#because I've been writing something very different

[damienkarras73]

An essay on Furiosa, the politics of the Wasteland, Arthurian literature and realistic vs. formalistic CGI

Mad Max: Fury Road absolutely enraptured me when it came out nearly a decade ago, and I will cop to seeing it four times at the theatre. For me (and many others who saw the light of George Miller) it set new standards for action filmmaking, storytelling and worldbuilding, and I could pop in its Blu Ray at any time and never get tired of it. Perhaps not surprisingly, I was deeply apprehensive about the announced prequel for Fury Road's actual main character, Furiosa, even if Miller was still writing and directing. We didn't need backstory for Furiosa—hell, Fury Road is told in such a way that NOTHING in it requires explicit backstory. And since it focuses on the Yung Furiosa, it meant Charlize Theron couldn't return with another career-defining performance. Plus, look at all that CGI in the trailer, it can't be as good as Fury Road.

Turns out I was silly to doubt George Miller, M.D., A.O., writer and director of Babe: Pig in the City and Happy Feet One & Two.

Furiosa: A Mad Max Saga is excellent, and I needn't have worried about it not being as good as Fury Road because it is not remotely trying to be Fury Road. Fury Road is a lean, mean machine with no fat on it, nothing extraneous, operating with constant forward momentum and only occasionally letting up to let you breathe a little; Furiosa is a classical epic, sprawling in scope, scale and structure, and more than happy to let the audience simmer in a quiet, almost painfully still moment. If its opening spoken word sequence by that Gandalf of the Wastes himself, the First History Man, didn't already clue you in, it unfolds like something out of myth, a tale told over and over again and whose possible embellishments are called attention to in the dialogue itself. Where Fury Road scratched the action nerd itch in my head like you wouldn't believe, Furiosa was the equivalent of Miller giving the undulating folds of my English major brain a deep tissue massage. That's great! I, for one, love when sequels/prequels endeavour to be fundamentally different movies from what they're succeeding/preceding, operating in different modes, formats and even genres, and more filmmakers should aim for it when building on an existing series.

This movie has been on my mind so much in the past week that I've ended up dedicating several cognitive processes to keeping track of all of the different ponderings it's spawned. Thankfully, Furiosa is divided into chapters (fun fact: putting chapter cards in your movie is a quick way to my heart), so it only seems fitting that I break up all of these cascading thoughts accordingly.

1. The Pole of Inaccessibility

Furiosa herself actually isn't the protagonist for the first chapter of her own movie, instead occupying the role of a (very crafty and resourceful) damsel in distress for those initial 30-40 minutes. The real hero of the opening act, which plays out like a game of cat and mouse, is Furiosa's mother Mary Jabassa, who rides out into the wasteland first on horseback and then astride a motorcycle to track down the band of raiders that has stolen away her daughter. Mary's brought to life by Miller and Nico Lathouris' economical writing and a magnetic performance by newcomer Charlee Fraser, who radiates so much screen presence in such relatively little time and with one of those instant "who is SHE??" faces. She doesn't have many lines, but who needs them when Fraser can convey volumes about Mary with just a flash of her eyes or the effortless way she swaps out one of her motorcycle's wheels for another. To be quite candid, I'm not sure of the last time I fell in love with a character so quickly.

You notice a neat aesthetic contrast between mother and daughter in retrospect: Mary Jabassa darts into the desert barefoot, clad in a simple yet elegant dress, her wolf cut immaculate, only briefly disguising herself with the ugly armour of a raider she just sniped, and when she attacks it's almost with grace, like some Greek goddess set loose in the post-apocalyptic Aussie outback with just her wits and a bolt-action rifle; we track Furiosa's growth over the years by how much of her initially conventional beauty she has shed, quite literally in one case (hair buzzed, severed arm augmented with a chunky mechanical prosthesis, smeared in grease and dirt from head to toe, growling her lines at a lower octave), and by how she loses her mother's graceful approach to movement and violence, eventually carrying herself like a blunt instrument. Yet I have zero doubt the former raised the latter, both angels of different feathers but with the same steel and resolve. Of fucking course this woman is Furiosa's mother, and in the short time we know her we quickly understand exactly why Furiosa has the drive and morals she does without needing to resort to didactic exposition.

Anyway, I was tearing up by the end of the first chapter. Great start!

2. Lessons from the Wasteland

Most movies—most stories, really—don't actually tell the entire narrative from A to Z. Perhaps the real meat of the thing is found from H to T, and A-G or U-Z are unnecessary for conveying the key narrative and themes. So many prequels fail by insisting on telling the A-G part of the story, explaining how the hero earned a certain nickname or met their memorable sidekick—but if that stuff was actually interesting, they likely would have included it in the original work. The greatest thing a prequel can actually do is recontextualize, putting iconic characters or moments in a new light, allowing you to appreciate them from a different angle. All of season 2 of Fargo serves to explain why Molly Solverson's dad is appropriately wary when Lorne Malvo enters his diner for a SINGLE SCENE in the show's first season. David's arc from the Alien prequels Prometheus and Covenant—polarizing as those entries are—adds another layer to why Ash is so protective of the creature in the first movie. Andor gives you a sense of what it's like for a normal, non-Jedi person to live under the boot of the Empire and why so many of them would join up with the Rebel Alliance—or why they would desire to wear that boot, or even just crave the chance to lick it.

Furiosa is one of those rare great prequels because it makes us take a step back and consider the established world with a little more nuance, even if it's still all so absurd. In Fury Road, Immortan Joe is an awesome, endlessly quotable villain, completely irredeemable, and basically a cartoon. He works perfectly as the antagonist of that breakneck, Road Runner and Wile E. Coyote-ass movie, but if you step outside of its adrenaline-pumping narrative for even a moment you risk questioning why nobody in the Citadel or its surrounding settlements has risen up against him before. Hell, why would Furiosa even work for him to begin with? But then you see Dementus and company tear-assing around the wasteland, seizing settlements and running them into the ground, and you realize Joe and his consortium offer something that Dementus reasonably can't: stability—granted, an unwavering, unchangeable stability weighted in favour of Joe's own brutal caste system, but stability nonetheless. It really makes you wonder, how badly does a guy have to suck to make IMMORTAN JOE of all people look like a sane, competent and reasonable ruler by comparison?!?

…and then they open the door to the vault where he keeps his wives, and in a flash you're reminded just how awful Joe is and why Furiosa will risk her life to help some of these women flee from him years later. This new context enriches Joe and makes it more believable that he could maintain power for so long, but it doesn't make him any less of a monster, and it says a lot about Furiosa's hate for Dementus that she could grit her teeth and work for this sick old tyrant.

3. The Stowaway

Here's another wild bit of trivia about this movie: you don't actually see top-billed actress Anya Taylor-Joy pop up on screen until roughly halfway through, once Furiosa is in her late teens/early twenties. Up until this point she's been played by Alyla Browne, who through the use of some seamless and honestly really impressive CGI has been given Anya's distinctive bug eyes [complimentary]. It's one of those bold choices that really works because Miller commits to it so hard, though it does make me wish Browne's name was up on the poster next to Taylor-Joy's.

Speaking of CGI, I should talk about what seems to be a sticking point for quite a few people: if there's been one consistent criticism of Furiosa so far, it's that it doesn't look nearly as practical or grounded as Fury Road, with more obvious greenscreen and compositing, and what previously would've been physical stunt performers and pyrotechnics have been replaced with their digital equivalents for many shots. Simply put, it doesn't look as real! For a lot of people, that practicality was one of Fury Road's primary draws, so I won't try to quibble if they're let down by Furiosa's overt artificiality, but to be honest I'm actually quite fine with it. It helps that this visual discrepancy doesn't sneak up on you but is incredibly apparent right from the aerial zoom-down into Australia in the very first scene, so I didn't feel misled or duped.

