#overlapping two niche interests

[alfredoalfredoalfredo]

Is this anything?

[ariapmdeol]

i think it's fascinating how each fandom niche has its overlaps, where fans of one are usually interested in the other.

It's like... fans of YTTD, for example, are generally also fans of Danganronpa. RPGMaker game fans like other RPGMaker games. Fans of one SMP generally also like other SMPs. COE fans have massive overlap with Project Moon fans. All of these little links and connections are so charming to me?

I do think it's important to step out of your niche, though-- There are a lot of cool things to watch and read out there, and there are a lot of things that I've loved but never would have found on my own or in my circle!

[fatalize]

rereading doukyuusei for the 3rd time and am only now realizing that ramba ral works at their school, apparently.

[fanby-fckry]

You know what, I’m just gonna say it. I think that Alastor being aroace is part of the reason he’s so shippable to me.

Before you come at me, check the flag in my pfp; I’m aroace-spec.

Maybe it’s me projecting, maybe it’s because I love exploring relationships through an aroace lens, but goddamn. I ship him more than any other character and every time I do, his aroaceness is a major component in the ship.

Examples below the cut because it’s gonna get long:

📻🍎 || RadioApple:

There are so many versions of this dynamic and I am here for all of them.

We have the pre-canon kinky QPR that I show in UH3. I could talk about that all day, but to summarize:

Aroace x genuinely respectful allo is a dynamic that heals my soul.

Lucifer is less tied down by human constructs like amatonormativity, having never been human himself.

The Devil values consent.

Kinky cannibalism, kinky cannibalism, kinky cannibalism, kinky ca- *I am removed from the stage with a comically large hook*

Then we have the Evil and fucked up QPR dynamic:

And of course, trying to get along for Charlie’s sake and eventually bonding over their shared love of dad jokes and musical theatre, both being violinists (yup, Alastor plays violin too, check the wiki) with niche hobbies/interests (ducks, furby organ) and accidentally winding up in a loving, healthy QPR.

📻🕸️ || RadioDust:

There’s something about an aroace and a sex worker who very rarely falls in love.

Angel would know that Alastor isn’t with him for sex, would know that he values Angel beyond his body.

With greyro Alastor, Angel and Alastor would both be inexperienced with romance, but in wildly different ways. Angel has never had a healthy romantic relationship and therefor tries not to fall in love. Greyro Alastor has probably experienced romantic attraction like less than three times in his 100+ years of existence.

And if Alastor never gains romantic attraction for Angel, that’s a whole other level to the dynamic.

It’s got some great angst potential with Angel wondering if he’s not good enough to love romantically or Alastor feeling guilty or confused as to Why It Hasn’t Happened Yet when he cares for Angel so deeply, and eventually it gets resolved with the two of them accepting that their attractions don’t have to match up for them to love/appreciate/care for each other and they smash the amatonormative relationship hierarchy as queer platonic partners.

Or, Angel’s just totally cool with it from the start because he’s spent decades in the kink scene and has potentially been exposed to more relationship anarchy than Alastor.

Kink and queerness have a great deal of historical and cultural overlap, and that includes aroace queerness. Because Angel’s had way more canon exposure to both, it’s possible he knows more about Alastor’s orientation than Alastor does, and I love the idea of Angel introducing him to terms or just being super chill about not labeling things.

📻♥️ || RadioHusk:

Drawing like 90% from pilot dynamic and headcanon on this. They’re just two old men. They get drunk and cuddle. Alastor is one of the few people who knows Husk can purr and takes advantage of this fact. Alastor considers Husk a friend in a fucked up, possessive way. Husk considers Alastor a pain in the ass, but does care about him on some level.

It’s Fucked Up and Evil QPR: Remix Edition.

And the versions where the author puts them through fanfic couple’s therapy and actually gets them into a healthy point in their relationship? One where Alastor no longer owns Husk’s Soul? *chef’s kiss*

📻🌹 || RadioRose:

For me, personally, this is an exclusively nonsexual, non-romantic ship. They’re besties; they’re QPPs. They’re married for the tax benefits and so that they cannot be forced to testify against each other in court.

Rosie knew Alastor was aroace before he did and rather than sit down and explain it to him, she decided to make ace puns.

📻💋 || RadioSiren: [edit, context here] RadioFemme

Ok, so this is entirely based on non-canon-compliant Lilith. Or, I guess, non-series-compliant Lilith. More of the old WOG stuff from the pilot era, with a healthy dose of headcanon for flavor.

I love the idea of Lilith and Lucifer having an open marriage; I love the UH3 style polycule dynamic.

Lilith being the original seductress and Alastor being aesthetically but not sexually or romantically attracted to her is very near and dear to my heart.

I’m an aroace with a voice kink who is aesthetically attracted to Lilith and I think Alastor is an aroace with a voice kink who would be aesthetically attracted to Lilith, ok?

📻📺 || RadioStatic:

I’m gonna be real with you, 90% of my interest in RadioStatic is in the one-sided version where Vox is a pathetic little incel simp and Alastor is either oblivious, mildly annoyed, or finds the whole thing hilarious.

Whenever there’s any reciprocation on Alastor’s part, I always imagine it being in a very aroace, very Alastor-esque way. He needs to be get something out of it completely unrelated to sex/romance. And he needs to be manipulative and sadistic in the process.

Whether that something is kink-related, a business transaction, or simply the quality entertainment provided by Vox being a cringefail TV-headed little bitch, I love to see it.

[watatsumiis]

Being A Part of the Sumeru Squad!

I've been thinking a lot recently about being a part of the ‘in’ group in Sumeru - the ones shown to be good friends on screen already (Tighnari, Cyno, Al Haitham and Kaveh!) I feel like there's lots of ways one could slot themselves into the dynamic and it's just very pleasant and fun to think about. 

(Rambles below the cut. Platonic stuff, reader is referred to as ‘you’ and is entirely gender neutral) 

Though the squad is almost constantly making playful little jabs at one another, bickering back and forth and whatnot, they're overall a pretty supportive and kind group and accept you into their midst without too much fuss. 

You soon find yourself invited to a myriad of small, casual get-togethers where the group catches up with one another. It's kind of weirdly formal at first, with so many of them holding such high and important statuses. 

Luckily, Kaveh also ends up feeling pretty left out during these discussions, so you'll have someone to chat with or ask questions when you've lost track of the topic at hand. Plus, he's often got some very funny (and surprisingly astute) commentary to add on, even when the subject is painfully dull. 

Once all the politics are out of the way, the conversation tends to ease right up for a little while. Regardless of whether you're at some restaurant or cafe, or just hanging out at someone's house, there's usually snacks available and things will remain super lighthearted for a bit, all jokes and talks of recently released books or occasional infodumps about hyperfixations and special interests. 

On that subject, whenever the stars align and two or more group members have the same special interest or hyperfixation, hoo boy, you can expect them to monopolise the conversation and somehow always drag it back to whatever niche fascinations that they may have accrued lately. 

