#having folks show interest in my stories and character is so

[monsterfloofs]

Floof, that art of agnoy is INCREDIBLE. I love the use of the glitch effect! The perspective!! The unhinged expression!!! The beautiful coloring!!!! Though the pov is from above, it still makes you feel small and in danger (like a fly) looking down! I am going insane over this considering from all your collection of wonderful wonderful creations Agony, Whispers and the Nightmare Collector became my absolute all time favorites so any content featuring them have me bouncing in my seat. Thank you for the feast...

EEEEEE!! THANK YOU!! 8//Dc Adding a lil bit of movement to the image wasn’t planned, but it added unexpected depth to it, and made the piece it so fun!! I really love the fog on the glass, that was a fun touch. 8^] Thank you for noticing the little details! That means a lot to me!!

Actually, I made a small video over on instagram, with a music clip of the song that inspired this piece! If you wanna take a listen, it’s a great song! 👉👈 It’s also my favorite line from the song, and it really gave me Agony vibes! I have also been working on revamping Agony’s human form too… so there is more art to come! =//))c

He and Travesty (Whispers new name) both have these… not quite right looking human-esque disguises they run around in from time to time. (But it’s preeeeetty obvious something is wrong with them, just like how the Nightmare Collector’s disguise is! 8//Dc ) Thank you again for the kind words! And for letting me ramble about my beloved beans 😭😭😭 I am sososososososo glad you enjoy them and SKDJDJDJDD A FEAST?! OH GOSH YOU FLATTER ME AAAAAAAA THANK YOU THANK YOU THANK YOU Q////A////Q I am… so glad folks like my silly characters. ;; )

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[creatingblackcharacters]

"Defying the Default"- Skin Tones and the Presence of Black Characters

Okay, this one is going to be half lesson and half a thought experiment- it may get a bit frustrating, as conversations like this often do- but remember, discomfort is not always a bad thing! So I ask that you walk with me for this one.

It’s also interesting, because I’m going to direct this towards everyone (readers included!), but specifically towards my fanfic writers of media with no visual medium, as I’ve noticed this pattern there, and it makes up a good amount of creators on this site. Okay? Okay.

Behold! Many shades of brown!

I had to wade through a lot of colorism for this, and even this link is subtly racist in its introduction- the idea that brown is ‘unexciting’ 🙄.

Anyway, you know where I’m going with this:

"Chocolate and Coffee"

Even the link above pulled this! Writers who use this... they’re not ‘wrong’ per se but… often uninspired. It feels... Lazy. When you can tell an author has put no thought into the brown of choice, it makes Black readers feel like you believe these are the only shades of brown- that that’s all we look like. Even chocolate is more diverse (white, milk, dark, marbled, cookies and cream?) Coffee can come in numerous shades as well (light, medium, dark roast? Type of bean?)

My first direction to help with this: make it a point to know what shade that character is (whether canonically, or if you're the original creator, look at a reference and write it down) and find a name! Be consistent! Find similar browns to one another. If the canon Black character's skin color is done poorly, find something similar and use that! (I'll get more into this in the next lesson!)

Our skin colors may modify as we age, it changes over the seasons/presence in the sun, and some people even have vitiligo! But we're not gonna be “dark roast coffee” one morning and “light milk chocolate” suddenly. We're not chameleons lmao.

And you know what? That shade you choose might very well be 'coffee'! But it's not going to be because you didn't look and assumed we're all some random brown! That’s the intent showing! If we can find endless ways to describe the beauty of white/pale skin, we absolutely can for brown! Be willing to unpack why you may not believe brown to be capable of beauty, and work through unlearning that- it will show in your writing! One way is by pausing with yourself, and recognizing when you had a biased thought. Even by this, you’re learning!

Here’s where I want us to get into the thought experiment:

I want you to think about the description of characters in stories (as a whole). Challenge yourself- in the fics and stories you read, how often is anyone blatantly labeled 'White'? Read a story or fic; how long can you imagine them as not-White before it's ever clarified? Because not even 'pale' automatically implies a White person!

You know how I’ve mentioned before that 'Black people are not a monolith'? I can find you at least some examples of Black people fitting some of the common descriptions of white characters.

"Brunette with brown eyes"

(Fun fact: I actually learned back in my Masters program that genetically no one has ‘black’ hair- our eyes are processing it as black, but it’s really just dark brown due to eumelanin. Regardless, if you stand us in the direct sunlight, you will see that our hair is usually just dark brown!)

"Red hair with pale skin"

“‘tanned’ skin with hazel/green eyes”

“blond hair" (period!)

Now, I’m not saying that blond haired Black people or Black folk with albinism are overly representative of my people. What I AM saying is that it needs to not be taken for granted that a reader is automatically assuming a character is White in your piece of fiction- I can assume your character looks like anything if it's not stated! Especially if the OG source is a book or a podcast! We’re just used to assigning these features- and characters- as white until ‘proven not’! The default!

I am guilty of this too! Even still, I reread many of my works and go ‘ah, I didn’t clarify.’ And I have to work on doing better at it. This is having intent for your Black characters, but really, it’s having intent for all of them!

(This doesn't mean going “the Black man said,” the way sometimes people say “the Chinese said” (which…. Tbh we should all stop doing that anyway, it's weird and racist))

My Next Challenge:

Some people may disagree, but- Ahem:

Say BLACK!

Breathe lmao! Take the time to recognize that it's OKAY to introduce a character as Black, to say Black, it's fine! Obviously be sensitive about it, don't shove it in there to “win your diversity points”, but like… People are Black. It's not a bad word. What matters is the context in which you used it!

You don't even have to say it every single time. Really just the first, introductory sentence will do. For example:

“[Character A], a bright, young, Black girl with knotless braids to her mid back, glittering hair clips matching her bright green t-shirt, and a brilliant smile that shined against her bistre skin.”

I recognize that some might argue that by saying “bistre”, you don't need to say Black. But 1) you don't have to be Black to be brown or dark skinned, and 2) There's a social stigma behind even saying Black- of discussing race in general, because it leads to discomfort. Race (as a sociological construct) exists. When we say nothing about it, allowing Whiteness to be the default, we're still emphasizing race, however silently! If you're already doing it... Why not mention it? 🤷🏾‍♀️🤷🏾‍♀️🤷🏾‍♀️

(here's a good clip of Ijeoma Oluo discussing the difficulty of discussing race; while I highly recommend the whole thing, the relevant clip is 4:25-5:39)

Maybe they're in the Black student organization in a lead position, maybe they're in a Black main cast of a play- it's okay to have those things in the story to help develop the idea that your Black character is actively Black! Just do your research to make sure you’re not leaning into stereotypes!

“There’s no races in my fantasy/future world!”

That’s fair! But I want to give you an example of how people will still project these identities onto your characters anyway:

No one has an explicitly stated 'race' in Avatar: The Last Airbender (afaik); they’re all divided by element culture. YET, many people were offended that a mixed-Korean actress was cast in her role in the live action- they ‘just didn’t see it’, because subconsciously they'd imagined her ‘face claims’ as WHITE, despite it never once being mentioned in the canon! (there’s also a firm sexualization and east Asian fetishization argument to be made about it, but that’s not within the scope of this particular conversation.)

Point is, if you are including humanoid characters in your fantasy stories, fine. You don't need to say ‘Black’ outright. But, that just means that you’re going to have to be even more detailed in your description. Because if I were watching a TV show and a Black actor shows up as an elf… I know what features I’m seeing! Entire protests have occurred over the casting of Black actors in a role ‘meant for a white person’; so... everyone sees it!