Fury Road never asks you to suspend your disbelief because it all looks so believable; Furiosa jovially prods you to suspend that disbelief from the get-go and tune into it on a different wavelength. It's a classical epic, and like the classical epics of the 1950s and 60s it has a lot of actors standing in front of what clearly are matte paintings. It feels right! We're not watching fact, we're watching myth. I'm willing to concede there might be a little bit of post-hoc rationalization on my part because I simply love this movie so much, but I'm not holding the effects in Furiosa to the same standard as those in Fury Road because I simply don't believe Miller and his crew are attempting to replicate that approach. Without the extensive CGI, we don't get that impressive long, panning take where a stranded Furiosa scans the empty, dust-and-sun-scoured wasteland (75% Sergio Leone, 25% Andrei Tarkovsky), or the Octoboss and his parasailing goons. For the sake of intellectual exercise I did try imagining them filming the Octoboss/war rig sequence with the same immersive practical approach they used for Fury Road's stunts, however I just kept picturing dead stunt performers, so perhaps the tradeoff was worth it!

4. Homeward

Around the same time we meet the Taylor-Joy-pilled Furiosa in Chapter 3, we're introduced to Praetorian Jack, the chief driver for the convoys running between the Citadel and its allied settlements. Jack's played by Tom Burke, who pulled off a very good Orson Welles in Mank! and who I should really check out in The Souvenir one of these days. He's also a cool dude! Here are some facts about Praetorian Jack:

He's decked out in road leathers with a pauldron stitched to one shoulder

He's stoic and wary, but still more or less personable and can carry on a conversation

Professes to a certain cynicism, to quote Special Agent Albert Rosenfield, but ultimately has a capacity for kindness and will do the right thing

Shoots a gun real good

Can drive like nobody's business

So in other words, Jack is Mad Max. But also, no, he clearly isn't! He looks and dresses like Mad Max (particularly Mel Gibson's) and does a lot of the same things "Mad" Max Rockatansky does, but he's also very explicitly a distinct character. It's a choice that seems inexplicable and perhaps even lazy on its face, except this is a George Miller movie, so of course this parallel is extremely purposeful. Miller has gone on record saying he avoids any kind of strict chronology or continuity for his Mad Max movies, compared to the rigid canons for Star Trek and Star Wars, and bless him for doing so. It's more fun viewing each Mad Max entry as a new revision or elaboration on a story being told again and again generations after the fall, mutating in style, structure and focus with every iteration, becoming less grounded as its core narrative is passed from elder to youth, community to community, genre to genre, until it becomes myth. (At least, my English major brain thinks it's more fun.) In fact there's actually something Arthurian to it, where at first King Arthur was mentioned in several Welsh legends before Geoffrey of Monmouth crafted an actual narrative around him, then Chrétien de Troyes added elements like Lancelot and infused the stories with more romance, and then with Le Morte d'Arthur Thomas Malory whipped the whole cycle together into one volume, which T.H. White would chop and screw and deconstruct with The Once and Future King centuries later.

All this to say: maybe Praetorian Jack looks and sounds and acts like Max because he sorta kinda basically is, being just one of many men driving back and forth across the wasteland, lending a hand on occasion, who'll be conflated into a single, legendary "Mad Max" at some point down the line in a different History Man's retelling of Furiosa's odyssey. Sometimes that Max rips across the desert in his V8 Interceptor, other times driving a big rig. Perhaps there's a dog tagging along and/or a scraggly and at first aggravating ally played by Bruce Spence or Nicholas Hoult. Usually he has a shotgun. But so long as you aren't trying to kill him, he'll help you out.

5. Beyond Vengeance

The Mad Max movies have incredibly iconic villains—Immortan Joe! Toecutter! the Lord Humongous!—but they are exactly that, capital V Villains devoid of humanizing qualities who you can't wait to watch bad things happen to. Furiosa appears to continue this trend by giving us a villain who in fact has a mustache long enough that he could reasonably twirl it if he so wanted, but ironically Dementus ends up being the most layered antagonist in the entire series, even moreso than the late Tina Turner's comparatively benevolent Aunty Entity from Beyond Thunderdome. And because he's played by Chris Hemsworth, whose comedic delivery rivals his stupidly handsome looks, you lock in every time he's on screen.

Something so fascinating about Dementus is that, for a main antagonist, he's NOT all-powerful, and in fact quite the opposite: he's more conman than warlord, looking for the next hustle, the next gullible crowd he can preach to and dupe—though never for long. For all his bluster, at every turn he finds himself in way over his head and writing cheques he can't cash, and this self-induced Sisyphean torment makes him riveting to watch. You're tempted to pity Dementus but it's also quite difficult to spare sympathy for someone who's so quick to channel their rage and hurt and ego into thoughtless, burn-it-all-down destruction. When you're not laughing at him, you're hating his guts, and it's indisputably the best work of Chris Hemsworth's career.

It's in this final chapter that everything naturally comes to a head: Furiosa's final evolution into the character we meet at the start of Fury Road, the predictable toppling of Dementus' precariously built house of cards, and the mythmaking that has been teased since the very first scene becoming diagetic text, the last of which allows the movie to thoroughly explore the themes of vengeance it's been building to. A brief war begins, is summarized and is over in the span of roughly a minute, and on its face it's a baffling narrative choice that most other filmmakers would have botched. But our man Miller's smart enough to recognize that the result of this war is the most foregone of conclusions if you've been paying even the slightest bit of attention, so he effectively brushes past it to get to the emotional heart of the climax and an incredible "Oh shit!" payoff that cements Miller as one of mainstream cinema's greatest sickos.

Fury Road remains the greatest Mad Max film, but Furiosa might be the best thing George Miller has ever made. If not his magnum opus, it does at least feel like his dissertation, and it makes me wish Warner Bros. puts enough trust in him despite Furiosa's poor box office performance that he's able to make The Wasteland. Absolutely ridiculous that a man just short of his 80th birthday was able to pull this off, and with it I feel confident calling him one of my favourite directors.

[kaelidascope]

Fandom and LGBTQ Hostility and My Experiences Trying to Exist in Both Spaces Online

I came into these spaces with a very strict rule that I would not react or do anything cancel-worthy out of an overabundance of caution. Digital footprints are dangerous. The things you say online will follow you around forever. I know that first hand. I’ve bottled up and stayed silent about a lot of things I’ve either witnessed first-hand or experienced because I was trying to maintain a clean online persona. I’m not an ‘airing out dirty laundry’ type person. 

In light of recent events however, it’s gotten so bad that I can no longer sit here and not say something about how I feel. I’m disappointed and frustrated with the experiences I’ve had both in fandom and LGBTQ+ spaces and I can’t be complacent. I’m tired of getting treated like this, I’m fed up and I’m not going to put up with it anymore. I feel it’s important I voice what I’ve been watching and what’s happened and how I’m not going to tolerate it anymore by calling it out first hand. 

This is a two-topic rant. They overlap in some instances, but it directly has to do with how fandoms behave in general towards each other on Twitter and Tumblr, and also how absolutely hostile LGBTQ+ individuals are nowadays to each other on the same platforms. 

I come from a different generation and a different social media platform. I wasn’t on Twitter and Tumblr until last year. I’m not dismissing the fact that I may have missed out on decades worth of culture and social expectation. The places where I come from aren’t exactly fantastic either, but at least here, more queer people are interacting with each other with shared interests much more widely than in places like DeviantArt. The amount of culture and information I’ve absorbed in one year is more than I ever had within the past twenty years. It should be a good thing, and I’m disappointed that it wasn’t. 

This is not the way I wanted to come out online to anyone. I’ve been figuring out where I sit on the gender and sexuality spectrum for a while now. I will not document a specific timeline for anyone because that’s nobody’s business but my own. Within the last year, I took a massive stride forward in exploring things I legally didn’t think I was allowed to. I expected backlash from cishets and the usual thing I see LGBTQ+ folks write essays over, about how the world hates us, but at least we have each other. Shockingly, the backlash didn’t come from straight people. It came from other queers. 

