#but yeah the new structure is... complicated. I'm not sure HOW to do it just yet

[monty-glasses-roxy]

Are the others relevant in Meteors or is this a Roxy-focused thing? I mean relevant as in part of the story/their presence actually helps rather than hinders the story (this isn’t meant to be negative I’m so sorry if I sound that way)

Roxy is so blorbo <3

Not negative at all no worries! It's a valid question!

The others ARE relevant! Massively in fact! My brain has just been rotating some of the bigger and more uhhhh painful(?) elements of this version lately, so they've been coming up a bit less.

Roxy is probably going to be the much larger focus character, because of the Blorboism and because of the new structure I've got here. I'm still working on what specific direction I want to take a lot of the other animatronics, Vanessa, Eddie, Luis maybe and whoever else that comes along, but they physically can't be irrelevant.

Basically, what I want this version of Meteors to be structured like, is I suppose, two separate stories that are actually just one. Roxy (and somewhat Cassie as well) is acting sort of like a bridge between two separate worlds, the familiar Ruined Pizza Plex (and by extension, the remnants of Fazbear's actions) and the unfamiliar Outside World. These two places start off (hopefully anyway) feeling light years apart, but gradually feel closer and closer to each other until they're now just one world. Which is... not something I've ever done before ngl so while I'm determined to give it a try, I'm also like. Fully aware if I ever actually start writing it (I live in hope) that it may not come across like that lmao but hey! Live and learn!

Anyway! With this in mind, yeah the other animatronics are all relevant as a part of the Pizza Plex side of the story. With Ruin as the set up and with the narrative puzzle pieces I have in my head, there is a lot to do over on that side of things! Like. An actual fuck ton of ground to cover, and Roxy's not doing that on her own, it wouldn't be possible and would kinda suck ngl

I don't have a set role for everyone at the moment. Like I say, I've had the broader, and newer stuff on my mind lately and this structure is brand new so I haven't really slotted everything into place just yet. I know what I want to include, I have a huge fun ending in mind that I really hope slots in with the 'both worlds being one' thing by the time I get there, but yeah uhh... still working on it so if you want to know what a specific animatronic's role is uhhhh you may not get an answer right away but you also might trigger my brain to work it out right then and there so... Take this as you will lmao

What I have now? Mostly Roxy because she's my blorbo of all time lmao. I've also got scenarios with some new concepts and bots I want to try out from book sources that I'm HEAVILY fucking around with, and some new ideas for the others that I need to cook a bit more because while they're good and fun, they might not fit what I'm aiming for now. I dunno! I had those ideas last night I haven't really had a huge amount of time to see how they'd fit yet, ya know? We'll see how it goes!

Hope this answers your question even though it's pretty vague!

[drconstellation]

Chiastic Structure of S1

Here it is!

Yes, I deliberately made it detailed. You NEED to see the detail, it is, quite frankly, eye-opening in parts.

If the image I have posted is not clear, let me know, and I'll post a broken-down version in sections so you can read it. I'm just not sure how this is going to work.

I've got five footnotes for various sections where I want to make extra comments, so see them below.

If you don't know why some of us are looking into this - a chiastic structure or pattern a literary device where a sequence of events is presented then repeated in reverse order. For a complicated story like Good Omens this can and does gives us some interesting insights into the hidden stories we meta writers like to speculate on and discuss.

I have to admit it got a bit messy in places, so there still might be some tweaking to do in the middle parts.

The plain parallels still exist - I have a couple to mention in the footnotes. I'm also very excited about taking this challenge on because I've basically found proof that backs up my theory about the scene at Tadfield Manor telling part of the story of the Great War in Heaven, and also proof that the Flood may have been the time of their first "vavoom."

[1] M-pair: When Newt turns up to his new job there is an office meeting called and the upcoming "training initiative" is discussed. This then leads on to the paintball fight at Tadfield Manor. I discussed how the two scenes give us an insight into the past and the Great War in two metas, The Great War of Tadfield Manor, and The Newton/Crowley Mirror-Parallel in S1. The mirror-pair here is Dagon is rousing the troops with reminders of the "Glorious Revolution," providing us with a direct connection to the events of Tadfield Manor.

[2] Q-pair: This is a really interesting pair, as as it is still tied in with Tadfield Manor. Does it give us any insights into Crowley's role in the Great War and his Fall? I'll be looking more closely at this in the future!

[3] There is an interesting set of parallels around this area that didn't quite fit into the chiastic structure proper that I though was worth mentioning and I have already flagged for a meta before I had finished plotting this out. It's to do with Newt and Anathema and the prophecies in the book - oh, and the Velvet underground reference. Actually, I really need more space for that...you'll have to wait for the meta, sorry.

[4] Ohhh yeah. This one. The Vavoom moment. I wondered if the sex under the bed between Newt and Anathema would reveal anything. It certainly did! If you haven't read @vidavalor's meta about the first time they probably kissed, then you should. Stat! This pair backs it up - and maybe more.

[5] There is a parallel noted here that doesn't fit in the structure, that Crowley signs to start everything rolling, and Aziraphale signs to end it.

On to S2. Then I'll see if I can work a three-series structure together for some predictions.

Link to S2 Chiastic Structure Post.

@aprilodite @kayleefansposts @ineffable-endearments @sendarya

[lemonhemlock]

what are your thoughts on the madonna-whore complex allegations constantly lobbed at criston from rhaenicent and rhaenyra stans alike. because i dont see it at all. also a lot of them don't even seem to be using the madonna-whore complex correctly. it's supposed to be in regard to men in relationships with woman that lose sexual arousal for these women when they see them in more domestic, motherly, etc. light. the fandom is so collectively off base about this lmao.

yeah, i feel like criston's stuff is a bit more complicated, even just based on the information given in S1. in a way, you can say he grows to be attracted to the mother figure and repulsed by the whore figure, but he wasn't always like that. he himself said he had dalliances with girls before joining the kingsguard and he is very much attracted to the outgoing, spunky maiden rhaenyra, but there is also this tension with the quiet, introverted young alicent in his confession scene!

i'm not sure exactly how to word this, but criston strikes me as the type of man who is malleable, who doesn't have much in the way of plans or objectives. he lived a pretty aimless life before he is introduced on screen and joined the kingsguard as it was a prestigious institution which offered him structure and something to strive for. so, in a way, he replaced his haphazard youth with knightly ideals and gallantry. but, even this purposelessness - i wouldn't hold it above his head as a fault either. westerosi society just doesn't have the space for someone like him - the son of minor nobility, who probably doesn't have much in the way of inheritance. he can't exactly go out and "get a job" (the sources of wealth creation aren't very diversified) without it being considered a huge stepdown and humiliation and bringing shame on his family (the social stratification really might seem very alien to someone living in 2024). so, of course that in a society that values martial prowess (something he happens to be good at), he would be attracted to activities in the militaristic sphere.

and i don't mean to say that he is just amoral and doesn't have any principles either, i'm sure he would LIKE to be this perfect knight that embodies self-sacrifice and courage and selflessness, but, like many other westerosi institutions, the kingsguard is an oppressive one. it's NOT normal to impose abstinence on someone, it's NOT normal to not allow them to retire and make them live this frugal, unattached life, just trailing after royalty all day, standing for hours on end in rooms and hallways. so, of course, criston finds it difficult (i'm guessing a lot of the kingsguard members had similar feelings) and of course he "strays" (that's one way of putting it, bc we all remember the discussions on the non-consensual nature of that scene).

criston's existential crisis is very real and raw and a by-product of the westerosi feudal system - what IS a man like him supposed to do with his life? he thought he had found purpose in the kingsguard, but he found himself in a situation where he broke his vows, so he tries to reason that maybe his new purpose can be rhaenyra - his love for her, running away with her, marrying her, taking care of her etc. so it very much doesn't matter for him that she herself gave away her chastity before marriage (and could be thus labelled a "whore" by their society's standards). but when rhaenyra refuses him - it's like that quote from dostoevsky - “your worst sin is that you have destroyed and betrayed yourself for nothing.”

so, where i'm going with this is that criston has personal beef with rhaenyra. she behaved towards him in a careless way and discarded him without a second thought, whereas for him their affair was a huge, all-consuming thing. now, had rhaenyra went on and lived an exemplary life as a married woman, with no bastard children, he still probably would have hated her for what she did, but, i'm not sure, just based off S1 information, that he would still call her names

to go back to the madonna-whore axis, like you said, men who have that complex tend to view the "whore" as someone sexually appealing - whereas i think criston's disillusionment with rhaenyra has surpassed any attraction he had for her in the past. meanwhile, despite being a "mother" figure, alicent's life of quiet servitude has made her very attractive in his eyes. but! who is to say that rhaenyra couldn't have been more diplomatic and empathetic with him in handling their affair? had she put a bit more effort in, manipulated him into being her secret lover instead of harwin strong? sure, he could have refused, but had she played the woe-is-me card, the i-have-to-sacrifice-my-happiness-for-the-good-of-the-realm and convinced him that she wasn't going along with his oranges plan because she, too, had higher ideals she had to serve, i don't think he would have seen her in this unfavourable light (what if rhaenyra were a different person entirely LOL)

so, basically, what i mean to say is that, ultimately, rhaenyra treated criston in a nasty way and now he hates her, whereas alicent treated him with kindness and now he worships the ground she walks on. but what if the roles were reversed? what if alicent had been unpleasant to him and rhaenyra the compassionate one? would criston still be crowning king aegon? is this truly about a madonna-whore complex or about personal relationships, how you behave towards people and how those past grievances interact when it comes to securing someone's loyalty? everyone is more inclined to be indulgent towards their friends and to keep their side, even if they might not always be in the right. it's easier to go to bat for someone you like than for someone you don't! people can always rationalise their principles away in such situations and develop double-standards

[mappsiemakesthings]

I'm nålbinding a hat for a friend, in Korgen stitch (FS 1+2 F1), tentatively hoping to get it done for his birthday next month, but... well, I'm dealing with time, body and energy restraints, so I won't push me and he'll get it whenever it's finished. He won't need it in summer anyway xD

Anyway, le hat has a bump at the top!

I didn't make the bump on purpose it just happened, and I think it did so for 2 reasons:

First, my counting was off bc of how I used the stitch marker. I was still figuring that out and it is still kinda complicated because i still don't know the structure well enough to say "if I bind into this loop from the last round, this corresponds to this loop in the new round i'm making".

I dohave figured out a way now that still goes mainly by vibes, but is a little more precise I think.

Second reason for the bump, is my tension. It's gotten more, well, tense, which you can actually see in this picture of the wrong side of the hat:

The bump has much looser stitches, and the rest of the fabric is denser!

And that's because i started pulling a little on the "off-thumb loop" of the Korgen stitch, so that it's like half way between "thumb thickness" and "thick end of the bone needle thickness".

So that's a thing I learned from this hat, and I'm very happy with it :D

I am pondering whether to remove the bump, like, cutting it out and putting in a flat center, or not. Leaning on leaving it in for the time being, because I don't know if i want to put the extra hassle on myself, also it doesn't look that weird on the head.

By the way, the round I'm doing now?

It's the *stitch 12, increase* repeat ** round x_X I have never had this many increase rounds with a hat before, and I am 100% sure that there's so many counting errors in there xD

Sometimes I start a stitch, counting, and when I finish the stitch I don't remember what I counted! Like, I do have the RAM of a goldfish sometimes o_O But! One day I will have figured out how to "read" the fabric, so that I can find that last increase and count again from there! xD

Counting stitches is my nemesis, and projects that involve a lot of counting, always take the longest time.

I'll be so glad once the increase counting is over omg xD

So, yeah, that's my current WIP ^_^

[sunsafewriting]

AU. Chapter 4

Ava starts a dumb YouTube channel where she makes complicated recipes badly. Maybe people show up for that, but they kind of stick around for her conversations with her roommate — who stays off-screen. Mostly.

chapter 4 excerpt:

The new camera is so fucking shiny. Ava holds it, enjoys the newness of it, the sleekness, while Beatrice flips through the manual. This is how it goes, whenever they get a new thing; Ava wants to touch it, and Beatrice wants to read about it. 

Ava, as she does every time, takes the opportunity to say, "It’s probably super intuitive. We don’t need instructions."

Deriding guides, lists, textbooks, and other itemised sets of information is always a worthwhile investment: Beatrice, very predictably, gets this expression that suggests they may as well walk into traffic if all the structure of the world can be so easily jettisoned. 

"This is a very precise and multifunctional piece of equipment," Beatrice replies. "A thorough understanding of —"

Ava just lets the rest of it wash over her. The essence of the speech is more or less that Beatrice would like Ava to get the absolute most out of her camera, which necessitates an inventory of every single function and feature, so that she fully appreciates her options. 

Ava, by contrast, is of the opinion that the knobs and dials are things she can fuck around with and figure out as she goes, and that the way to get the absolute most of out of her camera is to point it at Beatrice. 

She appreciates her options just fine. 