If you have something you want to talk about, you can rest assured that at least one person in the room will be able to engage. Everybody has their own collection of equally specific and obscure knowledge - with the occasional kind of hilarious overlap. Kaveh and Cyno’s shared fascination with Fontanian machinery, or Tighnari and Al-Haitham’s in-depth discussions of insectoid languages and their potential overlap with human ones are some of the first to come to mind. 

Of course, disagreements do break out every now and then - but everyone is fairly civil for the most part, if a little bit overdramatic and occasionally loud. It's interesting to see how everyone the group tends to take sides almost as soon as a hint of a possible disagreement rears its head. Al-Haitham once questioned Cyno's sense of humour, querying whether it could really be considered comedy if nobody was laughing, and pretty soon, Tighnari and Kaveh were arguing along as passionately as if they'd been personally insulted. 

You tend to be the tiebreaker more often than not - with such an evenly split group, there often tends to be an even balance between whatever arguments. It doesn't help that Al-Haitham likes to break it all down and give pros and cons for both sides (while still keeping his own stance firm), which may make it impossible for you to decide. 

Luckily, it's easy enough for you to guide the group's attention elsewhere. Just offer to make them some hot drinks or ask if someone wants to play a round of Genius Invocation, and it's like the argument never happened at all. 

It's easy to wind up feeling a little out of place in a group of such highly ranking people, but it's like your friends develop a sixth sense for when you're starting to get a little confused or feeling out of your depth. Instead of poking fun at you (like they do for Kaveh), they'll find a way to rope you into the conversation that doesn't put too much pressure on you. Cyno and Tighnari, especially, seem to have a way of relating things to subjects that are in your area of expertise to help you parse them better so you can find your footing and be debating back and forth with the rest of them. 

Game nights tend to get really intense. It's not a case of if someone will flip their lid, it's simply a case of when. Alliances and subsequent betrayals are all too common, and you'll often find yourself being bribed to help someone one-up another person. 

They even have a ‘trophy’ for winning each week's game night. It's a tiny crown, carved out of wood and painted gold. Collei made it and donated it to the group. Whoever possesses the crown also possesses the ultimate bragging rights until the next gaming night (or until they accidentally sit on it and squash it with their big clumsy butt. Kaveh ). 

Though the group is chaotic, noisy, and constantly teasing one another, they're all so supportive of one another and will stick together through thick and thin. As the conversations slow down, sometimes some pretty serious subjects get brought up, heavy venting and other such similar things. 

Though, they're all very understanding if someone isn't in the correct headspace for that sort of talk, and will happily postpone it or talk about it elsewhere if needed. They're also very used to multiple conversations happening at once, so it's easy enough for someone to dodge around the heavy topics if they need to. 

The squad can be almost violently supportive at times. Sometimes you worry that Cyno may be one hundred percent genuine about abusing his status as the General Mahamatra to threaten somebody who mildly inconvenienced you one time in the market last week. 

Overall, the vibes of the friend group are super fun (if a little intense at times). They may not say it directly, but everyone is super glad to have you around, hanging out with them and getting in on all the goofs they make and shaking up their dynamic a little bit.

Please don't repost, steal, copy or otherwise plagiarise my writing! I do not consent for my works to be translated and posted elsewhere, or copy - pasted into bot or AI technology.

[h-sleepingirl]

Milton Erickson and a Rabbi Walk into a Bar... (Essay)

Finally, I've finished this essay about connections I'm finding between hypnosis, Judaism, magic, and intimacy. It's ~4.5k words, extremely "me," and I'm really thrilled to share it. Enjoy!

--

My weakness is getting deeply invested in very niche topics.

Hypnosis was my first and most lifelong obsession. It was my confusing, shameful sexual fetish that I eventually took by the horns and -- through my desire to learn as much about it as humanly possible -- turned into a job. But not a normal sex work job where I do hypnosis for money -- a weird job where I just teach about it. The kink community, and the further-specific niche where people want to hypnotize each other during intimate experiences, became my home.

But the value of study doesn't really come from the quantity of people I'm able to engage with. It comes from the way it enriches my life. It creates and benefits from the capability to see overlaps between all of my various interests.

On the surface, it may appear that two skills have no relationship. But the deeper you get into each one, a synthesis appears.

At a certain point when you are learning hypnosis, all seemingly-unrelated information seems to fit effortlessly into your hypnotic knowledge. You can listen to a song and suddenly you learn something new about how to hypnotize someone. Maybe it was a lyric that gave you an evocative emotional response; maybe it was a pattern in the music that you thought about replicating with the rhythm of your hypnotic language.

Over a decade into my own hypnosis learning, I got very lucky and found a second passionate home in communities of Jewish text study about a year ago. I started from almost zero there and found myself again to be a greedy novice, obsessed with digging into it.

Of course, as I got further, it became that I read a page of Talmud (a text of rabbinical law and conversation) and suddenly I learned something new about how to hypnotize someone. And as I progress, it is starting to go the other way: I learn about Torah study by reading about hypnosis and intimacy.

There are two directions this essay can be read. “How can intimacy and hypnosis teach us about Jewish text?” And, “How can Jewish text teach us about intimacy and hypnosis?” One half is of each part written by me as an authority, and the other half is by me as an avid novice. The synthesis of these two parts of me -- just like any synthesis between concepts -- may perhaps create something new.

Models

I’m sure most communities have a version of the idiom, “Ask three people a question and get five answers.” For a long time, this was a source of frustration for me in the hypnosis community. Is hypnosis a state of relaxation and suggestibility? Kind of, but also no. Is it more accurate to say it is based on unconscious behaviors and thoughts? Well -- kind of, but also no. 

So what is it? Well, it’s probably somewhere in the overlap of about 20-30 semi-accurate definitions and frameworks for techniques -- what we’d call “models.” Good luck!

Why is hypnosis so impossible to define and teach? How have we not found a model that we can all agree upon yet? I think many people share this confusion, and it's complicated by the fact that most sources for hypnosis education teach their model as the model. It makes sense -- it would be difficult to teach a complete beginner a handful of complex frameworks with which to understand hypnosis when that person is just trying to muddle through learning “how to hypnotize someone” on a practical, basic level.

…Or would it be? By the time I got involved with Jewish study, I had long given up on chasing the white whale of some unified theory of hypnosis. I was firmly happy with the concept that all ways to describe hypnosis are simply models -- and all models are flawed, while some models are useful. I was delighted, when entering Jewish community spaces, to hear the idiom, “Three Jews, five opinions.”

This concept is baked into Jewish text study, in my experience. You can look at any single line in Torah and find innumerable pieces of commentary on it, ancient and modern, with conflicting interpretations. Torah and other texts are studied over and over -- often on a schedule -- with the idea that there is always something new to learn. And this happens partially by the synthesis of multiple people's perspectives adding to and challenging each other, developing new models. My Torah study group teacher always starts us with a famous line from Pirkei Avot, a text of ethical teachings from early rabbis: “If two sit together and share words of Torah, the Shekhinah [feminine presence of God] abides among them.”

The capacity to develop and hold multiple interpretations at once enriches your relationship with the text. So too do I believe that being able to hold multiple interpretations of what hypnosis is and how it works enhances your skill with it. It is not a failure of the system -- it is the best thing about it.