I am 27 years old and I am entirely self-sufficient. I’m mixed Puerto Rican living in a red state. English wasn’t even my first language. I don’t have a network, so I’m teaching myself these things. I'm asking questions. I'm reading materials and expressions of self-experience and self-identity through fanworks and other autobiographical content. I'm actively trying to seek community and support through transgender and non-binary individuals with shared interests and so far all I've been met with is hostility and assumptions. So much so that I've now been made to feel like I'm on a timeline to figure it out so I can have a well-practiced, short introduction to copy and paste to every person who comes across me. And the only reason I even need one is so that they can make the decision to pass judgement over whether or not I'm allowed to speak, write, draw, wear, act, breathe the things I do. I'm disappointed. I'm anxious. I honestly feel more shoved into the closet now than I ever did before and I shouldn't be. Nobody should be treated this way when trying to figure out who they are. I probably won't even get an apology for the things that were said to me, either. I pride myself on the extraordinary caution I take to be politically correct, vetted through reputable sources, and as close to authentic as possible. And yet somehow I’m still getting called things like terf, transmisogynistic, triggering, when I’m fucking trans myself and all of my content gets vetted/REQUESTED by trans individuals. I get promised up and down that people are kind and welcoming in these sorts of spaces and honey, they aren’t. The people you choose to be friends with aren't as inclusive and friendly as you think they are. You don’t even know me and what body parts I have. The fact that you need to know in order to decide whether or not to treat me with respect is telling of an internal issue that has nothing to do with me. 

I have no reference point. I live in a place where laws ban anything gender and trans. I have no local resources or community. I've barely met any LGBTQ people in person. If I have, they never came out publicly. Most of my queer exposure has been online, and the fact that I've seen nothing but angry, mean, exclusive and discriminating behavior without any sort of reasoning why other than selfish defensiveness, I don't know where else I'm supposed to go for support. Something a lot of you guys need to take into retrospect is anyone who identifies as LGBTQ gets shot where I live. We have sundown towns here. If you don’t even know what that is, good, but also that’s telling of your privilege that you need to consider when talking to others not from blue states. I didn’t grow up in an environment where we had these highly liberal culture points and the word ‘gay’ was never allowed to be said out loud. We did not have gay clubs in school. I'm about as fucking late to this as you possibly can get. The only reason I know anything about our history, representation, and barely anything about what's socially acceptable and what's not, is because of the internet. So many of you had the privilege of being exposed to this information as young as under the age of 10. I didn’t. Sue me for not immediately knowing what every gender label means right off the bat. Half that stuff isn’t even legal here. 

I can't believe it's boiled down to the fact that I have to somehow justify my existence on this Earth and give an explanation that fits into predetermined boxes just to do anything to engage with other people. I have no time or space to figure it out. I’m disorganized and overwhelmed because I can’t ask questions about ‘can butches do this?’ ‘How versatile is transmasc/transfem?’ ‘Am I more genderqueer or do I fit under the trans umbrella?’ Gender and identity is fluid and ever changing. I have actually seen people harp and attack individuals for "defaulting" or "detransitioning" when they change their mind after giving this big coming out speech. It’s like support on these platforms is entirely conditional and a one-time thing. Y'all really expect people to wear the first style of shirt they buy for the rest of their life? Are we not allowed to do anything unless we know for sure? How’s college working out for you, for those who believe this mindset?

The vocally aggressive ones who use big words that contradict their statements can do, say, and be whatever they want.  But people like me can't. The ones who have to straight pass in public to keep their jobs and maintain their life safely. Some of us have been on our own since 19 with no family support. Consider the environment someone lives in before assigning your harsh assumptions. I can’t just change myself on a whim without doing significant damage control. Half the jobs I work for don’t even allow unnatural hair colors. If we list our pronouns as anything other than our assigned sex at birth, it causes legality issues with taxes. The way I have to navigate how to explore my identity and also keep a roof over my head and my bills paid may seem highly conservative to most. It’s in no way shape or form meant to reflect disrespect on how others live and express themselves. I am doing the best with the environment I have. The way I do things is not meant to be read as a message of ‘you’re doing it wrong because you’re not doing it the way I do.’ None of us are wrong. That should not be the subliminal message here. 

You know someone actually challenged me on that? Saying I was being harmful for purposefully straight presenting in public? Please research your country and state specific laws before you say that to me. If I could afford to live somewhere safer and queer-friendly, this conversation would be different. I am working on getting the fuck out of this state. But I don’t have a partner or parents money to default on. I’m doing this by myself. It’s not impossible, just a slow process. 

I'm disappointed and fed up. I've reached my limit, and I don't really care anymore if someone uses this essay to try and cancel me 5 or 10 years from now when the world goes through another gender renaissance of terms and identities. I will not put up with being treated like this when you refuse to listen to anyone else other than the sound of your own voice. I’m trying my best to learn, adapt, and express myself. I do not need to be lectured or be called derogatory things just because you think I’m coming from a malicious place.  

It’s not just about the hostility and gate-keeping behavior exhibited in online queer spaces. The same exact thing happens in fandom spaces too. People get pissy about queer headcanons and presentations so much to the point of taking it upon themselves to police the fandom and scrub it clean of “impurities.” I’ve watched y’all go through people's social media pages for any type of ammunition for justification of a personal grievance. It shocks me how much hyperfixation gets put on specific and morally harmless things when there are people out there writing diabolical shit way worse than what I have to offer. And y’all happily support them too but bark at me about what I make cus that author fits your social criteria and you assumed I didn’t. Don't think I'm ignorant to every single scrap of hate mail and harassment I've gotten over the past year and a half in my inboxes. Including the passive aggressive posts about my work, vague tweets, and discussions about me in discord servers. Over what? Have you actually read my work? If it’s actually as problematic as you say it is, provide me with a modern and unbiased example why this particular scene and execution is harmful. And not because you got triggered or disliked the kink, or read the summary/tags and assumed it was something it’s not. I don’t know how much more caution tape, massive warnings, obvious clear-cut tags (that were provided to me by queer individuals to PUT on there in the first place) out of insane amounts of caution I can do. I have always been willing to provide spoilers and explicit details in case someone is unsure how they’ll be affected by something I make. If you already don’t like it based on my warnings, that’s always been more than okay! My work is not for everyone. I’m getting tired of politely and respectfully saying please move on, because the message seems to be getting lost in translation. So let me be clear; 

Get off my pages if you don’t like what I make. It’s not for you. It will never be for you. Dead dove. DO NOT EAT. PREFERRED DEMOGRAPHIC 25+ ADULT CONTENT RATED E FOR EXPLICIT. I can recommend so many other fantastic creators with better suited content for you! If I could hide my content behind a roped off section deliberately keeping you from seeing it, I would. BLOCK ME. 

If your response to this section is ‘well then just don’t write it’. Honey, there’s people out here in the RWBY fandom writing trans incest actively commenting on all your shit and you respond back. A magic grimm-goo strap and monster smut featuring a transfem character (again, requested by literally 3 trans people and WRITTEN by one) should be the least of your worries. 

I have actively chosen not to address the harassment and hate mail, because it's sad that half of you hate me so much you need to make a point of telling me so regularly. I sincerely hope moving on with your lives will grant you peace of mind. Truly.

This is why I barely interact with anyone. Nothing but hostility, harassment, and expectation to behave in ways I cannot emotionally commit to. I am exhausted, uninspired, and have such a bad taste in my mouth it's proving extremely difficult to want to do anything creative. It’s been worse with my recent exploration of my gender identity. Opening one door to write about certain things somehow, miraculously, closes ones I previously existed in. I’m practically getting kicked out if I’m not 100% one way or another. I don’t go out of my way to shove my content down your throats. Why you feel the need to come to me and tell me you dislike my existence because you read it, despite me stating this is not for everyone and probably not for you, doesn’t have anything to do with me. Idk what else I can do. Disappear off the face of the planet, I guess. That seems to be what the overall solution is when y’all find something you don’t like. I can't believe I witnessed grown adults in their mid twenties with self-proclaimed senses of rightness start a trend on Twitter to go through people's mutuals and their likes to see if they’re socially acceptable in Fandom spaces or not. That was fucking ridiculous. And especially not fair to those who had their private accounts leaked and put on blast when it was already behind an vetted follower wall. Believe it or not, people draw weird, lewd, diabolical shit. They’re actually being responsible by putting it behind a paywall, or some type of ‘proof of age before following’ requirement. It falls on the people who go on there, take screenshots, and post them publicly for minors and non-consenting individuals to see without filters what was previously hidden. It’s irresponsible and immature. 

For fear of getting canceled by the Fandom, I moved all 600+ accounts I was following onto a private alt. I don't interact with my main anymore. I went so far into hiding and didn’t dare share anything about liking content made by people I wasn’t allowed to like, because that’s how cruel it is out here. It's honestly stupid I even felt like I had to do that. For what? People glazed over the brief moment of drama within a few weeks and went right back to posting the same shit they always have. They find new things to gossip about on their privs. New enemies to cancel on Twitter. New things to deem problematic and attack. 