Beatrice reads the manual in English and then in German; every time, for every appliance, Beatrice checks a minimum of two languages, to account for any lapses in translation. 

While she's doing that, Ava has managed to pop the batteries in and figure out the memory card.

She spins off the lens cap and brings the camera up to her eye, peering through the viewfinder. It's the first camera she's ever owned in her life, and she likes the feeling of it much better than her phone: the weight of it, how the zoom requires twisting and fiddling rather than swiping her fingers, the delightful tactility of the button under her finger.

And yes, it’s supposed to be for her channel, for making better quality videos, but there’s a reason she got this model instead of a lameass camcorder. She also wants to take four hundred million photographs of literally everything in existence — okay, some things more than others — and conveniently, she wants to push this button four hundred million times, so everything is going to work out terrifically. 

"This is going to consume my entire life and brain, I can just feel it," Ava murmurs, adjusting the zoom again, listening to the faint whirring sound it makes. 

She pans the camera across to the actual expert in consuming Ava's life and brain for comment, but Beatrice is frowning down at the warranty information and has very likely not noticed that Ava is talking at all.

"Bea?"

"Hmm?"

"Can I take a photograph of you?"

"Now?"

"Yeah."

"How about we go for a walk?" Beatrice suggests. "I'm sure there are plenty of photographable things outside that you’ll be able to experiment on."

The opportunity to make an experimenting joke is right there, but if Ava goes down that road, they'll never make it back. 

"Just a super quick snap of you, and then we can go on a walk," she bargains. 

Beatrice makes a vague gesture that Ava recognises as a yes before her gaze drops back to the instruction booklet, her finger curling the edge of one of the pages. "I suppose. What do you —"

"Got it!"

It took Ava an age to get Beatrice to smile in photographs without looking somewhat wary and pained — the pictures she has from the first few months of their friendship seem to suggest that Beatrice had a mild headache for all of it — but now, Beatrice smiles like Beatrice, even when there's a camera. 

[cont. on ao3]

[yellowocaballero]

I'd be interested in those writing shortcuts 👀 (don't feel pressured though)

Yeah sure! This is in reference to this and this posts.

These are all pretty 'fic style' stories, because they scaffold off pre-existing canon. It's like you're walking inside of a pre-built house and you're putting up new wallpaper and designing the rooms. Novel style is like if you're building the entire house. So these are really great for fun and if you have writer's block or have problems starting a story. They're also really good if you're practicing your dialogue, scene composition, characterization, etc - they are not good for developing skills on how to build the house, but if you're trying to work on actually making a readable story they're great methods to practice. They're also a lot easier to make good lol.

While writing these out I realized that they're almost entirely AUs. This is because I like AUs. You don't have to do AUs, you can adapt these however you want if you just like writing canon. Loser. Anyway, these are my low-effort stories:

A series of disconnected scenes that take place over a long period of time. If you have an idea in mind (or you just want to use the OG work's timeline), then you can show scenes or moments over a long period in time. For example, ages ago I wrote an AU story following the life of one character. One scene for 2008, one for 2010, one for 2012 etc.

Rewriting canon. If you have an AU idea or have a way in mind to change canon to something you think fucks harder, then you can use pre-existing episodes or season plotlines and just add your own flavor to what already exists. If you write for BNHA you aren't allowed to do this. That's the rule. How is all BNHA fic 600k AUs where one extremely minor detail is changed. God they're boring.

Alternate viewpoint/missing scene of a story you have. Like you can do this for canon too but that sounds super boring. This is actually something I do in order to help the quality of the main story - if I'm finding myself writing a super complicated character, I write another story about him from his POV to help give me a handle on him. Or write her parts of the story from her perspective. It's a writing exercise to help me figure out the character and it is also easy and fun.

"X Meets Y". Do you really like Legally Blonde? Do you think your favorite character being Elle Woods would be really funny? Stuff like that. Would it be really funny if your blorbo was Sharpay Evans? Yes it would be. Yeah I DID write a story many years ago that was "X meets Teen Beach Movie", why?

I don't know how many other people out there have extremely convoluted entire AU ideas, but if you have the whole AU in your mind then it is incredibly easy to write little stories or snippets from the AU. Like, so easy. A stand-out scene in your mind, the life of one supporting character, an alternate POV, whatever. Literally whenever I want to write something absolutely 0 effort whatsoever I go back to one of my 3 bugfuck stupid AUs and write something for them again.

This is actually something I think everybody should do, because it is basically how I learned story structure: find the trashiest, most formulaic genre you can. Watch or read something from that genre, or just collect genre conventions. Use the pre-packaged and pre-written formula to structure your own story and fill in the blanks.

(Also, these aren't very tropey or reliant on shipping/romance beats, which is nice if you want to get away from that stuff)

Nowadays, I find all of that helpful when I feel like doing something 0 effort. When I was a less experienced writer and I deadass did not know how to build a house, then these were really helpful for learning what wallpaper looks good and what arrangement of furniture creates good fung shui and what couches go best with that coffee table. They're also good passing. Seriously, these are like the most popular stories on my AO3. People eat this shit up. Why. They're so lazy.

IDK, these are what I do because they're the kinds of stories I like to write! What you find easy to write will be different. This is all a very personal list. I can see my personal thumbprint (no romance, AU central) really clearly. I'm kind of curious now: what are y'all's favorite low-effort, easy, fun stories to write?

Also as a heads up if your story doesn't have any sort of conflict in it, then it will actually very difficult to write. Trust me. Conflict makes you voom. Do it. Please. Love of god.

[carnal-lnstinct]

To Fly Apart, To Reunite

☆☆ Pairing: Raditz x Female Human Reader ☆☆ Content: au. redeemed and adventure-seeking!raditz and career-driven, former z warrior!reader. fluff. little angst. mutual love / pining. established romantic history. friendly teasing. light hurt / comfort. mostly dialogue. reader able to sense ki and fly. referenced dead frieza ☆☆ Insp: choosing career/individual journey over a relationship ☆☆ A/N: That trope jumped out at me and apparently it was for Raditz ♥ Raditz embraces his freedom as a saiyan while his love walks a separate path.

Yajirobe came through just in time. All the supplies were restocked and his minor patches to the structure had been fixed by the good Doctor Brief. Almost everything was ready to go. Raditz tied the small sack of senzu beans to his belt and started to board his ship to depart again.

"Leaving so soon?" Hits his ears before he could duck his head to climb inside his upgraded pod, a gentle, knowing smile growing on his face before he turned around to see you. Trimmed to the teeth in your professional attire and lightly huffing- did you run here for him? You must have masked your energy to try to surprise him, he thought.

"Yeah." Raditz answered, moving to walk back down the ladder towards you as he placed his hands on his hips. "Finally come to see me off for a change. Guess you decided to take me up on my offer?" He quipped. A hint of a conversation that felt distant from the time between then and now, he could make light of it and it made you smile bigger. You pursed your lips with a soft laugh, tilting your head to look at the spaceship behind him.

You shook your head, "Why, so you can finally crash this old thing with your bad karma while I'm in it? No thanks." You teased in return, the heel of your shoes clinking the pavement as you adjust your stance. You preferred your feet on the ground these days, even as uncomfortable as wearing these shoes after a few hours could get. But that is your life now. "I actually just got off work. Just making sure you're not trying to run out without attempting to say goodbye again."

Raditz gave a subtle, guilty shrug and turned his gaze elsewhere. "Guess that explains your outfit. I thought you had a different uniform or something."

"I got prompted a while ago!" You proudly announced. "Now I gotta wear this boring thing, but they're payin' me well for it." Laughing as you gave a little curtsey.

"Moving up in the ranks. That's good- That's what you wanted, right?" He congratulates you, then mocked how the outfit looks nothing like something you would have worn before. "It looks nice on you."

He didn't overlook your other comment though. Raditz didn't purposely drop back into Earth just to avoid you. It could be assumed from the last few times you both spoke, or attempted to after your agreed separation, that there was no true reason to seek each other out anymore. It was all too complicated and you were both too busy with yourselves for a long time to clean up the ugly bits of it. Perhaps the latter was on purpose. Raditz sought to venture into the stars for his own reasons, liberated from the dead weight he was forced to honor and do his own thing for a change. He wanted to see what the universe had to offer him and he had you to share in the glory of it. Eager to explore his new purpose for life with you. And you didn't. You couldn't.

The Earth is all you have ever known and everything you ever wanted, you found it here. You were fulfilled in every aspect of life you could imagine without leaving this planet. Your family is here, all of your adventures with Goku and the others were here, dangers overcoming you and conquered here, and love... it came from far away and found you here. You have responsibilities that need you now- No more or less than your love for Raditz. He's not an earthling so maybe it all came as trivial little things you refused to let go of. But he understood your sense of duty to remain where you are as you understood his desire to be more than what he is. It is your love and understanding that would not allow either of you to hold the other back.

Forcing this notion that it was now set in stone and could not be changed. Leaning into your choices to suppress the hurt, swallowing your pride, and allowing what will be.

In the end, you both got what you wanted.

"I know where to find you if a goodbye is all you wanted." Raditz spoke up to break the small silence and looked down at you as you wandered around to the side of the ship. "You said it yourself, you're not going anywhere."

"Actually, I am." You addressed casually. You look over to the surprised look on his face and explained further. "-Moving, is all! I'm moving. I found a place closer to work so I'll be moving there soon." Without thought, Raditz moved off the ladder and walked up to you ready to offer his services.

"By yourself? Who's helping you move all your stuff?"

"I got a guy."

"-A guy?!" He shouted and took a handful of his hair looking more worried at you for more answers. You could see every question he wanted to ask in his face and it made you snort. In a way, reassuring..

"You're worrying about the wrong stuff, Raditz. It's a professional moving company- A recommendation, even. I would never..." You caught your words and cleared your throat, pursing your lips again before nervously laughing it off. "Um, I'm just-... Not familiar with the people coming, but I trust Krillin's word."

Ah, then he has embarrassed himself. You catch the tinge of color in his face before he rights his posture and turns away to hide it. "R-Right, of course! That's good then!"

"Thank you." You giggled. It fell silent again and you figured you best not cling to avoid saying anything embarrassing yourself. "Well, I won't keep you. It was good to see you again, Raditz."

"-Wait." Raditz spun around, halting you in your steps. He reaches into the lining of his chestplate and pulls out a string, you immediately recognize it as a broken hair tie. Your brow furrows and you sigh.

"Another one? Seriously?"

"It wasn't my fault this time, it snapped in battle." He pointed out, watching as you swung your purse out in front of you and dug inside it. You wrap a ribbon around your finger and motion for him to follow you, walking up the inclined ladder of the space pod just enough that you could stand higher than he did. Raditz turned his back to you and started to gather up his hair. Once his larger hands held it all in place, you stretched the ribbon around, knotting it once and wrapping it again until you could secure the ends under. You smoothed his hair back with your hands and added a hair tie to held hold his ponytail in place.

"Here's an extra one, don't lose it." You dug out another one and reached over his shoulder for his hand to take it. Impossible for his larger fingers to not stroke yours as he did and they are still as rough as you remembered. You can only imagine what kind of trouble they find out there. Raditz's touch finds you again, resting on top of your other hand and surprising you when you realized it lingered on his shoulder a moment too long. Softly breathing, you pull away and move to sit on the ladder.

"Don't-... Try to keep out of situations you can't handle out there." You fiddled with your fingers in your lap, staring down. "If the Frieza Force really is still the problem you say they are, I know you can handle it. But ya know...Super Saiyan or not, don't get-"

"Now who's worrying." He interrupted you with a teasing grin. He won't pretend to know how you know what he's doing off-world, but he's sure the nosiest of Brief scientists has something to do with it.

"I mean it." You pushed, clutching your hands in your lap and looking up at the long ponytail before you. "I do worry, still. If anything was to happen to you... I don't know... If I can handle it, you know? You're out there all alone while we're all here on Earth. By the time we can do anything about it-" Raditz turns around to you as you wiped your face and sighed deeply. "We don't know what else is out there."

"Hm...Well then, that's enough for me." He turns his gaze up to the changing scenery, the deep orange sky shifting to shades of purple and blue. Earth, too, just as peaceful as he remembers it. "It's where I want to be. More like where I'm needed right now, really." Raditz turns back to you, tail swaying calmly behind him as he places his hand on your shoulder and leans over closer. "Just because Frieza's dead doesn't mean his influence and the scum still loyal to him are not a big deal. Someone's gotta clean them up. If anything out there is worse than that, then I'll have the tactical advantage over it on its own turf." He reassured, tilting your head up to look at him.

There was more than enough standing forces on Earth to deal with anything that slips by, including Kakarot and Vegeta, so he could handle the rest. The known threat to the universe.

"Wait a minute- are you thinking little of me again? I'll have you know my power has exceeded beating the crap out of Frieza's pathetic leftover minions." Raditz playfully jeered you, flexing his other arm to show off for you. You couldn't help but laugh, reaching to hold the bulging muscle in both your hands.