Conclusion

This is another reason why intention in character design and writing is important! Context clues and socialization help me understand who your character is. If it works like this for white characters, it can work like that for everyone else! You just have to know enough about me to write it in (and that's where the social and societal bias lie, because how much do you really know about me?)

A way to better understand this is reading books by Black authors (for fantasy, I would highly recommend Raybearer by Jordan Ifueko and Children of Blood and Bone by Tomi Adeyemi) as well as Black literary classics! Finding and reading Black fic authors in fandoms with Black characters! By learning how we describe ourselves and our skin colors, you’ll learn and practice how to appropriately describe us!

Now I can't make you do any of this! But I do want you all- writers especially- to start noticing our bias, how we may default to the experience of whiteness- and how that affects the way we write. When we have Black characters, and really any character of color, we need to start paying attention to how often their features, culture, and activities are emphasized, even for what we may consider to be 'background' details. That’s how we normalize creation and understanding, and become better at writing!

It’s just something to practice; remember, it’s the thought that counts, but the action that delivers!

In addition, if you are interested in a simple read into why approaching race is so uncomfortable as a whole, I've attached Robin DiAngelo's book here! Thank you to the PDF guru @toiletpotato for the link!

[kierongillen]

General Player Advice For RPGs

I published this in my newsletter here a while back, and discourse reminded me I wanted to put it more public. I probably should get around to actually doing a proper blog for this kind of stuff. You can sign up to the newsletter here.

One of the things which I’ve been chewing over since getting back into RPGs is that there’s so much advice for GMs and so little advice for players. I keep thinking over why - though the whys aren’t what I’m about to write about. However, some other folk think any worthwhile advice is system/genre specific.

This got me chewing over whether I agree with that. As the list below shows, I don’t.

The first four are ones where I think I succeeded, and as principles generally guide you towards better play no matter what game you’re playing. The last three are mainly applicable to games with a significant story component (the last especially). There’s a few more I played with, but they were more about being a good at the table generally – about being a better player in any game rather than specifically about role-playing games. I also avoided ones which were more GM-and-player advice rather than just player advice (if there’s a problem in game, communicate out of game, use appropriate safety tools, etc).

I also didn’t include “Buy The GM Stuff”.

Anyway – here they are. See what you think.

GENERAL PLAYER PRINCIPLES FOR BETTER PLAY

1) Make choices that support the table’s creative goals

If you’re playing a storygame, don’t treat it like a tactical wargame. If you’re playing a tactical wargame, don’t treat it like a storygame. If it’s bleak horror, don’t make jokes. If you’re in a camp cosy romp, don’t bring in horror. It also varies from moment to moment – if someone’s scene is sincere, don’t undercut it.

2) Be A Fan of The Other Characters

This is GM advice in almost all Powered By the Apocalypse games – for the GM to be a fan of the characters. It’s a good trait for a player to cultivate. Be actively excited and interested in the other characters’ triumphs and disasters. Cheer them on. Feel for them. Players being excited for other players always makes the game better. Players turning off until it’s their turn always makes it worse.

3) Be aware of the amount of spotlight time you’re taking

This is a hard one for fellow ADHD-ers, but have an awareness of who is speaking more and who is speaking less. A standard GM skill is moving spotlight time around to players who have had less time. Really good players do this too. Pass the ball.

4) Learn what rules apply to you, to smooth the game, not derail it.

To stress, this isn’t “come to the table knowing everything” but learning the rules that are relevant to your character along the way, especially if they are marginal (looking at you, Grappling and Alchemy rules). Doing otherwise adds to the facilitator’s cognitive load and hurts the game’s flow. The flip is being aware that knowing stuff isn’t an excuse to break the game’s flow with a rules debate either – that’s an extension of the third principle.

5) Make choices which support other characters’ reality

If someone’s playing a scary bastard, treat them like a scary bastard. If they’re meant to be the leader, have your character treat them like the leader , for better or worse. A fictional reality is shared, and you construct it together.

6) Ensure The Group Understands Who Your Character Is

This is the flip of the above – having a character conception that is clear enough that everyone gets who you are, what you want to do and how you want to do it. If you don’t, the table will be incapable of supporting your choices. This links to…

7) If asked a preference in a story game, a strong choice is almost always better than a middling choice.

Don’t equivocate. If asked “You’ve met this person before. How do you feel about him?” either “I love him” or “I hate him” is better than anything middling. The exception is if it’s something you’re really not interested in pursuing.

[dunmeshistash]

G'day, I hope you are doing well.

Ever since I finished the story of Dungeon Meshi (all supplementary material included) I've been writing down bullet points on characters in addition to in-depth synopses as a way to tidy up my rather busy mind. To this end I've also greatly enjoyed reading other folks' interpretations of particular characters, as it gives me further insight into aspects of that character I may have glossed over.

However, there's one character I'm struggling to write a cohesive synopsis about, that being none other than 'miss enigma' herself, Falin Touden. I get that her whole shtick is that she's kind of a mystery, but I find myself drawing a lot of blanks when it comes to her as a character, and while I have nailed down some important bullet points, there are a lot of different interpretations on her, all of which starkly contrast one another. Though perhaps it's just the wording. Hard to say.

It could very well be that I'm being too dense i.e. perceiving "Falin is willing to risk killing others to save her friends." and "Falin, in the heat of the moment, when faced with certain death, was willing to face the prospect of harming potential passersby in a final Hail Mary to get her friends to safety." as entirely different observations. I have a hard time with those kinds of things.

With this being a hub for all sorts of observations, interpretations and cool trivia, I was wondering if you'd perhaps be willing to share how you yourself perceive Falin as a character, so I can compare notes and perhaps gain a more proper understanding of her as a character as a result. I know this question is very broad and kind of vague, but if you could spare the time I'd be most grateful.

Other than that, I wish you an excellent day.

Hello!!! I love Falin!!!!!

She *is* a mystery, we mostly know Falin through the perception other characters have of her instead of a direct deep look onto who she is, which I find very interesting. I think the best post I've seen about her (which as usual I can't remember where edit: someone linked it thank uu) I think called her perceived altruism/love "selfish" and I've been thinking about that ever since.

In that sense the way she cares so much about the comfort of people around her might be a way to keep *her own* comfort because she doesn't want to see other people suffer.

This girly died and came back to life from bones and the first thoughts she has is that she caused trouble for her loved ones

She probably has felt this way since she was a child, "because of her" that her family was torn apart "because of her" that Laios left, her mom was sick, her father had to send her away. (wasn't actually her fault but she might think it is)

I imagine ever since then Falin has done her best to not cause trouble and to make the people she loves happy, everything we know about her and the things she was doing was always for the people she loved, that's why I enjoy the post canon comic where Toshiro asks her hand in marriage again so much. The first time she considers accepting just because "might as well" while for the second time she finally wants to live for herself.

I think Falin herself has lost who she "really is" by trying to accommodate everyone around her and that's probably part of why we ourselves don't really know her, so much so that the most cynical character is uncomfortable around her (probably cause he notices Falin is "hiding" something)

I think Falin is quite the melancholic character to be honest, someone who has lost herself in self sacrifice and who is only now learning how to live for herself doing what she wants.

Both the teleportation scene and the bit about healing show "cracks" in the selfless front she puts out tbh. By context I don't think what she did was only due to "desperation of the moment" she says out loud "Even if I end up hurting others I want you and my brother to live on". She weighted out how much suffering she might cause and decided she wanted to save them anyway, and I'm sure in that calculation she knew that they would suffer because of her sacrifice too.