I will be heard with this letter. I don’t care to be associated with anyone who treats people like this. I don’t believe in it, I won’t support it, and I’d rather have a small circle of people who won’t be rude or attack other people for existing. I’m not going to sit here and take the abuse any longer. Leave me in peace. There is no reason any of this should be happening. 

This is not meant to undermine the support I have gotten from the few who know what I'm going through and have given me the space to figure it out. I appreciate every question answered and insight provided as much as your abilities allow. I'm so grateful for it. I just wish it wasn't 2 people while everyone else is an asshole.

[andypantsx3]

do you have any tips or advice for being more confident about your writing / avoiding the comparison trap on here? /gen

Hello my love!! Oh my gosh, I have a zillion and one thoughts on this subject. Please excuse how disorganized this is but I am so happy to word vom at you lmao.

I think to start with, it depends on what you're comparing: whether it's the work itself or the metrics surrounding it! I will start with the work itself, and move on to talking about metrics if that's cool.

Your Story

In terms of the quality of your work, there are a couple key things to remember!! Firstly, think it's easy to feel like so many tropes and story lines have already been done, why would anyone want to read mine? But you can circumvent this quite intentionally in your writing by thinking about what new thing you can bring to that trope or story line. And make no mistake, there is always something new, whether it's a plot twist, a unique motivator, a different character's perspective, etc.

For example, I've read and loved several merman Shouto fics, and I also wanted to write a merman Shouto fic. In the development of something in the water, I sat down and thought about what things I'd read about merman Shouto before, and how could I add to that, outside of rehashing what I'd already read. I discovered I wanted to expand on mating rituals, spend some time on the cultural differences a human and merman would inevitably have, and linger in the feeling of a tropical island because at the time of the fic's conception it was like, the dead of my winter LOL. And I do think that something in the water has turned out pretty distinct for that effort; as far as I am aware no one has written merman Shouto being wheeled into a tropical bungalow in a wheelbarrow to watch The Little Mermaid lol.

So you can always bring something new to the table! And it will make your work feel standout to you, as well, as you will be very aware of all the things you did that were unique!! You will not feel like you're just rehashing something that has already been done, you will feel like you're adding!

Also in terms of quality, I think it's helpful to look at fic writing like a growth opportunity rather than a permanent, established skill set. The "quality" of your style is not fixed, it something you actively develop by reading, digging into other people's styles, seeing how they make their writing work, and trying out some of those elements for yourself. Maybe someone has a really rich descriptive style that you find beautiful, maybe someone writes dark psychological fics that thrill you; if you spend time looking at the words they are using and how they use them, you can replicate those techniques in your own writing. You can quite literally make your own writing look more like the writing you admire by reverse engineering authors' techniques.

Conversely, writing as a growth opportunity mean you do not have to be perfect. The process of writing is the process of figuring out what works, mechanically. It's not a reflection on you at all. You don't have to write anything "good," you can publish something you had fun with, see what people react positively to in it, and turn around and take those elements forward in your next story, while abandoning the things people maybe did not love or had questions on. And rinse and repeat over and over until you do end up with something you'd term "quality."

To me at least, that thought is a huge relief. Because I can just have fun, let people say what they say, and do something different in my next story if needs must. It's like any skill set, I think. It takes time to hone but no one would call, like, Van Gogh untalented because he once started with rough and heavy pencil sketches, right?

It's the knowledge that I'm building up my future self's skill set that gives me confidence to publish, even if I'm not quite where I want to be currently! And I really hope this helps you the way it does me; the knowledge that you can do anything, write like anyone, but that it's all part of an overarching process to learn to enjoy writing like you!

Which brings me to:

The Metrics

I am just going to say flat out that you should try to ignore metrics as best you can. In my experience, metrics are absolutely no indicator of a work's quality. Some of the work I am proudest of is what anyone would consider a "flop" by note count, whereas I think some of my most trite & banal works would be considered by some metric quite "popular." And I think that way about some of my favorite fics too, one of my absolute fave fics of all time only recently broke 100 kudos on ao3 after being up for years!!

I especially think this is true on tumblr, where a work's packaging and digestibility seem to be the key elements in gaining notes (ao3 does not allow the same level of customization). Fics with elaborate headers, cute & small fonts (I am guilty of loving these), and eye-catching graphics all naturally draw attention more easily in the sea of other fics, so it makes sense why more people would tend to look at those, and subsequently like or reblog them. I also think bullet-pointed headcanons or single/short paragraph works tend to skyrocket in notes here because they're quick and easy; and that makes sense too, right? If it's easier to read of course it's likelier to be read more!

But those things mean absolutely nothing about the quality of the work within. And you can take reassurance from the fact that you too can replicate those elements if note count is what you are truly after here! You can make a video header with any of the premades on Canva! You can try different font arrangements or cool graphics. You can even write a paragraph and tag it with a bunch of different characters for maximum exposure. There is no reason to get jealous, I think, if you can do it too!!

I also think you have to be conscious of different factors at play with authors. Some authors have been around since the inception of the fandom you're in, and naturally will have had more visibility for longer than you, but that also says nothing about the quality of their work. I've been around in the BNHA fandom for four years, and by a mixture of luck and timing ended up getting to publish a lot of my work during the pandemic when more people than ever were getting into BNHA. But does that make me better than some of the newer authors joining the fandom just now? HELL no lol, if anything maybe I could be getting complacent!

And this goes for the size of fandoms and the popularity of certain characters as well!! A Shouto fic is not going to do as well as a Bakugou fic because Bakugou has like, three times the stans. A Shinsou fic is not going to do as well as a Shouto fic because Shouto has like, five times the stans lol. And a Kaiju no. 8 fic is not going to do as well as a JJK fic because the fandom size (and therefore potential audience pool) has a significant discrepancy! Don't gauge your fic's success against someone else's in a different fandom or for a different character (or honestly even at a different point in the source material's storyline because sometimes a character has a moment where they are most popular but that drops off - think BNHA Hawks in 2020/2021 vs now lol).

There is a huge variety of external factors at play that determine your exposure and audience, but absolutely none of those can ever say anything about the quality of your work. So I hope you can try to distance yourself from the need to compare your metrics to anyone else's, because quite frankly they do not mean shit.

TLDR, think the best way to overcome the comparison trap is to write a story you love and feel is unique, something you are proud of. Because no one is ever going to tell a story quite how you would, and therefore no one can ever be compared. & I hope this was helpful and addressed whatever specific area of concern you have!! But let me know if not and I'm happy to discuss more!!

[warpedpuppeteer]

i just don't trust these major network showrunners and writers to actually write buddie to its logical and rightful conclusion. I've followed so many shows and observed so many fandoms over the years, so many amazingly layered characters with extraordinary bonds that spawned popular and beloved ships. And each and every one of those ships were used to bait viewers without ever going canon, this way they get the views from the ship fans as well as the more general fans. The only difference in 911 is they somehow managed to make Buck canonically bi, which is a huge deal for a main male lead on a network procedural show. Yet they immediately slapped him with an underdeveloped character who has zero onscreen chemistry with buck, and relegated their relationship to the background entirely. Almost like the networks's checking off a box and being done with it.

if buddie is in the grand plan, I feel like there should've been some onscreen textual hints already this season after buck came out. But there's been nothing from any of the characters, and it's just heartbreaking. I'll remain a buddie truther for the rest of my life, but it really does feel like the show is trying to draw the line in the sand to say "buck and Eddie are bros only," even if the way the show does this is to forcibly retcon/erase all of the buddie buildup over all these seasons.

Sorry Non for not answering this for awhile. I absolutely understand where you're coming from as I've also been a part of fandoms for a long time especially ones who gleefully use queerbaiting to keep fans interested. I think the biggest difference between 911 and other shows is that generally other shows don't have any queer characters or only minor queer characters. 911 however has a main queer couple (henren) and plenty of side queer characters/pairs as well. So that's an advantage for us; this means they're very much open to a queer storyline.

We've gotten bi Buck which is a very big deal for not only queer representation but also in regards to Buddie. The are clearly aware this is something we want and they've told us that it has been discussed in the past for Eddie to be queer as well so they have definitely at some point discussed making Buddie canon. The actors are down for this as well (Oliver no. 1 buddie truther). The setback seems to have come from the network before so it couldn't happen. But things are changing with the new network.

