#posts for an extremely specific crossover audience

[souridealist]

so a couple of different stories I've enjoyed recently were rattling around my head at the same time, and then my wife encouraged me (sang Hmm) and now I present to you: the final fantasy vii party watching Hazbin Hotel

(contains Hazbin Hotel spoilers, and also, is probably incomprehensible if you haven't seen hazbin hotel. also I haven't finished rebirth yet so it's possible this alludes to some stuff in the original game that rebirth has yet to cover, I don't know)

they have to stop for at least twenty minutes after "more than anything" because Barret is gone. he's gone. full-on sobbing on the couch. goes through half a box of tissues while aerith pats him on the shoulder. only the fact that marlene is asleep saves her from getting snuggled for an hour.

ever after he will tell you his favorite character is Charlie out of how hard he is relating to Lucifer yeah.

Aerith's favorite is absolutely Angel but like. in a way where she initially just though he was hilarious and she loved his lack of fucks and then episode four hits her with "It's not an act! It's who I need to be!" and she's just sitting there on the couch like WOW OKAY WAS NOT PLANNING TO GET CALLED OUT BY AN ANIMATED SPIDER TODAY

Tifa's favorite absolutely one hundred percent actually is Charlie

she just really likes the cheerful warmhearted compassionate girl

who says fuck

and was raised in a miserable slum but still sees joy in life and chooses to reach out to people

and has long braided hair down her back

that's just a character she finds really appealing is all

Red at the back of the room very quietly choosing violence: "There's a surprise."

(for all that Aerith rags on Cloud for being an idiot, I'm not sure she actually manages to run this math)

speaking of Red he kind of finds the whole thing extremely human and bemusing but when asked to pick a favorite he thinks it over very carefully and decides on Husk

and given how bad Husk actually is at maintaining the disaffected thing, yeah Red is telling on himself a little too

Cloud is actually not having a great time because between the really frank sexuality and the bleak humor the show is pretty significantly beyond his comfort level but he's not willing to like. actually admit that.

he also really hates Alastor. nobody but Yuffie actually likes Alastor but Cloud in particular just absolutely refuses to countenance that a single thing Alastor does could be anything besides him playing every single other character completely heartlessly and insincerely and to their detriment

neither the general anti-Alastor consensus nor the mass booing of the Vees is what has Cait Sith going "ha ha ha hoo anyway I'm gonna go wash the moogle, aye?"

that's episode six, when he finds himself actively bowled the hell over with envy for Emily's innocence

he still catches enough of the last two episodes to catch Alastor's total breakdown in the finale about coming to care for these people

hoO! he has something to do anywhere else suddenly! goodnight guys good talk good show

meanwhile Yuffie's entire reason for being the single pro Alastor representative is that she appreciates that he's got style. in, you know, a creepy old man way

she absolutely does not understand significant chunks of angel's dialogue but she is RAPTLY interpreting the context clues

Cid is honestly just waking up for the songs (yuffie is in charge of kicking him when his snoring gets too loud) but he does genuinely like the songs

he actually enjoys Adam because he likes that musical style best and also finds Adam funny, and like. the guy is funny. but Tifa and Aerith are both judging him a little

he does NOT notice this

he does have another favorite when asked and it's Sir Pentious. it's the blimp, he respects a good blimp.

Vincent is hanging out at the back of the room but everybody kind of assumes he isn't paying attention until someone looks over during "Out for Love" and realizes he is silently but openly weeping into his collar

he already liked Vaggie best but after that one he's really attached

rate of party members who eventually end up humming at least one song from the thing: 100%.

[joyce-stick]

Good evening,

I am contacting the team in relation to the current policy of the tag wranglers on "All Media Types" tags. I have heard from various community members that the policy of the tag wranglers is, as of this moment, to remove these tags. I am writing primarily to express my opposition to this policy, as it is not clear what problem it is intended to solve, and broadly has the potential to cause more harm than good (if any good at all).

You have likely already heard about the impact this policy has on anime and manga fandoms, as many Japanese media franchises exist across mediums and installments that share a singular continuity, and many adaptations are 1 to 1 transpositions of the source material's narrative to the target medium with no meaningful narrative deviation. Bang Dream, the Monogatari series, and virtually every manga with an anime adaptation (such as Bloom Into You, Bocchi the Rock, and My Hero Academia) all fall into this. There are counter-examples, such as Fullmetal Alchemist's manga, and its 2003 anime adaptation which takes a drastically different narrative direction, but these exceptions are few and far between.

Anime and manga fanfic writers often tag both the anime and the manga of the series they are writing about, because the fandom for both is often one and the same. Removing the All Media Types tag makes the act of searching for fics in any anime/manga fandom more difficult, as well as making it harder to filter out crossovers, because the option to do so removes any writers who have tagged both the anime and the manga for the reasons of fandom continuity mentioned earlier.

This policy, if applied consistently, also has the potential to have an incredibly destructive impact on the searchability of any fic for a media franchise split across a large number of installments and continuities, which can potentially number in the dozens, and in some extreme cases, the hundreds. The Transformers franchise, in particular, has numerous spinoffs across many mediums and continuities, as do many other popular franchises such as Sonic the Hedgehog, Buffy the Vampire Slayer, Gundam, and a litany of others. There are also the obvious examples of franchises such as Star Wars, Marvel, and DC, many of whose installments also share continuities or other elements. Removing the All Media Types tag makes it difficult for people who wish to search for fics from any of these franchises generally with no interest in any particular spinoff, and solves no apparent problem.

The child tags already exist for readers who want to search for media based on any specific installment, as well as for writers writing a fic not based on any spinoff or continuity in particular. Someone writing a more general interpretation of a popular character may have to pick a single piece of that franchise to tag the story under, where they might otherwise simply use the general "All Media Types" tag. This is a serious oversight, as while the wranglers may claim that the removal of these tags is to make the search easier, it in fact makes it more difficult for writers to reach their audience, and audiences to find stories they might have otherwise discovered more easily.

I would strongly encourage the wranglers to observe the following posts, and the response to them, which should be ample evidence that many in the community are not in favor of this policy and that for many fandoms it does not have the intended impact of improving the website's ease of use;*

[1] [2]

If there are no plans to reverse course on the policy, I would strongly implore the staff to publicly announce this change and open a dialogue with the community on how to handle this. I personally am opposed to it, but I am obviously not the only one. Right now the general perception seems to be that this practice is of no convenience to anyone except the tag wranglers themselves, and that they are ignoring the voices of anyone contacting them to say that it is not appreciated. At an absolute minimum, I believe transparency from the team about why and how this policy is being implemented is required, because right now, there is no open communication on this that I have observed and the only way this became openly known was by people on social media passing around screenshots of individual email responses from the Archive's support team.

You can rest assured that I will be doing the same if the response to this inquiry proves unfavorable. Regards, Joyce Celeste Silvia Fisher

*I put a plain colon rather than a semicolon in the original message but tumblr didn't like that for some reason.

Proof:

[versegm]

A while back I ran numbers on my own fics right? Checking the hits/comment ratio. A friend of mine also did it for his own fics. Admitedly I don't remember exactly what my friend got but I think we got roughly the same results, ie: About 1% of the people who read a fic leave a comment behind.