Falin is saving them for herself, I'm not great with words so this is all over the place and maybe sounds a little negative about Falin but the thing is, you cannot live your life for other people, you can't sacrifice yourself for other people's happiness, you shouldn't erase your own presence so others are happier and I think Falin is starting to learn that by the end.

I'd probably keep rambling without getting anywhere and missing a lot of more meaningful moments but I'll stop here, if anyone has recs for Falin analysis please share!

[strangelittlestories]

Something interesting about archaeology is that it’s actually not that interesting: even when you’re on a dig, most of it is dirt and logistics and fragments.

Something scary about ghosts is that they’re actually not that frightening: even when you have a haunting, most of it is ectoplasm and low-key longing and echoes.

The fascinating bit about both is that, sometimes, when you piece all the boring bits together, you get a story; a story of how people used to live. It will probably be a story about something mundane, like how people cooked or what their bathroom solutions were.

For example: at this particular dig, we found fragments of large cooking pots in a few larger buildings. The smaller buildings that seemed to be individual homes did not have *any* surviving cooking pots (not even any copper remnants); however, they did have at least one well preserved earthenware bowl inscribed with runes.

These runes turned out to be a close match to an early rune of co-locating folk magic, seen primarily in the Katabasic region. The bowl was also adorned with a slate inlay, of a kind that was often used to write upon in chalk.

The apparent conclusion? This settlement operated a communal cooking operation that delivered food to order. We would assume the recipient would write their request in chalk on the slate inlay of their bowl, and the runes would briefly trick reality into thinking the inside of the bowl and the inside of the pot occupied the same space. Thus, the bowl would magically fill with food.

So, yeah. These folks had invented magical Doordash.

I briefly considered trying to replicate their system on my travel mug. The coffee on the dig site was *dreadful*, so I figured I could have my husband make some nice single origin cold brew back home (or maybe a nice pot of darjeeling second flush?) and teleport it in. But as it was likely tied to local hospitality folk magic, this would likely run across three problems: 1. Range limitations. 2. It may only work for community members. 3. Folk magic sometimes used local deities or spirits as intermediaries and popping a new request in the inbox of a dormant god was usually a bad call.

Oh, and reason number 4: the bowl we’d excavated was extremely haunted.

This may, in fact, explain why it was so well preserved. Theurgic suffusation is the term - if the spirit is clinging tightly enough to the atoms of the object, then time starts to think the material is just as undying as the soul.

You know how I mentioned the scary thing about ghosts is that they’re not scary? They only persist as fully ensouled beings as long as their unfinished business can feasibly *be finished*. Even with generation blood debts, they still tend to become unviable with a couple of centuries. Then the soul slowly starts to move on, leaving only an imprint on the umbra. That’s what’s scary about ghosts: even that which is undying will be eaten by history.

Except this blighter apparently.

So I ran a chemical analysis on the trace molecules left on the lining of the bowl. Then I ran the runes through a penumbral simulation matrix.

The bowl contained traces of calcified aconite. The runes showed an exploit in the magic; the teleportation could be hijacked by holy petition or speculative conjuration.

The ghost had been poisoned. Murdered.

And if they were still a ghost, then whoever killed them was *still around*.

I really really hope that I never meet whatever person or creature is apparently still alive close to a millennia after they murdering someone in a way that is both *really clever* and *really nasty*.

But oh buddy, oh pal … what I want may be immaterial. For surely do intend to figure out the whole of this story.

---

With thanks to Ellie for the submission of the Archaeologist (fearless, frightened, fancy) to the Character of the Month club.

Want to submit your own characters for my stories? Consider supporting me on Ko-Fi with a recurring donation https://ko-fi.com/strangelittlestories

[pumpkinpaix]

Chapter Spotlight 8:

"'Censorship Made It Better': Anti-Fans and Purity Culture in English-Language Chen Qing Ling Fandom" by Abby Springman

Describe your topic/chapter in one sentence/one meme/140 characters.

Rejoice! MDZS has been cancelled!

What drew you to this topic?

When I got into CQL fandom and started lurking on its outskirts on Twitter, I started getting this weird sense of déjà vu. There was this bizarre similarity between the arguments I was seeing about the aspects of CQL/MDZS and their fandoms being "problematic" from a progressive, social justice point of view and the demands for censorship in American libraries that conservative groups were (and still are) making at an alarmingly increasing rate. In an attempt to make sense of this, I fell down what ended up being a really long rabbit hole, and, well, here we are.

Was there anything you were surprised to discover while researching?

I was surprised by the wide variety of fannish backgrounds found amongst members of English-language CQL fandom! I'm not used to seeing so many different "areas" of fandom intersect over a single piece of media like this. Some folks are primarily into the live action movies and TV shows side of things, some are mostly in bandom, some (like me) are traditionally a part of the anime, manga, and gaming contingent, etc. I think that's fascinating, honestly.

Did researching/writing your chapter change how you saw the text, the fandom, or the media? How so?

I didn't use the block button on Tumblr or Twitter for anyone in the fandom while I was working on my chapter. It definitely changed how I saw fandom on those platforms—literally. It really highlighted how much power social media algorithms have over what kind of content is presented to us front and center.

If there’s one thing you hope the fandom takes away from your article, what would it be?

I'll be thrilled if it makes people think about "problematic" content in less black-and-white terms. They don't have to necessarily agree with my conclusions! But if my words make even one person stop and think more about context before posting a reactionary comment, then that would be great.

If you were isekai-ed into MDZS/CQL, what sect affiliation would you choose and why?

The Lan. My existing skills are most likely to be applicable there (see: the library), it seems easy to find some peace and quiet when you need it, there are bunnies, and Hanguang-jun is there.

Chaotic one-sentence pitch to get your friends into MDZS/CQL?

My elevator pitch for CQL has historically been, "It's the adaptation of a book about a gay necromancer, except they can't actually show the gay romance or the zombies on screen."

What is one (1) book/media you would recommend to a MDZS/CQL fan? Tell us about it.

Strange Tales from a Chinese Studio by Pu Songling. It's probably the most accessible collection of Chinese stories of the supernatural available in English. If MDZS/CQL was your first exposure to traditional Chinese cultural beliefs about ghosts, exorcisms, and the like, this is a great introduction to the less xianxia-specific aspects. If that isn't the case for you, I still highly recommend it on its own merits!

Character you keep getting in those "which MDZS/CQL character are you" quizzes?

Wen Ning

Anything to say to potential readers of the collection?

Thank you, and I'm sorry—no, that's a joke. More seriously, I really am thankful for anyone interested in the collection. It's the product of years of hard work by many people, and I'm sure there's an interesting chapter in there for everyone.

(FAQ) (all posts on Catching Chen Qing Ling)

[lemotmo]

I don't often do this, because I try to avoid discourse in fandom and sometimes you just don't vibe with a character. It happens.

But I keep seeing these horrible and, quite frankly, very wrong and disrespectful takes on Eddie Diaz' character. And I can't just sit here and ignore them anymore.

I cannot and will never understand why people don't like Eddie.

I've read some posts and comments earlier about people disliking Eddie and... really? Eddie is boring? He doesn't get interesting storylines? He's just a prop for Buck and his storylines?

Are we watching the same show here?

Eddie is, by far, one of the most interesting characters on 911. The man has had one trauma after the other piled up on him, but still he keeps going. Why? Because of the one thing that matters more to him than life itself: Christopher.

