt to sudden shift of the central symbolic source to a source diffused unevenly in the material plane, although from what exactly this magic system was forced to adapt remains a bit of a mystery

-

II: Into the Ramble

the Saltwind (the thing that gives the setting its name and effectively wiped out the previous world) is actually harmless

or more accurately, it's a visible symptom of an invisible problem, and that invisible problem is extremely harmful in a way nothing else could possibly hope to be

the "salt" in the wind is actually just salt. it's a lot of salt, but it's still just recognisably some sort of organic salt if you were to hold it in your hands

the salt is both the result of the Advent and a vessel for carrying "warped grain," an invisible ripple of magical static that functions more or less like (non-mutagenic, because I'm actually not a fan of using that as an apocalypse fiction concept) magical radiation

warped grain takes on a bunch of roles, so let's go over a few of those in relative brief

the one most commonly acknowledged fact is that warped grain is a soul-destroying pollution. it's bad stuff. it's poison that seeps into everything. it's in the water, it's in the air, it gets into the food as it grows, and you need to affiliate yourself with a citystate that has access to unpolluted (or otherwise purified) supplies to survive in the world as it exists

a bit less commonly (mostly when scholars and other big-hats talk about it) it's acknowledged as a sort of ambient magical noise that makes spells more unpredictable and dangerous. it can also periodically "complete" a spell if you take too long casting it, making it do something unintended (often killing the caster)

in a pinch, warped grain can be absorbed into the body as some kind of environmental magic energy, allowing someone to replenish their depleted magical energy and forgo resting to generate their own*

*: absorbing environmental energy in a world where it's literally poisoned will also eventually fuck up your soul beyond repair, so it's a really stupid idea and not something any serious magic-user would recommend

but most importantly for why elves are around, warped grain can be seen as the frayed threads of a decapitated cosmological order, death-rattling itself apart

-

III: Rambling About Elves, Mostly

because of their intimate connection to the disrupted symbolic plane of the world, the elves who were alive at the time of the Advent were grievously injured, experiencing the soul equivalent of radiation-induced chromosome aberration, and died a few years later. the generations following this one represent the entirety of the remaining elven population

this means that all modern elves can theoretically be divided into two categories

Selvedge Elves - while ostensibly referring to one of "pureblooded" elven stock, meaning someone whose parentage has never included a mortal. the elephant in the room is that Selvedge Elves aren't real and haven't been for quite some time. an actual Selvedge Elf had a lifespan of about 20-25 years and was not capable of having children, on account of being a wholly symbolic being born into a world where the symbolic plane exploded like an asbestos ceiling. "Selvedge" exists as a highly ideologically-charged concept, and not exactly one that lends itself to any non-reactionary interpretations

Scion Elves - everyone else. all elves currently alive are demimortal, which means that they have at least a bit of mortal parentage. even beyond elves, there are no immortals left in the Saltreave, but their descendants are absolutely still around. the term "Scion" refers to those descendants, but given that there isn't really a group to draw them in contrast to, most people prefer not to use it at all.

now it's worth mentioning, while they're all partially mortal, not all currently existing elves are specifically partially human. the stereotypical elf is human or similar, but there's nothing stopping an elf from being, say, a sylvan (the broad category of mortals who have animal ears and such)

Luuga, a character I've posted a few times, would be considered an elf if her status as a sylvan didn't make people identify that first. that's why she has longer, narrower ears than other feline-type sylvans (contrast the only other example I've drawn, Imiellith, and how her ears are much stouter)

more on sylvans and other types of mortal at some later time, but with everything out of the way, let's get down to some elf facts

-

IV: Indulgently Rambling About Elf Facts at Great Length

elves theoretically have different lifespans from mortal beings, which is something they have in common with other demimortals. elves specifically live about ten years longer on average than mortals, provided they don't die of unnatural causes, which they usually do.

additionally, they have a few notable traits that are more specific to elves

(an egregious number of) examples of these include...

elves only breathe as a learned social behaviour and theoretically don't actually need to do it. the same goes for yawning, coughing, sweating, sneezing, and similar functions. somewhat unfortunately for them, because most living things know they need to breathe, elves are still perfectly capable of knowing they need to breathe, which means they're capable of suffocating. in theory, an elf raised by people deliberately trying not to teach them about breathing wouldn't have to breathe, but that's not really a good way to raise a child

elves tire more based on time rather than effort. this is a subtle distinction, but means that an elf can exert more effort in a burst than a mortal companion, yet drops from exhaustion as soon as they've reached the limit of how long they can work. most people never notice this, since "the limits of exerted effort" and "the limits of time spent exerting effort" overlap heavily

elves are about five times more likely to die of old age on their birthday than any other day, but only if they're aware of their birthday. this is something most people are aware of, and different cultures grapple with this in different ways

in cultures with different calendars, the previous point also holds true. in cultures without the concept of something equivalent to a "year," elves just die of old age in more or less the same way mortals do

an elf's hair has a length it wants to be, with the specific length varying between individuals. if cut, it will grow faster back to this length. it cannot be grown longer than this by any means

elves tend to be quick to grasp spoken language, but a bit slower when it comes to grasping written language. this isn't always true, and when it is, doesn't tend to manifest past initial language acquisition