The reason I think they haven't made Buddie canon yet is that it was simply too short of a season for them to do so. Also it seems like there have been a lot of issues with this season and a lot of it was written hastily. Tim probably had completely different stories in mind for the characters but I guess things like scheduling issues put a wrench in it (Natalia's actress had a scheduling issue and the issue with Marisol's actress). I think Tim had planned completely different arcs for Buck and Eddie in regards to their relationship but had to just do whatever to finish the season because of the issue with the actresses. I think he introduced Tommy as a sort of placeholder for the moment because they couldn't expand Buck's bi story just yet. This was also probably to test the audiences' acceptance of a main character being queer after 6 seasons and to test how much leeway they have with the network. This doesn't mean I agree with what he did because I actually hate it lol. Leaving them both single would have made much more sense than introducing another shit character/actor who only created a divide in the fandom and brought in absolute weirdos into it.

Honestly I could go on forever on why I think Buddie being canon is in the books but for now all I can say is that don't give up just yet! I personally think there's been a lot of deliberate choices this season that were made to jump start the 'making Buddie canon process'. Give it another season at least! If they don't get together, I'm hoping there would at least be a CLEAR indication that they're heading there towards the end of season 8. If they don't do anything of that sort then we can consider giving up on them and living happily in our fanon bubble. But for now stay with us! There's much hope yet!!

Also sorry if this got rambly and doesn't make much sense! My inbox is always open and you can shoot me a message if you wanna discuss or vent more!

[getosbigballsack]

Girl, first of all I've been following you since I joined Tumblr and I've always enjoyed your writings. I've previously read your Satoru fic on "He's Unfaithful". I came across the fic and re-read it again today and realised that we are yet to get the "Final ending" to the story. I'm really curious about the decision y/n will make, hopefully it ends well ❤️‍🩹

Since you're curious, the plan is to actually have Y/N be the one to tell Gojo that she would like to be in a relationship once again. Seeing that she was once married to him, she'll will always forever love him despite the fact that he did horrible things he did to her.

However, Gojo has fully changed for the better. And that, along with other things, just made Y/N realize that he would forever be her soul mate. Anyways you're probably wondering how a conversation like that would even spark up, well let's just say that Sorai has a very big roll to play in Y/N' choice and trust me it may not be what you're thinking however you could go a head and try.

My friend once told me that whenever I'm writing, I'm so unpredictable because I can say one thing and do the other thing. So dont be surprised if you read something completely different from my answer ☺️☺️☺️☺️☺️

Thank for supporting me for as long as you did, I appreciate it so much❤️

[cookinguptales]

and speaking of time loops... 

[vargaslovinghours]

Fandom: Johnny the Homicidal Maniac (But really Vargas lol) Rating: Teen and up Warnings: No Archive Warnings Apply

What, exactly, did Scriabin take from Edgar when they separated?

My first multichapter fic for Vargas! :D Yay!

(Pls read Ch. 1 first - Ch. 2 is also recommended, but as long as you're caught up on the first, you're good to go!)

-----

Side B

What the fuck.

"It's, it's possible that if, maybe whatever happened earlier, whatever caused all that blood and for us to be knocked unconscious-"

What the fuck.

"-and if I suffered a head injury, then maybe-"

No. That's enough.

Scriabin pushed away from the closet door he'd defensively pressed himself up against and put his hands on Edgar's shoulders, which quieted him. He looked at him expectantly, with eyes that Scriabin somehow only just now realized were casually guarded, curious, uncertain in a way that denoted inexperience. That was so messed up, that was completely wrong. Edgar should've been on guard, absolutely, but only because he knew exactly what Scriabin was capable of. He really didn't want to look at him right now if this was what he was going to be seeing instead.

He spun him quickly and pushed him out the door before he could protest. He got one last look at those wide, confused eyes before he slammed the door behind him, bracing it shut with both hands for good measure.

What. The fuck. His head came forward, making a dull thud as his forehead connected with the door. He doesn't remember me? His fingers curled on the door. What does he mean he doesn't remember me?! How could he not know me?! One hand pushed through his hair; his scalp tingled and that was so weird, he felt it and it was so weird- We literally just- He literally just-! As if pulling him screaming into life wasn't bad enough, now he had decided to play some sick prank!

This can't be true. It's just like him to try and make jokes at the worst possible time, he has no tact.

There was a timid knock on the other side of the door. Scriabin jumped as it resonated through his skull, his elbow, pressed to the door with his hand buried in his hair, set his jaw. Then silence.

If he was really trying to get back in, clear things up, say he was only kidding, he'd actually try.

Nothing.

Scriabin's blood was ice as he went over it again. The way he'd said his name. The vacant look in his eyes as he said it, like his mouth knew its shape but none of the meaning. No fear, no realization, nothing that really felt like Edgar, just sound, just noise.

Maybe he really had-

Oh god. His knees gave out, and his arms had no practice at holding him upright, not yet. His hand slid down the door, his other hand guarding his head as his hair fluffed against the grain.

How could he do this

This is all his fault

Stupid, idiotic

He can't do this to me

I can't believe him

I can't believe this

How dare he leave me alone like this

Thoughts spiralling, and all he could do was hold himself down, press his fingers into the back of his neck, force his chest to his knees and maybe he wouldn't immolate under it all. He was shaking, from tension or fear he couldn't tell, his mind too hazardous and loud to cut through it all. He was shaking, dizzy, and if he moved, letting go would surely kill him.

He can't do this to me.

He breathed. And breathed. And swallowed. Eyes closed, heart pounding, sure. Confusion and dismay, whatever. Pain. Fine. So be it.

This isn't like me. A hand untethered from his vice grip in his hair, and he stayed attached to the floor. It connected with the carpet below him and became a new lifeline. He pushed up and away into a limp sit, arms already burning slightly from holding himself up after all that. He shook his head mildly. This isn't who I'm going to be in life. His body, this fear response be damned, he was in control now.

Regroup. Let's- a mental pause, barely a quarter of a second long as he turned the word in his head. Let's pretend it's all true- what does that mean?

He flopped over, leaned upright with his back against the door, heels of his fists pushed down into the carpet to scootch closer. Moving was so awkward still, very unfitting.

He was acting normal. Well, Edgar's baseline for "normal" had changed considerably, so maybe put an asterisk on that. Not that he was ever normal to begin with, but normal-for-Edgar, -ish. That means he has to have some memory.

Scriabin held out a hand, arm slung over his knee, one finger held out. He had recognized his glasses. One. The apartment. Two. Which key to use. Three. He had said Todd's name. Four.

His stuff can be discounted, he's had all that for a while. Back down to one. The kid is a new fixture. Which means he remembers the last couple months at least. He shook his head and brought his hand up to comb through his hair. Well...it's fuzzy for me, so it probably is for him, too. Scriabin remembered everything in as much clarity as the last couple months allowed, there was no way Edgar would know more even if he had all his memories.

Speaking of which, Scriabin could remember everything. He flipped through; the last two months and bringing Todd in, Edgar's parting words to Johnny, his and Devi's conversation - he grit his teeth - and further back, everything along the way, all the way back. False dreams, shared childhoods, everything that was once Edgar's alone, he still remembered it. Nothing was out of place which made it all the more strange!

This is so fucking weird, if I remember everything, then why would he-

He stopped short. His purported purpose had been to replace Edgar. Take him over completely. If he bought into the conceit for a moment, just to play in the space... He was alive now. That was not as intended; it shouldn't even have been possible.

Did he...give me his memories? Like, all the way? Not just to borrow, to shape him, give him legitimacy - he was alive now. His own person. Separate, embodied, and whole. Was this the price of life?

That's stupid. But possible, he couldn't discount. If this - he brought his hands up and looked down at them, watched himself touch his own chest and felt it beneath his coat, shirt, the nerves firing as his slid his fingers up himself - if this was possible, then...

He continued for a moment, curious and reverant, all of him new and privately exciting, to exist and to touch, to feel, smell, see, all of it clear and fresh and penetrated deeply into his mind, as if a layer of film had been lifted from his senses. The moment passed as the memories, unbidden but important, cluttered in around him again.