Intimacy

It is intentional to make the distinction of “relationship with the text” -- not “relationship to the text.”

My job on the surface is to teach hypnosis, but the meta goal is to simply teach something that helps people develop profound intimacy with others. I think that hypnosis is a kind of beautiful magic that is well-suited to this, but it’s not the only path to take.

One of my favorite educators, Georg Barkas, describes themselves as an intimacy educator who teaches rope bondage. Their classes and writings are highly philosophical and align closely with my own ideas about intimacy -- as well as my partner’s, MrDream, from whom I’ve learned so much. I frequently cite Barkas when I talk about hypnosis because I feel the underlying ideas they have about rope bondage are extremely applicable to all kink and intimacy -- and I will continue that trend here.

Barkas recently published an excellent essay looking in detail at the concept of intimacy itself. They posit that our first thought of intimacy is usually about a kind of comfort-seeking and familiarity. That’s contained within the etymology of the word, and socially it’s what many of us think of when we define our relationships as “intimate”: settling in to engage with a partner who we love, know, and understand.

But, Barkas asks, what if we place this word into a different context? They talk of how in scientific endeavors, the goal of “becoming familiar with” is unpredictability and discovering things that are surprising and unexpected. This perhaps offers a different view of intimacy: intimacy where you do not engage with your partner as though you know everything about them; intimacy where being surprised by them and learning something new is the goal.

My partner MrDream teaches about this often in hypnosis education: approaching a partner with genuine curiosity and interest -- “curiosity” implying that you don’t know what to expect, with a positive connotation. There is a kind of delicate balance between being able to anticipate some aspects of what is going to happen hypnotically -- to have a general grasp on psychology and hypnosis theory -- versus holding tight to a philosophy that neither you nor the hypnotic subject really knows how they are going to respond. The unexpected is not to be feared, but celebrated and held as core to our practice. Hypnotic “subjects” (those being hypnotized) who can relax their expectations will often have more intense experiences.

Thus we come to the first time in this essay where I mention Milton Erickson, my favorite forefather of modern hypnosis. Erickson was a hypnotherapist active through the 1900s and is famous (among many things) for presenting a model of hypnosis that wasn’t necessarily an authoritative action done to a person, but a collaborative and guiding action done with a person.

In his book “Hypnotic Realities,” he talks about how his view of clinical hypnosis is defined by how the therapist is able to observe each individual client and directly use those observations to continually develop a unique hypnotic approach with them. The client’s history, interests, and modes of thinking are utilized for the trance, as well as any observable responses they have in the moment. For example, a client with chronic pain may have the frustration they express over that pain incorporated into the trance. This is in deep contrast to hypnosis where the therapist comes in with any kind of “script” or formula to recite ahead of time.

It’s important to Erickson’s model that the therapist doesn’t know exactly what to anticipate, and it’s also important hypnotically that the same is true for the client. A common “Ericksonian” suggestion is, “You don’t have to know what is going to happen, and I don’t know either.” In order to develop the most effective approach with each patient, Erickson would enter into a session with some presumed knowledge, but ultimately learning -- not assuming -- how to best hypnotize each individual person.

We circle back to the phrase, “a relationship with Jewish text.” In my opinion, engaging with Torah is exactly this kind of intimacy. Torah is something we come into in order to poke and prod at it, to interact with it and to see how it interacts back at us. The teacher of my study group always cites a model where Torah itself is a participant in our partnered learning and group discussions. We ask it questions, we push its boundaries, we strive to glean something new and yet unseen. A line that may seem simple on the surface can reveal much more when we explore its context or put it into a different context entirely. 

This is easier for me to say as someone who is coming into learning Torah for the first time, but I am able to look ahead to when I will be fully familiar with the text and still be able to take this expanded definition of intimacy with it. Not coming to it without a sense of comfort, but still engaging with curiosity. MrDream teaches a model for hypnosis that is based on the idea of exploration -- exploring your partner no matter how long you have been with them. You are always coming to them as a different person, shaped by your ever-growing experiences and identity, and your partner changes as a human as well. I believe Torah is also dynamic in this way, as the context within which it exists -- and the way we interpret it -- is constantly shifting.

Ritual

I have been engaging with spiritual ritual on and off for as long as I’ve been learning hypnosis. The concept of magic has always been alluring to me -- not from a motivation to meet specific goals, but for something more difficult to pin down. I like that ritual, in an esoteric framework, is about looking at various metaphors between ingredients and actions; a candle representing an element of fire which may in turn represent intensity, or purity, or something else. Drawing meaningful connections between concepts like this is a skill I’ve developed in parallel with hypnosis, as well.

I was recently talking with a friend of mine who is also interested in esotericism -- we were sharing our frustrations with various books on magic and ritual. We wondered why so many sources would go on to teach prescriptivist formulas and associations, and not much else. Do this, and that will happen. This symbol represents that. My friend and I agreed that the ritual value of ingredients comes from how you personally assign meaning to them -- but why was everything always trying to teach us their meaning, as opposed to teaching us how to cultivate our own associations?

A week or so later, I happened to go to an excellent class that explored whether or not there was a place for smudging and smoke use in modern Jewish ritual. The teacher first took a careful, measured approach towards looking at indigenous smudging practices and the concept of appropriation. What followed was 30 minutes of history and text exploring examples of smoke in early Judaism, and then 30 minutes of a handful of interpretations of what “smoke” could mean and represent with relation to Jewish ideas -- directly practical to modern ritual. It was utterly excellent and immediately profound for me, as someone who has been yearning to blend my experience with esoteric ritual with my relationship with Judaism.

Observant readers will note that through this essay I speak passively about Judaism -- I am a patrilineal Jew, which for better or worse means that it is not a simple matter to say, “I am ‘fully’ (or ‘not’) Jewish.” (I am in the beginnings of working with a Conservative rabbi -- who affirms that I’m Jewish -- to make my status halachic [lawful], which is deeply exciting.) Opinions on that aside, a relevant piece of information is that the Jewish holiday we celebrated most consistently when I was growing up was Chanukah. While a lot of Jewish practice has been something I’ve been striving towards as an adult, Chanukah has always been “mine.” It was fast approaching after this class, and I felt motivated to use my newfound knowledge to make more ritual out of lighting the candles.

I was deeply surprised when all I did was light a stick of incense before saying the blessings over lighting the menorah, and my experience transformed into something intense. I smelled the incense and couldn’t help but think about what I’d learned about the Rambam’s commentary that incense in the time of the Temple was about making the Temple smell sweet to pray in after the burning of sacrifices. I thought about what I’d learned about the presence of God being smoke and clouds to the ancient Israelites. I thought about things I’d learned from other places -- hiddur mitzvah (the value of beautifying a practice), and a midrash (parable) about God loving the light and rituals we do in a very personal way simply because they are from us.

Esoteric ritual has often felt to me like exerting effort in making the associations of ingredients work for me. But this was effortless. I was doing something that was entirely my own, solidly founded by the broad and deep study I’d done, by my personal relationship with the concepts, by my identity.

In other words, the power behind this ritual came from knowledge, and the knowledge came from my intimacy with it. And that intimacy was not just with the study I had done -- it was also the process of being surprised in real time by what I was learning through the ritual itself.