As a single mother myself, I can relate. The struggle to want to give your child everything, to do everything for them, even if it comes at the cost of your own mental and emotional well-being? It is very real. I cannot tell you how many times I end up crying to myself at night, blaming myself because I wasn't able to stop the outside world from hurting my son. And you have to do it all by yourself as well. There is no one there to share the burden with, to share the heartache with. It's tough and it's real.

Eddie's storylines are intricate and nuanced and based in reality. They aren't necessarily the biggest and loudest storylines, but they still matter to people who can relate to him. People like me.

Now, 911 is guilty of showing a lot of important Eddie moments from someone else's point of view. That is true. Especially Buck's POV. The shooting comes to mind, even a part of his breakdown and more recently Eddie's friendship with Tommy. He made a bro-friend and seemed so happy and carefree, but since we saw it from Buck's POV, we can't fully trust this image.

So, I think that is why some people see him as just a prop in Buck's story. But it's much more complex than that. Buck stepped inside Eddie's world without complaint. He helped him out from day one by introducing Eddie to Carla. For the first time, Eddie is no longer alone in life. There is someone there who understands him and his love for Chris. He can safely rest and trust that Buck will be there to step in if necessary. He actually went ahead and put it in his will. Eddie loves the way that Buck loves his son. And the show is still using that bond to date. We saw Buck and Eddie in conversation about Chris, Buck talking to Chris, Buck being jealous of Chris thinking Tommy was cool...

I don't know what the future will bring for Eddie, but I desperately want and need him to be happy. And yes, I do think the narrative will eventually lead him to Buck. His happiness has always been intricatelly linked to Christopher. The way they keep weaving in Christopher in Buck's storyline? The way Eddie keeps being inserted in Buck's bisexuality storyline? These are some of the many reasons that give me absolute certainty that Buddie is in the works.

In conclusion? Just stop hating on Eddie Diaz folks. It's not a good look on you.

[chipthekeeper]

lately i have been a bit miffed by the lack of awareness when it comes to queer characters, and more specifically sapphic characters, in the Star Wars canon. so, in my capacity as the patron saint of lesbian visibility, i've decided to quit whining about it and be the one to spread some knowledge

without further ado.....a very long and obnoxious lesson

now let me tell you about them. in detail. through very specific categories

you don't have anything else to do, right?

CATEGORY ONE: GAY. ON. SCREEN.

they're gay. on screen.

CATEGORY TWO: THE A WORD

Doctor Aphra and her web of lesbianity

CATEGORY THREE: HANDGAYDENS

Padme Amidala and her gay handmaidens

CATEGORY FOUR: THE HIGHLY GAY REPUBLIC

all the many, many queers of the golden age of the jedi

CATEGORY FIVE: VIDEO GAYMES

queers from the Jedi games and related media

CATEGORY SIX: GAY FROM A CERTAIN POINT OF VIEW

characters created for or made queer in the From a Certain Point of View books

CATEGORY SEVEN: COMICALLY QUEER

wlws from comics not involved with Aphra

CATEGORY EIGHT: BOOKED AND GAY

characters who are gay in books, even if nowhere else

whew. still here?

thank you for scrolling all the way through this. if you are interested in talking about any of these people or want to know how to learn more about them on your own, my inbox is always open!!

and seriously folks, if you’re interested in any of them i implore you: read their stories, write fic, make art!!! the more we show that these characters are appreciated and talked about, the more likely we are to get more like them, and hopefully more that are even better and more visible rep

that’s all from me. have a gay day

[secondbeatsongs]

Hello, you said in some tags in a poll that Speed Racer (2008) is your favorite film. If you’re okay with it, I’d really like to hear more about why you love it. I love the Wachowskis’ work (they’re among my favorite directors), but I kinda ended up bouncing off Speed Racer (2008). So, hearing that it had a real impact on someone makes me very curious why. I’m not interested in criticizing your opinion or arguing with you, I’d just really like to know why you love it in the hopes I might be able to enjoy that movie more in the future.

oh god this is from seven months ago, I'm so sorry - but I do love almost everything about Speed Racer (2008) and I still think about it nearly every day.

I love that it's so bright and colorful and absurd. I love that it's an anime in live action form. and I love that at its heart, it is a story about love.

it's about the mistakes people make out of love, and the consequences of that. it's about the way children grow to understand why the adults around them make the choices they do, and maybe choose to do the same things. it's about taking risks for the people you love, and the pain of failing to change the world, because everything is capitalism and everything hurts.

(and it's also about being transgender btw. like, that's one of the main things about it - it is very much a movie about being transgender)

what if your father's choices hurt your older brother, and your older brother's choices hurt you, and now it's you and your younger brother staring down a future where you're going to end up hurting him by making the same choice?

and then...what if you can escape that? what if the broken parts put themselves back together, and the hope doesn't run out, and you're not alone with the things that haunt you? what then?

and now you're at the end and mistakes were still made, people were still hurt, but everyone's grown and changed and they're different now. and they've figured out that maybe, just maybe, you can change the world by doing something you love, by creating art and beauty and making people feel things.

maybe you really can defeat capitalism by driving a car really fast. and even if everyone thinks you can't...don't you have to try anyway? shouldn't you fight with the skills you have, the only way you know how?

what if it works?

and I'm not even gonna get into most of the Racer X stuff (because I want people to go watch this movie, and most folks probably won't be spoiled for it), but his whole deal is just...everything. I love him.

(if there's a guy from Speed Racer that I want to put in a jar and shake every so often, or maybe wrap in a blanket so he can have a nice nap, it's Racer X. he's a great character. prime blorbo material)

anyway I've been rotating this movie in my head ever since I saw it for the first time, and I think I've seen it...seven? times now? and I still cry at the final race, and I still get blown away by the intro sequence.

(the beginning of the movie is genuinely one of the best things I've ever seen - it does an amazing job of introducing you to the world and the story of the characters, and gets you emotionally invested in it right from the start. it's fantastic filmmaking)

also like. story stuff aside, from a technical standpoint, the movie is a masterpiece. it's the type of thing that people hated when it first came out, but when you look at it now and see how it was made, how it intentionally looks bizarre and cartoonish, plastic and surreal, you can see the exact vision the Wachowskis were going for, and it's brilliant.

the way they did the visual effects, the way they made the outdoor scenes feel so detailed, the way the driving and the tracks work - they put so much thought into that, and the behind-the-scenes vids show how cool their process was.

also uhhh cars go vroom, crash into each other, flip upside down, explode, maybe have bees and hammers in them sometimes?

(the above is me complimenting the unhinged vibe of the races themselves, which I love very much)

anyway I could make other full posts about the script of the film and how much I love it, or the cool side characters, or the fanfic potential of the amazing world of the film, or how I can prove that it's set in 1991...but I guess if anyone wants those rants, they'll just have to watch the film and then come talk to me. :)

(please. please come talk to me about Speed Racer.)

so, yeah! I kinda lost my mind there and made this post way longer than I intended, but I do feel strongly affected by this movie, and I hope this has helped explain why.

[andy-888]

You know, seeing the Marvel situation in which they cut a quote where they confirmed Carol and Valkyrie used to date, made me think that the day where studios and big franchises realize, just for their own greedy interests, that the ppl that create most engagement are queer folk, they'll have to put more care in canonically queer characters and in queer stories.

Queer folks are the ones who: make fanart, make edits, write fanfiction, make blogs about it, make fandoms out of it, or just simply tweet or engage with official accounts. They are the ones who give you free publicity and you mistreat that public so much. You know how many shows/movies I decided to watch, how many videogames I decided to play, just bc I saw 1 cute gay fanart? Edit? And then I loved the product as a whole? A LOT.