"I can tell." You agreed. Jealous that saiyans could do the bare minimum and maintain such a marvelous physique, but even improve little by little from it too. Something out there is keeping him in shape. To tease further, you poked a finger into the side of his armor. "You even look a little chubbier since I last saw you. My little Raditz is still growing. I'd up the gravity in there if I were you."

"Hey!" Flashing his temper as he swatted your hand away, making you burst out laughing harder.

"Kidding! I'm sorry, I'm sorry!" You pleaded through your unflattering laughter trying to calm yourself. Leaning against him as you did so. "It's just... you've really grown. I'm proud of you, Raditz. Proud that we seem to be right where we want to be. We're alright."

"Yeah...we are." He smiles, taking hold of your hand. That grip made you want to spill your whole heart, but you clutched it all inside tight. Something in his lingering gaze set your nerves at ease. And yet, you are tempted to live in the comfort of the past again. 'I miss you', you wanted to say, 'I want to take it back'. You wanted to feel his lips without asking just like before.

Instead, you pull yourself away and slide off the side of the ladder onto your feet. "Well, I've embarrassed myself for the day. I better let you go. I do have to get ready for work tomorrow." You quickly step away from the ship, just enough to not be completely in the way when it takes off.

Raditz, clutching his empty hands, floats back up to the ladder and returns to the threshold of the ship. He looks back over his shoulder toward you. "You know I'll be back when it's all over!" He shouts.

"I know!" You called back, smiling warmly. "I'll be waiting! We will be seeing each other again soon." You waved him off. "Kick some ass in the meantime."

Raditz smiles over his shoulder and ducks into his pod. "You too."

[lavender-sunhaven]

So how do we feel about that update

because I'm obsessed

Sheds are changing my life. This is exactly what I wanted. I'm so happy.

(this got really long so I'll put my thoughts under a read more! spoilers for, the update I guess!)

I am speedrunning sheds immediately. I have already found some places to set them up and figured out how I can fit my entire crafting operations into 2 sheds. Now I just need to move over all the stuff in the chests in my one barn so that I can replace it with the shed and put the barn elsewhere.

Then I can use shed 3 for storage as I've wanted so badly so I don't need nearly so many hecking chests everywhere. Shed 4.... I actually don't know what I'll use it for yet. I actually have options! Maybe I will dress it up like a cute little room, or keep some of my pet collection in it, or fill it with stuffed animals, or see if I can make a cute little flower shop like Lavender would want.... I'm excited. I have options again. And assuming I can find somewhere else to put my other barn, that opens up a lot for me.

Also the barn upgrades are great. They don't take up any more space than before, they look cool, sure they give me more junk that I have to remove to fit more animals in but that's always the truth so it's neat. Now I have... ladders I guess. But I can store them in my shed!

But also. Nel'Vari barns. I am. SO excited

the moment I saw. that they had added in a frog barn animal. I knew. I would need Nel'Vari barns immediately. I love him I need 10 of these things right now immediately

All the new animals are so cute! I'm excited to get stuff set up so that I can put them places and gain their resources.

To that end, though, I realized that Nel'Vari barns were going to require me to actually do Progression that I hadn't done yet (because so far I hadn't really found anything I wanted that required Nel'Vari mines stuff. I knew I wanted to get there sooner or later, but just... didn't need to yet). I have a fire under my butt again and I'm actually making progress which feels amazing. Trying to seriously manage multiple farms is going to be a problem but what I really need to find a spot to do a massive amount of wheat production which will help with all the barns. It'll be complicated, but I'll figure it out.

uhhhhh oh yeah more RNPCs happened. They're cool! I like Kai, I've met him and I like his stuff so far as I've seen it. I haven't met Vivi yet but I can't WAIT to forcefully befriend her. Wesley is... Wesley. I'm happy for him. I'll befriend him eventually, probably while I'm in the middle of running around Nel'Vari doing mine stuff.

The house customization I haven't been able to play a lot with yet but I will more when I have my sheds figured out and money to waste. Playing Mix and Match should be fun, and I'm glad they're planning to put out more in the future! Even more stuff to look forward to~

Also now sometimes ghosts come and water my crops and I love them. Me and the ghosts are buds.

But also... this list... ohhhh man this list. I love this list. I'm p excited for most things on it but ESPECIALLY Farm Structures and WG and NV fruit trees. I LOVE fruit trees. I have a whole orchard section on my farm. Passive income is my JAM. Black market? Birthday? MORE RNPCs? I'm looking forward to all of these so much. Race-based dialog I know is something a lot of players have been looking for for a long time so I am interested to see how that gets put in! More dialog is generally good and they seem to have the personalities of the characters pretty well in hand so hopefully they'll just be fun fluff things and Lavender will finally be able to relate to Kitty and Catherine and they'll be best Amari buds forever (And then with Vivi too!)

Anyways I just wanted to spew my thoughts everywhere for a bit because I've been having so much fun again. Tell me your thoughts! Anything you don't like? What do you want to see in the future?

Bonus: Claude continues to have a hard time fighting the vampire allegations.

[transgenderer]

If you had to guess, would you wager humanity will end up as a hivemind? For a long time I considered this the most likely future, and felt frustrated the sci-fi rarely seemed to portray it. In fairness I don't think it makes sense for all of humanity to be a hivemind in e.g. an interplanetary civ, because of the slow speed of communication. Maybe a collection of local hiveminds that periodically sync data and goals. Of course you run the risk of one of these local minds going rogue (cancer).

Anyway, here's one dystopian scenario for how this might happen. I figure that once robust mind-control tech is developed, it will be in the interest of whoever is in power to fit everyone with it. I'm thinking like a chip that makes you follow whatever orders are issued to you through it. This seems like plausible tech to be developed in the next few centuries. Anyway, what could possibly be better than having subjects absolutely bound to your will? So every government will want to fit its citizenry with these.

Of course that will be hard to do, since no one wants a mind control chip. Presumably it will start with government agents themselves, who will have to consent to be fitted. Then maybe people seeking high-level security clearance. Once the leaders controlling the chips are hooked into the mind-control network, you have to stop imagining this network as a group of humans and imagine it as a new being, misaligned with the goals of pretty much any individual human.

There are various ways the chips could be smuggled into the minds of the whole population. First through e.g. embedding it in a consumer chip meant to enhance cognitive performance or whatever, which becomes de facto mandatory to get a job, that kind of thing. Then possibly by just requiring all newborns to be fitted with it at birth.

Now, maybe this new being has a totally hierarchical structure, minds at the bottom commanded by minds at the top, but presumably if you want to harness the computing power of the minds at the bottom you need to give them some way to send information back up the chain. And so you've got some kind of complicated, networked hivemind.

Maybe different countries, or idk, different corporations, or whatever, each develop into their own nets and fight it out. One way or another you end up with one or several massive hiveminds instead of a collection of individual humans.

Anyway yeah. This seems like a more plausible future scenario than any kind of space opera shit, just on the grounds that it seems much more technologically feasible and there's a clear incentive structure that could lead to it occurring. But I don't really know. I think some sci-fi work should at least attempt to deal with a scenario of this type, though. Probably hard because, like, how do you write a hivemind?

hmm. i mean, space opera shit isnt really technically feasible at all, this is true. but im not sure how much sense hive minds make? like, you could totally have non-human hive minds. but the human brain isnt programmable, its like one of those purpose-built chips. even if you had a ton of them, and you could connect them, stringing them together wouldnt be very useful, because theyr enot optimized for that purpose. surely if were short on computation power and we understand the human brain well enough for a BCI we can just build computers. also like, if we understand human brains that well, we can probably just build robots? robots are way worse than humans now, but if were positing futuretech, idk that they always will be?

but also, i have no predictions about the future of humanity. i have no sense of what is plausible, just what is implausible. i think probably there will still be mostly unnetworked meat-humans for tens of thousands of years. but maybe not! idk

[made-nondescript]

Lore guy anon returns! With question answers! (I love answering questions so feel free to ask any)

The whole him traveling thing is. Complicated to explain due to a big giant piece of worldbuilding I did that is, basically, long story short: oopsie! The fae realm is all over the ocean now and it's messed up almost all sea travel! (The pirates (or at least their captains) are fae, don't worry about it its a whole thing)

But it basically means that when people leave the continent, they aren't really expected to return. Doing some worldbuilding on the spot (since your questions have revealed where this backstory idea conflicts with the family idea), maybe Scott's parents croaked (since I just haven't bothered with them so might as well shove them out of the picture) and that's what prompted scott to go on his travels, cuz ya know might as well see the world. I've also given him vague sisters (sisters to contrast qith the brother he had in xornoth in s1) that also left not long after him, siting better opportunities outside of chromia and the continent as a whole.

(((Oh wait I just remembered he's mentioned his parents (as his dad was where he got the hat from, and he was a traveler as well), so maybe that's also why he decided to leave. He also prolly saw most of the continent on family trips and such, so beyond was the only place to go that would be new)

But scott eventually did return (after being literally robbed blind), and became the talk of the town because of it! With the sisters being a useful writing thing to show that aspect of the culture more directly, because like. They haven't come back. Most don't.

And again on 'questions providing useful jumping off points for building', I haven't got much for the family fueds (I'll have to make the families and their fueds first. I've been on holiday so I haven't quite managed to), I imagine scott, now an adult rather than just a child hearing gossip, prolly doesn't see much of it. He'd be like, the last member of that branch of his family, so he can kinda do what he wants. But since he became Important by happenstance, the other families might even try to get in his good graces, get him to agree with them and get trades and allies that favor their laws. Weither or not he's aware of their attempts, who knows, not me! (yet).

Also on the topic of his family, the llamas are less a chromia thing and more a smajor family thing. I say this cuz i find the llamas being more a scott thing to be halarious, but like theres still a whole park dedicated to them. Although scotts definitely particular about the llamas, in a very rich animal kid kind of way. Like, say, when the bar needed a new barkeep, scott was all like "Oh! Owen could do it!" "Good! Who's Owen?... scott that's a llama..... eh ya know what, better than our last guy!"

Also I'm liking the idea that the whole no central leadership thing in chromia is a big source of pride. They don't need someone to order them around, they can simply come together to agree on things! They ignore how the Important Families are still a similar concept (although again on pride, those families also tend towards making sure that they care for their communities. If they aren't, they aren't being proper citizens! And if they become cruel, the people can always just. Stop listening to them, due to the structure of the laws and all that. (Obviously a bit more complicated than that but yeah))

This ask is even longer than the last :D! (Haven't even mentioned the ancient capital!!) But like feel free to answer more questions. For other empires I also have some slight stuff for Sanctuary (although it's more in how it relates to the other empires), I've got some concepts for Stratos (and how it contrasts the other empires, including its nearest neighbor, in both local and culture, chromia), as well as two seperate ideas for tumble town??? One of which, the more recent one, I believe was prompted from musing on your blog! (Like tumble town being a gold rush town who's mines have run empty)

FAE PIRATES OMG... that is very unique. I really dig that and the idea that like, leaving the continent is kind of expected to be the end of you. Scott's whole eye situation very nicely compliments that attitude towards venturing off continent too, because he may have come back but like, at a cost.

The llamas being a Scott thing IS so funny I love that. They just like their llamas okay!! the real question is whether the whole family treated animals like they're capable of human tasks or if Scott is just Weird. EITHER way, Owen would have to be very well trained to stay behind the bar for a suitable amount of time! so! Scott's affections are not misplaced.

Imagining in this society that the affluent families kind of apply pressure on one another to be good maintainers of their communities as well. Like it's a status symbol or something to have a particularly well cared for community.

Which, on the subjects of communities being clustered around the more affluent families, does that mean that Scott's family (or rather, Scott and his sisters?) was kind of negligent by leaving? Regardless of responsibility - if any - to their community, did they (temporarily or permanently) redistribute their resources before doing so? Was somebody else in charge? Maybe dynamics vary a lot between communities (which would no doubt be infuriating to foreigners). Did they simply not amass very much in the way of traditional resources? Ohh maybe their affluence comes from a non-traditional source, due to their travels.

Additionally, on no centralized leadership being a point of pride: I can imagine that getting very frustrating for Scott very fast. Not that he wants to be leader or anything, but he's basically being made to do the job of one without having the power to actually make decisions. So someone from another Empire asks him a question and he just sighs and says he'll get back to them after the 5 to 25 business days it takes for everyone to chime in on the issue.

These are so awesome thank you for sharing!!! All of those ideas sound wonderful frankly!!!! Specifically staring really hard at what you said about Stratos and Tumble Town omg ??

[kozykricket]

Minecraft Thoughtdump: The Paint and The Canvas

This is a fairly unstructured ramble about my opinions on minecraft world generation.