in exception to the previous point, elves are prone to grasping pasigraphies at the same (often accelerated) rate with which they grasp spoken languages. if the conditions were ever to arise for a wholly elven-developed language, it would likely have no direct written component, with all writing consisting of a highly contextual pasigraphy

elves stereotypically have exceptional memories when it comes to things that catch their interest. it's not uncommon for elven big-hats to keep a small stash of special expensive candies entirely for the purpose of forcing themselves to have eidetic memory for something they're disinterested in by associating it with extremely positive stimulus

because of the previous point, there is a notable market for making luxury treats aimed specifically at elven academics in cities they frequent

because of the two previous points, elven academics often develop pleasure-deprivation complexes, feeling guilty whenever they experience positive emotions that don't lend themselves to furthering their work

the previous three points are only true if they are generally understood to be true in the location where the individual is raised

if tested, most elves would appear to be colourblind. a deeper examination would reveal that elves only struggle with telling green and blue, and that this difficulty persists into the very concept of green and blue, which they struggle with disentangling in abstract. this is also true of elves with most other colexifications because I got annoyed with constantly reading people on tumblr doing pseudolinguistics and thought it'd be a little funny to have the Symbolic People run on the faulty assumptions I kept seeing

elves can get so sad they just physically die

elves can theoretically recover from any acquired disease provided that they receive adequate and comprehensive treatment for the symptoms

nothing can reduce an elf's pain to the point where they don't notice it. sedatives work, but analgesics simply do not

elves can theoretically die of any disease (no matter how minor it is) if it lasts long enough

in the same vein as the previous point every chronic illness is effectively a terminal one to an elf. the exception to this rule is that an elf will not die of a chronic illness they are born with, even if the same chronic illness would eventually prove to be terminal in a mortal

elves cannot leave permanent footprints, regardless of what they're wearing and where they try to leave them. if an elf were to step in cement, the bootprint would eventually disappear in the same way that it would if they'd stepped in sand

contrary to the previous point, if an elf writes in ink, the ink cannot be smudged or otherwise distorted on accident. the writing can still be lost by destroying the object it's on or deliberately attempting to smudge it, but this requires intention

while elves are exceptionally capable of performing magic without any formal education, this is actually the result of them being able to open the immortal component of their souls to grain, including warped grain, and therefore should never be done. this is true of most demimortals, with the mortal component of their soul being the safeguard that prevents their souls from being torn apart in the same way their ancestors' were

elves grow to be about as tall as is normal for them to be where they are raised. this is a bit counter-intuitive at first blush, but more or less means that an elf (regardless of specific heritage and origin) will grow to the height that is generally understood to be "normal for an elf" in the location where they are growing

in a similar vein to the previous point, an elf raised by mortals with no knowledge of elves (especially without knowledge that the child is an elf) will not show any physical traits of being an elf. this is an unlikely event that requires like three sets of perfect circumstances to happen, but it's not off the table

in a similar vein to the two previous points, dominant cultural understandings have a causal influence on certain other things considered "elven features," but the only evidenced ones besides height are ear length, ear angle, degree of facial hair, number of ribs, and the exact position in the chest where the heart resides

as a final note, elves always have both palmaris longus tendons, unless they are explicitly understood to lack one or both, as with previous points

-

V: Drawing Some Kind of Conclusion From Rambling About Elves. But Not Really.

this is all a very long way of saying that elves (and other demimortals) represent "those who have lost their plot armour" in a setting where the symbolic plane was seemingly once something running parallel to the material world and now exists most prominently as a severed limb bleeding all over it

because no written history of the immortals was preserved in the Advent, knowledge of the old world is heavily slanted towards a mortal perspective, containing only outside views into the symbolic plane's nature

there is nobody left alive who remembers the world before, several generations having passed since then, but to those who were told that they fell from a world of elevated importance and meaning, it can be especially tempting to view the old world as a halcyon paradise that was ruined

what remains is largely conflicting and disputed. most have long since moved on from litigating these things, faced with a world where it would make no difference

[maykitz]

If you're white you really shouldn't be encouraging people to watch a video of a Black woman getting murdered by police. You shouldn't have to actually watch a Black woman getting killed on video to understand how horrible it is. I'm Black and I'm just tired of people trying to act like our deaths are some sort of show or spectacle to consume.

i'll try to explain my stance on this delicate matter thoroughly and i mean this as gently as possible because i know you're coming from a place of hurt and compassion. but think about what you're saying here. if (almost) no one watches the footage, then what? who decides what's on it? who owns the narrative? do you want to grant exemptions to a few reliable(?) narrators who can watch the video and then tell everyone else what they saw? we're talking about a homicide case with major public interest and a not insignificant amount of coverup from varying sources, not least of which is the police department itself. it's actually paramount that the public have access to the evidence and use that access. you can rely on descriptions, sure, but who's to say they're accurate? even unintentionally, every description only tells you what the writer thinks happened, it will never replace seeing something with your own eyes and forming your own opinion.