Why do they think good omens s2 had such a good engagement? And it was so fun for the public? I need these franchises to wake tf up. This also comes bc these days I see a lot of transphobia in the Star Trek fandom bc of a trans trill. A TRILL. I'm not trans, but that scene in DS9 where Jadzia meets a long last klingon friend who knew her as Curzon and then called her Jadzia with the same love made me so happy, bc I have trans friends and i saw how hard it is. Star Trek has ALWAYS been woke and having to see those comments made my blood boil.

Stop making content for cis straight men, make content for the girls and queer ppl bc they are the ones who carry the weight of lifting your bland ass product.

Edit: I want to also add neurodivergent ppl to the sack. God if hyperfixations don't move mountains. I hope you don't get more autism powers doctors as representation

[ktredshoes]

HBO War Fanfiction Stats

Let me start by saying that I am not in any sense criticizing anybody's taste in HBO War relationships. In my opinion, any well-written fanfic, regardless of ship, is worthy. Heck, any fanfic is worthy — it takes a special type of creative courage to write and share a fanfiction story so that others might appreciate what you see in characters you love. So, that's the first thing.

Buckle up, I get wordy. More under the cut.

Tagging a handful of folks who showed interest in my decidedly unscientific findings: @onyxsboxes @jesslovesboats @itstheheebiejeebies @onekisstotakewithme @sparkling-strychnine

Trying something here: @meyerlansky @anachilles @astolovewithallmyheart @dano-png

I started down this fanfiction stat rabbit hole about four years ago when I started looking at The Pacific tags on Archive of Our Own (AO3). I was trying to figure out if it was just my imagination or not that everything other than Sledgefu in TP fanfic felt like a rarepair. I was not surprised to find statistical backup for what anecdotally felt true.

I love all the HBO War series — and for the record, I consider Band of Brothers, The Pacific, Generation Kill, and Masters of the Air to all be part of this fandom community. I won't get into trying to rank them or make the case that one is better than another — they are all related in being stories of men at war, and three specifically stories of men at war during World War II — but direct comparisons, in my opinion, are apples to oranges to prosciutto to tiramisu. They all have different raison d'etres. So that's the second thing.

(I will admit to a particular soft spot for The Pacific as the overlooked "younger brother" to Band of Brothers, precisely because of the tendency of some to negatively compare it to BoB. TP was never intended to be "part two" of Band of Brothers — I was listening recently to a podcast with Tony To, an executive producer of both shows, who asserted that BoB was, yes, about the brotherhood of war, but TP was about the cost of war. )

Anyway.

A couple of days ago, I saw someone post about the fact that the Cleven/Egan ship in Masters of the Air was about to hit 1,000 stories on AO3 — and since I knew that the total number of stories was only about 1,400ish, I figured it was time to take a look at MotA stats too. And that led to looking at GK stats and BoB stats and once I finished, I was really struck by what I saw.

I have a whole spreadsheet looking at the four shows, with breakdowns by relationship and character, with percentages of total stories. (I've posted some graphics from those spreadsheets below, not to worry.)

So what did I learn?

The Pacific and Masters of the Air both are overwhelmingly dominated by a single ship — Sledgefu in the case of TP and Clegan in the case of MotA.

As of August 10, 2024, there were 1,500 stories on AO3 tagged for The Pacific, and 1,485 tagged for Masters of the Air. Sledgefu features in 884 of TP stories, which is 58.93% of the total.

You might think that's an astounding total — but Clegan features in an astonishing 986 of MotA stories, or 66.4% of all stories. The falloff in the next highest ship in each fandom is precipitous: Hilldane in 14% of TP stories (210), and Crubbles in 8.82% of MotA stories (131).

If you are a fan of any ship aside from the most popular pairing in these two fandoms, that has got to be terribly discouraging. You wouldn't think the dropoff would be so high if you're at all active in the HBO War fandom on Tumblr, based on what's posted on a daily basis, but if your entry to HBO War fanfic is solely on AO3, what would you think?

I will once again state that I'm making no judgement on anybody's favorite pairing — I'm making a case on behalf of all the other ships. I'll also note that there are many, many fics posted to Tumblr that never make it to AO3, and I would very much encourage those authors to please please please consider posting your stories to AO3! (If you don't have an account on AO3, it currently takes about 10 days from requesting an invitation to receiving it, which is not that long in the scheme of things.)

The popularity of TP and MotA characters in these stories shows a similar disparity between the most popular and everybody else. In The Pacific, Snafu features in 63.53% of AO3 stories (953) and Sledge in 62.6% (939). No one else is as high as even 20% -- Burgie is in 17.2% (258) and Ack Ack is in 15.6% (234) and Hillbilly in 14.73% (221). The other two ostensibly lead characters in TP are Bob Leckie (12.53% or 188 stories) and John Basilone (1.67% or 25). I find that just shocking.

MotA is both better and worse. There are 10 characters who appear in 10% or better of posted stories on AO3 — but the dropoff from most popular to next highest is even more dramatic. Bucky Egan features in 77.9% of stories (1,157) and Buck Cleven in 74.28% (1,103). The next highest is not, as you might think, Harry Crosby or Rosie Rosenthal, the other featured lead characters in the series. It's Curt Biddick, who is in 25.19% of stories (374), followed by Croz in 23.7% (352). Next is Rosie, who is tied with John Brady — both in 16.9% or 251 stories. What a steep drop!

But, hey, at least there are a baker's dozen plus one of characters who feature in at least 100 MotA stories:

Egan: 1,157 stories (77.91%)

Cleven: 1,103 (74.28%)

Biddick: 374 (25.19%)

Crosby: 352 (23.7%)

Brady: 251 (16.9%)

Rosenthal: 251 (16.9%)

DeMarco: 243 (16.36%)

Payne: 225 (15.15%)

Lemmons: 181 (12.19%)

Hamilton: 167 (11.25%)

Marge Spencer: 146 (9.83%)

Douglass: 139 (9.36%)

Kidd: 130 (8.75%)

Blakely: 111 (7.47%)

After 14 years, will TP ever develop more diversity on AO3? Probably doubtful — though since I first checked the stats in 2020, Hilldane has gained 2%, so there's slow change but some change. Eight months in since the birth of the MotA fandom, and Clegan, and by extension Bucky and Bucky, are steamrollering the rest of the MotA relationships and characters on AO3 — based on what I see on Tumblr, I don't know if that huge disparity will hold up, but who knows? It's still a very new fandom.

But what about GenKill and BoB, you say?

Well, as you might have guessed, there's a clear delineation in GK between the top ship and the next ones below it, but the dropoff is not nearly as dramatic as in TP and MotA.

There are 3,024 Generation Kill stories on AO3 as of August 10, 2024, and the number one ship is Brad/Nate, with 1,261 stories, or 41.7% of the total. Next highest is Brad/Ray, with 677 stories, or 22.39%. The top three characters are Brad, featured in 63.82% of stories (1,930), then Ray, featured 52.35% of the time (1,583 stories), followed by Nate (45.44% or 1,374 stories). Next is Walter Hasser at 571 stories (18.88%), followed by Poke Espera at 284 stories (9.39%), Mike Wynn at 262 stories (8.66%), then Doc Bryan at 254 stories (8.4%). There's that dropoff again!

And as for Band of Brothers? After nearly 21 years on AO3 (the oldest story dates from November 2003), there are 5,016 BoB stories on AO3, with a huge number of ships and characters — albeit some quite small. Frankly, I stopped counting after getting to 70 relationships and 55 characters — I just got tired!