So, off the bat... 1.18 was possibly the best minecraft update ever. while for a lot of people it may have been saddening to see C&C split into two, it was for sure for the better. A lesson of over-scoping was learned, and yet the update still reached its potential fully! Its insanely impressive how much 1.18 did. I remember being there during the experimental snapshots, with henrik (who has now left the team to pursue more) leading them, he was asking for feedback everywhere! I remember seeing a discord conversation someone had about the distribution of dripstone in the cave biomes Overall, it was a fantastic update. It truly shows the iteration and feedback process at its finest. How glad I am for 1.18... But to recap what 1.18 did for the sake of this post - one of the most notable things is that... we don't have "hills" biomes anymore. we just have... hilly terrain! heightmap and biomes are separated now, with them somewhat having influence on eachother but overall being completely separate things. This makes for a lot more variety in terrain shape! Its especially noticeable in single biome worlds, just how varied the terrain can be in a single biome.

However, I do think this is merely the beginning of a minecraft 2 of sorts. I think its fair to look at the heightmap and placement of biomes as the "canvas" that is painted upon, and the actual biomes themselves and features, from the grass to the trees, to the rocks and the flowers... as if those are all the "paint" Do you get what I'm gettin at? I think now that worldgen was torn out and redone entirely, we have an amazing canvas to work with. Truly, so many things can be put on top of it

But alas, the paint is still not quite up to date. Its like if you replaced a wall in a house that was crumbling down and pretty weak with a fantastic new wall, but kept the same faded paint color on it... Still works as a wall! its just... wouldn't it be nicer if the paint was also redone? That's what I think minecraft needs. I think oak forests in particular are an example of this - they're still the same trees as they were in alpha. I think the general shape is too iconic to change, but more height variety would at least be nice! More boulders, ferns, ponds!

Here's where my biggest idea comes into play, though. You know how they got rid of hill biomes because they were made redundant with Fancy Heightmap Technology? Well what if... we made biomes like old growth birch forests and sparse jungles redundant? What if... tree density and height was based on random noise? Imagine... every forest you find has a different variation of height, of density... some forests you find are towering and dense as heck, but some are fairly sparsely placed. Some, a nice inbetween... It would make multiple instances of the same biome far more unique to come across. Apply it to tall grass and flowers too, and you truly have an insane amount of variation The cherry on top would be for forest clearings to occasionally generate, with boulders or ponds, or big stumps in them... Also, fallen / hollow logs thanks Of course, this is all way easier said than done, and its clear mojang has different priorities currently, and... well yeah, its a lot more complicated. Worldgen is hard to make, and its even harder to make everyone happy. They don't want to break old worlds, they dont want to break expectations, they want to deliver quality...

Mojang are not the bad guys, despite so many people thinking that. Minecraft ideas academy on youtube has some good videos on the subject.

Anyways, i think we are merely in the beginning of the new age of minecraft worldgen. I don't think 1.20 will be quite it (I think 1.20 is a FANTASTIC future for minecraft though still thats my next post. and then a post about structures)

If we think of the world as a canvas... and the trees, grass, flowers... all of that as the paint? Well, I see a bright future for Minecraft

[marvelmusing]

Making Time

Mobius M Mobius x Reader

Part 2

My Masterlist

“1985, huh?” You say, looking up from the briefing Mobius has just handed you.

“Yeah, maybe we’ll spot a delorian?” He jokes, making a Back to the Future reference. You smile at him, remembering when you’d first mentioned the movie. You hadn’t been at the TVA long, to your knowledge.

You’re sat in one of the cafes, explaining something about the timeline to Casey, and you make an offhand reference to the movie. To which, Casey looks even more confused. You glance at Mobius, who’s been sat next to you, watching your teaching with a smile. You offer them both a small smile, at yet another reminder that you’re from somewhere very different from the rest of them.

“Neither of you have seen it have you?” Mobius shakes his head.

“Not a lot of chances for watching movies when dealing with the timeline. Should we get the chance, I’d love to.” It’s a few days later when you give him the chance.

“Honey, I’m home.” You hear Mobius call out, which brings a smile to your face. Whilst you had your own apartment, you much preferred staying with Mobius, like you did when you first arrived at the TVA. You hear him set down a pile of papers in the kitchen, before making his way into the lounge where you’re sat waiting for him. “Hey.”

“Hi.”

“What’s all this?”

“Back to the Future. I went through my file, and managed to find a version that I watched that was uninterrupted. Then I isolated it, and copied it onto one of those cassette reel things, so that it’ll play on your mini projector.” You pause, before adding, “I probably put too much effort into this but, I thought we could have what my time considers a movie night?”

“A movie night?” Your face falls slightly, feeling embarrassed by your suggestion.

“We don’t have to-“ you start. He shrugs off his jacket and settles down next to you.

“Did I not tell you I wanted to watch it, should I get the chance?”

“Well, yeah.” He gestures to the projector.

“Let’s get this show on a roll.” You grin at him, before quickly pressing play on the projector. Mobius leans an arm on the couch and pulls you to his side. “You finally have clearance to access to your file, and you use it to watch Back to the Future?”

“What else was I supposed to do with it?” You joke.

You and Mobius head to the cubicle where you left Loki this morning. You spot him wapping against the desk with a magazine.

“Training going well?” You ask him. He leans back in his chair, attempting to look casual.

“Yeah.”

“Is that my jet ski magazine?” Mobius asks him. “Put it down. Gear up. There's been an attack. Let's go.” He hands Loki the jacket he’s been carrying. You set the briefing down on the desk, and follow Mobius. Loki trails behind you. “Put it on.” Loki shrugs the jacket on, adjusting the collar before posing.

“Nice.” You tell him with a smile.

“Good. Yeah, smart.” Mobius says distractedly. You soon reach the Timedoors, where a small group of hunters have gathered to wait. B-15 opens up the briefing.

“C-20 and her team went dark shortly after they jumped into the 1985 branch. All signs point to another ambush. We've grabbed enough temporal aura to know it's our Loki Variant. But which kind of Loki, remains unknown.”

“They're the lesser kind, to be clear.” Loki specifies. B-15 sighs,

“Let me see the back of that jacket.” Loki does a small turn, showing the group the back of his jacket, where the bright orange letters reading VARIANT stand out. Everyone is the group shares a small smile. You’re glad you don’t have to wear one of those anymore.

“Very subtle. Well done.”

“I don't want anybody out there to forget what you are.”

“Oh, your only hope of capturing a murderer?”

“No. A cosmic mistake.”

“That's enough.” Mobius interrupts.

“Lovely.” You hear Loki murmur.

“Here's the deal.” Mobius begins. “When we get out on the branch, we're not just looking for a Time Criminal. We're looking for a Loki. A variation of this guy. A type we should all be very familiar with, because the TVA has pruned a lotta these guys, almost more than any other Variant.” He skims through a few of the Loki Variants that the TVA have caught before. “And no two are alike. Slight differences in appearances, or not so slight. Different powers, although, powers generally include: shapeshifting, illusion projection, and my favourite-”

“Duplication casting.” Loki interrupts

“Illusion projection.”

“No, they're two completely different powers.”

“How?” You ask him.

“Illusion-projection involves depicting a detailed image from outside oneself, which is perceptible in the external world, whereas duplication-casting entails recreating an exact facsimile of one's own body in its present circumstance, which acts as a true holographic mirror of its molecular structure. But you already knew that.” He explains. You catch a glimpse of Mobius’s smirk before he says,

“Okay, take a breath. Noted. We're gonna break into two teams, including myself and Professor Loki.”

“Why?” A hunter stood beside you asks.

“Because whoever this Variant is, we haven't been able to find him. So let's bring in an expert.” Loki looks around at the group before adding a quiet,

“That's me.”

As the hunters prepare themselves, you hear Loki ask, “Do I get a weapon?” You laugh lightly,

“No chance.”

“Well, I'll have my magic back. Is no one concerned about that?”

“Of what?” Mobius asks.

“Me betraying you.”

“No.”

“Why not?”

“You know that we’ll just catch you again.” You tell him.

“And how's betraying us gonna get you any closer to the Time-Keepers?” Mobius adds. Loki leans forward, his attention fixed on Mobius.

“An audience with the Time-Keepers is on the table?”

“Keep that focus.” Mobius tells him. The three of you follow the hunters through the Timedoor, and out into 1985 Wisconsin. Your group makes their way through the crowd of the Renaissance fair before entering a large tent. It’s dark inside, with only a few lanterns to light your path. You watch as B-15 bends down to grasp examine a helmet left abandoned on the floor.

“So he's taking hostages now?” She says, turning to Mobius.

“The Variant's never taken a hostage before.”

“Maybe he's upping his game.”

“Or he pruned her.” One of the hunters remarks, you frown at his callousness towards his colleague.

“A Loki couldn't have gotten the jump on C-20.”

“I think you underestimate, actually...” Loki begins.

“Fan out and search for her. And hurry up, we're at three units until red line.” B-15 orders. Mobius sets a hand on your arm, and the two of you head to the exit.

“Come on.” He says to Loki.

“Wait. If you leave this tent, you'll end up like them.” Mobius stops beside Loki.

“What do you see?”

“I see a scheme, and in that scheme, I see myself.” Loki begins to ramble about an old Asgardian saying.

“Two units. He is wasting our time.” B-15 interrupts.

“Okay. Come on, Loki, make a long story short.” Mobius encourages.

“We need to look for C-20.”

“That's exactly what the Variant wants you to do. It's a trap. He's waiting for you outside this tent.”

“Should I secure the reset charges?”

“No. He wants me. I'm the key to his plan. He knows that I'm stronger. And he rightly believes that together we can overthrow and rule the TVA. But that's not what I want. I have a new purpose. I'm a servant of the Sacred Timeline. And knowing what I now know about his tactics, I can deliver you the Variant, but I need assurances.” He says, looking to Mobius. You glance up at Mobius, frowning slightly. Surely he isn’t believing what Loki’s saying? His eyes catch yours and there’s a small twinkle in them. You hide your smile. Loki circles around Mobius.

“Yeah?” Mobius offers.

“Assurances that I won't be completely disintegrated the moment the job has been done.”

“Right.” Loki leans forward, before whispering,

“We'll need to speak to the Time-Keepers at once. They're in graver danger than we realized.”

“He's lying. Just playing games. There's no one out there.” Mobius calls out to the group.

“Reset the timeline.” B-15 orders.

“You had me for a second. My ears are sharp too.” He points at Loki’s chest. You follow Mobius out of the tent.

“Well that went well.” You remark, hearing Mobius sigh. He runs his hand over his face.

You’re tucking into your lunch when you spot Mobius. He picks out a drink and a salad before making his way over to you. You give him a small smile,

“Hi.”

“Hey.”

“How did it go with Renslayer?” He sighs, leaning his head back, before getting comfortable in his seat.

“Well, our Loki hasn’t been deleted yet.”

“That’s good then?” You offer. He sighs,

“Yeah. Though he’s getting more and more talkative.”

“You did say he loves to talk. Where is he now?”

“I’ve left him with the archives, hopefully he’ll be reading for the next few days. Or at least long enough for me to finish lunch.” He begins to eat his salad. Just then, Loki scampers in looking like a manic puppy.

“I found something.” Mobius shakes his head, keeping his attention on his lunch,

“No, I said don’t bother me until you've read all the files.”

“I have.”

“Every file?”

“Yes.”

“Pertaining to the Variant?”

“The answer isn't in the files, it's on the timeline. He's hiding in apocalypses.”

“Which apocalypse?” You ask.

“Any time in history? There's, like, a million of 'em.” Mobius adds.

“Ragnarok. Are you familiar?”

“Yes. The destruction of Asgard and most of its people. I'm sorry.” Loki pauses looking down.

“Yes, very sad.” He immediately perks up again. “Anyway, it got me thinking. Nexus events happen when someone does something they're not supposed to do, right?”

“Well, it's a little more complicated, but, yeah.”

“Great. And then that thing they're not supposed to do, cascades into a whole range of other things that aren't supposed to happen.”

“And so on and so forth, until eventually, a new timeline branches. Yes?”

“Chaotic alterations of a predetermined outcome.”

“Exactly. So, let's just say...” He picks up the salad bowl from in front of Mobius.

“Mm-hm. What are you doing?”

“...your salad is Asgard in this scenario.” Loki continues.

“It's not Asgard, that's my lunch.” Mobius complains, the pouting clear in his voice. You lean forward, a hand on your chin to hide the smile at Mobius’s reaction.

“It's a metaphor. Just hang in there.”

“I want that salad.”

“And I could go down to Asgard before Ragnarok causes its complete destruction and I could do anything I wanted. I could, let's say, push the Hulk off the Rainbow Bridge.” He picks up a salt shaker and puts a large sprinkling of salt across Mobius’s salad.

“There he goes.” You say, feeling rather invested in this metaphor.

“The salt's Hulk?” Mobius asks, clearly not as enthusiastic as you.

“And I could also... Set fire to the palace.” He picks up a pepper pot and shakes the pepper across the salad.

“No, just stop. Don't set fire to the palace.”