besides that, i strongly disagree that viewing evidence to be able to assess the situation as truthfully as possible disrespects the victim in any way. no dignity is taken from her when other people see what led up to her death, whether that be on the news or on tiktok. we're not talking about a lecherous bystander recording of her body or anything. and nobody actually watches these videos to learn that killing [black] people is bad, i don't understand the popularity of this strawman. the crux of every single discussion of police brutality has never been questioning whether killing is per se bad, but whether this specific killing was justified due to special circumstances and especially the victim's own behaviour. the question of special justification is what all the victim blaming is poured into anew every single time. and body cam footage can not only answer this question but actually provide evidence for it like nothing else can.

people who watch material like this to titillate themselves are few and can and will get their kicks anyway. the vast majority of views on these recordings are concerned with investigating the facts before speaking on them, which is undeniably a good thing. an essential thing, in fact. how is the public discourse supposed to respond to the inevitable claim of self defense from the first hand account of the cop if everybody respectfully declines to view the first hand account of the body cam? or can only refer to the second hand account of someone else's description? you're conceding the investigation to people whose interests lie in shifting the blame onto the victim, out of racism or fanatic loyalty to the police force or whatever reason.

still, i agree that sharing these videos around on social media shouldn't be done if they're reliably permanently available somewhere. but as well meaning as you are and as much as i emphasise with your desire to protect the victim, people very much do need to see facts to form an opinion. you do have to prove that the cop killed her unprovokedly und frivolously. you're not protecting her dignity or her status as the victim by asking that everyone just says yes & amen and believes whatever some unspecified source of video description has concluded from viewing the evidence. criminal cases can't be discussed on the basis of a game of telephone. and that does mean the victim's final moments will be seen by many strangers. i'm sorry.

[virgobingo]

welp. accidentally deleted the question anon. so i'll answer it in a post.

is satosugu queer baiting? i think they're queer coded. if they were queer bait or, probably more accurate to japan, fujoshi bait there would be a lot more fanservice. i'm talking like in black butler or more obviously "kiss him, not me". or when animation studios do heavy leg work for a ship in shounen.

which, actually—

with all the anime only moments in jujutsu kaisen, this is one of the criticisms held against satosugu. ppl insist that the narrative is being twisted by MAPPA to feed shippers. but the difference lies, in my opinion, on how closely gege was involved in the production of gojo's past arc and the praise he has for it.

satosugu is also a ship that can stand on its own with the source material. especially after chapter 221, when i think gege decided to commit to them? it was around a month or two before the anime was released, and it also coincided with tokyo rainbow pride which i think is a fun tidbit. considering gege can be very particular about dates sometimes. he also decided to bring up how romantic dec 24 is— as well as gojo's decision to fight that date.

i think for the longest time gege was unsure whether to double down on what he sort of set up between them in jjk0 (that was written as a standalone). which is why the hidden inventory arc/premature death arc is ambiguous, and he toes the line in shibuya.

with gojo's sealing, gege, on top of many other things, basically had three years to think about the direction he wanted to take gojo and geto's relationship.

and he arrived at this:

which i think is more of a hint than bait. who knows what else is in the future?

[arceespinkgun]

The weirdness about seekers has blended so much into fanon that you can hardly find a fanfiction without the creepy exotic bird concept! If people wanted to explore the seekers through their alt mode, I personally like the idea that they suffer sensory drawbacks from their high functioning targeting systems when in bot mode. In fact, Starscream has canonically experienced sensory overload from loud noises or certain frequencies! Or y'know maybe they're just aliens who transform into jets and people can not reinvent racism :')

Also where did the trine telepathy come from because as far as I can tell the first canonical twin telepathy was introduced in Bayverse through Mudflap and Skids, but they're not even seekers let alone Decepticons. The same continuity has tertiary material with Megatron and Optimus as twins, therefore they have the ability. An example of Optimus sensing his twin can be seen in age of extinction where he deduces that Galvatron was made from the remnants of Megatron. How on earth did it find its way so heavily characterized in elite trine/seeker fanon if the original concept didn't even involve the elite trine and the only miniscule link is that Bayverse Megatron turns into a jet???

It is extra appropriate that you mention the sensory overload thing since that panel people sometimes share where Starscream goes through that was caused by Thundercracker (and then Skywarp shoots him down) XD

From The Transformers (UK) #15

Some fanon is cool so I don't think fans should throw all of it out, but sometimes I wonder if it might be a nice challenge for people to occasionally attempt to make something where they attempt to utilize either no or as little fanon as possible, and either keep it 100% canon, or use only the headcanons and new concepts they've personally made up that aren't based on any existing community fanon. I think that might help people think of new ideas in fic especially, where a lot of the same fanon just keeps getting reused everywhere.

Okay, so, I don't 100% know if this is accurate, but I'm fairly certain the telepathy thing doesn't come from any canon source about twins like the Bayverse examples you mention. I may be wrong since I wasn't there (anyone else feel free to explain more), but from discussions and fics I've seen, I think it comes from the old and popular fanon that sparkbonding results in a psychic and emotional link between partners, especially since a lot of fics I've seen have said things about twin or trine characters along the lines of, "we share a link, not like couples do but a different kind" and so on.