Still.

Let me add that the earliest BoB stories on AO3 are not well tagged for ships or characters — many don't have any tags at all. I don't know the reason for it — whether the tagging system in the early AO3 days wasn't easy to navigate, or maybe the lack of tagging was a holdover from earlier systems or archives? I have no idea how well-tagged stories were on LiveJournal, Dreamwidth, or Fanfiction.net. So anyhow, early BoB stories on AO3, if tagged according to current standards, would definitely change the stats but I have no insight on how it might shift them, except definitely upward for the most popular characters and ships.

At any rate: onward.

The top BoB ships on AO3 are 1) Winnix — 1,250 stories or 24.92%, 2) BabeRoe — 771 stories or 15.37%, 3) Webgott — 663 stories or 13.22%, and 4) Speirton — 662 stories or 12.4%.

Moving on to characters, there are a dozen that feature in 10% or better of the BoB total. Take a look:

Winters: 1,173 stories (34.35%)

Nixon: 1,652 (32.93%)

Roe: 1,380 (27.51%)

Speirs: 1,135 (22.63%)

Heffron: 1,125 (22.43%)

Luz: 1,063 (21.19%)

Liebgott: 1,058 (21.09%)

Lipton: 978 (19.5%)

Webster: 790 (15.75%)

Toye: 749 (14.93%)

Guarnere: 686 (13.68%)

Malarkey: 514 (10.25%)

That's a much more even distribution here, without the massive dropoff in the other three fandoms. Or as @itstheheebiejeebies put it to me: "BoB fans feast on variety. It's a grazing table instead of main and side courses." Just so.

So what do I take from all this? I mean, in the case of MotA, I came into the fandom all gaga over Callum Turner and thus Bucky Egan. But then I quickly veered off into following Benny DeMarco (Adam Long) and for the past several months I've fallen under the spell of Everett Blakely (David Shields). Will I stay there? I have no idea! And that's kind of exhilarating.

But here's what I know for sure: as I continue to read and write HBO War fanfic, I'm going to be doing my best to support the ships and characters out of the top tier.

Creators: Don't just post your fanfic to Tumblr — post it to AO3 and tag it.

Be the change that you want to see.

---------------------------------

Now, as promised, here are the stats in graphic form.

[sarahreesbrennan]

Quick Evil Note

To all my wicked darlings, I have now received rather a lot of messages asking me about the influences of Long Live Evil. And I wish to get messages about LLE and truly appreciate the ones I do get! And I wish to answer them. But answers about influences are tricky.

The book has been out in the US for a little over two weeks, and it’s going so well so far, I couldn’t be more delighted and appreciative about its reception.

But also I’ve been informed (not asked) that two of my characters are obviously somehow both Harry Potter and Draco Malfoy of Harry Potter, and Wei Wuxian and Lan Wangji of Grandmaster of Demonic Cultivation. (Very puzzling as I don’t think these pairings - and one isn’t a pair - have much in common with each other or with mine. Vague hostility against a vaguely academic backdrop for a bit? For the record… in the book everyone is an adult and I don’t even have any academic backdrops to be vaguely hostile in front of…) This hasn’t happened to me in a long time, because I haven’t had an original novel out in a long time due to illness, and it is upsetting to always be discussed differently than writers who didn’t openly link their real names to their fan identity.

I have very different feelings and new appreciation for fandom than I once had. It’s been amazing to see and meet people who have stuck with me for decades. People are generally way more open and affectionate to and within fandom than they once were. Love matters to me a good deal more than hate. But getting death threats in your early 20s for excitedly telling your Internet friends you were going to publish a book does mark the psyche, and so does having your characters dismissed as other people’s characters.

And we can say there is nothing wrong with fanfiction or writing fanfiction and there isn’t! Fanfiction is great and can be genius. Terry Pratchett wrote Jane Austen fanfiction, and didn’t (and shouldn’t) have people saying Captain Wentworth = Captain Vimes. Still, when a TV show is discussed as ‘like fanfiction’ or when Diana Gabaldon said she didn’t like fanfiction and many said ‘YOU write fanfiction’ it isn’t intended in any kind spirit, even when it’s fannish folk saying it. And it’s just generally odd to have everyone call your apple a tomato, and has had professional consequences for me in the past.

However! All the asks I’ve received have been very kind, and I do want to answer them. I do want to talk about my influences because they are manifold and because I actually think it’s important to always talk about influences. I don’t believe stories exist in isolation - we tell tales in a rich tradition, and also a story doesn’t come alive to me all the way until it’s heard or read.

Long Live Evil is a love letter to fandom: it’s chock full of references to many many stories I’ve loved, to fairytales, myths and legend and Internet memes and epic fantasy and meta. My acknowledgements are endless partly for this reason. I do owe a great debt to many portal fantasies and archetypes and musicals and jokes about genre and plays through the ages, though I do think of my characters as themselves and nobody else.

I was frankly tempted to go ‘Yes I stole EVERYTHING! Bwhahaha!’ But while I am thoroughly enjoying and finding great freedom in my villain era, I do want to talk sincerely to you all as well, especially when asked sincerely interested questions.

But I’m a little scared to do so and have people say ‘AHA! Now we know what it’s fanfiction of’ (it’s happened before) or ignore me and go ‘we know the truth!’ (it’s happened before) and to feel like I’ve injured my book. Long Live Evil means more to me than any other and I really want to get talking about it right, and make sure it has the best reception I can give it.

So. Questions on all Evil topics very very welcome but answers to influence questions may come slowly. Bear with me. I am working on this!

[freuleinanna]

I'm still confused about Verna.. I thought she was a demon?? Because why would Death be going around making a bunch of deals with people? After Verna told Pym she decided to go "topside" I thought she was some kind of crossroads demon since it implies she came from below (hell)

Oh! I feel you, and I struggled with that a lot too. She does seem a lot like a demon. I'm not saying I'm 100% correct in my thinking either, but here's why I personally think she's Death. Kind of a long post, sorry. I hope I make myself clear, but feel free to follow up!

So, Verna. An anagram for Raven, that much is established. Ravens are wonderful - symmetrical even - creatures. Bringers of death in a wide understanding. Bringers of good luck in many cultures. The duality is amazing. To me, that also leans majorly into the theme of death being a concept of duality: an enemy for some, a friend for others. Each greets her differently. I'm not talking about the characters here, but people in general.

There's a proverb I came across a while ago that reads 'Death is a great leveller'. Meaning, everyone's equal before her. You have no leverage or buffer against death, and it doesn't matter if you're poor or blindly, feverishly, grotesquely rich (like our folks here). Everyone pays the last bill. For everyone, there's a day of reckoning. It's a major theme with the show, at least. Verna also says 'Buy now, pay the bill later' - although it can still read very demonic, I agree.

She's obviously ancient, and I was leaning toward the demon theory based on all of her talking. Yet - she also keeps ranting about Egypt and pyramids and Cleopatras and such. What's the one thing with Egyptians everyone knows of? They honored death. Death may have been a bigger part of their lives than life itself. The Usher Twins' obssession with all things Egyptian, antiquities, jewelry, swords and such, plays a nice parallel here too, because they're just collectors. They have no grain of honor for the real thing, for what these things are tied to. Kind of a nice thought, I guess.

Anyway, back to Verna. She says on multiple occasions how intrigued she is with us, 'adorable little things'. She saw the pyramids, the expeditions, and she wanted to see what else we do, she wanted to see what Roderick and Madeline will do (in her own words). It's all an experiment to her. She makes an offer just to see what we, people, do.