Hypnosis gains “power,” in so much as we let ourselves use the term, through these same acts of intimacy towards knowledge. It operates directly based on various ingredients: how much we know about hypnosis theory itself, general psychology, the person we are working with, and ourselves. Hypnosis is a ritual -- it is setting aside special time to do something with a collection of ingredients that you have personal associated meanings with. If you can’t connect to those deeply enough, it won’t reach its full potency.

Knowledge, Perception, and Unconsciousness

One of my favorite concepts to teach in hypnosis is, “A change in perception equates to a change in reality.” This is derived from Erickson by MrDream, and it’s something he and I have had a lot of conversations about to refine. The implication of this is not something as trite as hypnosis having the power to change a person’s perceived reality. It is the concept that if you look at something from a different perspective, you gain various different capabilities.

For example, when you are feeling stuck in a situation and you think about what a close friend of yours would do if they were in your shoes, you gain the capability to see more options, to change your actual view of the reality of the problem and therefore change your actions towards it. In hypnosis, this could be the difference between simply telling someone to relax their legs versus another perspective of telling them to imagine what it would be like if their legs just started relaxing. It could be the idea that when a person does feel relaxation from a simple suggestion, their perception changes on what is happening -- they build more belief in hypnosis, and that belief in turn makes the next suggestions easier to buy into.

Erickson’s model of hypnosis is predicated on the idea that hypnosis itself matters, that hypnosis is a time within which someone’s reality changes. In his ideal hypnotic context, the subject feels like they no longer can expect things to behave as they usually do in their “waking” reality. They are thus opened to many different kinds of new experiences and capabilities. To Erickson, perception matters -- by itself, it’s a primary driving force behind literal change and response.

This ties back to our idea of intimacy -- just as I aim to approach my partners with this profound curiosity, just as I aim to approach Torah, I want to have this intimacy of the unexpected with trance itself. I want to allow myself to be surprised by hypnosis, by the things I don’t yet know about it even after more than a decade and thousands of hours of trance. But more than this, in an Ericksonian sense, simply changing my perspective to this motivation is one of the things that lets me get there.

I went through a guided study class about Shabbat (Judaism’s weekly sabbath of rest) with a partner, and so much of the class was in the abstract that it at times felt difficult for me to latch onto. We were learning all of this background context about a view of Shabbat where instead of spiritually striving and reaching on that day, you come in acting as though your spiritual work -- like your other work -- is “finished.”

In one session, we spent a chunk of time parsing through how we could interpret that as actionable. It felt like it just wasn’t clicking for me -- the midrashic texts weren’t offering enough for me to feel like I could make judgments on questions like, “Does this imply I shouldn’t meditate on Shabbat in this context?”

It wasn’t until I slept on it that I found a very simple piece of the puzzle: putting aside the questions of concrete actions, in an Ericksonian sense, the internal act of shifting my perspective would absolutely change the way I behaved and interacted with the day. It would become more indirect and unconscious -- instead of carefully analyzing my actions as I might with other Shabbat prohibitions on work, I could simply let myself act in ways that fit that perspective of “spiritually resting.”

The abstraction of the class made more sense -- perhaps it wasn’t trying to give us direct answers, but rather create a psychological environment for us that was well-suited to this more unconscious processing. Or rather, in addition to the sort of typical conscious halachic interpretation. If I allow myself an opinion here, I’d say that I care about halacha as actionable, but as always, I tend to care more about feelings and what’s internal.

This also lent credence to ways this class and the class on smoke and ritual changed my experiences. I was not given a set of actions to take, but rather a variety of perspectives that unconsciously made me think and behave differently. The concept of “knowledge is power” is both true and alluring in many different contexts, and yet had often fallen through for me in most ritualistic frameworks. The way that it succeeds, I believe, is when you develop a relationship with knowledge that actually changes your internal perspective and perceptions.

Limitation

With this we return to the concept of models and interpretations. It is serendipitous to be going through these experiences at a time where I am avidly working on my next book -- the thesis of which is that in order for us to progress as hypnotists, we must get comfortable moving fluidly between many differing definitions and frameworks (models) of what hypnosis is and how it works.

It is as the Ericksonian principle would say: If you take a perspective on hypnosis that boils down to “hypnosis is about relaxing the conscious mind,” you will do hypnosis according to that perspective. You will use relaxation-based techniques and make an effort to get someone to think “less consciously.” If you instead take a perspective that is “hypnosis operates based on activation of the conscious mind,” you may do hypnosis that causes someone to think and process in a more stimulating way.

Both and neither are true, and they can coexist. I believe that most models can be useful -- some more useful than others. But the best thing you can do is to not assume that one model is the most correct one -- instead, it is to develop the capacity to work within many at once even while being aware of their boundaries.

Jewish text, in my experience, provides models -- perspectives that themselves give guidance on how to understand things and act. I think especially about midrash and stories that are explicitly intended to fill in the gaps or give an alternate view on something. The question of, “Is there one correct way to do/see things” is more complicated here, but there are areas -- especially in those subtle shifts of mindset for ritual or interpreting text -- where the answer is still “no.”

My time so far in Jewish study supports this in a different way. There is a human element of collaboration and challenge. Learning as we do with a chevruta (study partner) adds another person to the relationship -- it is no longer just between you and the text. There is another human who you are building something with, and it is “intimate” according to our exploratory definition in an even clearer way.

The purpose of a “scene” inside of kink (a “session” of kink play) is to operate in a semi-limited framework -- limitations exist on who is involved, where it begins and ends, how partners communicate, and what themes/topics/activities are involved. These limitations -- though they may be quite broad -- are partially what allow for intense experiences. A scene needs to exist in a different “space” than our daily lives, and it needs to operate by different rules and involve different ingredients. Here, we also see overlaps with the definition of a “ritual.”

This doesn’t just facilitate intensity (and safety) -- it facilitates learning something new about your partner. By taking your relationship and putting it into a limited context, it allows you to observe it in a more careful way, where novel changes can be more obvious.

Studying with a chevruta is much like this. I have had study sessions where my chevruta and I are meeting for the first time and the only thing we are aware of sharing is our desire to dive into a piece of text. I’ve also had chevrutas where we know each other outside of study, and some of our time is schmoozing and catching up. But in all cases, we are limited in scope, and that limitation creates ease of access towards the common goal of expanding our knowledge and relationship with the text. We are focused; we are motivated. We are creating something that we can only create through who we are as individuals and what we are doing as avid learners.

This has surprised me at times with its tenderness and intensity. Building well-founded interpretations with someone is in and of itself very intimate -- not sensually, but humanly. It has given me something I have always wanted -- an intimacy that is pervasive not just in application of knowledge, but in the development of it. A feeling of sacredness and joy from being able to see so many different perspectives.

I long for this connection, this alchemy. Yes, all models are limited. But within those tight, restricting limits is the potential energy of creation.