“Okay? I can do whatever I want to do, and it would never matter. It wouldn't go against the dictates of the timeline because...” He sets down the shakers after nearly emptying them both. He heads to the table behind you. “Excuse me?”

“Oh, God!” Mobius sighs.

“You!” Recognising the voice you look up to see Casey looking very confused.

“Nice to see you. I just need this for a second. Thanks.” Loki picks up Casey’s carton of juice, before sitting back down at your table. “Because the apocalypse is coming. Ragnarok, Surtur will destroy Asgard no matter what I do.”

“No, don't do...” Mobius sighs as Loki empties the carton over the remains of the salad.

“There's the apocalypse.” You say with a sigh, offering Mobius your bag of chips.

“That's the apocalypse?” He asks, taking a handful of chips from you with a smile.

“Ragnarok obliterates the salt. Ragnarok. There it is.” Loki gestures to the ruined salad with a proud smile.

“What am I lookin' at?”

“Okay, it was a clumsy metaphor. But you see what I mean. It doesn't matter. It could be any apocalypse. It could be a tidal wave. It could be a meteor. It could be a volcano, a supernova. If everything and everyone around you is destined for imminent destruction, then nothing that I say or do will matter, because the timeline's not gonna branch. Hence, the Variant could be hiding in the apocalypse and do whatever he wants, and we wouldn't know!”

“Not bad.” You offer.

“Take me to a real apocalypse, to Ragnarok, I'll show you.” Mobius chuckles,

“Yeah. So you can run away back to your homeland? No.”

“No, I'm not going home. We can go anywhere.”

“I'm not taking you for a stroll along the promenade, much less an apocalypse.”

“Oh, Mobius, come on! What could possibly go wrong? We gotta properly test this theory.”

“Well, here's a fun theory. You lure me out into the field, and stab me in the back. And that's a theory I don't wanna test.”

“I'd never stab anyone in the back. That's such a boring form of betrayal.” He most definitely would stab someone in the back.

“Loki, I've studied almost every moment of your entire life. You've literally stabbed people in the back, like 50 times.”

“Well, I'd never do it again, because it got old.” You both laugh at this. Mobius looks at you, and you shrug.

“Might as well try it?” You offer. Mobius nods,

“Okay.”

“Okay, look, you don't trust me, you can trust one thing. I love to be right.” Loki adds. That certainly isn’t a lie.

Tagslist: @n0obmaster69 @mackycat11 @wibblywobblyjeremybearimy @boriqs @morganwilliams @greeneyedblondie44

If you’d like to be tagged just ask!!

[destinationtoast]

fic progress/thoughts

Holy crap, this week has been a week. You know what I'm gonna do about it? I'm gonna edit my fucking story and take solace in my fucking blorbos! Fuck yeah. :)

I'm also gonna talk more under the cut about what has been making this longfic so interesting to write/edit structurally -- kind of like constructing a complicated puzzle -- but also so difficult to start posting. Knowledge of canon is unnecessary.

If you have been reading some of my posts about this ridiculous accidentally huge fic and wondering what the deal actually is with the structure, here's a quick sketch of it that anyone should be able to follow (minor spoilers, but I don't think they're likely to surprise anyone):

CHAPTER 1 -- Blorbo 1 POV (J):

J's early life (childhood to canon)

J's POV on canon events (including additional scenes)

J's POV on initial revelations + threesome + immediate aftermath

CHAPTER 2 -- Blorbo 2 POV (R):

R's early life (childhood to canon)

R's POV on canon events (including additional scenes)

R's POV on everything post-canon that J already covered

R's POV on early relationship negotiations

R's POV on second threesome + immediate aftermath

CHAPTER 3 -- Blorbo 3 POV (K):

K's early life (childhood to canon)

K's POV on canon events (including additional scenes)

K's POV on everything post-canon that J+R already covered

K's POV on further relationship negotiations

K's POV on third threesome + immediate aftermath

Despite how it sounds, chapters 2 & 3 are not supposed to be incredibly much longer than chapter 1. In part that's because chapter 1 has a lot more to fill in about the events of canon than the other two chapters (since (a) J gets less screen time in canon, and (b) canon set Blorbo J up with a redemption arc that felt underdeveloped to me, so Chapter 1 does a lot of work to flesh that out). Also because each character's perspective on the previously discussed events gets briefer; my goal is for each character to only emphasize the bits that reveal new info and/or are particularly important to them.

EPILOGUE:

Thankfully happens after all the rest and is brief, whew

So what was the original seed idea for this story? Well, it was initially just going to be a single scene with some post-canon revelations + threesome (though that threesome was going to contain some elements from each of the sex scenes in the current version). Like ~5K words, maybe.

Then I decided I really wanted to flesh out J's canon arc more and explain more stuff from his early life as well, because that was going to make the final scene so much more satisfying. Oops, 15K+.

And then I came up with an additional interesting wrinkle for the characters to work through, and I decided that I actually wanted to have POVs from all the characters. In part because writing multiple POVs on the same thing is highly in my wheelhouse. Oops, 50K+. :D

With three highly overlapping POVs (and canon overlapping all of them), I spend a lot of time thinking through the same scene from every character's perspective, figuring out exactly who should reveal what information. It's like trying to construct a big puzzle and working to make all the the pieces fit together as elegantly as possible. Edits to one piece often affect all the rest. And it's really hard to keep the whole complicated thing in my mind at once and make sure that it's globally consistent.

At this point, I've drafted everything, and I have revised the first ~2.5 chapters (the first two chapters a couple times each). But as I revise the final chapter, I keep having to revise the first two more. So I've kind of given up on the idea of starting to post the beginning before the end is nearly done. At this point, it's to some extent self-torture... but it's also very much my kind of fun challenge. :)

[deafeningwizardsquare]

An iconic duo sharing a moment while people IT'S TIME TO TALK ABOUT SEASON 3.

As many of you may assume, this is definitely a Quidditch stan account. I adore the storyline, the characters are liveable and funny, Orion & Murphy & Skye are the true definition of "iconic", the dialogues are catchy, definatly my gallery is going to kill me one of these days for that and even if it's not free from the infamous plot holes and (in)famous presence of questionable people inside I'm fine with the final product.

So fine that I decided to restart again just for the Quidditch.

Lies, I have four account. Felix won't kill me if I spend most of my time with the Slyterin route in a Quidditch camp instead of, you know, earning house points.

The first two seasons had their strong sides (such as the characters's structure, a genuine good plot and an impressive mature way to talk about really huge things) such as their weaks (Ethan Parkin, Ethan Parkin, Ethan Parkin, way too much drama, SKYE, Rath'a logic that sometimes went on a vacation on the Maldives, Murphy and the zoom, Orion and his murderous Orionism and of course Penny that is everywhere at anytime) but season 3 is a big interrogative.

Is it good or bad?

Well, let me tell you: well but not so well?

Starting from the fact that this was supposed to be the season in which it is essential to test yourself to achieve a purpose and how SKYE HAS STOPPED BEING THE MANIAC OF THE VILLAGE(SCREAM!)

There are some weird stuff (no sense could just be a good synonymous but it fits better "boring") and honestly they are making me turn up my nose.

A lot.

The premises were objectively excellent and I will tell you, although they recycled the mechanics of "atomic bombs did much less damage than Erika Rath's bludgers" it must be said that the plot pretext was used well (hitting the captain it surely is a best plot twist than Skye's rips, it gave me a better impact and surely is a practical way to showing at the player what you are going to focus this year) because when the poor Orion made a presumably fatal fall (but it's the magical world of Hogwarts Mystery so let's avoid serious considerations) we could see that yes, Skye's development was a little bit too fast (with that genre of father with a certain mentality clarly the matter deserved a more concrete action on the material level of events but Skye remains human and the way of managing all that emotional tangle that the dear daddy had kindly offered her is justifiable since the method with which things are lived changes from individual to individual. Whatsoever if we consider that a conversation like the same that MC had with both father in daughter it's the deus ex machina of the TLSQ, show must go on, staying another second hearing Skye's existentialism's crisis could have ruined the mental stability of the palyers and we needed to move on for delevelopments it's fine. Rushed but fine. For who is Skye it can work) but effective thus allowing a relaxation on his part both towards Erika (best girl since forever) and towards Orion (some of their interactions are pure GOLD, the scene of the infirmary is one of these).

Above all seeing the team falter was a touch of class.

Funny how for Orion's sake everyone was ready to murder someone from the Rath's team and dying for the motherland while when the same thing happened to Skye nobody cared.

AT LEAST WE KNOW WHO IS THE TEAM'S FAVOURITE.

Good also the disciplinary measure from Madame Hooch (GO AND DO THE RESPONSIBLE ADULT THAT IS MISSING IN THIS GAME YES), nice to see Erika and Skye in the Great Hall doing the chores for detention "cinderella's style", good the secret-not-secret (as everything in this game DUH) and good that MC has embarked in his journey to obtain the leadership with your favourite partner in crime.

They give me "Mark Antony & Octavian" vibes.

Speaking of Skye and MC and since only now Murphy is remembering having a spoken role, let's not forget the former absolute protagonist of the scenes!

ORION AMARI.

Although the season had started in tragedy Orion in the lower chapters was the same good looking guy with an Italian surname, the most piercing of eyes and an enigmatic aura.

But since "enigmatic" perfectly rhymes with "problematic" it's been 7/8 chapters yet he disappeared with his superpowers and comes back just for doing screen time and for the fandom with all of his mysteries.

What happened to him?

Now, THAT was sa good point to start. Because you know everything about Skye, Murphy isn't exactly a closed book and Erika speaks for herself, but Orion?

What we know about him expect the old "I'm parent free?".

The fact that he lost hus spark and that maybe this could be a new opportunity to discover something else it's intriguing. He was never an authoritarian leader BUT aware and responsible of his position. And this made him perfectly functional to his role. Because he was the original guide of a team that needed someone who would put some limit on Skye and managed well all the dynamics that have happened in the span of 2/3 years.

Guys, he faced Ethan Parkin (a little parenthesis but IS ALWAYS AT HOGWARTS? That is, sooner or later he will start to work or do they get stuck in the air and bludgers in the ribs?) he and Rath had had babysitting Skye for the whole second season while MC was there like "MIND MY OWN BUSINESS, MIND MY OWN BUSINESS, MIND MY OW- OH DAMMIT!" and now things are getting complicated because we don't have many chances to talk to him and his rather arcanic tone does not help to clarify.

How MC will arrive at the objective (presumably to be a captain) is important. It's personal grow and characters NEED this. But Orion too is growing in a completely new direction. Don't overshadow him for ANOTHER Skye' drama prototype please.

What happened to him is not up to us mortals but we can do some hypothesis.

Orion, dear, WHAT HAPPENED?

You have a crush for Skye and you're thinking to visit a doctor? Did Snape attacked you? Ethan Parkin is (sadly) real? They served you some pineapple pizza? Italy won the Euro 2020 but you cheered for England?

DID YOU NOT RECEIVE THE SALARY?

Hopefully the triology of "yeah let's make a deja-vu and let's show to the players that we remember the whole 'heart/mind' stuff and that we are COHERENT' will end soon and we'll move on. Again.

Sigh, for now they were two pretty boring chapters.

Or should I say, the training with Andre, MC under the guide of coach Erika that singed "I'L MAKE A MAN OUT OF YOUUU" between a near death from fatigue (as if we were in The Sims), Skye doing what Skye usually do so screaming at people for (YOU HEARD THIS SCOMING) reasons and MC trying the hero pose as he/she was in Miraculous Ladybug were nice sketches.

BUT.

IT WAS SUPPOSED TO BE ORION'S CENTRIC.

Give me a joy JC, and I'll may forgive you about all the messes that YOU crated in ALMOST four years.

:'l

[peachcitt]

okay, so style reference you say? I'm 👀

YES STYLE REFERENCE I SAY

this is going to be. a very long post i think with probably a lot of tangents and probably with a lot more thorough explanation than you could ever want but. here we go

because all of my theory/explanation posts end up So Long, i like to organize myself by keeping myself to a structure, and i also like to think if i put stuff in sub categories with bolded titles, people reading can skip ahead to the stuff they want if they're low on time or don't feel like slogging through everything. so here's the structure of the official Peach Style Reference Narrative

1. Early Days - how i started writing, my early inspirations, origins

2. Current Days - discussions of current style references plus examples and comparisons, discussions of original content versus fan content

3. Future Days - where i expect my writing to grow, trajectories i want, conclusory thoughts

without further ado, let's get into it!