Here's where my beef with a demon theory comes in. No demonic creature I could think of, be it an actual demon, a trickster, or something else, is that sincerely intrigued. Something something death loving life something something.

Demons, in my understanding, are most interested in winning the deal. They come up with incredible challenges, they enjoy torture, emotional or physical, they never let anyone win. Verna has never once expressed this. Quite the opposite. She gives everyone a chance to step back. Even when the ink has dried and everything's decided, each Usher sibling is conditioned to make a choice: push forward, or step back. Neither of them steps back. Neither of them takes a long hard look at themselves (except Tamerlane, both literally haha and figuratively, as she's the only one to have realized how lost she was in her way - just at the end, when it didn't really matter anymore, but still). Verna is kind to those she takes (sincere pet names, regrets of having to do it this way, making sure they know it's not personal, etc). She grieves with them, just before. Grieving - 'The Raven' being about an expression of grief and trauma - ravens as synonyms for death... you get the gist. Oh! Except Freddie - cause Freddie struck a cord. Infuriated her. So he doesn't get an expressed choice. And he would've blown it like coke anyway, so meh.

And then Arthur Pym. Oh, Arthur Pym. I honestly couldn't imagine a demon kneeling and thanking someone who's refused them.

About Arthur Pym, by the way. It's the one story I hadn't reread, and I should have, it turns out! haha Anyway, a few notes about his travels:

In the story, Arthur Pym is expressedly afraid of white color (North Pole, yada yada, white being the absense of colors/life, and the absense of life is death).

Verna enumerates the moments she witnessed of his travels. Someone getting left in Sahara. Someone getting shot in the Arctic. Something bad that was done to an Inuit woman. Why would she follow Arthur so closely? She didn't know him, he wasn't her favorite. I think it's because she came to collect those deaths. If she is death, she would've been exactly there, where people died. She would have also seen Arthur not partaking.

Aaaaaaaand it makes her 'You saw me' line sound better, because he had sure seen death along his travels.

I think the part about a place of out-of-time, out-of-space creatures and hollow Earth was a bit unnecessary, BUT I can try and tie it in this way:

It showed us how Arthur might have coped with what he saw, and he 'saw a lot', even in his 70s it's difficult for him to recall, and it made him think of humanity as a virus, literally;

He might have thought up that ethereal realm simply because he was in an expedition? Exhaustive conditions for both body and spirit? Traumatic experiences? If he saw Death, he might have cloaked it in his mind to cope with it, thus came his stories;

Verna going 'topside' may just mean that she had to go take a look herself, actually be willingly present for the events - to see the brave little humans conquer the earth. 'Topside', as in, 'visible, present, participating'. If Death exists, I doubt it bothers with our boring human realm but lives downunder, among all threads that weave the world.

So that's that on Arthur Pym.

A few other references my mind is too exhausted to tie in nicely:

Death takes Lenore. THE Lenore from 'The Raven' (mostly) and 'Lenore' (secondary). That happened. Also, death talking to a child of life? Regretting having to take her? Not very demonic of dear ol' Verna, in my opinion.

Her mourning veil, her last toasts to the Ushers at the cemetery? Demons don't tend to grieve their players. Demons don't respect and love them enough, and 'what is grief, if not love persevering'?

Death is the last threshold. Before death, we look upon our legacy (major theme with the show), we remember our losses and loves (Annabel Lee!!!!! love the poem, brilliantly done), we get heavy with regrets. We face death as an enemy & fight, like Madeline did. As a friend, like Arthur did. We confess, like Roderick did. All that is too significant to me overall.

And the last thing. It's Edgar Allan Poe. The whole Death tribute is a giant, incredible, thought-through-to-the-bits hommage to his literature where Death, figuratively and literally, takes the throne.

I hope I managed to express myself alright there. Thanks if you read it through, and as I said before, feel free to follow up or elaborate on some ideas. There are oceans to discuss. <3

[a-court-of-lust-and-stardust]

*taps microphone* Is this thing on?

I'd like to give my perspective on something, from someone who started out in the ACOTAR fandom as part of the general audience, and who has a sister that is not apart of fandom but has read the books.

I read the series back in November 2023 in about 2 weeks. I stayed off of social media for a bit until I decided to make a Tumblr account.

After reading the books, I wasn't sure if the series was complete. It didn't feel complete. The first three books focused on Feyre. Nesta had an entire, almost 800 page book dedicated to her. For me, it was natural to assume, "Oh, Elain is next!" because logically, that was the only thing that made sense. Why would two sisters have books, but the third wouldn't? The series would seem incomplete.

Flash forward, and I find out that yes, there will be more to come in the series. However, at this point, I was still unaware that a bonus chapter for Silver Flames existed until a friend casually mentioned it. I asked where to find it and I began reading.

The first part of the bonus chapter confirmed what I already believed from reading the books. Azriel and Elain share mutual feelings. Truly, I didn't need confirmation in the bonus, because there were moments in the books that I already had picked up on. The bonus was just a nice surprise. Something fun.

But imagine my shock when I decided to insert myself into fandom space as a casual reader, and see folks who are 110% convinced that the next book's main character is going to be a secondary side character that was introduced about 40% of the way into the 4th book.

You don't have to imagine my shock, because I'll tell you. The moment I set foot into this fandom, I have been beyond confused. Bamboozled. Befuddled. And honestly, a bit gaslit.

Prior to this bonus chapter, I assumed everyone thought it was obvious and picked up on the pattern. The first sister gets a few books to explore her powers, heal, and fall in love. The second sister gets a book to do the exact same thing. The third sister would get a book...to do the exact. same. thing.

There was a week where I had zero idea that the bonus chapter existed. There are STILL people who have no idea that the bonus chapter exists, and may never end up reading it. These people are not on Tumblr, Reddit, Instagram, or Discord, discussing in depth theories and potential love squares. They are solely relying on canon text.

So, genuinely, what do you think their reactions are going to be, if the next book does not focus on Elain, the third sister, but rather a priestess, who was part of someone else's story, who was only just introduced in the very last book, who does not have any ties to the plot? Yes. They will be lost, too.

My sister, who is part of the general audience, and is not present in fandom spaces, has the same opinion. The idea of Azriel and Elain not ending up together doesn't make sense to her. Prior to showing her the bonus, she had already assumed Azriel and Elain would be the next pairing in the next series. Because she had only read the canon text. The canon text that is available to everyone. The bonus is not.

So, essentially, what I'm trying to say is, if the next book does not feature Elain as the main character, and Azriel as the main love interest, with sprinkles of Lucien here and there because he is still important because of the mating bond, then there will be a gigantic chunk of casual readers, who are not involved in fandom spaces, that will be utterly confused at the direction of the story. Because for people who are not on social media, they are only using the canon books. Their information is only coming from the canon books that are available for all readers. If information in bonus chapters is supposed to be important, then it would be featured in books for everyone to read.

[thesiltverses]

Hello! I found the silt verses about three weeks ago and have listened to it several times since. I have a few things to say.

I absolutely adore that episode about the national grid workers. I think it’s my favorite episode of any podcast I’ve ever listened to. My favorite part of that first episode Paige is in is how she justifies not standing up for Vaughn, that cognitive dissonance that you wrote so well. This episode gives me what I wanted from that episode, the workers all banding together to stop the wasteful sacrifice of one of them. The actor who played the foreman did an incredible job as well. I think that having him discuss which of his workers he would sacrifice was such a significant moment, despite how brief it is. It cuts right to the big question that I took away from the podcast which is, “How much is someone willing to sacrifice in order to maintain their comfort?” And the utter disrespect of Glodditch (apologies for the spelling) refusing to cancel even the radio but asking grid workers to kill themselves for 200kw/h! Top tier episode.