...Or... look, I kinda didn't want to bring this up, but while I love the idea of transformers having relationships that aren't similar to ones humans have, and I think relationship anarchy can be a great thing, sometimes I really can't help but feel that in a lot of fanon, trines were maybe invented by fans to explore both being siblings and dating... simultaneously... and it can be really weird or creepy.... >_>

So, I'm an Oplita fan, and Elita-1 and Optimus were/are girlfriend and boyfriend in the Sunbow cartoon but then both ended up saying they see the same guy as a dad figure who rebuilt them to only be able to interface with each other. I think this is just funny, and I don't mind situations like this happening. They're robots! When I'm saying the trine stuff can be really weird, I mean that it's often presented as like, characters in a trine get created to be like siblings and have a very sibling-like bond from the start in a human-like way, and then do romantic and sexual stuff and have that added to the bond. That can feel creepy to me, particularly since trines are 100% fanon and do not exist anywhere in any canon media, so that can make me feel even more suspicious about what the intentions are....

[mrghostrat]

"He needed an internet connection so he could download an app to draw with, but the whole point of setting the thing up in London was because he knew Crowley understood all of this a whole lot better than he did."

Okayyyyy I just got violent flashbacks to the s2 finale this is evil 😭😭

But in all seriousness, I LOVED the new bnf au chapter, I mean the kiss??? I audibly gasped, it was soooo good

I was wondering if the witch and the witchfinder are a canon couple in the nice and accurate prophecies? Or are they just a very popular fanon ship? Or is it like good omens, where people saw the romantic subtext in the book and where it was made explicitly canon in the show?

I just think all options would be really interesting, given that Crowley and Aziraphale are both middle-aged queer people and the book came out thirty years ago. So they either would have had some representation back then, or they recognised themselves in the story and even though it wasn't canon, maybe those ideas would later explicitly be confirmed by Agnes Nutter nonetheless? Since all these options have really interesting implications for the way they both interacted with the source material, I'm really curious what your thoughts on the matter are.

Thank you so much for all the beautiful things you create for the fandom, both your fics and your art give me life and I'm so grateful for them ❤

omg you have no idea how excited i am about this question 😭 as i've written BNF, i've been quietly fleshing out more about their fictional fandom, and accidentally gotten reeeeally invested and am dying to talk about it 😭😭

i'm actually tempted to make some fanart of the witch & the witchfinder, using michael and david as facecasts to go full meta thphptftf. in b4 i write it as a fuckin book series for real

buttttt i'll put all my N&A thoughts under a cut so i dont ramble too long on your dashes 💛

The Nice and Accurate Prophecy: Agnes Nutter's book series (turned play, turned film, turned tv series); the fandom in my fic Big Name Feelings

the idea of using Agnes Nutter's "Nice and Accurate" book for the in-fic fandom was taken from @tawnyontumblr's fic New Messages (i just thought that would be a fun fanon consistency to follow), but all the details about the story and characters are me.

N&A takes inspiration from Good Omens (as a story, and as a fandom) but isn't intended to be a direct copy of it. the original paperback series is a few books long, and each adaptation of the books are considered good, accurate, canonical content. the tv show (a HBO series) is the most recent, highest quality, and most popular. The Witcher style, high fantasy quality.

agnes is loudly supportive of the lgbt community just like neil/david/michael are. but i imagine that for the series to be so "marketable" over the last 30 years, there isn't an explicit queer relationship between the witch & finder. there are canon queer side characters but the witch & finder are a little more nuanced.

the witch and the witchfinder aid each other through time, working together to defeat the evils in the story (like Aziraphale and Crowley from GO). there's tension between them, but boundless love, and plenty of flirtation, despite the running "we shouldn't, we're meant to be enemies" theme. they would canonically get together at some point in the story, probably towards the end after they've spent some time dancing around each other.

the thing that makes this vague is: the witch reincarnates through the story, almost doctor who style. they're a trans icon, much like how the GO fandom looks at Crowley and all his gender ambiguity.

when they finally tryst with the witchfinder, they're female. it's by pure happenstance that they're female presenting at that stage of the story, but still widely critiqued over the years. the thing that canonises the mlm relationship is that the witch is said to carry their consciousness through each reincarnation— they're not a new person like The Doctor is when he regenerates.

the start of the book series spends more time on "Crowley and Aziraphale's favourite male reincarnation", while the movie and tv show only briefly montages through some of the witch's faces. the mlm side of the fandom most definitely lost their minds over the brief few minutes of screentime that they got of the male witch, and has absolutely gifsetted it to death.

i've done it like this because so much of (every) fandom has always been seeking out representation and filling gaps where the original content lacks. there's something to be said about the solidarity of queer fans creating more queer content for themselves. except, in the case of N&A, they're getting to work from a source material that is genuinely queer supportive, unlike fandoms like SPN and BBC Sherlock that are fighting against the tide of queerbaiting and buried gays.

it also gives aziraphale and crowley a chance to band together in the next chapter when they talk to a dickhead at the party:

i haven't exactly decided what happens with the witchfinder, like if the story takes place over hundreds of years and he keeps reincarnating as the same lookin dude (like how jack whitehall plays both Thou Shall Not Commit Adultery and Newton Pulsifer) or if it's set over one lifetime and the witch just gets killed and regenerates a lot. i do like the idea of there being some "through the ages" shenanigans, and a canonical "modern day" setting like GO has.