1. Early Days

like i mentioned on the discord server, ive been writing creatively for. a very long time. i just turned 20 (like. literally today. we love to see it) and that seems very young, but i remember writing creatively when i was maybe six or seven, and before that i played with dolls a lot, which meant every day i was creating little narratives for myself. in addition to this - and this is probably why i started writing so young - i was (and am!) a very avid reader. i was that little jerk in elementary school reading chapter books and going into the older kids' section in the school library because i'd already mentally surpassed the books in the section meant for kids my age. so, basically, ive been writing for maybe 13 or 14 years at the least.

when i was young, my favorite books that i remember trying to copy in my own stories were: the magic treehouse books, harry potter, and percy jackson.

the magic treehouse

i honestly could not tell you which magic treehouse book it was, but i remember reading a specific magic treehouse book where the magic lady that left the treehouse for the kids sends the kids (jack and annie??) a note in distress, and she didn't get to finish signing her name because whoever had gotten her had interrupted her. it had been printed in the book with the ink on her name running.

i could not tell you anything else that happened in that book, but i can tell you that at some point in time soon after i read that book i started writing a story with an interrupted letter just like that. i loved the drama, the mystery of it all. i wanted to do something that was a little scary like that, a little exciting.

harry potter

harry potter isn't much of a style reference, but it was a huge impact of my childhood. truth be told i kind of hated the books when i was really young because i grew up watching the movies, and when i tried to read the books when i was in elementary school, the teenage angst that hits about book 5 simply Did Not make sense to me. i also find the language of harry potter to be super cumbersome, and sometimes it feels to me like the books are long just for the sake of being long. they have a huge cultural impact, but i feel the same way about harry potter's style as i do about dickens. cool and interesting, but, like, could you get to the point already? (and also my opinion of j.k. rowling has steadily been growing worse and worse over the years, for obvious reasons. harry potter is nostalgic for me, but i can't look at it now without thinking about it critically, which really lowers my opinion of it)

however, you could probably call my first fanfiction a harry potter fanfiction. i started it when i was maybe six or seven, and it was a rewrite of the chamber of secrets with my childhood best friend as the main character (she didn't know about it, i just had her as the main character because i thought she was cool). i of course never finished it, but harry potter probably did a huge part of planting that seed of magic in me. everything i want to write included some form of magic - although my perspective on what can be considered magic has steadily expanded over the years.

percy jackson

of all my childhood "style references" that still influence me to this day, percy jackson has got to be the biggest. for starters, it's magic. second, it's main themes are about friendship and family - things that i like all my stories now to always include. third - and most important - is the narrative voice.

in terms of narrative voice, percy has a huge personality. he's witty and snarky, but also very thoughtful and poignant. a lot of my early writing was in first person, and it's probably because of percy. also, percy jackson was the first fandom i really got into, and it was the first media that i started officially writing and posting fanfiction for. percy's voice is so clear and hooking, and i wanted to be able to write something funny and real like that.

also - chapter titles. the original pjo series is famous for its weird and hilarious chapter titles, and even though i didn't really start writing fics or stories that were long enough to need chapter titles until a while later, i loved the idea of putting in a chapter title that would make a reader laugh, or maybe even make a reader feel a little apprehensive about the events to come.

but back to percy's narrative voice. i loved that style, almost conversational, so much that i started thinking like it. when i wasn't doing anything, like walking home in middle school, i often found myself narrating my life in my head like percy would, trying to find that humor and spark in my every day surroundings. i still find myself doing that very often, but not necessarily in the classic pjo style. now i narrate everything in my head a little differently, but that practice narration in my early days really helped my shape my voice, i think.

other series i read when i was younger include: a a series of unfortunate events and the name of this book is secret. i don't remember seeing a lot of influence in my early writing from those books, but i definitely think the styles of those books hit me a little later, which i will talk about in the next section.

but, yeah. these were the big three of my childhood. i also read a lot of ya romance, children's mystery books, princess stories, and various types of fantasy, which i think you could probably tell from the genres i like to stick to now. except i don't write a ton of mystery because, as much as i admire the complicated plots, im not sure if i'd have the patience to plan all that out.

in terms of the rest of the genres, a ton of my earlier writing included classic ya romance and fantasy tropes - chosen girl, love triangles, angsty overpowered teens, etc etc. even though those kinds of stories are not necessarily the kinds of stories i want to write or read now, i think my early writing of those kinds of things was really valuable. it's kind of a dirty secret with finished or unfinished works generally considered 'cringe' - often that writer is a new writer, or they're trying something new, or they just haven't found their voice yet. all of those things are perfectly okay and normal, and a lot of people in the writing community preach that kind of thing, but i don't necessarily see people cutting new writers slack in actual practice. writing "overrused" tropes isn't cringe, it's normal, and, besides, what trope isn't overrused? people have been writing and telling stories for thousands of years - nothing is really new. what matter is that someone new is telling the story, and that's what makes it valuable.

so, yeah, a lot of my childhood writing is cringe to me now, but i wouldn't be where i am without it.

with that being said, let's actually look at where i am now

2. Current Days

im going to break this section down into two parts, sort of: original fiction and fanfiction. because i think both of these things have become really important to me, and i don't believe i personally could exist as a writer without one or the other. it's a symbiotic relationship.

we'll start with fanfiction.

my relationship with fanfiction is relatively positive in online spaces: i write what i want to see from media that i like, and i have fun doing it. i also get some comments on my fics by lovely people that detail exactly what they like - some even go so far to talk about narrative style, voice, or tone - and that's really helpful. generally, i see fanfiction not only as a fun hobby and vent space for my strong positive feelings about certain media, but also as a place for me to try new things, experiment, and earn positive feedback.

i don't often share my original fiction online (and if i do, never at the same scope as my fanfiction), so i don't get that same opportunity to see what "works" with readers. fanfiction gives me the space to see that, and i apply new knowledge ive learned to my original fiction. that's what i mean by a symbiotic relationship.

in terms of specific style references for specific fics (which is what i know you probably most want to see), i'll try my best to pick them all out and give specific examples.

those benevolent stars and i am the messenger by markus zusak

in my favorite book list, i saw you mention tbs, so i'll start there. to be honest, i had no idea what my style reference for tbs was when i first saw your tags, and i almost didn't think there was anything specific. style references are a bit sneaky like that - if you've been referencing for someone for a long time, it becomes less of an intentional reference and more of just a you think, so it gets harder to tell.

lucky for this post, i just finished doing my yearly reread of zusak's i am the messenger, and as i was reading, i noticed a few spots where i was like wait hey i remember doing that.

for starters, iatm has been my favorite book for about six or seven years now, so i would say that some aspects of my style certainly comes from zusak because of how much i love iatm but also his other books. zusak has this huge talent for writing short, punchy sentences that convey so much in just a few words, and i think i've ended up trying to do that in my own writing. often, in my writing you'll see fragmentary sentences such as "He stopped. Blinked. Looked at her." that's not from anything specific, but i know ive written something like that maybe a million times over. zusak doesn't do the same thing - often his fragments are jam-packed with imagery in a way that mine aren't - but there's a thoughtfulness in his fragments that are in mine, too. a sort of pause. a hint that there's thinking happening in the narrator or a certain character. for example, i did a quick flip through of my copy and we have:

"We stare across the table.

Just briefly.

At each other." (I am the Messenger, p.144)

so you see how my common sentence fragment of "he stopped / blinked / looked at her" tracks with a fragment like this? i like the way zusak broke up sentences to make you dwell on them a little longer, consider the importance of each section, so i started doing that wayy before i wrote tbs i think.

also, at the time i wrote tbs, i think i was in the process of, or had just finished doing my reread of iatm, and, like i said, zusak loves imagery. tbs is a very imagery-heavy fic. tbs was influenced by a lot of music - a lot of the scenes have very specific pieces of music that i wrote imagining the tone and vibe of. iatm also references a lot of outside media sources, mostly music and films.

there are a couple of scenes in tbs that i think i wrote specifically mimicking or accidentally referencing from iatm. for example, we have this scene in tbs:

"It was almost like he could feel Marinette’s eyes on his back, steady and gentle. 'But you still love her.”

'Yeah,' Adrien said quietly, 'I still love her.' His eyes moved along a streak of purple that bled into a dark blue. 'I hate her a little bit, too.'

Marinette was silent.

He turned around, giving her a smile." (Those Benevolent Stars, chapter 3)

and this scene from iatm:

"'Do you hate me, Ed?'

Still stupid with bubbles and vodka in my stomach, I answer. Very seriously.

'Yes,' I whisper. 'I do.'

We both smack the sudden silence with laughter." (I am the Messenger, p. 233)

obviously there are differences, and i don't think i did it on purpose, but the interaction is very similar. i love the gentle intimacy of that scene in iatm, that weird complication relationship between the main character and the person he loves, the hurt, the brushing it off with laughter. so i wrote a scene that incorporated those things

zusak is also really good at writing moments of quiet into his books that aren't necessarily important to the plot, but are still important. if you've ever read that ghibli meta post talking about the 'quiet' between scenes in studio ghibli scenes, meant to give both the audience and the characters space to breath, it's like that. nothing in iatm is not imporant - it all serves a purpose, even the quiet moments, and i try to do the same thing. there's moments like that in tbs i think, like:

"Marinette gave him a small smile before turning back to her ice cream. Adrien tried to eat his ice cream a little faster, licking up where it had dripped onto his hand.

They were quiet for a while longer, and Marinette finished her ice cream. She leaned back on her hands and looked up at the dark sky, littered with stars.

He could see them all in her eyes, too." (Those Benevolent Stars, chapter 3)

and in iatm, you get scenes like:

"Our feet dangle.

I watch them, and I watch the jeans on Audrey's legs.

We only sit there now.

Audrey and me." (I am the Messenger, p.120)

so i definitely think tbs is a very i-am-the-messenger/markuz zusak-inspired fic. there's a lot of zusak's quiet, and there's the pieces of zusak's style that i've picked up along the way that really shine in tbs

tomorrow and this body's not big enough for the both of us by edgar cantero

ive talked about cantero a few times recently, but, as you've probably noticed, in relation to my fic called 'tomorrow.' i wrote tomorrow pretty soon after reading this body's not big enough for the both of us, and i used tomorrow specifically to experiment with cantero's visual writing style. in all the books by cantero ive read, there's this kind of hyper-awareness of a film gaze - how a certain scene would be shot on a camera, dialogue as script writing, and other things like that mixed with prose. i thought it was fascinating, and after finishing this body, i really wanted to play around with that idea. so i wrote tomorrow keeping in mind a "film gaze." for example:

"Two figures sitting on a rooftop, silhouettes. The moon hovers over them carefully, a crescent afraid to break the silence. One of the figures takes a breath, looks up into the sky at the hesitant moon, and he sighs. He closes his mouth again." (tomorrow)

versus in cantero's work, where we get descriptions like:

"And then, like a high-heeled coup de grace, she arrived.

She paused briefly outside the door, her hourglass silhouette cast upon the glass panel with the fresh shiny vinyl letters" (This Body's Not Big Enough for the Both of Us, prologue)

the tone of the two excerpts are very different, but there's a very visual sense to both of them, like they are being described from a shot in a movie rather than a regular work in prose. in tomorrow i also work a lot with specific camera imagery - saying where the camera goes in the scene, what it focuses on - and this body doesn't do this too much, but cantero's meddling kids does at least once that i remember.

regardless, after finishing this body, i wanted to try my hand at the visual structure that cantero uses in his works, so i really leaned in to the idea.

chat noir's white french man hit list for feminist purposes and grasshopper jungle by andrew smith

this is, as of right now, the most recent fic on my ao3, and i started it the literal day i finished grasshopper jungle. i think you might be getting a theme here - i read a really good book, and then immediately after i start writing something. the easiest way to get inspired as a writer is to read.

chat noir's hit list is a fic that is very much aware of the fact that it is a story being told - you don't know by who or for what real reason until the end, but it's a self aware sort of story. it's also very snarky and sarcastic, and it expands past just the confines of its own story; it's about chat noir and his hit list, but it also talks in depth about emilie agreste, chat noir's relationship with ladybug, and his relationship with himself. this is very much the kind of thing that you would find in an andrew smith book - grasshopper jungle is a story being told to you, and it's also about more than just the original pieces of the plot. the narrator tells the story that expands past regular confines of the story he means to tell - he's telling the 'history' of his life and his town, but he also talks about his great-great grandfather, the origins of the ketchup his girlfriend's dad eats, and what's happening in other parts of the country as he and his best friend are hanging out. the line in chat's hit list of "stars exploded, the sun did not, life continued on" was very much a grasshopper jungle and andrew smith-inspired line.

at the end of adrien's narration in chat's hit list, he says:

"It should be mentioned at this point in time that this story is not over, although I’ll stop telling it here.

So that’s the story of Chat Noir, who is also Adrien Agreste, who was very much a normal boy, except for the fact that he wasn’t. It’s a sad story, but it is also a happy story, and it is highly confidential. I’m sure you understand." (Chat Noir's White French Man Hit List for Feminist Purposes)

and at the end of grasshopper jungle, as the main character is closing out his narration, we get:

What I have written here is not the history of Eden. It is the history of the end of the world. All real histories will be about everything, and they will stretch to the end of the world.

The end of the world started when Andrej Szczerba slid into the cold sea as his boy, Krys, watched and wept and drifted closer and closer to the United States of America.