This is mostly consistent across fandoms, though there are noticeable exceptions. I was personally extremely surprised to see that one of the worst commenting fandoms was Fate/Grand Order, which stood at a miserable 0,60% of comment/hit. Meaning that for every hundred people reading a fic, you're not even sure to get a single comment. That was doubly surprising because my Fate/Stay Night fics, which are part of the same serie, have a normal hit/comment ratio (actually much higher, 1,30% which is the highest of all fandoms I've ran this experiment for.)

I didn't really think much of it at the time, but recently I got chatting with a friend (who is like me a frequent filler for the nasu kinkmeme) about how there's a fuckton of fgo prompts, but very few people who actually fill them. So I had a theory, which I tested by running some numbers on random arknight fics on ao3. Spoiler: They also had an abyssimal hit/comment ratio (about 0,40%)

So my theory is thus: low level engagement/high demand for content is a gacha fandom issue. I sadly don't know enough about gacha culture to really hazard an explanation. Normally when a game is appreciated by normies who don't do fandom, that translates to a low hit count but the same percentage of comments for fanfics. Maybe gachas introduce people who don't normally do fandom to the concept of fanart & fanfic, so they don't know fandom etiquette yet? Maybe that's just the kind of culture normally birthed by games that encourage you to simp for a given character that isn't usually the focus of the story so you gotta outsource to find more of them?

I don't really have a point with this post, I just thought this was a very interesting fandom trend. Because the specific fandom behavior of "demands lots of stuff but refuses to comment or reblog or support artists" is one I've only ever seen before for like, kids shows, or generally demographics which attracts very young people who haven't grown up surrounded by "hey fic writers love comments you should comment" psa, so I find it really surprising to see that same behavior for a game where the target audience are adults with money.

Obligatory disclaimers:

I ran my arknights numbers on the top ten most read, english, non-crossover fics on ao3. If that didn't represent accurately the arknights demographics then whoops sorry.

These observations are made about the english-speaking side of fandom. Maybe people are more appreciative on pixiv fics idk I didn't check.

I am not a sociologist, I just notice trends and like to analyse them.

[ryuichirou]

Replies

Some are related to our posts, some are just twst-related; mostly short ones today.

Starting with a couple very sweet ones..!

Anonymous asked:

Have you guys seen @ao3feed-twistedwonderland's pinned post for July 2024? There is something there that might be interesting to see. Dw, it's good!

Ahhh this is so cool! 😭❤️❤️❤️ Thank you very much for letting us know! And thanks to whoever is running the page/submitting works 🥹

Katsu was very hesitant about sharing this work, so I am very happy that it was received so well.

Anonymous asked:

I love your Touhou crossover!! I immediately liked and retweeted it the second I saw it on my timeline. It's so cute! Please know all your hard work feeding the fandom—your art, Katsu's writing, taking the time to respond to everyone—is very much seen and appreciated!

Anon, this is very kind of you, thank you so much 😔💖💖💖!!

About the Touhou drawing, even though it really underperformed, it did the thing that I really love about obscure crossovers: there were some people who connected the dots and went “ah!”. It ended up being a drawing for a very specific audience lol But I am extremely happy that those who liked it did like it, including you! It means a lot that we still get support on stuff that doesn’t necessarily click with a lot of people.

Katsu said it the other day, but I’ll say it too: we really don’t want to seem ungrateful because all the support we receive is honestly insane and we’re really happy that we could be this self-indulgent about stuff that we post. It motivates both of us a lot, and I feel like no matter how much I thank you all, it’ll never feel like I’ve said it enough time to express just how much we appreciate it properly.

So yeah. Cheesiness aside, as long as it’s fun, let’s keep doing it.

Anonymous asked:

You should definitely draw greenhill getting caught watching porn by gregory (not forcing tho)! Btw I'm in love with your art

I really should, Anon. I want to draw them more, and to be honest I’d love to sketch something for every hc about them that I wrote lol Maybe one day…

Thank you so much for your kind words!! <3

Anonymous asked:

out of all the bottoms who do you think the twins would team up to noncon together

Any of them. They don’t discriminate 😇

Realistically though, those who are the most likely to get Tweel’d are Riddle (if Floyd is in a mood to share, of course), Idia (ultimate victim…better catch him first though), Jamil (another ultimate victim of fishies specifically) and probably Deuce… can’t really explain the last one, he just seem to be a magnet for trouble.

Anonymous asked:

so, moray eels tend to have multiple partners, have you considered a Jade x char x Floyd poly ship? And I’m not talking about a v one either. The idea of Jade and Floyd fighting for dominance is sorta amusing.

I’m pretty sure I talked about this before, but I can’t find the post right now, so I’ll answer again!

Jade and Floyd are interesting because even though they act together a lot of times, they don’t really like being “a set” to each other, so I guess whether they would do something like this or not really depends on a lot of stuff. I do love to sandwich one character between them, and I tend to do it with Idia because of course I do lol But it still doesn’t feel like a poly ship to me, more like two creeps harassing poor guy because he amuses them…

I agree that it would be an interesting dynamic to see Jade and Floyd fighting for a piece of meat someone else’s attention because it would showcase their pettier side, like two kids hissing at each other. But in practice, I don’t really know who would fit to be that one person these two would fight for like that 🤔 They are too good at minding their business when it comes to each other’s love affairs.

I’m waiting for an epiphany on this one.

Anonymous asked:

When you say the freshmen used Idia to satisfy their urges, do you mean they assaulted him on the regular orrr…?

(this is related to this post)

Pretty much! It wouldn’t always end up with them having sex with Idia, but they would still do a lot of sexual stuff: rubbing against him, touching him, humping him, etc.

They used Idia’s hair for that a bunch of times too. 😔

Anonymous asked:

I feel embarrassed when I keep sending so many asks about Silver lol 😭 but your recent post about mob/subs for twst has reminded me again of something I used to think about on the DAILY!!

I loooove the idea of Silver being attacked by fae mobs from the valley sososo much, whether it's just some shopkeeper taking out their long lasting hatred for humans on him, or nobles from the castle overruling Lilia's power to demand that Silver attend them for the night... Ughhhh I think about it so much. He wants to unite humans and fae for peace so badly, but it's FUN to imagine him being a frequent victim of all that fantasy racism UGH UGH

He's not even uncomfortable with the things they want him to do or the ways they try to humiliate him, even though they want him to be.. He's just sad and confused by why they hate him and trying his best to be good so they change their mind 😭

This is a hot idea, Anon! Silver is very good at being a good boy trying to please others, even if they’re clearly just trying to belittle and abuse him. Of course he would tolerate anything, of course he would patiently do anything they ask him to do because changing their minds and appeasing them would be this important to him.

They would probably be shocked by just how much this boy is willing to do.

[adarkrainbow]

Long ask. Bear with me, please.

I'm still thinking about what counts or not as a fairy tale.

To be honest, I think the only pre-requisites for something to become a fairy tale in pop culture is for it to be a popular fantasy children's story in public domain. And kinda look like a fairy tale, too.

In your opinion, which work would be considered a fairy tale if it weren't for copyright?