There were still a lot of questions, and most of them couldn't be answered without Edgar, ugh. If getting anything out of him before had been like pulling teeth, he was very sobered to think about how it might be now. Depending on how much Edgar remembered, maybe he could start piecing things together.

Did he do it on purpose? Did he know this would happen? There's no way he would have been willing to if he had- But he couldn't ask him things like that. Even if he did remember, admitting something like that...

He was just spinning his wheels at this point. Better to gather what he could from the man himself. He looked up, preparing to stand.

Ah-

The room was still in something of a state.

Edgar would be annoying, or at least distracted by trying to pick up the clothes and uncarefully unpacked items strewn about the floor from Scriabin's very successful excavation of his old glasses. The clutter would have to go if he wanted his full attention.

He grumbled as he pushed off the door to pick up the first few things. First day of life and I'm already his maid. Figures. He's always needed me to clean up after him.

Silence.

Somehow it only just hit him. Thinking alone in the late hours, planning things behind Edgar's back, it was nothing new. But a barb unsunk into his mental flesh was left out in the wide emptiness, poised to stab whoever happened upon it next, and he was the only one here.

He felt very small all of a sudden, and he didn't like it at all.

His eyes blankly scanned the room, looking for nothing, until they settled on the toy at Edgar's bedside. His toy.

He dropped the items he'd bundled into his arms and made his way over. He picked up the small simulacrum, turned it over in his hands once, and stared at it.

He wouldn't know this. Not really. He brushed a thumb up and over the little mouth, the contours of its small face. Retroactively, I've never been this at all.

I'm no one to him.

Does this mean we can start over? The thought struck him like lightning, freezing his heart in his chest. He was fixed solid, staring down at the small figure in his hands.

Before he could even think, he'd already thrown it through the open closet door, landing noisily in the box he'd dug through with a clatter. He grabbed up the fallen clothes and items and stuffed them back in the box, burying the toy in mundane detritus, then closed the cardboard flaps and slammed the door of the closet for good measure.

His breath was laboured and he glared, like wishing it gone would make the closet itself disappear.

Answers. He needed answers, more than anything.

He ripped the door open, and there was Edgar who looked up, staring dumbly back at him and carrying the clothes he'd shed earlier over his arm. Something in his mind clicked over, and he didn't think about it.

"Alright," he caught his breath for half a second, "what do you remember?"

Edgar just kept on staring, mouth open, eyes unconfident behind weak glasses. Scriabin huffed irritably, I don't have time for this, and moved towards him, arm outstretched.

"Come on." Edgar gave a small startled sound behind him as he grabbed his collar and dragged him through the doorway. He threw him across the room, not bothering to watch his arc as he closed the door behind him. The bed was that way, he'd be fine.

When he turned back, Edgar had managed to catch himself, though already halfway on the bed. Scriabin stood with his back to the door, feet planted and he crossed his arms. No more speculating around impossibilities, tangible and present as they might be, it was time for a proper interrogation. It was at least preferable to-

Edgar made a face at him and scooted back, offering a seat next to him on the bed. Equal footing briefly flashed through his mind and while he wouldn't consider it ideal, nothing today was really going his way. He sighed, then made his way over and sat across from Edgar, who was eyeing him with a certain degree of caution. At least the feeling was mutual.

"Spill." He re-crossed his arms and leaned towards Edgar. "What do you know?"

Edgar hesitated, apparently thinking, his hands laced and fingers agitatedly if quietly rubbing the backs of his hands.

"I want to verify some things first."

Scriabin snorted dismissively. Where had Edgar's overly-trusting nature gone? A serial killer, well he's an honoured guest, but Scriabin? He didn't even distrust him for the right reasons.

He gestured with an open hand, Go ahead, then tucked his arm back in.

"Todd's last name?"

Pfsh. At least it was proof enough that anything Edgar knew, Scriabin did as well. As expected.

"Casil. His stupid bear's called Shmee in case you forgot that too." Edgar shook his head. No he hadn't? If only he could just check!

"Do you know our phone number?" Obviously he did, so he rattled it off quickly, Edgar nodding in turn. He flipped his hair in time with the last digit, careful to keep his eyes covered. It was a bit of a timid attempt, being the first in this body, which was a minor blessing he supposed.

Edgar mulled over what he'd given him for a moment, then a moment longer, then a moment even longer. His eyes searched absently, gazing down into his own hand, his other on his chin, lightly thumbing his goatee. He was focused on names and numbers, but those were child's play compared to everything, everything Scriabin still wanted to know. It was frustrating on a visceral level, watching him struggle with such simple innocuous nothings while the most important person in his life was sitting right in front of him.

He was supposed to be the most important.

It was frustrating.

"You really don't remember anything, do you?" He didn't hide the sneer as it shaped his voice - odd the way his body just did that now, did things without him actively thinking them into being. Even things like the little waver that made its way in that he pushed back down and under. He was frustrated, angry, tired - any emotionality could be attributed to those, nothing else.

Edgar didn't answer, just kept his gaze locked to his face. That was almost worse. Watching him fumble through things, it wasn't fun, but at least he wasn't trying to pry. He could see him try to look past his bangs, and the fact that he didn't know better...

Scriabin looked away for a moment, then thought better of it. Best defense is a good offense.

He reached for Edgar's face, for those damn scars, ever-present reminders. Edgar shied away, not wanting to be touched suddenly by someone he didn't know. As if Scriabin had ever cared about that.

Well, things were different now. Maybe he didn't really want to touch him anyway. Not yet.

"Do you remember these...?" Instead he framed his face with his hands less than an inch from his skin, and even there he could feel the heat coming off him. Edgar reached for his face, looking away from Scriabin as he touched the angry red marks. He winced minutely, then glanced back at Scriabin, searching him, his expression guarded again. Scriabin could hear his own pulse in his ears.

"...Johnny?"

"Fuck." Fuck! "Of course you'd remember him but not me." God damn it! It wasn't right, it wasn't fair, just because Johnny came first by a hair's breadth, just because he wasn't in Edgar's head, with Edgar's fucked up little obsession with the murderous stick figure- It limited what he could get away with too, if he remembered that far back. Absolutely nothing was going in his favour.

"I'm sorry..." He sounded genuinely remorseful, and it stuck in his throat. Disgusting. "So you know Johnny, too."

"Unfortunately." Scriabin tucked his chin to his chest, arms crossed again in close proximity. This sucks. Edgar just kept rambling, unaware as ever. His excuses held this time at least, one point in his favour, no points for bringing his annoying habits with him despite everything.

"I don't think I've seen him for a couple months now? Everything's awfully..." He gave a vague gesture and Scriabin uncurled slightly. He was giving him room to contribute. He shook his head.

"You haven't."

"Have you?"

He returned to his tight coil of sulking. Not like he was keen to meet up and chat, but he couldn't explain why he hadn't had the opportunity to either.

"I remember he called, too."

"Ugh," barely above breath. Enough about Johnny! Again, Edgar continued obliviously.

"Although I don't really recall what we talked about, not for a while..."

Of course not. I took over for half of those.

He perked a bit, and Edgar focused more on him, patiently setting his hands in his lap.

"You know."

He could play this to his advantage. Give Johnny some well-deserved karmic justice for fucking him over so many times. It was almost better that Edgar didn't know - Scriabin had been trying to get him away from Johnny all this time, and if he really had forgotten everything, not just the moments when Scriabin took over but every moment they had shared, then that meant it coincided almost perfectly with his first meeting with Johnny. Blank spot after blank spot after blank spot, all lined up immediately after getting his face slashed.

He could work with that.

"It's probably trauma." Edgar startled and his hand shot to his temple, lightly touching his hair.

"Like, head trauma?" Scriabing almost laughed. Yeah, probably that too. But that wouldn't help his case.

"No." He leaned in, taking a more intimate, secretive tone. "Think about it. When did things start getting fuzzy?" If he was right on this - which of course he was, but not being able to verify, not being able to see that he was right, it was disconcerting - but if he was, Edgar's memories of Scriabin should start with that first fateful encounter, give or take. A bit of reframing here, a touch of implication there... It probably wasn't even an outright lie; if Edgar's memory were perfect after experiencing everything Johnny had put them through, that would be some kind of twisted miracle.