Nobody knew anything about it." (Grasshopper Jungle, p.382-3)

It's not overtly similar, but the structure is the same: recognition of the end, short summary of where we started and left the story, tag phrase that was used prior in the work. when i was writing the end of adrien's narration, i didn't mean to mirror grasshopper jungle so closely, but sometimes things just happen that way - honestly, so many of the things i do in my writing aren't intentional, they're subconscious. when i make a conscious choice, it's related to plot or to a new strategy im applying to style or voice that i'm not used to, but a lot of the things i do fly under the radar in my brain unless im purposefully trying to piece them apart like i am here.

i will say the meta-story of chat's hit list was pretty directly inspired by grasshopper jungle because i love meta stories, and i like using opportunities to put them in. i just love the idea of reading a story of someone telling someone else a story, which is what the two books by andrew smith i've read have been, and i think that's just fascinating, which is why i used it here.

ive gotten a couple of comments on chat's hit list that liken the narrative style to pseudonymous bosch's the name of this book is secret and lemony snicket's a series of unfortunate events, which i thought was really interesting, because i was purposefully trying to make the voice an impression of andrew smith's voice adapted to the tone of ml, but i could definitely see their reasoning.

andrew smith, like i mentioned before, likes specifics - what exactly people were doing at certain times, where a specific bottle of ketchup came from, etc. from what i remember of the name of this book is secret and a series of unfortunate events, i remember the descriptions included in those books chock full of highly specific, snarky details that aren't truly necessary, but do a whole lot in terms of adding a certain flavor to the narration. i won't try and look up examples from unfortunate events and the name of this book, but here are a couple examples:

"See, the thing about Emilie Agreste, formerly Emilie Graham De Vanily, is that she was what could be generously called a ‘radical.’ Born in 1969, like most amazing and world-altering things, Emilie Graham De Vanily grew up in London alongside her twin sister, who is a nice enough woman and who is not really that important to this story, and she was raised with the firm and gentle hands of people who had witnessed war and cruelty and had found that they did not like at all. Emilie Graham De Vanily grew up learning about the true history of England, which is not a very nice history, truly, and she grew up knowing that people with white skin like her were historically not all that great. That, historically, was a very radical thought." (Chat Noir's White French Man Hit List for Feminist Purposes)

from chat's hit list, and this:

"In 1905, being seventeen years old made you a man. In 1969 when hungry Jack fought in Vietnam, seventeen years old was a man. My brother, Eric, who was somewhere in Afghanistan, was twenty-two.

Krzys Szczerba came across the Atlantic with his father. They planned on working and earning enough money so Krzys's mother, brother, and two sisters could come to the United States, too. People who did that were called Bread Polacks. They came here to make money." (Grasshopper Jungle, p. 68)

from grasshopper jungle. once again, obviously very different, but you can tell im playing around with that same feeling of giving a surplus of facts in my narration in the same way that andrew smith does. you can't really tell in the grasshopper jungle excerpt, but oftentimes the surplus of 'facts' serves almost a comedic effect, which is definitely something that you can feel in chat noir's hit list.

[REDACTED] and six of crows by leigh bardugo

as a reward for sticking around through this, i'll give out something fun here. the current long fic that ive been working on recently has proved to be very bardugo-inspired, particularly six of crows-inspired.

in six of crows, bardugo gives us action right off the bat and then integrates flashbacks into lulls of action so that there's never truly a dull moment. i found [REDACTED] to be a fic where i wanted to use flashbacks in a similar way, so that i would get something like:

"She doesn’t stay for the whole parade, but she stays for enough of it. Nothing unusual happens, just like always, but she still makes cursory patrols around the city, ending up at the Eiffel Tower, just like always. She sits on the railing way up at the top, and she crosses her ankles, swinging her legs back and forth and humming softly to herself as she watches the sun set.

'Little kitty on the roof, all alone without his lady,' he used to sing when he’d gotten back to their meeting point from patrolling his half of the city before her. It was just a silly little song, one that he’d clearly made up for himself."

It didn’t hurt until he’d been akumatized, and she’d seen that one version of the future - the one where he’d destroyed the whole world because of Gabriel Agreste. She’d seen him then, a lonely figure in white, humming his little song to himself. Who knows how long he’d been like that before she’d been transported to him, how long he’d been really and truly alone. (REDACTED, chapter 1)

and in comparison, we get a lot of scenes in six of crows like:

"Kaz leaned against the ship's railing. He wished he hadn't said anything about his brother. Even those few words raised the memories, clamoring for attention. What had he said to Geels at the Exchange? I'm the kind of bastard they only manufacture in the Barrel. One more lie, one more piece of the myth he'd built for himself.

After their father died, crushed beneath a plow with his insides strewn across a field like a trail of damp red blossoms, Jordie had sold the farm. Not for much." (Six of Crows, p.205-6)

bardugo uses most of the flashbacks during a time in which the main characters are on a long sea voyage, which means they have a lot of time to reflect on their pasts and what brought them to these situations - it's a smart way to fill the empty space of the sea voyage and to really dwell on how important the voyage is. in a similar way, i chose to use the flashbacks in dull or lulling moments in the events of the story, ones in which marinette lets her mind wander or sees something that makes her remember something specific.

however, here's a situation where you can see me adapt the style into something that makes more sense for me, personally: in my excerpt, the tense changes between the current events and the flashback events, while in bardugo's excerpt, the tense stays the same at a comfortable past tense. when i was writing my fic with the flashbacks, i thought the constant, sometimes abrupt, switching would get confusing, so i made sure to always have a clear line using the past and present tense that readers could consciously or unconsciously take notice of.

so there are a couple of instances within some fairly recent fics i have that have specific callbacks to specific books. there are a whole bunch more, i think, but these are the ones that ive played around with intentionally the most recently or the most often.

3. Future Days

based on my recent rapid experimentation in fics (the most recent four fics on my ao3 have been very experimental in comparison to most of my works), i really anticipate a lot of growth in my overall style. ive been having a lot of fun experimenting and throwing in things that a few years ago i would've never even thought of, so im really excited to see where that might lead me, style wise.

i think as a writer there's always room for growth and learning, and that kind of growth and learning comes from not only practicing writing, but also reading. i cannot stress enough how valuable and impactful reading is on writing. considering ive been trying to read a lot more than i have been in recent years, it makes a lot of sense that ive been making a lot of weird decisions and learning more about what i want to see in my own writing.

honestly, if you ever want to know about any of my other fics, or you want to see how this kind of thing translates to my original works, just shoot me an ask! this post is already long enough, so i think i'll go ahead and end it here, but just know you can always ask questions<3

thank you so much for asking me this question and letting me indulge, and thank you for reading!!!<3<3<3<3

[nadziejastar]

I'm thoroughly enjoying the LeaIsa discourse, especially Isa possibly having been subject X in perhaps another canon. Isa's symbolism's also seem intentionally feminine in nature. I've head-cannoned that the current subject X in game could have somehow had her heart spirited away into Isa's (mirroring Sora and Kairi's situation, except the heart being far more buried in the depth's of Isa's). An unlikely scenario is that Isa was AFAB as a child and even Lea doesn't know about it or remember.

Lea: The Wounded Healer

Thank you! Yeah, everything about Isa’s symbolism is feminine in nature. And very intentionally so, LOL. He’s the Yin to Lea’s Yang; the Moon to his Sun. I love the whole concept, and I wish it wasn’t so taboo to step outside of gender boxes. The mythology is that Twin Flames separate and go through many lifetimes apart, never meeting in person. Over the reincarnation cycle, the two lovers balance their masculine and feminine sides so that they are both perfectly balanced. And I do think Lea is a very balanced character in that regard. I’m sure Isa was, too. During their final lifetime in the reincarnation cycle, Twin Flames finally reunite and change the world with their divine spiritual love. 

I cannot imagine there’s any other explanation than Isa originally being Subject X. It simply makes way too much sense, and all the pieces fit perfectly. Your head canon is interesting. I prefer that over canon where Isa and Lea are apprentices and had NO connection to the experiments on the darkness of the heart. That just makes no sense at all. They could have had another girl involved without taking away from Lea and Isa’s tragic backstory. Another reason I like Isa being Subject X is that he would need healing, and Lea would need to give him a “birth by sleep”. KH3 kinda forgot about that whole concept. But there’s a lot of evidence that it was supposed to be a HUGE aspect of Lea’s character arc. Would have been a lot more rewarding to see than what he did in canon.

Stuff like this is exactly why Lea and Isa are my favorite characters. I can tell the writers had a hard on for them, too. Nomura really loved Axel, after all. Axel has a weapon called Prometheus which incorporates the Sagittarius symbol, and so do the vast majority of Saïx’s weapons. Moreover, the arrow is mainly prominent in Saïx’s Berserk form, which is where I think his captured heart resides. Now, why is this symbol so important? Because Sagittarius is Chiron, the Wounded Healer! He gave up his immortality for Prometheus, and was rewarded with immortality in the stars!

More About Sagittarius

Yen Sid: “I must warn you again–the road will not be easy.”

Lea: “Fine. Let’s jump right in.”

Ruled by Jupiter, the planet of growth and opportunity, the sign of the Archer is an eternal student, looking for enlightenment through new ideas, people, and places. Sagittarius is on the hunt for the biggest, best experiences life has to offer. They have a positive and outgoing personality that makes them the life of any party. With a love of adventure and all things exotic, the worldly Archer just wants to soak it all in. Sagittarius is driven by a constant need to explore and expand its mind, heart, and awareness to the fullest extent. Fiery and free, Sagittarius knows that the only limits are the ones we create ourselves.

Chiron: The Wounded Healer

Naminé: “And if the hurt is too great for you to bear it alone–well, then you turn to a friend close to your heart.”

Wounded healer is a term created by psychologist Carl Jung. The idea states that an analyst is compelled to treat patients because the analyst himself is “wounded”. For Jung, ���it is his own hurt that gives a measure of his power to heal. This, and nothing else, is the meaning of the Greek myth of the wounded physician.”

Chiron was in outstanding pain and anguish; there was no medication that would ease the infliction. The fact was, even the gifted physician Chiron couldn’t heal himself. The next problem was that Chiron was in torment but, immortal. Chiron was not able to obtain freedom from the pain with the onset of death. In such a scenario, Chiron volunteered himself as a replacement for Prometheus, who had been penalized by the gods for giving fire to humankind; His punishment was to be enchained to a giant stone. Day-after-day an aquila descended and polished off his liver, which grew once more as it got dark …only to be consumed by the eagle once again.

So in essence, Chiron forfeited his eternal life so man could have use of fire. Hercules had been appealing to Zeus (Jupiter) for help, and Hercules agreed to supply an appropriate replacement for Prometheus, thereby setting him free. Thus, Chiron replaced Prometheus, gave up eternity, and went to Tartarus (the Underworld) in Prometheus’ stead. Zeus witnessed everything that happened and he knew how deplorable his son Hercules felt. Zeus afforded the dear Centaur a resting place in the heavens, as the constellation Sagittarius the Archer, in recognition of his benevolence and perpetuity.

Chiron and Artemis

Axel: “Why do I always get stuck with the icky jobs?”

Saïx has a weapon called Artemis, after the moon goddess. Artemis has a relationship to Chiron. Centaurs were notorious for being wild, lusty, overly indulgent drinkers and carousers, violent when intoxicated, and generally uncultured delinquents. Chiron, by contrast, was intelligent, civilized and kind, because he was not related directly to the other centaurs due to his parentage. Soon after giving birth to Chiron, his mother abandoned him out of shame and disgust. Chiron, effectively orphaned, was later found by the god Apollo, who decided to take him in as his son.

Apollo taught to him the art of music, lyre, archery, medicine and prophecy. Apollo’s twin sister, Artemis taught him more about archery and hunting. Chiron’s uniquely peaceful character, kindness and intelligence is attributed to Apollo and Artemis. Artemis only loved one man, Orion. She killed him by accident after being tricked into thinking the he was a villain who had attacked one of her priestesses. Orion, whilst swimming to escape a giant scorpion, is killed by Artemis’ arrows after the goddess could only see his distant bobbing head and failed to recognize the hunter. Artemis tried to bring Orion back to life, but was unable. It was Artemis’ regret at the loss of her hunting companion which allowed him to become a constellation and gain immortality amongst the stars.

Sagittarius Mythology also figures in the tale of Orion. One Greek mythology tale tells of how Sagittarius the Archer was directed to shoot down Scorpio the Scorpion, which had been sent off to murder Orion. This story gives the reason why the Archer’s arrow is aimed toward the ‘heart of the scorpion’.

Friendship

Ven: “Already?”

Lea: “I’ll see ya when I see ya. After all, we’re friends now. Get it memorized.”

Ven: “Okay, Lea.”

Sagittarius make excellent friends because of their encouraging, positive nature and their kind heart that will do anything to make sure the friend is happy. They do not expect favors in return; their kindness is selfless. They do not interfere with other people’s plans and they are never possessive or jealous. They treat others the way they want to be treated and live life based on a ‘live and let live’ policy, making them very agreeable. They are excellent conversationalists with a good sense of humor. Sometimes their humor is the raw truth, but these people speak their mind and don’t hold anything back. What they say is what they mean. They do not like mind games; they like straightforwardness and expect it in return.