Let me give, my examples

C.S. Lewis' Narnia books, especially the first one, The Lion, the Witch, and the Wardrobe. If Alice in Wonderland and Wizard of Oz are considered fairy tales, especially in crossovers, Narnia should be too as it shares many themes, plot points, and character archetypes.

Charlie and the Chocolate Factory. It literally uses all fairy tale archetypes and cliches under the sun, even if it ditches magic for extremely soft sci-fi. Willy Wonka is like Frau Holle or that fairy godmother from Toads and Diamonds, the four brat children are like those siblings and step-siblings who are always magically punished, and even as a child I knew Charlie Bucket was Cinderella but with no focus on romance. He's the youngest sibling that always is magically rewarded.

It is quite funny because I had the idea to make a post about this subject specifically! But since you asked I'll drop some elements of my planned posts here - it can be a good introduction!

Now if you ask me, "fairytale" can't be everything and anything, but that's probably because I come from France where "fairytales" are literaly a literary genre first, and then a category of folktales and legend, and we have specific categorizations different from other countries (again, the merveilleux/fantastique divide for example which determines the French approach to supernatural and fantasy, but is absent from English literature if I am not mistaken).

I... personally do not believe any "popular children story" would be a fairytale. Else that would make the first Harry Potter books a fairytale, or the Winnie the Pooh stories a fairytale or Despicable Me or the recent musical Troll movies fairytales. I think the inherent decision to make something "for children" fairytale like is bad because, again, fairytales were not originally meant for children and thus should not be limited to a child audience.

From my point of view, a fairytale needs to be either a folktale that hold itself in a specific format that makes it separate from legends and myths (the type of local folkloric stories told by old storytellers to children in the countryside for example - but with a clear plot, clear characters, and beginning and ends, separating it from vague legends ; and with a minimum religious element, to separate it from myths for example). I do not like to think of Greek myths as "Greek fairytales". For example, to take an example of the folkloric fairytales of France vs the legends: we have in Bretagne the belief in "les lavandières de nuit", "the night washer-women", ghostly, otherwordly apparitions of women washing clothes at night, and you should never help them else you'll end up dead or with your arms broken. If someone simply tells you what I told you above "It is said there are ghostly women who wash linen at night...", this is more of a "legend", like ghost stories, or "Oh, this is a fairy mound haunted by fairies!" or "It is said a monster lives in this cave". But if you actually tell the story of a specific peasant boy with a specific name, who due to specific reasons ends up meeting these women, and either escapes or falls to their fate, we already are closer to the folktale and thus the "fairytale of Bretagne". But this is all obvious, as these kind of fairytale-folktales were those collected by Grimm and Jacobs and Moe and others...

And then you have literary fairytales, which are stories meant to evoke or imitate the folktales described above, and can derive in many ways (be more "literary") but still identify or present themselves or link themselves to these folktales. These are the Perrault and d'Aulnoy and Andersen fairytales for example. This category can be pushed further with what we call in French "contes détournés" - you could call them "fractured fairytales" to take back a common English term, that is to say all the parodies and rewrites and deformations of fairytales, sometimes for humoristic effects, other times not. Modernization and expansion of fairytales are part of that, so to speak. But we stay in a domain where the story is presented or follows the code and format of fairytales, while also explicitely avoiding, pointing out or reversing the common tropes and rules.

But where the Narnia books and the Dahl books enter, we reach a domain that is not fully fairytale but rather a crossroad between three genres deeply intertwined. "Fairy tales" (or rather "modern fairytales") ; "Fairytale-Fantasy" and "Children fantasy".

Children fantasy is basically any modern children story (by modern I mean deliberately fictional and written as fiction) that involves magic and the supernatural. And these stories can be influenced by fairytales, since it is something children are very aware about, but not always. Peter Pan, just like the Oz books, are "children fantasy" - a form of fantasy for children primarily, or rather a form of children stories that step into the fantasy realm. Pinocchio is one of the oldest "children fantasy", as in a work primarily aimed at children, but with magical and fantastical elements in it.

"Fairytale-fantasy" however is a term usually given to a subgenre of fantasy works that, instead of taking inspiration from epic sagas (epic fantasy) or horror works (dark fantasy) or other things ; takes inspiration from fairytales and folktales. The same way Tolkien was the father of "epic fantasy" he was also the father of "fairytale fantasy" through his Hobbit novel, and also other works (his Tom Bombadil poems, his Farmer Gilles of Ham novel).

The thing is that "children fantasy" and "fairytale fantasy" are deeply interconnected since both can draw source from fairytales and folktales to build entirely new stories. As a result there is a frequent overlap. The Oz books belong as much to "children fantasy" (one of the biggest success in terms of magical series of children-book) as "fairytale fantasy" (they were a pure deconstruction of typical fairytales, explicitely playing with fairytale codes, and later becoming an "American fairytale" classic). The Narnia books are also part of this crossroad, as they are "children fantasy" (they are a traditional fantasy story with epic tones, but for children and teenagers), while also being "fairytale fantasy" (taking inspiration and paying homage to several fairytales and folktales). They all belong to this category of works which are not fairytales per se (since they are not of folkloric origins, nor were they meant to be faithful rewrites or perfect pastiches of traditional folkloric fairytales), but definitively works of fiction based upon fairytales, inspired by fairytales, and mant to take fairytales into the "next step" of the world of fiction.

The main difference between "children fantasy" and "fairytale fantasy" would be as such. Children fantasy, while sometimes inspired by fairytales, is not always tied to fairytales and can be completely fairytale free. For example many of Roald Dahl stories do pay homage to fairytales and are inspired by his fairytales (his witches in The Witches, his giants in THE BFG, Wonka and his factory, the Giant Peach, etc...), he is part of the "writers of modern fairytales". But you have also lot of children stories with magic that do not involve any fairytale reference. Children fantasy can be inspired and allied by fairytales, but is not defined by them.

On the opposite side, "fairytale fantasy" is defined by fairytales - but not by age. Yes some of the most famous "fairytale fantasy" works are for children: the Oz books or the Narnia books. But just as many are for adults and definitively not for children. Neil Gaiman wrote a Coraline for children, but his Stardust is definitively for adults. The movie "Legend", while one of the most iconic fairytale-fantasies, is for adults.

So, I think the real way to point out what a fairytale is, is to look at the format and intentions of the author and of the work, to see if it fits the literary fairytales of old. There needs to be a conscious emulation, pastiche or imitation of traditional fairytales, there needs to be something that make it feel like a fairytale, and not like a story inspired by fairytales. But honestly... this is deep down really, really hard to draw a line as it mostly comes to personal definitions and appreciations. The genre of fairytales is vast and blurry, as it covers traditional European folktales and a specific short literary genre first, but was then expanded to cover other literary works and non-European folktales - and so the lines are... muddled.