His only real concern was their "childhood" - how much had Scriabin pulled with him? Would that throw off his story? But that was so far back, there was no way Scriabin or Johnny could be implicated in that. As long as Edgar didn't bring it up before he thought his way around it...

Edgar stayed quiet for a long while. His eyes raced behind closed eyelids, searching, scanning, retracing - Scriabin could almost see the moments where he hesitated, stopped and went back, then starting recollecting again. He wished he could see it for real, watch him unfold himself, touch those memories again, hold up his own in contrast. Even just hear Edgar's thoughts as they went by, feel the emotions he felt. But he couldn't, so he just stared as unblinkingly as this new body would allow, just watched as Edgar went over everything on his own.

He finally opened his eyes, staring back into Scriabin's though he was sure they were still hidden. He felt naked and awkward and Edgar still hadn't said anything. If he could just see like he was supposed to, or if Edgar would just tell him, he wouldn't have to ask. I have to do everything around here.

"It was after you met him, wasn't it?"

"You think it's...mental trauma?" An unspoken 'yes.' Relief flooded him, and he pushed ahead.

"Edgar. He stabbed you." Edgar gripped his shoulder, his eyes closing again and he looked to be in pain. That was a very effective reminder at least. "Do you even know why?" He shook his head and spoke throught half-grit teeth.

"I must have made him mad, but I don't remember-" Of course not, I did that.

"Your mind is trying to protect you." Not. But one of us has to with your inexhaustable deathwish. Scriabin reached out to touch him properly, but Edgar pulled away. He didn't follow, still not yet. Play up the pity. "He messed you up so bad," with a curl in his tone, an I told you so that barely made it to words even privately; how long had he been holding that in? "Surely you must've felt like you wanted, you needed to get away from him, that he wasn't good for you, that you-" He'd told him so many times, some it must have stuck, some of it had to have-

"Then-!" Edgar's eyes shot open, wide and desperate with an edge of disbelief. A strangled gasp escaped him, half-choking him as he tried to speak. "Then why can't I remember you?!"

He almost began rolling off the cuff, but really, he still didn't know for sure. And it definitely wasn't like he could tell the truth even if he wanted to; who, who hadn't lived it, would believe him? Edgar certainly wouldn't, not with his lack of imagination. He had to dress this up, weave a narrative that was plausible, had the perfect mix of truth and falsehood to stand up to scrutiny.

Huh. Ironic.

"I..." No. Some of this was Edgar's fault too. "We...argued."

"Argued?"

"I... Mng." He wanted to aim for some kind of levity, but his throat had tightened on him. He just wanted to tell this stupid inside joke and not have it affect him, not have it mean anything, and here he was getting emotional? He'd say it and fucking mean it. "It's not like I'm in your head, so-" spat out in a rush, there, he'd said it. Haha, isn't that so funny. He swallowed harshly, pushing down everything he felt into his stomach acid. He was in control. He was fine. This didn't shake him. "I can't know for sure," another humourless laugh inside, "but I was against your relationship with Johnny. Maybe you shut me out so you could keep seeing him with no pushback."

It certainly wasn't outside the realm of possibilities of what Edgar would do to avoid taking Scriabin's extremely basic advice about fraternizing with serial killers. How many times had he been ignored up to this point, only to culminate in the ultimate 'I don't know what you're talking about.' Pfeh. I bet he wishes he'd thought of this sooner. It did nothing for his painfully stuttered pulse.

"You know, I've been trying to convince you to stop going back to him for a while, but, well..." He waved his hand at Edgar's hand still death gripped into his shoulder, and Edgar averted his eyes guiltily. At least he showed some remorse. Better than his nigh constant apologia.

He stayed quiet a moment longer, and just before Scriabin made to fill the silence again, Edgar struck him with an intense look.

"What are you to me?" Ugh. Of course. There was not a single good answer for that. Even if he told him everything- no, especially if he told him everything, there was no way Edgar would believe him. But coming up with a convincing lie on the spot, when they were so clearly something to each other - even he needed time to come up with something workable. How could he have ever prepared for a situation like this? It was never meant to happen, so many things were never meant to happen!

He continued at Scriabin's silence. "You know Nny," Ugh! Even his awful nickname. "And Todd. And...me." He couldn't refute it, so he nodded tightly. "Do you live here?"

Technically he had, and technically he hadn't. Still, going forward, it would be easier to let Edgar assume that he did. It wasn't like he had anywhere else to go at the moment anyway.

"Yes."

"Are we..." He searched him, looked him over as much as he could and he wasn't subtle about it. If only Scriabin had his proper glasses, he'd let him look as much he wanted, behold his spectacle! As it was, he just felt self-conscious and it was very unbefitting. "...family?"

The baggage on that. He did not feel like opening that particular can of worms in either of their current states. He turned his head and flipped through any number of halfway decent ways to phrase it until he hit on something Edgar would remember. Better not to contradict for now.

"You told Johnny you have no family when you met."

"That's true..." Edgar blinked, processing. "Wait, did I tell you that?" Scriabin startled. Even after he'd accounted for his memory! Of course he had to pick his story apart now, he never knew when to leave well enough alone.

"When you-" No, he had to be involved. "When we bandaged your face."

Edgar mulled on that for a few seconds, taking on a thoughtful pose. "I only remember being alone."

"You don't remember me at all. What do you want from me?" He huffed.

"No, sorry, you're right."

"Thank you." He was right!

Where had Edgar expected him to be? There was something weird about how he'd said it. He filed the thought away for later.

"So, if you've been living here, where..." Edgar looked around the room, then back to Scriabin. "Where have you been sleeping? Todd's already on the couch..."

Scriabin couldn't help as a smile sprung to his face. If he was going to present him with such a perfect opportunity, well, he'd better take it. He even had the decency to look nervous in response! This was too good.

"Would you believe me if I said right here, in bed?" He again tucked his chin, playfully this time, his hair falling further in his eyes. Even through the dark tangles he could make out Edgar's face immediately bristling with heat.

Ooh. That's such a fetching shade on you, my dear.

"But-! I, I haven't been sleeping on the floor!" He was visibly sweating!

"Correct." His smile grew. This was too easy, and he needed an easy win right about now.

"W-" He leaned forward on his legs, though refused to get any closer. When he spoke it was a harsh whisper. "Why...?"

Scriabin shrugged easily, not bothering to reign in his smile in the least. "I mean, where else, right?" He leaned in since Edgar refused to, and oh. He was blushing all the way up to his scalp. Hilarious. "You certainly didn't seem to mind." He couldn't hold back the slightly musical tone or his eyebrows inclination to move on their own. His body knew what he was getting at, and he could see it only increased Edgar's fluster. All the better.

"Well I do now!" Edgar darted up and away, stumbling in his hasty retreat. "If you'll excuse me!" though he was already practically in the hallway by the time he said it. What a display, and Scriabin's laugh was loud and natural.

Finally, something positive. He'd managed to fumble his way through, not his best work in lying or manipulation, but he'd set some important groundwork. He'd gotten some answers, and he could start to shape some more believable stories around them.

The biggest hurdles were Johnny and Devi. As long as Edgar didn't meet with them too soon - or well, at all would be preferable, but he doubted he could just keep him locked up, as much as the idea appealed to him. There were so many things that were possible now, things that he had the ability to do, given the right circumstances... All of that in due time. For now he had a yarn to spin.

He listened as Edgar fumbled in the hall, the sheer sound of cloth being pulled and folded over an arm barely perceptable. Was he really going to try to sleep on what little was left over? Maybe he'd give up once he realized the pickings were thin and beg Scriabin to let him sleep with him. Hah.

While he was out, Scriabin made his way over to the pajamas drawer. They were all old and soft, even just to his hand. They'd do for now, until he could get his own. It wasn't like he hadn't worn all this before anyway.

By the time he'd finished dressing, his clothes discarded on the opposite side of the bed to where Edgar had set up his little nest, Edgar had finally gotten himself a set of pajamas. He wondered for a moment if he'd dress with Scriabin in the room again, though maybe his intense stare drove him off. Who could say. He patted the bed with a wide grin when he returned and was dutifully ignored. He settled down to the side, and Scriabin laid on his arms to look down at him.

"Ugh, lame."