but i gotta be careful bc i genuinely can't stop thinking about this fake story that's barely mentioned in my fan fic or i'll end up writing the damn thing myself

[biblically-accurate-dca]

know it's not something that matters to a lot of people, but imo one of the more insidious ways tsams poisons the well of discussion is in the "sun & moon are brothers!" thing -- not bc of shipping (although that's gotta be frustrating), but bc of how it erases the complexity of systems. like, the fandom's come a long way in that people actually acknowledge the dca as a possible system now, but... well, "brother" is an easier, more digestible way to refer to & understand it -- particularly if you struggle with/are ignorant of this stuff -- but it's not necessarily the most *accurate* way, if that makes sense. the relationship between brothers is easier to understand than the one between alters for most people, yeah, but they're never gonna understand the latter if they don't engage with it at all. it's the coward's way out, and that sucks! (and you're free to disagree, but it's how i feel about it </3) (--springtrappd)

discourse-y stuff under the cut ahfJjdkzjgj

GAAHHHH NO YOU'RE SO RIGHT ABOUT THIS GENUINELY...... LIKE ofc the shipping thing is annoying too but THAT'S MY HUGEST GRIPE WITH IT!!!!!

i know they're not the best system rep in the world or anything but you don't fix that by completely getting rid of the fact that they are, in fact, a system!!! (or at least very easily read as one)... because then you're just erasing that part of their identity to make it more easily digestible and understandable to a common audience who's unwilling to engage with world views that aren't their own (but this is an entirely different subject ghsjgjrj)

at the very least i do definitely believe that tsams was a huge influence on the amount of people who separate sun and moon into two separate bodies in their fan works... and even if it's not entirely the show's fault (since i feel like it would've happened regardless) their huge prevalence in the dca fandom (and at such an early point in it's formation) is undeniably a contributor to it + could be why it's so prevalent these days even outside of tsams related works

tsams has just generally poisoned a lot of the fanwork surrounding the dca in such a way where it's impossible to cleanly separate the two. and as someone who mainly sticks to the source material it's just... i just hate it. idk what else to say about it

[frownyalfred]

Your borderline fic recaught my interest in being in the batfandom rn! I just keep seeing all those posts criticizing characterizations and lack of accuracy in fanfiction and posts in the fandom at large and it kept stressing me out, I’m here to have fun and play around. Your fics in general are awesome and you’re one of the authors my boyfriend suggested that helped pull me in originally, so it checks you’d make me want to stay around. <3 I hope this was okay to say! Keep up the awesome writing and I hope your day is going good <3

Hi anon! Thank you so much! I'm glad you're sticking around in the fandom, we're happy to have you here <3

Look, I've seen those posts too, and I can't lie -- they stress me out too. I've never claimed to write canon-accurate characters or straight from the comics plotlines. There are some authors who do that, and they're great! There's also a ton who don't, and they're also great.

Fanfiction isn't about being accurate to the canon source material. It's about writing your takes on characters, events, what-if scenarios, etc. This idea of "accuracy" only hamstrings writers, creators, and artists.

If I was being "accurate" to some DC source material, my Bruce would be very different. He would be meaner, and much more likely to hit/abuse his kids.

Do I like writing that? Hell no! And who's saying I have to?

This idea that fanon is somehow "ruining" canon and/or canon fanfiction is ridiculous to me. I keep seeing this kind of comics elitism pop up here and on TikTok, and it drives me nuts.

Fans have always, since the dawn of fanworks, taken characters and put their own spin on them. They've done things to your blorbo you hate, or that your friend hates, or your friend's friend really hates.

There was a comment by one TikTok creator on a similar post who asked people to stop telling her to "let people enjoy things" because she felt that that phrase was harmful to her involvement in and appreciation for the Batfamily/DC fandoms.

Well, I disagree. I think we should absolutely let people enjoy things, above all else.

So yeah. Write the OOC Bruce Wayne fic. Put together a Tumblr post about a chat between the Batfamily members that would probably never happen in canon. Draw Dick Grayson in short shorts with a boob window, which now that I say it, they might actually do in canon, but oh well.

Fanon/Fandom enjoyment of stuff like the Batfamily, Batman, Superbat etc is not somehow magically ruining canon. If your understanding and appreciation for canon can't handle when buttfucker69 on Tumblr woobifies Bruce for a mini a/b/o fic, then you need to challenge your understanding of fandom.

We don't gatekeep here. I certainly never will. And I will keep fighting on this point until I eventually leave this godforsaken hellsite.

You are a valid fan even if you don't read the comics. You are a valid creator even if your fic/posts are OOC. Your fanon and fandom experiences are VALID.

[chaotic-so3k]

If any of my work ever got as beautyful an ode written to it as Hannibal is to the Red Dragon, I'd cry. Hard.

But that doesn't change the fact that it is, in fact, hilariously inaccurate to it's source material.

I know that it is barely even supposed to be an adaptation of the Red Dragon, utilizes it's characters way more than the actual plot, and that it was never intended to be accurate to the story.