I do not hesitate to say that "Over the Garden Wall" is actually a modern fairytale, as seeing the show made me literaly feel again the same kind of feeling I had when I first discovered fairytales. But I can understand why people would consider it "fairytale fantasy" rather than a "modern fairytale" because it was made with the intent of it being a children show and fantasy show first and foremost. Dahl stories are definitively "modern fairytales" - but the fact they are set in "modern day" and a grounded reality where the supernatural is not supposed to exist can disqualify them from being traditional fairytales ; or the humor and parody and play with the fairytale codes can also create a distanciating humor that make them fairytale subversions or pastiches or parodies rather than fairytales. Pinocchio has everything that fits a literary fairytale - but its format also evokes old "story-cycles" like the Reynard adventures or Gargantua ones, and its lack of simplicity and uniformity, or rather its long, flowing nature can also disqualify it from being a fairytale and rather make it a fairytale-inspired fantasy....

Honestly the narrowest definition you can have of "fairytale" is: printed works that explicitely designate themselves as such, from collected folktales (Grimm) to literary fiction written to emulate and imitate them (Andersen). This is the most narrow definition you can have. But then, one can expand to include all folktales that inspired fairytales ; or on the other side, one can push into the literary direction, to include stories that do not have the fairytale format, but that were so heavily inspired and shaped after fairytales, and gained such a popular influence and widespread presence, that they became "modern fairytales". But then this also opens the door to questions such as "What is a myth?" or "What about literary myths?" (like Faust or Don Juan or Frankenstein, all those famous "literary myths" as we call them in French).

As you can see by this convoluted answer, it is not a clear-cut question and nobody can truly answer it. Everybody will have a different opinion, and there is no real limit. The question mostly defines in how the work label itself. Perrault and Grimm and Andersen works called themselves fairytales, so there is no doubt about it. But take Neil Gaiman's Stardust - an iconic of fairytale fantasy, and yet Gaiman refers to it as a "romance in Faerie", evoking more the genre of fantastical and supernatural romances (medieval-meaning of the sense) like "The Well at World's End" and others - and the work is also very inspired by fantasy fae stories with a vague proto-urban fantasy feel to it, like "Lug-in-Mist". Same thing with the movie "Legend" which is definitively inspired by fairytales and a fairytale-fantasy, but was sold as a "fantasy movie" or even "heroic fantasy" movie first and foremost. Meanwhile the Oz books were intended by Baum to be a "modern, American fairytale" - even though their novel format and their franchise nature removes the idea they can become as "traditional" as the folktales he meant to imitate...

I'll stop there for now, but long story short: It's complicated, and when in doubt, don't hesitate to refer to intermediary terms like "children fantasy" or "fairytale fantasy", which clearly evoke modern fictional works and can highlight a difference with classic literary fairytales or folkloric fairytales, without rejecting the idea these "modern fairytales" aren't fairytales in their own right.

[archangelmacaron]

more Noe analysis has been requested but I'm thinking on what I want to go feral about. 🤔

Like honestly what I MOST want to yell about is Fanbox, BUT

1) it is definitely not meant to be shared, which I will respect by being vague about specific things I am referring to.

2) you cannot fucking paywall things so most fans will never encounter them and it can't be publicly discussed without violating those terms, and expect it to be treated as canon (which maybe he doesn't, idk). While obviously people respect Word of God, to me if it's not specifically stated in the game as a canon fact, rather than one interpretation of events, I will treat it like any other person's opinion. I don't want to talk about my take on events like what the ending means or potential post canon and get interrupted with "but behind a paywall, he said—" I literally do not care and you should not either ESPECIALLY when their take directly contradicts some things that were expressly canon, like how a certain character who gave up everything for another wouldn't dare commit a crime they had already commited once before like dude seriously. SERIOUSLY?

"Death of the Author" is pretty important and I want to talk about what was actually in the work and how people interpret that, not feel stuck by paywalled opinions expressed after the fact. (I mean if the literal majority of your audience has one read on something, and you have to say 'actually I wanted this to mean x' maybe you really sucked at expressing that? Idk!)

3) frankly getting extremely obvious he is so fucking over Noe and IMO, has been kinda mean spirited about it in an effort to get people to shut up and stop asking because he only cares about working on his new game. Which he basically said directly in the latest that he considers it "shelved."

Which I am sympathetic to to a point! It's clear he worked on this game for a near full decade, and I think scope creep meant it really started to get away from him towards the end and in some areas, it really shows. I know how it feels to tackle a project that gets so overwhelming, but also how frustrating it is where you already released half so you can't go back and "correct' anything you realize now is plot breaking. That can really drag your enthusiasm to an absolute halt!

What I am NOT ok with is acting surprised that people are giving you money because they enjoyed your most popular project and thus want to know more about it, rather than your new COMPLETELY DIFFERENT project that's had like concept art and a few screenshots released. Like sorry dude but the crossover between people who like story and character driven adventure games and those that like daughter waifu sims is extremely small and maybe you should be nicer to the people who will support ALL your projects.

4) The big one. This all combined has made my friends sad. I am not ok with that. I don't see how you can answer a fan's hopeful question about a character's future with a "ok so like I know it's canonically possible but actually here's (my opinion) on why it isn't, so consider that canon-compliant avenue CLOSED :)" I just feel like he is annoyed by how much these characters mean to people. And to me it is heartbreaking to see the wind just pushed out of someone's sails! It would have been so easy to say "it's up to you, I'm done with this story!" you know?

5) I am starting to feel like he "accidentally'd" into all the best parts rather than wrote them with intention, which isn't a fair take. He's probably just ready to move on and happens to be being kind of a dick about it.

And in closing:

6) the lack of enthusiasm is apparent not just in fanbox, but in the total silence in terms of the complete pack or promotions beyond occasionally rting a sale post. This concerns me and I HOPE I am completely wrong, and there are more things behind the scenes going on like fanbook vol 2, the light novel continuation, etc. but I feel like there isn't despite a worldwide release being prime time to push things like merch. The manga hiatus isn't on him, but the fact that even the most hardcore fans didn't even know a chapter was released in Feb says something!!!

Ok i am done lol. Hopefully no one is offended (not like he'll ever see this!) but it was just a good time to vent.

[acorrespondence]

☔ !!

☔ Is there a fic concept you have that you'd like to just explain and share because you're not sure you'll ever write it? If so, what is it?

Oh there absolute is and I was really hoping I’d get this one, thank you for sending it! The working title for this fic is “Six Places Wynn Duffy Might Be (But Probably Isn’t)” and it’s probably the most insane and cracky fic idea I’ve ever had—kind of inspired by Timothy Olyphant’s character in The Office—but I really really love it. It’s multimedia, and the basic premise is that Rachel sends Raylan a file with six different leads in it, all of them documenting the possible location and assumed identity of Wynn Duffy. Each lead is a crossover with a different other TV show. The first item is a transcript from Troy and Abed in the Morning, discussing whether or not the new security systems professor and women’s tennis coach at Greendale is actually some kind of disgraced/retired crime lord, based on the evidence that he made several strange comments: one a reference to the job not being exactly what he wants but “at least no one’s throwing bullets at me.”