Axel: “C'mon, let’s get some ice cream.”

Roxas: “Why?”

Axel: “Whaddaya mean, why? Because we’re friends.”

Roxas: “So…friends are people who have ice cream together?”

Axel: “Sort of… That, or laugh at stupid stuff that doesn’t make any sense. Like those kids we just saw–they were friends. C'mon, I’ll show you how it works.”

Sagittarius are known for saying the ‘painful truth’. On the other hand, people know that they can trust what they say because they always say what is real. They never hide anything and are very likable people. The only people that might not get along with them are people that live by a daily agenda with a highly structured, organized life. They are likely to always be running late and miss a date, but this is only because they are so forward thinking that they forget about the present. Tolerance is required. They do not do these things on purpose; this is just who they are. If you understand this and accept this, having a Sagittarius in your life will make the sun shine a lot brighter.

Axel: “Best friends are willing to deal with complications.”

Wise and understanding Sagittarius is connected to the Temperance Tarot card. The gentle process of tempering is about finding a perfect middle state, and combining the best of all things to forge something that is stronger than the sum of its parts. By bringing the power of the philosophical world into their physical world, Sagittarius makes itself a source of ultimate truth and awareness.

Both Sagittarius and the Temperance card are constantly striving for a more enlightened state of being. The angel in the Tarot card here demonstrates this by slowly pouring the liquid from one golden cup into another – a process called “tempering” (a slow process of integration that leads to the perfect middle state). Similarly, Sagittarius accomplishes this by exploring the far reaches of both the physical and philosophical world to expand on or “temper” what is already known. The symbols of Temperance mean the following:

Angel: Interacting with the material world while maintaining a sense of spirituality and higher purpose.

Triangle: Interplay of masculine and feminine or spirituality and materiality.

Cups: The fountain of energy between your opposite tendencies, which is flowing and spontaneous yet also balanced and coherent.

Path: Taking your time through life’s twists and turns; being content in the moment or throughout unexpected obstacles.

Water: Groundedness and refreshment through spiritual thinking.

Mountains: The distant journeys awaiting you that will bring you to spiritual fulfillment.

Sun: The sun, also appearing as the angel’s third eye, represents the merging of personal aims with the universe’s plans for you.

Fire Wings: Muscles and strength necessary to maintain composure and reach a higher being state.

The Angel

Axel: “As long as we remember each other, we’ll never be apart. Got it memorized?”

The Angel’s beautiful, red wings represent blood or life, while the triangle on her dress means spirit – also the elemental symbol for fire. And, similar to adventurous Sagittarius, the angel’s feet are also symbolic of the eternal pilgrimage or spiritual journey. By showing one foot in the water and the other on the shore we are reminded that our greatest wisdom lies in the art of balancing. And lastly, the iris flowers are indicative of the Goddess Iris who provides the link between God and humanity. Like Sagittarius, she travels from one end of the world to another – building upon something that is bigger and brighter than herself.

In a general context, the Temperance Tarot card represents coolness in the face of shifting emotional tides. Temperance is the ability to control one’s temper or temperament. In Thailand there is a concept called “cool heart.” In this phrase, cool does not mean cruel and unemotional. Rather, to act with a “cool heart” means that one is not easily stirred or provoked to go off the handle; one does not quickly come to a raging boil but maintains a steady temperature despite shifting external circumstances. Similarly, Temperance stands with one foot in a cool stream and pours water from one cup into another. Temperance knows how to direct the water in a way that maintains homeostasis.

The 7 of Swords

Lea: “And if the darkness gets ya, I promise I’ll bail you out. “Dark Rescue” is my middle name.”

Axel’s weapon “Prometheus” is Lift Gear. This is the same gear that the Temperance Arcana in Luxord’s deck is listed under. Coincidence? I think not. Luxord’s card has the shape of the Minor Arcana, The 7 of Swords. In general, this card is said to be about betrayal and deception. It is sometimes called the ‘Thief’ card. In a general context, it represents deception, lies, trickery, cheating and lack of conscience. This card also signifies mental manipulation, tactics, scheming, cunning, enemies who masquerade as friends and spies in your camp. It represents escaping detection and getting away with something.

On a more positive note, the 7 of Swords points out that you need to be strategic in what you do. It can also represent flexibility, adaptability, sharp wit, and resourcefulness. You know you cannot do everything at once – nor should you. Instead, you must prioritize what’s important to you and direct your focus and attention on the few tasks that will move you closer to your goals. When this card is seen in a reading, the deception is usually short lived. Nobody is able to carry away 7 swords and get away with it. So although the party may feel smug about it at the time, it’s about to blow up in their face.

Sagittarius’ Ruling Planet: Jupiter

Lea: “I want everybody I meet to remember me. Inside people’s memories, I can live forever.”

Isa: “I know I won’t forget you. Believe me, I try all the time.”

Lea: “See, I’m immortal!”

Larger-than-life Sagittarius is ruled by Jupiter, the planet of luck and expansion. In Roman mythology, Jupiter was the king of the gods, the biggest and the best. In Astrology Jupiter is known as the “benefic” planet, meaning it is the luckiest, most opportunistic planet of all. This positive energy influences Sagittarius’ optimistic, enlightening, and outgoing nature that shines and spreads through anyone they come into contact with. As the largest planet in our cosmos, Jupiter’s vastness encourages Sagittarius to stretch its mind and heart as far as it can.

Sagittarius’ Symbol: The Archer

Xigbar: “You’re not supposed to be here!”

Lea: “Promises to keep. I’ll always be there to get my friends back. What, bad timing? You had your perfect little script, but you kinda forgot to write the sequel. Now, let’s find out what happens!”

The zodiac sign Sagittarius is associated with the Archer, and its glyph represents an arrow. Always eager to explore new horizons, the Archer sets its sights on a faraway target, then shoots toward it with precision. This focus on learning more, doing more, and seeing more is what Sagittarius is all about.

Ruled by expansive Jupiter, Sagittarius is big-hearted, open, and always looking beyond a checklist. A Sagittarius rarely has a “type.” They are always intrigued by the individual, and don’t make any assumptions about people until they’ve truly met and spoken with them. Sagittarius loves witty back and forth banter. A Sagittarius in love is a sight to behold. Aggressively fun, this sign usually moves full speed ahead once they have their love target ‘locked’.

Selene

Ventus: “I remember dreaming a lot. Of you and Terra. Of Sora and his friends too, I think. And there were some more people I didn’t recognize. Oh, and I saw these weird animal creatures! It’s like…I’ve been part of some big adventure.”

Saïx has a weapon named Selene, after the chaste Greek Moon goddess. It’s shaped like a torch. Selene’s torch has an interesting role in art and history. Selene was taken with Endymion, a beautiful youth who tended his flocks on Mount Latmos. She accompanied Cupid and used the light of the torch to gaze upon the mortal she fell in love with while he slept.  

Girodet’s “The Sleep of Endymion” shows the moment that Cupid parts the trees so the Moon may shine her light down upon her sleeping lover’s face. Only at night when he is asleep does she quietly creep down to him, accompanied by Cupid, whose torch symbolizes burning love.

In a Roman floor mosaic from the third century CE, the scene focuses on the moment when Selene falls in love with the young mortal shepherd. Cupid, in the upper right corner, points down at Endymion as if guiding Selene’s gaze towards him. Selene steps out of her bull-drawn biga that she uses to pull the moon across the sky each night, and raises a lit torch that illuminates Endymion’s face in the darkness. She peers down at him longingly. Endymion is fast asleep and unaware of her presence. She was so in love that she asked Zeus to give Endymion immortal life.

Sagittarius’ Ruling House: 9th House of Expansion

Roxas: “I found out about love on today’s mission–that it’s something powerful.”

Axel: “That’s true. It is. But I’ll never get to experience it.”

As the 9th sign in the zodiac, Sagittarius rules over the 9th House of Expansion. This house reveals how open our minds are, and how much we expand ourselves through education, exploration, and life lessons. From philosophical conversations to book research to world travel, the 9th house encourages you to go further than you’ve ever gone before. Sagittarius’ drive for adventure, growth, and awareness is strongly represented here.

When Venus is in Sagittarius

Axel: “Love is what happens if there’s something really special between two people.”

Saïx’s weapon Horoscope incorporates the Venus and Sagittarius symbols while in its Berserk form. So, the astrological correspondence is Venus in Sagittarius. Venus is the planet of love, self-worth, and all things beautiful. Her style is sweet, cooperative, and peaceful. But when this graceful planet’s energy mixes with the free-spirited sign of Sagittarius, her joyful side comes out to play. Hearts come out of hiding while Venus moves through Sagittarius. The happy and free energy of Sagittarius turns Venus up a few notches, encouraging us to live life to the fullest. This is a time to socialize, to try new things, and to look for love in different places.

Sagittarius is the sign of the adventurer, so when Venus is traveling through this sign, we find ourselves drawn to exotic people, places, and experiences. Old routines and worn-out relationships are at risk of being traded in for something bigger, brighter, and better while Venus is in Sagittarius. We want to expand beyond our usual boundaries, and may give up some of our comfortable patterns of the past to try out new experiences. Love needs to grow during this transit – it will not stand still.

Sagittarius’ Element: Fire

No. VIII AXEL—An assassin who puts his own agenda first, and everything else on the back burner. Wields fire.

The zodiac sign Sagittarius is a Fire sign that lights up our lives with profound questions and exciting ideas. Just like an uncontrollable wildfire, this sign will happily go where the wind takes them to seek new experiences. Sagittarius uses its Fire energy on its lifelong journey of exploration, always ready to jump at the next adventure. The element of Fire continues to fuel Sagittarius’ never ending supply of optimism and inspiration.

The Goddess Hestia: The Keeper of the Flame

Axel: “Well, I think you can be inseparable, even if you’re apart. It’s like, if you feel really close to each other. Like best friends.”

Saïx’s weapons Moonrise and Moonset are shaped like ⚶ the astrological symbol for the asteroid Vesta, also known as Hestia in Greek mythology. Her name means “the essence”, the true nature of things. Hestia was the Greek Goddess of the sacred fire. She was the most influential and widely revered of the goddesses. She was was one of the three ‘virgin’ goddesses, next to Athena and Artemis. Hestia was depicted as a beautiful and bashful woman, usually seated. The living flame of Hestia was tended constantly and never allowed to die out, for it represented the energy of all life.

Hestia was a kind goddess and had a discrete character. She never left her residence, the sacred mountain of Olympus. She never involved herself in the fights and machinations of the other gods and goddesses, somehow managing to stay above the fray. Non-judgmental and forgiving, her unconditional love and calm acceptance inspired the love and trust of others in return. Dependable and caring, she was always there for them and helped them to manage their lives, which were certainly more exciting than her own. These virtues define the goddess Hestia: mild, gentle, forgiving, peaceful, serene, dignified, calm, secure, stable, welcoming, and, above all else, well-centered.

Sagittarius’ Color: Purple

Axel: “You know, I’ve been thinking about something Naminé said. Roxas…are you really sure that you don’t have a heart? Is it possible that we all have one? You, me, her… Or is that just wishful thinking?”

Rich and luscious purple is the color of Sagittarius. Purple is a color of abundance, which encourages Sagittarius’ natural luck and its drive to expand its mind and world. The color purple is also associated with spirituality and enlightenment, empowering Sagittarius’ philosophical explorations and lifelong quest for knowledge.

The Sun

Axel: “Hey, Roxas. Bet you don’t know why the sun sets red. You see, light is made up of lots of colors. And out of all those colors, red is the one that travels the farthest.”

Roxas: “Like I asked! Know-it-all.”

Saïx’s weapons Orbit and Lunar Phase incorporate the Sagittarius symbol with the combined stars of Ishtar and Shamash. There’s also a Recusant’s sigil visible over the Sun symbol. The Sun, the giver of life, represents our conscious mind in astrology. It represents our will to live and our creative life force. Just as the planets revolve around the Sun in our solar system, we derive our life purpose from the Sun in our natal charts. The Sun is our ego. It is the part of us that reasons things out, and makes final decisions. The Sun is our basic identity, and represents self-realization. The Sun also represents our overall vitality. The happiest people on this earth are those who identify with the Sun’s expression.

Sagittarius’ Quality: Mutable

Axel: “Let’s meet again in the next life.”

Roxas: “Yeah. I’ll be waiting.”

As the last sign of autumn, Sagittarius helps us celebrate one last hoorah as fall comes to a close and the season of hibernation begins. Sagittarius, with a love for variety and change, uses its Mutable energy to shake the fiery radiance off the leaves and allow them to fall. As winter approaches, this Fire sign keeps us going by fueling our desire for adventure and fun, and helps us remain optimistic that light and warmth will return again.