But the way the dynamic that Will and Hannibal have changed will never not be funny to me. You're telling me that letting their relationship actually be something made the "retired cop (who mind you retired partly because of that serial killer) and crazy serial killer that's convinced said cop understands him perfectly and they're the same, because he was the first and only one to catch him" dynamic into a beautyful and tragic queer love story? Also said retired cop does find that behavior very concerning

And Will just.. Getting SUPERPOWERS is fucking crazy too

Obviously, we can't forget the fact they just made up two seasons of a show

Do you have any idea how hard I laughed when I realized that Will and Hannibal have never even met prior to the stab? And how big of a deal they make about Will's wound not being intended to be fatal in the show has a LOT of comedic value to it when you know just how many organs that knife pierced in the book

Still an amazing show, some stuff are just very hilarious to me

[khaire-traveler]

This is not an invitation for discourse. I am just stating my personal opinions.

I've been seeing some posts going around lately about myth retellings and wanted to give my opinion on something: I think the helpol community (maybe other polytheistic and pagan communities, too) is honestly too critical and intense about modern retellings (and even some historical ones as well somehow).

I know what it's like coming from that critical point of view. I used to be highly critical of certain retellings and stories that used Greek mythology. They used to deeply bother me, actually, but overtime, I realized that staying mad and fuming about these things I can't change - that will always be created - is really exhausting and even causes me to miss out on some truly interesting stories.

Also, seeing how intense some people can be about retellings has actively discouraged people in the community from writing them. How do I know this? I am one of those people, and I happen to know several others in the same predicament. Some people in the community will rip and tear and claw at retellings as if the retelling murdered everyone they loved. People talk about these retellings as if they're literally destroying the earth itself sometimes - like, seriously, y'all, it's wild.

Once, I saw someone post a short story they wrote - a retelling of a myth that I won't name, as I don't want to give the identity of this person away. This person posted this story with good intentions and was a worshipper of the figures depicted within the story, but still, they got absolutely dragged by larger Tumblr blogs and were torn into and literally chased off of Tumblr. This kind of behavior is not ok for multiple reasons, but the main point I'm trying to make is that we are actively making it harder for people within the community to write retellings. You want retellings from people who actually worship the gods? Then maybe make the community a much less judgmental place because sharing creative works takes a lot of courage as it is. Imagine building up the courage to create and share a retelling just to be ripped into by the very community you are a part of. I'm not saying you can't mention to someone when they've gotten something wrong or have written something potentially problematic, but I am saying that you shouldn't ruthlessly dissect someone's work and rip them a part if they seem to be well-meaning but misinformed (assume the best; not everyone is out to get us; easier said than done, I know). You can give criticism while still being respectful to the original author.

For many of these other authors, however, they likely don't even know that worship of these gods exists in the modern day, and even if they do know, acknowledging it may not be relevant to their story, or even their point. Sure, in a perfect world, these authors would acknowledge our little community and pay homage to actual ancient traditions/culture/etc, but we don't live in a perfect world, and that's ok. It is ok, y'all. Not every author writing a retelling is going to be a literal classics major or historian. Not every author writing a retelling is going to be educated on the actual ancient -or modern - worship of these gods. Not every author writing a retelling is going to pay homage to original source material. Do those things suck sometimes? Yes, absolutely. Do we need to lose our heads over it? No, not really. We can choose to focus on other things - on material and media that we actually enjoy and that do depict things how we'd like them to be depicted.

Now, none of this is to say that there are no problematic retellings or that speaking out on problematic retellings is wrong because hoo, boy, there are quite a lot of those. Some retellings claim to be historically accurate and are, in fact, not; some retellings are written by authors with less than ideal values and ideologies; some retellings are even based entirely on misinformation which can be frustrating to hear about. All of these things are true, but it's also true that not every retelling is out to get us. Not every retelling is trying to attack our small community and the gods we worship. As alarming and offensive as it can feel sometimes, it's important that we take a minute and realize that honestly, authors write stories, and sometimes a story is truly just meant to be a story. It's nothing personal. It feels like we, or our gods, are being attacked, but at the end of the day, we still have our own practices, and we are still allowed to engage with those practices. We are still allowed to worship our gods respectfully, even if others do not. And it is important to acknowledge here that others do not worship our gods. These authors are most likely not worshippers of the Theoi. They most likely do not have relationships with these gods as we do, and unfortunately, they may not have respect for these gods either. It would be ideal if they did, but they just might not, and there's no controlling that.

Honestly, most authors are trying their best. They're trying their best to write an interesting, authentic story that will capture the attention of their intended audience. They want to tell a story based on a mythology that inspired them so deeply, so carnally, that they felt the need to write a whole ass book or create a whole ass game about it. They see stories of tragic heroes, powerful gods, and all those caught in-between, and they think, "This is fucking epic; I'm gonna do something with this." Greek mythology is fucking cool. There's absolutely no denying that, and the fact that so many creators of all kinds continue to create retellings based on the love and passion of a mythology from over 2,000 years ago is pretty damn awesome, actually.