The second is a town meeting transcript from Pawnee, Indiana discussing the presence of a new food truck run out of an RV called Win-a-Bagel, with some citizens concerned that it’s a scam and/or money-laundering scheme, while other residents argue that it’s not worth looking into and possibly jeopardizing their opportunity to win free bagels. The one after that is a transcript from a documentary about a paper company called Dunder Mifflin currently in production in Scranton, Pennsylvania; specifically, interviews with/about a new hire named Larry Mawkins, who according to his own reports was previously a very unpopular motivational speaker/life coach, until one day the lone member of his audience killed himself in the middle of the seminar. One colleague in particular, Dwight Schrute, has become convinced that it’s impossible for anyone to be that much of a general bore and total failure at life unless it was intentional to make people underestimate and dismiss him, leading to the theory that he’s on the run from either the cops or the mob. Their other colleagues weigh in on the realism and likelihood of this theory. However, Larry Mawkins has since disappeared without warning, having stopped showing up to work the day after a new hire named Danny Cordray joined the staff.

The next two were a lot more vague and sketchy and I was having trouble trying to find shows that Duffy-in-disguise would fit into. The one I got the farthest with would have been a newspaper article from Santa Barbara where Shawn Spencer claims that all of the houses in a recent string of “unconnected” robberies were in fact installed by the same man, despite all being from different companies. When police looked into it, they realized that none of the companies had been made aware of these installations. However, all the names used with the clients were fake names, so there was no way to track down the culprit, and the rash of robberies ended, leaving the case cold. After that, I had a couple ideas that I couldn’t figure out how to fit into the structure: either a loan shark or a rival banana stand owner (who possibly also sold drugs) in Arrested Development was one, and Darryl from Crazy Ex Girlfriend’s new boyfriend, whom everyone agrees is sketchy and probably a criminal, was another.

And then, of course, number six: an extreme (and therefore extremely blurry) zoom on the background of an image posted to Instagram, centered on someone who could possibly be Wynn Duffy, actually on a beach somewhere in Fiji—and lying in the sand next to him is a guy who looks suspiciously like Neal Caffrey ;)

(Ask Game here)

[bigfrozenfan-fanfics]

About tough decisions to use the right music track to a specific scene

Not all readers of "The Broken Bridge" listen to the hand-selected music tracks for my scenes(*), but I want to go into a little more detail in this particular post so you can see how much effort can go into just one scene.

As you may know, HeinrichVSA, my beta reader and friend, and I work closely together to select certain music tracks. I write and he finds the music tracks that I end up choosing to use. It's not always easy, because on the one hand the length has to fit the scene and on the other hand it has to support the mood as perfectly as possible. I listen to the music while I read the scene at the same time, checking whether the dynamics match certain actions precisely and then I determine the sentence in the story where exactly the music should start. A perfect result would be if the track stops exactly at the end of the scene and the dynamics in it can emphasise certain actions. This doesn't always work, but sometimes it is desirable for the music to cover several scenes.

I can't use many titles simply because they involve singing or speaking, or because there is clapping from the audience at the end. This distracts from reading. So far I've only used two songs with vocals in "The Broken Bridge", but only as bonus tracks at the end of the chapters. With the exception of titles where the vocals are untranslatable and part of the music (Sámi Joik, for example). Watch a film and see how the score is used in certain scenes to heighten the drama, then you'll understand what I mean.

In the last chapter, "Corona", I wanted you not only to read about Fabian's joy at being back home and reliving a childhood memory, but to literally feel his emotions. Everyone knows the scene in Tangled where Rapunzel dances with joy in the square in front of the church and draws other people around her into it. In my opinion, it's one of the best scenes in the film and I love this song.

My only problem with it was how to integrate the relatively short song into the already written scene in such a way that it both emphasises Fabian's thoughts and feelings on the way through the town and ends exactly when the dance is over. The increasing speed of the dance also had to fit in as closely as possible with what had already been written. So I started looking for alternatives over the next few days after finishing the chapter. Some YouTubers extended the song, but either it lost its original dynamics, or you could hear too clearly where the song was edited or it was simply extended in the wrong place. There were also two very well-made remakes from fans to choose from, but either just as short as the original (2 min 20) or unfortunately with adverts at the end. In the end, I decided in favour of an extremely well-made extended version that met all my criteria.

(*) Many Frozen fans on Tumblr don't read fanfics on a computer, but on their smartphone. Tumblr unfortunately has the stupid habit of simply stopping embedded songs in posts when you read with the app. This doesn't happen if you read my chapters in the blog on a laptop, for example.

Here are the songs from Tangled Fans that I sorted out, but which are still great:

Heinrich's 1st choice, the Tavern Edition:

My find, as a violin duet, unfortunately with adverts for more of their videos at the end:

My previous favourite to use song in the chapter, 16 seconds longer than the original, but still extended in the wrong place:

And an alternative track that would have worked in theory, but was unfortunately too long and had applause at the end:

The remaining alternatives with edited originals are only given here as links:

youtube.com/watch?v=d6o9u0a3GJ8 (Kingdom dance (extended, doubled and tripled chorus)) youtube.com/watch?v=81GocqvwTMg (Kingdom Dance crossover with "How To Train Your Dragon" at the end) Someone even came up with the idea of editing this track for a real dance with a length of 4:02, but the dynamics are totally lost in the process: youtube.com/watch?v=cGnhmA3BNbI

The following were also up for selection:

youtube.com/watch?v=VI-JynUarrs (Rapunzel's Exordium by Frostudio Chambersonic) youtube.com/watch?v=sMCwW0TcBYk (Reels, irish dance music, good but far too long) youtube.com/watch?v=u9veEEnax-k (Reels traditional, by Katie Grennan, same as above) youtube.com/watch?v=tIQjHeMYBfg (Slip Jigs, by Katie Grennan, too long, wrong instruments for the scene) and a few others This one is funny for the dance performance starting at 4:19 (Apollo's Fire - O'Carolan Dance scene), but too long as well, laughing in the audience plus applause and too slow over all: youtube.com/watch?v=1OD4jAOp5So youtube.com/watch?v=givlwY9d9UQ (animated movie excerpt, but sadly with spoken words in it)

Last find for the Tangled fans here, a video with animated Corona scenes for relaxing Tangled music to study & relax, with a length of nearly one hour!

[thesinglesjukebox]

SHAKIRA X BIZARRAP - BZRP MUSIC SESSIONS #53

Separation, Shakira-style!

[8.35]

Nortey Dowuona: FC Andorra are 7th in the Segunda Division; Karol G is on the Barbie soundtrack. I say this divorce was the best thing to ever happen to them. [9]

Peter Ryan: A comprehensive public clobbering, an icy-caustic bookend to the relationship that wormed its way into her discography with the ebullient "Me Enamoré", stuffed with double entendre indictments sharp and specific enough to preemptively render any rebuttal pathetic. Structurally it ranks among her most ambitious, all polyrhythms and quasi-freestyle character, the latter part no doubt owing to the BZRP Music Sessions format. There's catharsis in her kicking open the door on the private strife about which she'd previously stayed tight-lipped, and in the meta-narrative of the megastar shaking off the dead weight and finding creative reinvigoration. While they've become fewer and farther between in the last decade, she hasn't lost her knack for creating a Moment -- I heard this at the corner store, wafting out of passing car windows, on the dancefloor -- she wasn't kidding about cashing in. [9]