I grew up in the south and went to college in Appalachia. I saw the disparity in technology and “advancement” if that makes sense that poverty brings, and the way you set up the world invokes that feeling in me again. You are an amazing world builder and storyteller.

I really enjoyed the cameos - I’m a big fan of malevolent/devisor, Old gods of Appalachia, and all of Jonny sims work, so hearing familiar voices was an absolute delight. Harlan Guthrie as an acolyte of the snuff gods might have been a bit too on the nose with some of the things that man writes, though… /pos

I’m transmasculine, and something that I really appreciate is how you manage to make a trans man do some objectively awful things, but still manage to make him a complex, full character that I was rooting for very frequently. Brother Faulkner is so, so important to me as a character. Paula Vogel has a play called “Indecent,” which is about the true story of a troupe of I believe German Jewish actors between the years of 1910ish and 1940s putting on a show called “God of Vengeance” by Sholem Asch, also a Jewish man. “God of Vengeance” has queer themes and received a lot of criticism from the Jewish community for showing Jewish folks in a “bad” light at a time when there was already so much hatred for Jewish people. Brother Faulkner being as complex and, in my opinion, malicious and cutthroat as he is at a time when trans people face so much bigotry, especially legislatively in the United States, brings this conversation about “God of Vengeance” up again for me. I also love how normalized non-binary people are in this world, without question. “Sibling this or that,” the hunter, adjudicator Shrew - big thanks from me for all of this.

All of this to say, I love this podcast. Can you talk more about the rhetorical gods? Is Babble one? What makes them one if they are, or why aren’t they? I’m fascinated by them. Can you talk more about the propaganda gods too?

Thank you so much for the thoughtful and kind words!

I'll check out Indecent, it sounds really interesting and I'm very glad to hear Faulkner works for you as a character. I think the topic of how to include and write queer characters who are capable of terrible things and thoughts (because, after all, these characters are human beings and not tutelary exemplars), within the context of both a rising movement of transphobia right now and centuries-old scapegoating / pathologising portrayals more generally, is a really knotty but a really important one, and I always want to make sure I'm approaching it with care and due responsibility as well as a sense of humility around the limitations of what, as a cis writer, I can actually achieve.

To that end, I don't want to ever take the audience response for granted, but I'm always really grateful to hear that the portrayal is working for a listener!

Propaganda gods: gods whose prayer-marks or ritual verses are fed directly to the enemy, enforcing destructive or sabotaging changes to reality (so rather than sending a destructive saint or angel to rampage over the foe, you might drop pamphlets or send radio messages to the enemy to 'convert' them).

Rhetorical gods: gods whose followers possess reality-warping powers of language itself (which is why 'rhetorical god' is a polite way of saying 'liar's god'). In other words, the paranoia around them comes partly down to the fact that a disciple like Val may appear to be a limitless shaper of new forms, rather than shaped into a limited form of their own, as a result of their worship.

[laurasimonsdaughter]

is there any aromantic themed folklore stories?

I think that very much depends on your personal definition. Of course there are plenty of folktales that do not include romance, but for me that usually isn't quite enough to consider them aromantic. For me the folk- and fairy tales that feel the most aromantic to me, are the ones where the plot makes me expect there will be a love interest along the way or a wedding at the end, but instead there is neither.

Here are the ones I've taken a personal liking to so far:

The Shoes That Were Danced to Pieces

Source: Cape Verdian folktale, collected by E. Parsons from Antonio Soares Rosa in 1916-1917.

Content warnings: princess-shaming.

Character I read as aro: The hero.

Why: He answers a royal proclamation that states that whoever is able to find out how the princess wears out seven pairs of shoes every night can marry her and have half the kingdom. When he accomplishes this, however, he declines the marriage and returns home to build his mother a new house.

Read it: Full text online.

How The Devil Married Three Sisters

Source: Italian folktale, published by Widter and Wolf in 1866.

Content warnings: fairy tale violence, abusive spouse.

Character I read as aro: The youngest of the three sisters.

Why: While the first sister is pleased by her handsome suitor (the devil) and the second sister is also described as "wooed and won" by him, the third agrees to marriage only because he is rich. She proceeds to save her sisters, outsmarts the devil, and they all get away.

Read it: Full text online.

David Cotterson

Source: Danish fairy tale, collected by Jens Kamp, published in 1879.

Content warning: suicide contemplation, fairy tale violence.

Character I read as aro: The hero, David Cotterson.

Why: His biggest desire is to become a sailor and see the world. In his biggest adventure he defeats a seductive witch, saves a prince who has been cursed to be a dog. He then decided what he wants most of all is to got home to his loving parents, which he does.

Read it: Offline in this book, or my summary online.

The Squire’s Bride

Source: Norwegian folktale, collected by Asbjørnsen and Moe, published 1841-1844.

Content warning: attempted arranged marriage, attempted kidnapping.

Character I read as aro: The heroine, a farmers daughter.

Why: She's being courted by an old, rich squire. She rejects him, not for a better (kinder, younger) suitor, but simply because she doesn't want him. He doesn't back down so she humiliates him to teach him a lesson.

Read it: Full text online.

The Three Brothers

Source: German folktale, collected by the brothers Grimm, published 1857.

Content warning: ends with natural death.

Characters I read as aro: The protagonists, three brothers.

Why: Their father tasks them to learn a trade to show who deserves to inherit their family home. They become a master barber, blacksmith and swordsman, and the third inherits the house. But because they love each other so much they decide to share the house. They live happily and grow old together, after which all three die close together and are laid in the same grave.

Read it: Full text online.

Diarmaid and Grainne

Source: Celtic legend, Scottish variant collected by H. MacLean in 1859, from Alexander Macalister.

Content warning: tragedy, coercion, murder of protagonist.

Character I read as aro: The warrior Diarmaid.

Why: He has a love spot on his face, which he keeps hidden to prevent women from falling in love with him. Grainne (who is married to his lord Fionn) sees it and falls for him, but he refuses to go with her until she outsmarts him and places him under obligation to do so. He goes with her but they live in a house with separate beds. Grainne betrays Diarmaid for yet another man and Diarmaid ends up being killed by Fionn before he realises that Diarmaid has never touched his wife.

Read it: Full text online.

Slawa

Source: Romanian fairy tale, found in a German collection from 1977, sadly unsourced.

Content warning: attempted kidnapping, fairy tale violence.

Character I read as aro: The heroine, Slawa

Why: She is a poor young woman so beautiful that the cruel tsar wants to marry her. She keeps refusing and he gets violent, so she resorts to defeating him with magic (which she has because she was once a doll brought to life through the love of her parents), so she is free to go see the world.

Read it: You can download my translation here.

King Bear

Source: Danish folktale, collected by Jens Kamp, published in 1879.

Content warning: animal death.

Character I read as aro: One of the two protagonists, the eldest of two brothers.

Why: The older brother doesn't fully understand why his younger brother has fallen in love with an imprisoned princess, but helps him win her hand anyway. He stays happily at the royal court, but never marries himself.

Read it: Offline in this book.

And just because I still love them, I did write two literary fairy tales with aro protagonists myself some years ago:

The Man and the Mermaid, in which a man meets a mermaid after losing the woman he thought he wanted to marry.

The River Sprite, in which a woman helps a river sprite who is determined to repay her.

Hope there's something on this list that makes you happy!