“And I Must Learn”

There is an infamous story in the Talmud, in Berakhot 62a, where Rav Kahana hides under the bed of his friend Rav Abba. Rav Kahana hears Abba and his wife giggling and starting to have sex, and remarks out loud that Rav Abba is acting like someone who is famished. Rav Abba, mid-sex, understandably says, “Kahana, why the fuck are you under my bed listening to me fuck my wife?” Rav Kahana replies, “It is Torah, and I must learn.”

There was a version of this essay that began with this tale. I am enamored with the vast overlaps I can derive from its briefness: that intimacy can be studied sacredly both as a general concept and specifically with your partner; that we are obligated to learn ourselves, our partners, and general human desire; that there can be a thread of wholeness in every action of your life if you give every action sacred attention.

Even this, though, is a limited-context interpretation. The rabbis of the Talmud were certainly not sex-positive, especially not as we currently use the term. The surrounding triptych of conversations is similarly humorous but seems to comparatively describe sex as dirty or gross, and this bit of text cannot really exist separately from all of the places where there is halacha derived about sex that is about controlling women’s bodies or preventing queer and trans people from being able to live authentically.

But -- we are allowed to interpret like this. We are allowed to play with context and see what we discover.

For me, this is about finding the connections between my actions and my interests; parts of me that synthesize the whole. It is about developing intimacy with Torah, with my learning partners, with my romantic partners; with the people within the writings, with the authors, and with the readers.

Reading Torah is the same as hypnotizing someone is the same being intimate with someone is the same as doing a ritual. All things on a broad enough scale overlap this closely. There is value in this “zooming out” to a wide enough context to see the connections that exist -- just as there is value in celebrating the limitations that arise, models nestled alongside each other, when you “zoom in.”

We need both to be able to treat our learning -- all forms of it -- as something special.

[deconstructthesoup]

Thoughts on a Hatchetfield/Fantasy High crossover

So, I know the odds are good that I'm sending this into a very niche void, but I also know that these fandoms overlap, so... yeah. Basically, this is a world where the Bad Kids (and I guess pretty much every character in the world of Spyre, but the Bad Kids are who we're focusing on) are seemingly normal humans living in Hatchetfield, with all the weirdness and danger it entails.

Let's get into it.

Fabian: He's a rich kid living in Pinebrook, the star quarterback of the Nighthawks, and is one of the most popular kids in school due to being rich, good at sports, and surprisingly nice---and he's dating Ragh, though that's something that's a bit on the down-low due to them worrying they'll get kicked off the team and Ragh not being quite ready to come out. Honestly, Fabian really shouldn't be tied up into the spookiness, if you take him at face value... except for the fact that both of his parents are very much tied into it. Haleriel's family has been in Hatchetfield since the beginning, and while they're not tied with the Church of the Starry Children or the Hatchetmen, they do have some serious occult connections. And Bill... well, as far as everyone knows, he's an Irish fencer who got into the big leagues, retired, and took up pirate LARPing in his spare time. All of that is true, except for the fact that he is, in fact, an actual seventeenth-century pirate who got on Tinky's bad side and wound up in 2000s Hatchetfield. Fabian doesn't know about this yet, but he will.

Gorgug: The result of a secret relationship between two Abstinence Camp junior counselors, Gorgug was originally raised in secret in Witchwood Forest until he was three, when he was found and promptly put up for adoption. By then, he was already unusually large, strong, and angry for his age, but he still found a loving home with the proprietors of Thistlespring Mechanics. Gorgug thankfully never got to the monstrous level of Lil' Gerry, and he can pass for a normal kid if you ignore his height... however, he has been homeschooled for a good portion of his life due to constantly having manic outbursts that took years to learn how to keep under control. When he finally goes to Hatchetfield High, Fabian and Ragh take him under their wing---if only because they took one look at him and realized that he'd be perfect for the Nighthawks---and Gorgug definitely begins to shine due to having friends. Still, though... you can never really get rid of how Witchwood Forest changes you.

Riz: Now, he is very much aware of all the crazy, scary, and inexplicable things that go around in Hatchetfield, to the point of becoming a paranormal investigator---YouTube channel and all. His mom isn't really sure what to make of this, but she's a cop, she's busy, and it mostly keeps Riz out of trouble. As far as he knows, his dad worked for the military, and he assumes that he died in combat (in reality, though, Pok was a PIEP agent who got killed by Blinky). Riz has a part of his paranormal investigator business that's open to him taking on cases for others, but people don't tend to take him up on the offer, and he's usually investigating strange happenings by himself. That is, until...

Fig: Unlike in canon, Fig has always known that Gilear was her stepdad, not her real dad, but she still considers him her dad---mostly because that for a good deal of her life, she grew up thinking that her real dad was a deadbeat who left her. After Gilear and Sandra Lynn get divorced, however, Fig decides to finally start looking into her biological dad... and she discovers that he didn't skip town as she initially believed, but he went missing shortly before she was born. The case went cold, and all that's known is that he was attempting to stop the Honey Festival---specifically, the pageant---before he disappeared. Fig, who's recently developed an interest in the occult, realizes that there's something sinister going on there, and she hires Riz to help her find out the truth. (Vague spoilers: Gorthalax---or, well, Gordon T. Ax---is alive, but he's been trapped by Nibbly as punishment for successfully interfering and saving the Honey Queen)

Kristen: She's essentially the Grace Chastity of this universe, just without the crazy---church girl, teacher's pet, yet actually a nice person who doesn't really realize just how messed up her parents' beliefs are. Though she doesn't know the details about the Black & White, her parents are part of a group that are descended from the original Hatchetmen, and they've taught her that anybody who has The Gift is inherently evil. Of course, Kristen has always had the power to magically heal others, and she's kept this hidden from her parents her whole life---which becomes harder as her powers start getting stronger. And then she starts having a sexuality crisis and a crisis of faith, triggered when she befriends the niece of Hatchetfield High's new guidance counselor. So, yeah, Kristen's not having a good time.

Adaine: Her family recently moved to Hatchetfield from London, supposedly because her dad's job changed. In reality, her parents are devout followers of Wiggly and the other LiB, and they know that Hatchetfield is the focal point of their power (and no, Alewyn doesn't know about this, but she does know more about the spooky stuff than she's letting on). For her part, Adaine has psychic powers similar to Hannah, right down to having Webby as an imaginary friend, but she keeps this secret from her parents... mostly due to the time when she was little and told them about Webby, and the reaction was pretty negative. On top of her powers, she's also struggling with her anxiety disorder, her gifted kid complex, and the general stress of going to a new school in a new country... so, it helps when she gets adopted by Kristen and Fig at the same time, and Webby immediately takes a liking to them both. Through Fig, she meets Riz, and then she meets Fabian at one of her parents' awful functions, and he introduces her and everyone else to Gorgug... and the Bad Kids can begin.

I've got a lot more ideas about this---mostly involving Ayda, Arthur Aguefort, the O'Shaughnesseys, and some fleeting concepts about The Seven---but that's for another post, so... yeah.

[caw4brandon]

The Power of Stop-Motion

Media in today's standard is quick and easy. Rarely is a show more than 2 hours long or 13-epiodes per-season. With that, animated movies are a lot slower than the typical films.