Alex Ostroff: The main attractions here are Shakira's righteous and yet somehow still icy fury and her impeccable wordplay. She wishes her ex the best with her "supuesto reeemplazo", but makes it absolutely clear that nobody is capable of actually replacing her. In someone else's version of this revenge-pop anthem, your husband absconding with a woman half your age might be a source of insecurity, but for Shakira it's another sign of his cluelessness -- at 44, she's worth two 22-year-olds and presents it as a simple and obvious fact. Bizarrap initially seems to take a backseat, but he brings plenty to the table, evolving his production and adding details that accentuate and complement hers. Tonight, I'm obsessed with the way he brings in that reggaeton-esque percussion right at "Me dejaste de vecina a la suegra/Con la prensa en la puerta y la deude en Hacienda" and how that propels the song into Shakira's triplet of creíste/heriste/volviste rhymes. Shakira's best material in the post-Fijación Oral era of her career has consistently been her Spanish albums, but until the restructuring of streaming and Billboard chart metrics in recent years, their popularity (and pop excellence) was never properly reflected. Of Pique's many, many sins, the one I'm most angry about was causing Shakira to relocate to Spain -- away from her main collaborators and recording studios -- and thus keeping her away from the radio at a time when audiences' engagement with global pop (and especially music in Spanish) seems much bigger and more permanent than the limited crossover moments of the 90's and early 2000's. Her post-BZRP releases have mostly been collaborations with an extremely varied list of rising Latinx stars in a wide range of genres, from a reggaeton heartbreak diss track with Karol G to a regional Mexican polka track with Fuerza Regida about labor rights and Pique firing the nanny who snitched on him for cheating. I have absolutely no idea what to expect from Shakira next, and I couldn't be more excited. [10]

Harlan Talib Ockey: 1) Cultural reset. 2) I love mess. 3) We now go live to Pique stepping on a rake. 4) Infinitely more energy than "Te Felicito" or "Monotonía". 5) Actually, Shakira hasn't sounded this forceful in a long time. 6) Bizarrap at the top of his own game rather than trying super hard to make corridos, for example. 7) "¡LAS MUJERES YA NO LLORAN, LAS MUJERES FACTURAN!"="margin:> [9]

Aaron Bergstrom: As a non-Spanish speaker, I'm probably missing out on some of the nuance here, but allow me to offer a brief letter of recommendation for 1) listening to this for the first time with minimal context, 2) focusing only on Shakira's inflection and intonation, 3) picking out a few lines where she sounds especially pleased with herself, 4) thinking "ooohhhh, I bet these are daggers," and then 5) looking up the English translation and confirming that every single one is just as vicious as you'd hoped. Because let me tell you, it is a delightful experience. [8]

Jessica Doyle: Cuando era niña, en mi escuela podría estudiar solamente francés; no empecé a aprender hablar español hasta desde cuatro o cinco años. Hoy tengo una cita cada día con Duolingo y puedo comprender unas frases, pero quiero apreciar el idioma mucho más, y lo que me motiva, es esta canción. Shakira canta como sus palabras tienen pesos y formas; se puede esucuchar y sentir cuando ellas se chocan con el suelo--"mastique' y trague', trague y mastique'," "con la deuda a la Hacienda." Además, ella gana confianza y acelera, asi que cuando ella canta, "Yo valgo por dos de 22," no es un cope defensivo, es una declaración de hecho. El idioma es su arma y su poder. Y el ritmo es único; ella no lo podría haber canto en inglés. Entonces, escribí este blurb en español; no lo escribí en inglés y traducé. Sé que hay muchos errores (Google Translate me dice que "I translated" no es "traducé," es "traduje"), pero creo que sería un error más grande hablar de esta canción en inglés. La escucho y me hace querer estudiar y aprendar más. [8]

Will Adams: An undersung aspect of what makes "Pa Tipos Como Tú" so compelling is how Bizarrap's beat switch-ups throughout the song propel it forward. It begins as an icy breath of Italo that recalls She Wolf's more delirious moments. Midway through the second verse, the floor caves in to reveal a heavy, rhythmic groove, as if gathering power for the next attack. The second chorus arrives with a walloping synth bass, reminiscent of "Padam Padam" but even more menacing. It makes for one of the most exciting listening experiences of the year, instilling an uncertainty of where this thing is headed next. All the while, Shakira floats on top, mercilessly delivering a brutal takedown that leaves nothing in its wake. [8]

Tara Hillegeist: The last time anyone on Shakira's level tried to write a song about how mad she isn't like this, it was over a decade ago, and "Irreplaceable" that effort absolutely wasn't, drowned in goopy self-affirmation and breathy lack of confidence. Compare the liquid contempt swirling around every syllable, here, the bared-fang sharpness of the enunciation as she howls "You thought you'd hurt me, you only made me stronger/Women no longer cry, women get paid". Shakira's fury isn't the fury of a woman left abandoned, with only scorn as her cold comfort -- as one of pop's inarguable queens, she has an entire country at her back. It's only natural that she can't simply settle for destroying her ex's memory alone, when there's an entire dancefloor waiting to destroy it in her honor instead. Pity Shakira's ex-husband, who will go down in pop-cultural history as nothing more than the expertly character-assassinated trophy this song leaves behind to hang on the she-wolf's wall, alongside all the others who thought to make a prize of her instead, only to find, as ever, that it's not their world to rule, but hers. Or don't; the viperous specificity with which she approaches the subject matter in question makes it readily apparent that from her perspective, this reckoning was only ever held at bay by the love he squandered in the first place. The other woman should probably count herself lucky Shakira only holds her accountable for thinking herself entitled to taking Shakira's place in his affections; if there were any other reasons, Shakira clearly wouldn't have hesitated to include them. Let the dancefloor show mercy, then, if there's any to be found. [9]

Katherine St Asaph: Shakira's hips don't lie; their involuntary sway, she's said, is how she identified Bizarrap's track as a Depeche Mode homage too chilly to pass up. And yet the track is not nearly as cold as the way Shakira vaporizes her song's targets from on high. That her specific complaints are relatively petty -- basically, that getting cheated on has stuck Shakira with a lot of rich person problems -- is beside the point. Repeatedly, she drops the real names of two real-ass people, syllable by syllable via careful wordplay, as if putting a scope into place. Her vocal is mixed loud, processed past any human timbre, and arranged to fill all space in the track. She sounds less like an individual jilted woman than a metallic weapon, than the genderless, pitiless, all-judging voice of God. Finally comes the killing smite: "and now you're with someone just like you." It's not often that experiencing a punching-down feels this bitter and inevitable, this compelling and correct. [10]

Rose Stuart: I said in my review of Olivia Rodrigo's "Vampire" that, in the year of breakup songs, hers was the only one that wasn't full of posturing. This is the only song where that posturing feels earned. Where other songs made neither their pain nor strength convincing, Shakira comes out triumphant, coming for blood with each finely picked detail in every savage line. The song never stops going in, even using the name of her ex's partner for some masterful wordplay. I've heard many breakup songs that try to go at the singer's ex, but this is the first time I've actually felt sorry for the song's subject -- after all, it must be hard to show your face in public after being roasted this thoroughly. [9]

Wayne Weizhen Zhang: A swaggering, sexy encounter that has me simultaneously wanting me to say "I'm too good for you, bitches!" and "Step on my face, mother!" [9]