"I don't-"

"Yeah, whatever." He'd heard it all before. At least he could literally look down on him like this. He folded his hands and leaned just a bit further, looking him over. A desire he hadn't realized he had surfaced in the dark and quiet. "Give me your hand."

"Sorry?" Scriabin held out his hand expectantly.

"I used to hear your heart beat every day." Edgar looked at him incredulously, but Scriabin was unperturbed. "Let me hear it again."

He hesitated but eventually slowly offered his arm. "...Okay."

He pulled his arm up and placed his thumb against his wrist. He felt a strange mismatch - where he'd been expecting one heartbeat, there were two. He covered his surprise, near shock at the realization that of course he had his own body now, by pulling harder on Edgar's arm, directing him up to his ear.

"Wh-"

"Shh." Quietly. He had wanted this, wanted this body, this separation, this freedom for so long, and now... He spoke quietly, his voice betraying nothing. "I'm listening."

Edgar's pulse was erratic, but he hardly paid attention to it. His own fingers on Edgar's skin, warm and pliant, and Edgar's fingers twitching in his hair, he could feel it, he was trying not to touch him- This hesitation was killing him, every jerky movement away not from fear of what Scriabin could do to him, just uncertainty, like he was still a stranger- He pressed him harder to his head, and he could feel goosebumps under his fingers. He wanted to just hold him there until all the memories they'd shared poured back through him, into his blood, into his breath.

Where are you?

But he replied in that same uncertain, guarded tone that indicated he didn't know, not really.

"C...can I have my arm back now?"

He pushed him away. "Fine." Edgar curled his hand protectively against his chest, and he noticed he rubbed it slightly, he probably hadn't even realized.

He mumbled out a harried "Good night," and it was almost enough to make Scriabin smile. Almost. He could still affect him but this wasn't enough, it wasn't right.

He laid his head on the pillow, not bothering to pull his arm up over the side of the bed. If he twitched in the night and touched Edgar, well, that could mean anything. Maybe he was dreaming. Maybe he did it on purpose. Plausible deniability was one of his greatest assets.

As it was, he was just tired. Maybe he didn't pull it back because he hated the thought of sleeping alone, pushed out and forgotten, and hated it more that he was even thinking something like that. How pathetic. He didn't need anyone, especially not Edgar.

But he was tired. Not in his right mind.

Does this mean we can start over...?

The thought echoed and died, and he slept.

[boxwinebaddie]

an uncle nina check in <3

hi team! thanks for sticking around! i know my blog isn't always the most exciting and enriching place in the world in terms of content, but i am very /content/ to have you all here. <3333

i promise, oddly enough, i have A TON of inspiration and ideas for all my weird styles ( if you're curious about anything please lmk! i've been trying to flesh out my aus out lately ), i've just been in a major bummer depression era lately, so it's hard for me to get my asks done and i'm having a hard time committing to finishing my writing. :<

i think it's because of stress and my bipolar, but i am trying to get back on the horse! ( are we all laughing at the idea of me trying to get on a horse? i'd start crying help city girl fail moment for me ) yeehaw!

and while, unfortunately due to the instability ( fabulous legendary iconery ) of my pretty girl popstar personality, i do not know whether i will be answering almost no questions or one million, regardless of that, i just wanted to let you know, i'm still here, still kicking my feet, twirling my hair, cooking...i'm just really trying not to force myself to put out anything i don't like...and only do what makes me truly happy.

however, nothing, my dear sweet e-darlings...

makes me happier than coming home to all of you. <333

so thank you for flooding even the darkest corners of my life with bright light, supporting my phantom fics and being wonderful,

uncle nina xx

[icewindandboringhorror]

Misc. photos from the past year or so ~

[sally-mun]

Since I've been settling back into Tumblr I keep thinking about the fact that this is where I did most of my writing. About all kinds of things.

I haven't really written anything in a couple of years. It started as a bit of burnout but got exponentially worse due to a very bad thing that happened. My therapist has been trying to help me find that piece of myself again. It's been lost for a really long time, and is probably a big part of why I have so much trouble being 'me' anymore, or even knowing what 'me' is. It's really difficult to like 'me' now. On the off-chance I actually do, I feel guilty for having done so, because I still haven't quite shaken the instinct that shouldn't like 'me.' I should be ashamed of 'me.' Maybe that's a big part of why my writing disappeared. I always really liked that about me. Writing would threaten my the paradigm where I can't and shouldn't like myself.

But I mean... I do really miss it.

I hope it comes back.

Maybe being here again will help with that.

[fragmentedblade]

No but even beyond the heathcliffean air of his story as a kid, Nelly scene and revenge fantasies included, and even beyond the identification of the self with the craft, the entire concept of Yingxing is so good.

The glimpse we get of the relationship he has with his master has so much potential. What it says about him, what it says about everyone around them, what it says about the kid.

The fact that already as a child Yingxing was vindictive, as he will be as Blade.

His self-consciousness about being a short life species, and how he is right to be self-conscious about it. How in such a short time, being so young, he's had to deal with enormous tragedy, so that he can even as a kid look the truth in the eye and admit it. Admit that he has to work harder, longer, more obsessively, and that still nonetheless there's little chance to get ever at the level of the long life species that look down on him and take him for granted. How he is able to overcome it.

It's incredible also in the context of Dan Feng. How both struggle with their identities and how they get new ones, but in totally opposite ways. Dan Feng is weighted down by what he is and what he can do, and wants to escape that fate, and dreams of a new life in which he can be something else; and Dan Heng is born. Yingxing takes pride in that which he can do, something he wasn't born into, something he had to work very hard to achieve, and that was the path to overcome the prejudices and undermining gazes he had to bear as a short life species. He crafts his place into the Xianzhou society and becomes the legendary Furnace Master. Even on a more personal level, one could argue this is his way of maneuvering his life, of expressing himself, this is how he deals with things; like his relationship with Jing Yuan having a turning point after giving him his weapon, or how he crafted that jade flask. And then he loses his ability to create and loses himself; he becomes Blade.

The fact that even as an adult, as an exceedingly arrogant craftsman, something of the shy self-conscious kid remains is both endearing and heartbreaking as well. In some ways we still see that in Blade.

We also see echoes of that personality in Mr. Xiao, who worked under him. And that alongside his craftsmanship, his ability to fix and create auromatons even though they are vanishing in the civilian landscape, live on through Mr. Xiao. And die alongside him, for Mr. Xiao too has become but a relic of another time.

The way the other stories of craftsmen enhance facets of Yingxing's is so good too. Mainly in the story of Master Ryan and Chengjie, with the insight we get of the struggles of short life species in the Xianzhou, especially those dedicated to a craft, and how hard it is for them to reach positions of prestige. It also poses the question of how we can transcend time, if it's possible at all, and how the sharing of knowledge, the passing down of skills, the shared loved, is one of the answers. This was all already significant before, but the information gains weight with the existence of Mr. Xiao. I'd argue there's echoes of Yingxing even in Master Gongshu. His love for his automatons, his sincere fondness for them, his pride on his job, his loyalty to his position and duties, the way he is both hard and stern as well as loving with his apprentices, and how he talks about short life species.

On a sort of ontological way, it's very interesting to see how Yingxing goes from craftsman to tool or weapon, from creator to creation, from subject to object. The potential in the context of Abundance/Destruction is also extremely intriguing, I think. He who created is unmade by a curse of Abundance. He who forged weapons now follows that path of destruction. There's so much going on with Yingxing conceptually around the cycles of death and rebirth, destruction and creation; it's so fitting that now Blade is stuck in such a cycle in the most literal way.

And it's so fitting too that, in all this context, given Yingxing's entire story, Blade's entire being, that which he made unmade him. That which he created and gave him so much pride was the weapon that killed him. And now he wields it himself, his tool of revenge while he follows the path to eternal and irrevocable death.

[archesa]

[pinkieroy]

I have an idea for a fic but so little confidence in my writing abilities

[fernsplaysthings]

Currently writing little bit by bit between Crucible matches which seems to be the only way to get myself started any time before midnight.

Though the issue is that I just wanna draw stupid horny Tiefling things in contrast to the angst that's being written.

[musical-chick-13]

Once again questioning everything re: writing.

[damnprecious]

I love how some of my most used recipes are super vague and then every time I try to bake them I despair over simple things such as 'why hasn't anyone written down a baking time'