There is a discussion on if animation is suitable for film purposes and while it is often shunned by the Golden Globes or the Oscars or other awards. The very few outliers can prove these awards and the world very wrong.

But that is not what we will be talking about today. Because while animation is popular, there is a dark horse among its sphere. One with a rich history and strong filmography that should be shared. Let's talk about;

- Have I possibly gone daffy? -

Stop-motion is a film making style that compiles multiple still images of an object being physically manipulated in small movements into one whole scene.

Majority of Stop-motion films and videos use [Clay Animation] or [Paper Animation] with several more varieties of new innovations emerging under the umbrella of stop-motion. The most popular of them in the modern era towards kids is [Lego animation] which is the manipulation of Lego models in motion.

The earliest trace of Stop-motion in films is the 1898 short [The Humpty Dumpty Circus] by Albert E. Smith and James Stuart Blackton which is said to be a lost media. To compensate, please watch [A Tribute to Stop Motion]

In its early concept, Stop-motion was used as a method to create impossible things or do practical effects under budget constrains. Such as the iconic King Kong scene at the Empire State building. Since then, Stop-motion has evolved into a full production industry. From Indies; [Righteous Robot] to Juggernauts; [Laika Studios]

- Shimmer a Little at The Edges -

Unconventional media such as stop-motion is often not a style suited for every story. Its a rather expensive type of media that requires worthy innovations top break the niche barrier. Just looking at Laika Studios alone, we see that they've develop a lot of interesting ways to improve visual effects while staying to their stop-motion roots.

One perfect example is seen in < Kubo and the Two Strings > where the animators need to create water in a still image world that feels natural. [A Perfect Storm] one other part of the stop-motion puzzle is the iron-willed discipline it to conceptualize, animate and edit a production that can take about 3 to 5 years to complete. More so of a time frame than a normal film.

This difficult curve lead to budgeted methods such as using models that already exist to tell new stories. Such as; Legos or with crude multi-jointed figures of existing characters. [MOONSHINE]

While I may say its crude, the low budget production is the selling point. Assisted with sound bites taken from gaming sessions or from shows featuring a lot of inside jokes and memes. Also, its hilarious to see a Teletubby turned into a Eldritch monster.

These attempts to make stop-motion productions accessible has captured the attention of other like-minded channels to collaborate and elevate one another. [ERB: Harry Potter vs Luke Skywalker]

- For Better Tomorrows -

With all that is said, what is the power of stop-motion? As a media that is tediously overlapping across processes. What are the better tomorrows for our inanimate subjects?

I like to think, that as filmmaking grows. Stop-motion will continue to remain as a sacred tug against live action films and traditional animation. It can be used to tell complicated stories with concepts that may look strange if its adapted in a live action.

As I have mentioned in [The Beautiful World of Hilda] animation's greatest strength is simplification. Stop-motion takes the opposite side of that philosophy.

Its a higher level of world building of the materials with willingness to accept mistakes and ruggedness that gives them that little flavor of life. As an actual touchable thing, the various cartoonish styles can take on a whole new dimension to heighten the style and give it that detail that is less polished.

Stop-motion shows that filmmaking magic can still exist despite already knowing the tricks. Its a media where every frame shown has a significant purpose that invokes a specific flow. That's the power of stop-motion.

[still-a-morosexual-help]

Mobile tumblr isn't letting me post submissions for some reason so;

@nobody-random thank you for finding the niche where my two interests overlap🐸

[bettsfic]

I have a fear of including things I like in my stories. For example: Female rage, romance, etc… because I feel that makes me inflexible and a less talented writer. I’ve always felt like “real” writers can write in any genre and don’t have the same elements in every one of their novels. The idea of writing what you love is a beautiful thing but for me I worry that in writing what I love, I may not get to the level that I want to be at as a writer. I guess I equate enjoying writing and being free with it to = not being worthy. And being complex in ways that I may not necessarily love and is challenging = good work from me.

is it possible that some of your apprehension toward writing what you love has to do with fear of vulnerability? writing what you love exposes you. it feels like walking around naked. it allows people to perceive you, and conversely, it allows people to misperceive you. both of those things are terrifying. it's much more comfortable to catch a wide, distant net of an aesthetic. that way, it doesn't matter what a reader thinks of it; you don't care that much about it anyway, right?

it's interesting that you say "real" writers can write in any genre. i'm looking at my bookshelf right now and there's not a single author on it that goes beyond their established genre, or even writes particularly varying stories with an ensemble of complex characters. go to the bibliography of any prolific author and see how wide their variation is. sometimes you'll see writers write in short form and long form. occasionally a writer will write children's literature and adult literature. there are writers who live in the venn diagram overlap of genres but don't tend to stray in either direction. sometimes screenwriters become novelists and vice versa. but otherwise, it's impractical to write so widely, so consistently. your agent and editors will all have their niche and it will be difficult for them to represent you and support your work if you have three sci fi bestsellers and all of a sudden you want to write some subsubsubgenre of true crime.

every artist has two things: their medium and their subject. instead of thinking of "things you love" think of them as your subjects, in the way a painter's subject can be nature, or a poet's subject can be grief. unless you're only writing for money, you have no choice but to write your subjects. even if you try not to, they'll bleed into your work. here's an example: one time in workshop my good buddy Chris said to me, "you write a lot about class." to which i thought, i love you Chris but this is porn. but he was right. all my characters have a conflict with money. often they're blue collar workers or don't have a job at all. most of my characters don't even go to college. after he said that, i started to lean into it and become more aware of it. the more aware of it i became, the more strongly i felt about it. you can go through my AO3 and scroll through my fics and see how important money is in them. and if it's not money, it's the military. and if it's not the military, it's some other loss of bodily autonomy at the hands of a greater institution.

think outside of writing. chefs have types of food they prefer to cook. scholars have their fields. athletes have their sport. musicians have their instrument. the more you zero in on something, the better you become at it. as a writer, the more you write your subject, the better you'll become at depicting it.

your subjects may grow and change over time. they may not. you may have some subjects you wear out, and you may have others that you sew into everything you write. you may have repetitions of images, characters, resolutions, and conflicts. it's good to experiment and move beyond your comfort zone sometimes, but you have to find comfort in your comfort zone first. and you do that by embracing your subjects.

[capricores]

Hello! How are Pisces and Cancer risings different? They sound very similar in everything I’ve read.

hi! this is a great question and i love q's like these!! they definitely have a lot of overlap, both being water signs. however, here's some main difference in how their outward personalities may manifest:

OUTGOING VERSUS RESERVED:

pisces risings tend to be bubbly and outgoing! even when they're shy or anxious individuals, even when they aren't actually that social - when meeting new people, in new environments, when dealing with customer service: they're almost always very bright, cheerful and bubbly.

cancer risings come across as kind and caring, much like pisces risings, however - they generally are not what i would consider bubbly or outgoing! they tend to be a lot more reserved, and come off as more shy even when they aren't. pisces risings tend to chatter a lot, and enjoy conversing with strangers; cancer risings generally don't. they'd much rather stick to themselves and keep public interactions short.