[seananmcguire]

Hi Seanan! I recently threw some more of your creatures into the my DnD5e-ish game I'm running- I homebrewed a Cait Sidhe race, and let my players rescue a colony of Aeslin Mice (redubbed "loremice," so I don't have to figure out what "Aeslin" means when my players ask.) The mice have so far named a God of Smokey Rescue, a God of Deceptive Size, and a God of Ominous Declaration. :)

I realize I could make up whatever rules I want for their specifics, since it's my game and I haven't gotten my players to read your work yet, so they wouldn't notice any inaccuracies. But I think it'd be cool to portray them as accurately as possible to the way you see them.

So! If you're willing, I have a couple questions!

1. Do you know what the rough ratio of Shadow Roads distance to not-Shadow-Roads distance is? I'm homebrewing a spell for the Cait Sidhe Shadow Roads thing, and I'd like to give my Cait Sidhe player some hard numbers to work with when they wanna push the limits of their range.

2. For the same player, can you share what the Shadow Roads look like to a Cait Sidhe? We can assume Tybalt isn't as blind as October is in there, but I can't remember her ever asking him precisely how he navigates.

3. I was gonna remove the Aeslin "God/Priestess" gender distinction for my loremice, because the women at my table would have questions and I wouldn't know how to justify it. I don't expect you'd mind much, but it feels mildly disrespectful to the source material anyway (like, what if I'm just using this as an excuse to remove it, because I dislike this Aeslin habit myself?). So I'm torn. Do you know an explanation I could give my players to make sure they don't mistake the mice as sexist?

3.5. I was also considering a compromise solution to this. I'm considering making all the player characters "Gods" to the mice initially, then having the mice switch to using "Priest(ess)" to refer to PCs who converse most directly with the mice, who make the most effort to force their way past the HAILs and be treated as equals. I'd have them act slightly more casual and less reverent to the Priests and Priestesses, make it easier for them to hold productive conversations with the mice than it is for Gods. I felt this could pay enough homage to your work to alleviate my baseless guilt, while beating the potential sexism allegations. And since I have you here on Tumblr, I wanted to get your input on it- is that uncomfortably far from your vision of Aeslin Worship?

If you can't answer any of these, either because they feel spoilery or because you haven't canonized answers to them in your own head, that's fine! I can figure it out. But you've found time for my Tumblr asks before, so I figure I may as well run it by you.

Maybe I'll add Cu Sidhe as a playable race next... if my players are mature enough to handle how I believe it's pronounced, haha.

This is all very neat, but I started my numbered list before I said that, and can't get out of it!

About 1:10.

The Shadow Roads are absolute blackness even to the Cait Sidhe. They're just a little warmer/it's possible to breathe there, if not comfortably. They navigate by feel, and generally "know" when it's time to exit to the "real world" again.

It's not disrespectful to the source material, honest. The mice who live with the Price family, whether Portland or Penton Hall, are still operating under a foundational commandment that Beth Evans didn't know she was giving, when she told them they couldn't set her above her husband, who they had already declared a god. So the mice aren't sexist, because they barely comprehend human sexual dimorphism: they're just following the orders they were given when they were first adopted by this particular liturgical tradition. A colony that hadn't received that commandment could pick any other set of titles. As a rule, you will have two: one for people who are worshiped but not listened to, and one the other way around.

That works!

[scoops404]

Casual reminder that to know the true amount of reviews an author get on ao3 you need to !

Divide the number of comments by the number of chapters (ex : 24 reviews for a 8/8 chapters story is 3 reviews)

Divide that number by 2 for the author's answers (so 1-2 reviews by chapters)

Big numbers are often just inflated, in particular for big stories ! There are never too much comments

(I know you know as a writer but your public is the more susceptible to care about leaving reviews. Also, would anyone be interested about a guide on how to write a review bc I know it's something people get stuck on)

Hi!

There's a few things I want to talk about in this ask, and I realize that you absolutely mean well, but trying to do breakdowns of comments or even kudos vs hits or anything like that is kind of... against the spirit of fanfiction? I think that's the best way to phrase it.

Comments don't get divided up evenly between chapters. Not necessarily. As a story picks up momentum, more people discover it and comment. Sometimes an author will drop all three chapters at once and people will only comment on the last one, etc. Some authors don't respond to comments, or are perpetually behind on them, so diving by two doesn't really work there. There's many reasons this doesn't shake out entirely.

But, moreover, I really want to encourage readers (and nonwriters I guess, more accurately) to realize that it doesn't matter how many comments a fic does or doesn't have. If you liked it and you feel led, then you should leave a comment. Obviously it's not necessary (and there are days where I'm brain-dead and I don't have the mental capacity), but comments on a fic are better than gold to writers.

There's not a magic number that means you have to leave a comment, or on the flip side, this fic has *enough* comments so I don't need to leave one. The spirit of fanfiction is that it's a fan service someone takes time to craft to share with the fandom, and you can encourage them to do it more by writing some nice words about their story.

Imagine spending hours and hours of your time working on something, thinking about it in the shower, talking to your friends about how to make it better, researching things online to make it better, editing down words, and when you go to share that--silence.

Comments are the lifeblood of fanfiction writers, it's how we know we're doing something that people like. Fanfiction is what keeps fandoms going when the source material dries up or goes on hiatus.