Jacob Sujin Kuppermann: lol hell yeah [8]

Alfred Soto: With any insignificant number of synths per track signifying as "1980s" the response to this track was a given, but the thudding insistence of its beat muscled past those assumptions. As alert as a burglar with good tools, Shakira talks so much shit that the judgment fades before the verdict. Imagine if they'd released this at the height of the 2010-2011 EDM epoch. [8]

Jonathan Bradley: Bizarrap's sleek, gleaming disco sets off the lack of adventure in Dua Lipa's 2023 comeback; these cool synths glide with a propulsive sense of drama. Shakira, uncharacteristically, is the weak spot though, allowing herself to recede into the background. She doesn't always command attention, but even her reserve is usually compelling all on its own. Here, she's content to vibe, waiting for someone else to make something happen. [5]

Brad Shoup: Impeccably imaged: we're used to that from Shakira. But the chilliness is something else: a brisk disco kiss-off that fogs up the anguish she's audibly fighting. The way she paces herself is really cool: icy pop in the first verse, a switch to reggaeton cadence at the end of the second that fully detonates in the third. She's acting as her own feature rapper: just another power move. [8]

Ian Mathers: I was the high mark last time we covered Shakira, but even if I was going to be here (doubt it!) it'll clearly be for very different reasons. With "Don't Wait Up" it was that fucked-up little organ (or whatever) riff, and while Shakira was good, her performance wasn't specifically what drew me to the track. Here, while the production is good, it's her performance that's much more central. Even before my monolingual ass looks up a translation you can kinda just tell from the vibe that someone is getting it in the neck, and/or Shakira is feeling her oats ("and," as it turns out) and then once you do... "Sorry, I already took another plane" is a hell of a way to start. Plenty of specific detail lurking in there, but the repeated "I was too big for you and that's why you are with a girl just like you" fairly blisters as it goes past. [8]

Taylor Alatorre: All else aside, it must really suck to not only have the Tsar Bomba of diss tracks dropped on you, but to have that track sent out to the world with this podcast episode-ass title. Like, at least Jay-Z can boast that he's part of the reason we all say "ethered" now; no such consolation here. The tossed-off nature of the release, while adding insult to injury -- you don't even get an album track! -- makes it harder to admit this into the pantheon of the greatest diss songs of all time. But I get the sense that legacy is not really what Shakira is concerned with here. This is a crime committed in the heat of the moment, in broad daylight, and everyone will remember where they were when they witnessed it. For her, that is enough. [7]

[Read, comment and vote on The Singles Jukebox ]

[thelightofthingshopedfor]

re: your tags on the post defending people being dramatique about reblogs; whoever ghosted you over that is a dick, but also there has GOT to be a happy medium between "fuck you if you don't reblog everything you feel positively about" and "fuck you for asking for reblogs" like omg, tumblrinas plz, i am begging for like half an ounce of nuance i know this is the internet but please for the love of the blorbos stop the madness *headdesk*

I mean, yeah, I don't actually think guilt/shame is a good motivation for engaging with fandom, for a lot of different reasons, and tbh the overall tone of the post I just reblogged is probably more abrasive or something than what I've reblogged before or said myself. I mostly just reblogged this one because apparently I can't get over how hurt I feel over the whole basically-being-ghosted-by-a-long-term-friend thing (especially given that it made me feel really insane in a specifically neurodivergent way, like, "either I have massively misinterpreted literally everything about this relationship for years because I fundamentally don't understand friendship or social interactions in general, or you didn't mean anything you said to me, or you changed the rules at some point and didn't tell me").

but it's also just...deeply frustrating that even the mildest posts saying "if you don't do some very basic things to support the fanworks you like, you will start seeing a lot less of those fanworks, because those creators will get discouraged and stop producing it" gets categorized as whining or guilt-tripping when it isn't, it's literally just describing cause and effect. there are other posts scolding fan creators for expressing that discouragement or asking for a little damn engagement because we just want to feel like we're part of a community, all of which just contributes to the atmosphere of discouragement.

and it feels increasingly bizarre to me the more time I spend on Instagram, following all kinds of artists and small businesses, all of whom talk a lot about how important engagement is to what they do and how much their work lives and dies by The Algorithm and how crucial it is for people to take a few seconds and boost stuff they like because otherwise it just gets lost to the void, and I don't see the same backlash there of "well you should just be satisfied with creating for yourself, you shouldn't worry about stats, stop whining for attention, stop guilt-tripping people," whatever. granted, it's a different matter when there's money involved, because with a small business whose only source of advertising is social media, we're talking about someone's actual livelihood, but there's a huge amount of crossover with literally any artist--fanartist or otherwise--given that loads of them do also have Patreons or Ko-fi links or shops with physical items, or maybe they don't start out that way but when they build an audience organically they're able to bring in some actual money. and I've definitely seen people who aren't primarily selling things, who really are just producing art as a hobby, but still ask people to share their stuff because it encourages them to make more, and that seems to be seen as perfectly legitimate, except on Tumblr and also Reddit. fanfic is a little different because it's inherently an extremely bad idea to monetize, so there isn't the angle of "of course you want to share this so your favorite writer can keep food on the table!" but it doesn't seem like a huge stretch to say it follows a similar principle, right? if you like it, it just makes sense to support it in some small way, because then you're more likely to keep getting it? and if you don't make any effort to support it, then you can't complain when you stop getting it? (making this very basic point got me downvoted on r/Fanfiction because of course it did.)

and, I don't know, I personally get really discouraged begging for reblogs, and it would feel a lot better if I didn't have to. not even just my own fic (although, yes, especially that), but original posts about helpful resources or awesome Kickstarters or fic recs or cool free games or "hey this artist is doing charity commissions, look at their awesome art, please reblog so they can raise money for this important cause" mostly just all kinda fall into the void. not that I'm at all unique in that respect, obviously; anyone who doesn't have a big audience deals with that frustration (while people who do have big audiences get to deal with different problems, as I understand it, although I certainly wouldn't know from experience). it just sucks, you know?

[inquisitorhierarch]

anyway I’ve been meaning to make this post for a while but. I really think people should… consider giving up on the blorbo meme. or at least be more cautious about using it

the whole thing already always felt extremely inorganic and manufactured to me, partially because the very first post mentioning it that I ever saw was a post saying that everyone was talking about it –  which is always Odd when you’ve not seen anyone talking about it – but the fact that the meme really took off literally JUST after we saw news that some guy has plans to make tumblr profitable by really hunkering down and hardcore targeting advertising based on fandoms is uh……… Suspicious, to say the least

like all of a sudden people were putting tags related to fandom media on posts that had nothing to do with fandoms, to the point where people have been begging people to stop tagging personal posts with blorbo shit. kinda convenient if your whole goal is to specifically make the fandom spaces of the website make money for you, huh?

like. I can’t prove that the whole thing was created or at least pushed by corporate marketing strategists but it’s literally so useful to them either way that it doesn’t even matter if it was or not. all they need to do now is go to Any popular shitpost and analyse the tags, and hey presto they have a whole dataset containing a list of characters that all share some amount of similar traits and can be cross-marketed to people who like/engage with any/all of the other damn blorbos being tagged on that post. (the fact that the meme comes pre-loaded with categorisation into shows/games/other media is also just so handy!)