OPTIMIST VERSUS PESSIMIST:

this one is pretty straight-forward! pisces risings lean towards optimism. they usually see the world through a dreamy, hopeful lens and like to look for the best in things. it's very hard to crush a pisces rising's ability to dream and have high hopes for the future. sometimes they can be almost delusional 😭 cancer risings do tend to lean more towards a more realistic (even pessimistic a lot of the time) view on the world and people around them. they aren't as trusting and hopeful as pisces risings tend to be, and often view the world through a cautious lens. sometimes they can be overly negative as compared to pisces who can be so positive it leads to a delusion/dream world.

ADVENTURER VERSUS HOMEBODY:

cancer risings are much much more of homebodies than pisces risings. pisces risings really enjoy going out and exploring, traveling, social events, etc. cancer risings have a shorter fuse and smaller social battery. they much prefer to stay at home, hangout with smaller groups of friends/just one friend, read at home, etc.

MOTIVATED VERSUS NEEDS MOTIVATION:

cancer risings are cardinal: they start shit. and i don't mean that in a bad way! they are the leaders, they get the ball rolling. they're always first to tackle projects, organize things, take on the boss position. pisces risings tend to lack motivation. it can be hard for them to start things, and very hard for them to finish anything. it can also be hard for them to lead as they're often more soft-spoken and have trouble telling others what to do; they prefer to follow. cancer risings are more firm and have no problem giving others directions. pisces do have amazing ideas and are so so creative; but they tend to lack the follow-through or planning. cancer risings are the ones always starting new projects. they're also more likely to be a workaholic as compared to pisces risings, who'd much rather be making their pinterest boards!

ANTI-CHANGE VERSUS FREE-FLOWING:

pisces risings go with the flow. they're mutable water, so they're extremely adaptable. they handle change easily; and probably experienced it so much throughout childhood that it's second nature. they generally seek out change and aren't huge fans of routine. you'll find pisces risings re-arranging their room at least once a week, and updating their personality/finding a new niche interest/changing career paths at least once a month. cancer risings are suckers for routine, and they don't generally like change. they'd much prefer to live in their hometown their entire lives, and you will not catch them re-arranging their furniture more than once every two business years. pisces rising would much rather move to a new country every year than be anywhere near their hometown. pisces has the eternal travel bug, cancer has the "let me stay within a 50km radius of my family/home at all times" bug lol.

some other little differences:

cancer risings are petty, they do not do the "forgive and forget"; pisces risings are very much the forgive and forget type (both parties to a fault, usually)

cancer risings, despite being very kind-hearted, can often come off as very cold at first! hard shell, as their representative animal would suggest. pisces risings are immediately very open and friendly with people

to add to that, cancer risings generally have a lot of walls up; pisces risings are open books

cancer risings are much better than pisces rising at deflecting people's negative vibes/comments; pisces risings are ridiculously influenced by their environment and people around them (ie: someone uses the wrong tone of voice, pisces rising might cry - cancer rising? not so much)

cancer risings tend to have more stable/consistent moods as compared to pisces risings (although this can also be a negative at times, when they're sad; it can last weeks, whereas pisces rising bounces back quite quickly)

pisces risings tend to have more sharp physical features, and generally look kinda fairy/elf like. cancer risings usually have softer features, and generally rounder features/faces as well

disclaimer: i also cannot stress enough that the ascendant, like any other placement, is only one piece of the puzzle! if someone has planets in their first house, strong aspects to their ascendant, a chart that really contradicts their ascendant, etc - the traits/etc listed above might not exactly apply. as always, the entire chart matters in interpretation ☺

hopefully this helps a little bit! let me know if you have any other questions!! <3 the ascendant is very much how we come off to others (outwardly/publicly especially), it's also how we view and interact with the world. it shapes our life path heavily and i consider it much more than just a "mask" as some people would say. i've also heard the interpretation (i think it was donna cunningham who said this but don't quote me on it) that the ascendant is who we were forced to become due to what we went through in our childhood!! which is an interesting way to view these placements. anyway!! tysm for asking this i missed getting astro q's!

[iiiiiiits-m]

I love ADHD cause I will see one small thing in a big expanse of media, let’s say a ship for example, and then hyperfixate on it for maybe two weeks. I love Autism cause occasionally it will kick in and suddenly instead of said ship being a hyperfixation it’s now a special interest and I need to know absolutely everything about this niche faction of media and consume all the fanart, fanfics, headcannons, and facts about it. Case in point, Jedtavius. I binged all four NATM movies recently (PSA don’t watch the animated one, it sucks) and saw the evolution of Jedediah and Octavius’ relationship throughout, and it became my new hyperfixation. I consumed a bunch of fics, some fanart, and though that was gonna be it…until the special interest kicked in and now I know incredibly too much information about two figures in history that have nothing to do with one another. And that’s not to portray autism or ADHD as being turned on and off like the flip of a switch, they’re always there, it’s just not often that my hyperfixations and special interests overlap surprisingly. Anyways if y’all wanna see me rant about my favorite two tiny gays please let me know. Happy autism awareness month!

[fantasyfantasygames]

Amazons

Amazons, Warrior Women Games, 2006

As one would expect, you play Amazons in this game - women from out of Greek myth.* You're warriors, hunters, scouts, sailors, and sages. There's only one supernatural power involved (which I'll get into later), so no witches or demigods or anything.

Your characters are defined by a fairly standard set of attributes and skills - Strength, Agility, Wisdom, Spear, Archery, Stealth, etc. All of them are done with a pyramidal cost scheme. As a result, it's easy to build a group where your characters overlap too much. It costs the same number of points to buy a 10-point skill (rolling 1d10x10) as it does to buy two skills at 8 and 6 (1d10x8 and 1d10x6), and the 8 and 6 are generally high enough to hit the typical target numbers. I think what I'm trying to say is that the game could really use a better approach to handling character archetypes, both for flavor purposes and for niche protection.

As mentioned, the game uses multiplication, which you'll either be fine with or will really bother you. Since it's dice-times-stat instead of dice-times-dice, the probability distribution is fairly flat, and you don't have weird statistics stuff going on. You do get margin-of-success effects from rolling higher, but you don't actually have to do two-digit subtraction. Instead, you get one "rank" of success for every point by which the tens place in your result is higher than the tens in your opponent's result. You roll a 25 and they have a 48? They have a rank-2 success. Same if you roll a 28 and they have a 40. Ranks get you damage, but also duration and effectiveness for other types of roll. It's a little weird at low values - a 12 and an 18 get you a tie even though one is 50% higher than the other - but it works well for higher values.

The particularly cool part of the game is that you play in two time periods simultaneously: ancient Greece and modern-day Athens. Your characters went "through" the Oracle at Delphi (is that how that works??) and are experiencing parallel events. When they run into a businessman in the modern day, they meet a merchant in ancient Greece. A Spartan warrior might become a rich but violent criminal. They see both things happening at once, and the GM is encouraged to mix the two in their descriptions. Philosophers arguing in the shadow of concrete and steel. Ocean liners passing by sailing vessels. It's an interesting conceit, and it gives you some cool ways to solve problems in one time by approaching them i the other.