It's so so important to let writers know you like what they're putting out, or one day they might just stop. There is a point when we as writers get little to no feedback and start thinking, "What's the point? No one is reading this anyway." (This happened to me in the Dan and Phil fandom years ago). Now, I have a healthy view of my stories and I write for myself and my close friends (which is why i have such batty stories), but if my close friends didn't even want to read what I was writing, I'd just stop.

I've been very very blessed with a comment section in my time here in the DNF fandom. I've made friends through my comments, including a new IRL friend -- hi @czargasm.

Sorry, I'm not trying to be so preachy or single you out or anything. I think a comment guide would be really really lovely and something that could help a lot of people who would be willing to leave more comments if they had an idea of what to say.

As a writer, my favorite kind of comments to get are 1) in depth analysis, but of course that's a lot so, equally loved are 2) the "i was doing X thing when I saw you dropped a chapter so I ran here" and 3) "I made myself a treat to read this update" comment - extra points if you tell me what the treat was 4) A line you particularly liked or a story it reminds you of, etc.

Thank you for giving me a vehicle to apparently preach about comments. I guess I had a lot to say. Oops.

From the bottom of my heart, writers love comments. Nothing will make us write faster or better than knowing people are into out stories.

[invinciblerodent]

and another very small, very minor entry on the list of Things I'm Getting Just a Tiny Little Bit Miffy About Seeing Repeated (Not Angry Just Ever So Slightly Annoyed)TM:

dnd elves do, in fact, mature at the same rate humans do. they're not "like children" or "not considered full adults" until they hit 100- not to anyone other than other, older elves.

like I get where the thought comes from, I fully understand it, I've read many of the source materials myself, I've read Mordenkainen's and see where the misunderstanding comes from, but... to a human, or a tiefling, or anyone else shorter-lived than an elf, a 50-, 60-, 90-year-old elf is just like a 50-, 60-, 90-year-old of their own race would be. they just look much younger than their age, and act in accordance with their personality, which is.... much less tied to someone's age than many may think. (I mean, have you never met a 50-year-old who seems just staggeringly immature? a 20-year-old who is wiser than their years would allow? have you never been to a retail establishment???????)

it's only the other elves who view a younger one as emotionally immature, and that's mainly because they have yet to bury their first generation of friends and loved ones: something a shorter-lived person only has to do once, while elves may very well go through several cycles of that in one lifetime. They have also not yet had their Drawing of the Veil, when they stop being able to access primal memories, memories of their soul's previous lives, but it's mainly the "all my once-powerful and vibrant friends are now frail and dying from old age, and yet here I remain, as young, strong, and beautiful as the day they met me, untouched by the inexorable crawl of time, what is mortality, what is death" thing.

if the people of Faerun in general thought of a 40-year-old elf as immature, as if they were a child, Astarion would have just patently not been an appointed civil administrator and judicial officer (which is what a magistrate is) 200 years ago. like he could have of course been lying when he said that that's what he was, but taking it as the once-truth, nobody would have let someone they see as a child fill such a position of responsibility. It was, however, a perfectly mundane thing for a learned adult man, such as he was, to do. (what he may or may not have done with the power he allegedly had, the kind of person he was, and whether letting him have power was the right move overall, is pretty much completely irrelevant at this juncture. corrupt officials exist regardless of age, just look at the judicial system of any country today.)

an older elf like Halsin, their maturity is not just on a different level, it's measured by a different metric than that of a shorter-lived character.

it's hard to accurately roleplay or grasp something like this with our human minds, none of us have ever spoken to a 300-year-old after all, but.... a 100-year-old elf is not a "young adult", unless you're an elf yourself. If you're a human, they're just... an adult.

[mejcinta]

I can see it clearly ... as if it has already happened - like today is but a yesterday.

Alicent is ignored, trying to simp for Rhaenyra, her girlboss goddess. Alicent starts helping Rhaenyra on the DL, working for "Peace". Then King's Landing falls as it is in the book. Then, we get a influence struggle with Alicent and Daemon are both working to influence Rhaenyra on her throne. Rhaenyra chooses Alicent and Daemon fucks off. We introduce Daeron and Daeron is loyal to Aegon, no matter what. And he moves to destroy the Blacks who are fractured. But, you see, he doesn't understand, know we have a girlboss, Lesbian, utopia rising up and Daeron is continuing a war that doesn't need to be fought, because, because ... Don't you see, LOVE WINS!

And the moral of the story is that Westeros could've had a feminist utopia but the bad and evil patriarchy perpetrated by Aegon and Daeron wouldn't let them have it! And Aegon feeds Rhaenyra to Sunfyre and then Alicent poisons him at the end of the series.

I am, about 85% convinced now that this is the story they're telling.

Yeah, these writers and producers are making me very worried about the direction they are taking with Alicent and Rhaenyra. I find no fan fare in discussing them any more as it is contradictory to the source material and totally made up. Why look at them, besides, when there's more book accurate characters like Aegon, Aemond, Daemon and even Baela?

As more time passes, it is becoming clearer that the creative decision they made to have the matriarchs of warring factions 'friends' was a big mistake and that it will inevitably rob the story and several characters of believability.