Typical antagonists are "cruel people in positions of power" - slavers, price-gouging traders, sadistic princes, petty senators, etc. Several examples are statted up, along with their entourages. There isn't much discussion of what the backlash is going to be from your characters going after those people and their well-trained bodyguards. Like a lot of this game, the surface level is presented and any implications are left to the GM and their table.

As we leave this review, it may be interesting to know that Warrior Women Games was two cis men in their twenties. The game is written with respect, but without personal experience. There's no major misogyny here, no particular fetishization or anti-feminist rhetoric involved. There's also no real punch to the fact that you're actually playing women. On the one hand - awesome! The game treats your women characters just like it would treat men characters. Straight-up equality. On the other hand, there's a missed opportunity to dig into how your ancient women experience the modern world. There's no discussion of what has changed and what has not since the (admittedly fictional*) time of the Amazons. I think a game written by someone able to delve into that experience more might be more compelling. But I'll at least give it credit for not having fallen into a number of traps that plague other men-written-women-centric games. You're not going to cringe reading this.

*Edit to add, March 2024: Maybe the Amazons are not as fictional as I thought! https://www.theguardian.com/science/2024/mar/24/truth-behind-the-myths-amazon-warrior-women-of-greek-legend-may-really-have-existed

[pkmnherpetology]

a pokémon’s type is not a taxonomic description, but rather a description of the ecology and niche a pokémon fills. this is why some dragon pokémon, like charizard, aren’t dragon types, while some dragon types, like noivern, aren’t dragons.

an interesting case of the dichotomy between typing and taxonomic placement can be seen with toxicroak and seismitoad. while these two species are closely related, their types do not overlap at all. this is because toxicroak is an aggressive, swiftly moving pokémon and an active predator, while seismitoad is a bulkier, calmer, and more opportunistic species. despite the fact that seismitoad, like its relative, produces toxins, its toxins are not its primary or sole method of predation or self-defense, and so it was classified with its vibrations and fondness for a semi-aquatic lifestyle in mind.

[olderthannetfic]

I’m an artist and I want to make money drawing a webtoon but I can’t figure out if I should do a f/m romance or a m/m. I’m a bi guy and I would prefer to write a m/m as that is more familiar in my own experiences but this is romance fiction for money so I’m not writing something super deep here. I can write m/f romance too. I love and romanticize women just as much as men.

I know what I want to do, but m/f makes more money on average and I need to pay american medical bills.

Tbh though the deciding factor for me making m/f romance over m/m might not be money but the homophobia and content policing from young folks who attack queer artists. M/f might keep me sane in comparison.

I can handle bigots being homophobic, but tiktok kids homosplaining my own experiences is too much for me.

This isn’t me asking for advice just meandering while I decide lol. I was thinking I could do both but I know a lot of m/f readers and m/m readers aren’t interested in the other so two overlapping romances might be too annoying for what each group is looking for.

The idea I have is great for an anthology romance. Are those popular on webtoon?

What I really want to do is a crazy in depth world building porny o/b/a comic but webtoon doesn’t host porn sadly lol

--

If this is really primarily about money and stress, I'm sorry to say that the conclusion you've already reached is entirely correct.

The f/m field is more crowded, but it is also more lucrative in nearly every artform. I'm more familiar with prose novels than webtoons, but it certainly applies there. It's just a question of how it pertains to your particular skills: do you want a less crowded field or do you think you can play algorithms and produce fast enough to come out on top against stiffer competition? (This also applies to niches within each vs. more general interest stories, of course.)

The trouble with including ships of multiple types or including poly or including unusual or hard to describe plot elements or any of the rest of it is that if you're really good and have an established name, something that's less common will actually play better... But if you aren't an established name, something easy to categorize is what sells.

But I imagine you know all this.

The real question is whether you prefer m/m enough that it will have a significant impact on the quality and speed of your output.

[here2bbtstrash]

I also feel obligated to say that I would like to take all of them to a hockey game, purely to see how they react to a good fight and how much stadium food they would consume before they inevitably feel sick

BANGTAN + HOCKEY = A RARE OVERLAP OF TWO OF MY FAVORITE THINGS omg. ngl i got inspired to write some headcanons so let's goooo (ty to @sailoryooons for helping me cowrite hehe) 🏒

namjoon: he gets a little lost trying to find his way back to the seats on his own, and when his arm gets grabbed by some important looking dude in a polo, he just goes with it - which is how he ends up in the locker room, sitting quietly through the entire opening pep talk before anyone notices him. the height, the muscles, the general look of confusion on his face: the new assistant coach saw him bumbling around and just assumed he was a healthy scratch - oops!

seokjin: is here exclusively for the shit-talk. bullies the opposing team mercilessly even though he's not actually 100% positive what's going on in the game - it doesn't matter. these clowns need to be TOLD and he's gonna be the one to do it. let's face it, he could play hockey better with his TOES than these losers can! he's also very supportive of any and all fights that break out, and think it's ridiculous that people get penalized for the most interesting part of the game!!

yoongi: possibly the only one actually focused on the game. somehow has all the team standings as well as every single player's name and stats memorized, and can provide them off the top of his head when asked (okay, nobody asked, but he's providing them anyway!!!!!!) (this does actually end up coming in handy when jimin wants to know the names of the cutest players) - he also complains LOUDLY when the refs make terrible calls, and jin immediately joins in despite not knowing or caring what hooking even means.

hoseok: doesn't even know who's winning, all he knows is that he wants to be on the jumbotron so bad - he's wiggling in his seat every time the music comes on, and once the cameraperson finds him, his pure joy meltdown of seeing himself on the screen is so endearing, it becomes a recurring theme the rest of the game to cut to hobi at least once during any given moment of downtime. they even pan over to him during the kiss cam, just for laughs, but jimin is READY and proceeds to lean over and plant the smooch of a lifetime on him.

jimin: jungkook notices it first, and everyone thinks he's mostly joking and/or projecting when he mentions it, but then yoongi corroborates: the players...... can't stop looking at him. two dudes literally skate into each other because neither of them can take their eyes off jimin. guys sitting on the bench are turning around to look at him. he just cards a hand through his hair and tries to keep his knowing smirk to himself.

taehyung: the mysterious enigma that he is, our boy disappears midway through the period, mumbling an excuse about wanting to stretch his long-ass legs which, yeah, fair. but just as seokjin is starting to complain that he's going to miss the start of the period if he doesn't make it back soon, hobi is swatting at his arm and pointing towards the ice because, yep, there taehyung is: sitting prim and proper on the back of the zamboni, princess-waving as he circles the ice. to this day, nobody knows how he talked his way into it.

jungkook: as far as he's concerned, this is an all-you-can-eat buffet with a side of sports. hot dogs, burgers, nachos, pretzels, chicken tenders, popcorn, churros - he's eating til he's nauseous and washing it down with as many beers as he can get away with before jin cuts him off. he's here for a good time, not a long time!!!! .....and yes he will complain the entire ride home that his stomach hurts 🥺

whrguekhgjldf thank u and sorry this is so niche but i had fun lmao

soft hours!! 🌸 if you could do one (sfw!) activity with one member (or subunit!) of bangtan: who are you with & what are you doing?