“well that won’t work on me, I only care about My blorbos, I won't watch something just because a character is similar” you’re forgetting that we live in a technological dystopia.

the entire driving force behind fucking metaverse crossovers from the perspective of the corporations organising them is to share their audiences around. maybe you don’t give a damn about someone else’s blorbo right now… but will your tune change if there’s a metaverse crossover where they have a heartwarming team up with yours (based on analysis of advertising datasets that indicate a potential for transferral of interest between the two/however many others due to fandom tags)? 

how many people with 0 prior interest in the mcu went to see fucking no way home just to see spidergarfield or spidermaguire or even doc ock again? how many of those who did so are now more favourably disposed towards the mcu?

anyway. I dunno. I’m sure people will just call me a killjoy but I do think it’s worth considering. If you actually are against making tumblr profitable like everyone claimed to be, maybe be a bit wary about drawing a target for advertisers on your back… that’s all I’m saying

[toku-explained]

Welcome Pack for Futo PI viewers.

Welcome. If you're enjoying Futo PI, you may have learnt about the fact this is a sequel to a 2009-2010 tokusatsu series entitled Kamen Rider W, specifically an adaptation of a manga that started serialisation in 2017, written by that show's head writer Sanjo Riku. I won't tell you you have to go back and watch W, which was the latest in a still ongoing series of toy commercials, and was primarily intended for kids, while Futo PI was always aimed at an older audience and to draw in non-toku fans. I will say anime watchers at least get told this is also a superhero show from the beginning, unlike the manga, as that first scene was an adaptation of the very first scene of W.

As I said, you are under no obligation to watch W to follow Futo PI, but if you're curious about seeing where the main characters have come from, please read on and I'll tell you where to look.

At a basic premise, Kamen Rider W and Futo PI have the same conceit of the 2-in-1 detective, Shotaro and Phillip, defending Futo from the users of the Memories as Kamen Rider W. The big threat is different of course, but the general premise is the same.

While you will see the main cast (and Akiko's father) resemble their live action counterparts quite closely, other characters are more varied. Detectives Jinno and Makura, Santa-chan and Watcherman are all recognisable easily, while Queen and Elizabeth, and Lily look less like their TV selves, I'm guessing due to image rights. Tokime and Bando are original to the manga, so never had actors.

Also, before I go into an explanation of what to watch to get the complete W experience, I will note that the OP, "Private Eye", is by Big Gadgets and features Kamiki Aya and TAKUYA, who were responsible for the W OP, "W-B-X ~W-Boiled Extreme~", while the ED "Tsumi to Bachi to ANGURA" is by Matsuoka Mitsuru and Kikkawa Koji, who each starred in 2 W movies and provided music, Kikkawa performed "Nobody's Perfect", the theme for his character, Narumi Sokichi, as well as being half the duo performing "HEARTBREAKER", while Matsuoka performed "W", for the movie, and then "cod-E -E no Ango-" which could be seen as the theme for his own character, Daido Katsumi. Flashbacks have featured both characters in the manga as I understand, but I don't know if in either case that's in the material getting adapted to anime, since each arc is probably going to be 2 or 3 episodes.

Kamen Rider W Watch List

This should be only the most important parts.

Kamen Rider W Episode 1-14. After the Begins Night intro, these episodes introduce to Futo, W and the Gaia Memories, through the eyes of Akiko as she comes to Futo seeking her father.

Kamen Rider W Begins Night. The W portion of Movie Taisen 2010, where the Begins Night comes back to haunt Shotaro, adding further context to it for the audience, and resolving a plot hook that's been hanging between Shotaro and Akiko since the series started. You can skip the crossover portion, but there are some scenes at the very end I would watch.

Kame Rider W Episode 15-34. The new year brings sweeping changes to Futo, with the last member of the main cast joining soon after.

Kamen Rider W Hyper Battle DVD. You can skip this, it's a humourous DVD they do every year, sometimes with new forms, this one is mostly notable for featuring a character that got a surprising amount of use post-W.

Kamen Rider W Episode 35-44. The series moves into the last act, with a last shift to the status quo, as the 10 year plan of the villains approaches fruition.

Kamen Rider W Forever: A to Z/The Gaia Memories of Fate. W's summer movie, following directly on from the end of episode 44, and focuses on revelations on that episode and how they affect Phillip. The release was accompanied by humourous net movies, as well as a prose prequel: The Beginning of N/Blood and Dreams, which may have been contradicted by later releases.

Kamen Rider W Episode 45-49. The last act and epilogue to W.

Kamen Rider Skull: Message for W. W's portion of Movie Taisen CORE, it provides an origin for the titular character. As before, you can skip the crossover portion, but there are some scenes at the end to still watch.

Kamen Rider W Returns: Kamen Rider Accel. A direct to DVD film focusing on the titular character after the events of the series.

Kamen Rider W Returns: Kamen Rider Eternal. A prequel to the summer movie providing backstory for the titular character.

Novel Kamen Rider W: The One Who Continues After Z. (I don't believe this has been translated yet although I would imagine it is on some group's to-d list). While set during the series, I would advise leaving it until finishing the series.

Futo PI. The manga has had over 100 chapters and is at least 12 volumes so far, the anime is expected to be 12 episodes for now, and will cover maybe half of that.

Aside from these W focused excursions, members of the cast have returned in other series, though those are always more focused on the parent series.

Shotaro and Phillip made a guest appearance in 2012's Movie Taisen MEGAMAX.

Terui and Akiko sort-of cameod in 2013's Sengoku Movie Daikessen.

Shotaro was one of several prominent returning characters in 2014's Kamen Rider Taisen

Terui returned for a significant appearance in 2016's Drive Saga: Kamen Rider Chaser, also written by Sanjo. Notably this revealed a major development after Futo PI's events, which didn't come out for another year and a half.

Terui returned, along with several other past riders, for a guest appearance in NEXT TIME: Kamen Rider Geiz in 2020.

Terui was one of several past characters to enjoy a major role in 2022's Kamen Rider Revice: The Mystery, being the lead in the B-plot alongside a Revice character.

Akiko also returned in 2022, alongside several other female characters, for Jeanne & Aguilera with Girls Remix.

[its-afucking-mess]

A little guide on ao3 (by an ao3 user and writer)

Friendly reminder for mobile users! Ao3 is a website. It doesn't have (as far as im concerned) an official app for mobile, so better get comfy with using crome on your phone.

Some video links ill leave for people who prefer video and audio:

- navigating the fanfiction sites

- popular fandom terminology part 1 and part 2

- shipping etiquette

i really reccomend coley's videos if you want to get to know more fandoms, or get an inside look to how some stuff works. There also might be more vids about fandom's and fan works, so don't hesitate to look through some of her stuff!

the explaining under the 'read more' ao mutuals wont kill me :)

(also tagging @ethanesimp since they asked for this advice )

So, what is Ao3 really?

Ao3 is a website made by fans for fans. There are no ads, and all content is free on Ao3. Anyone can post (with some age restrictions) and they can post anything.

How can I browse Ao3?

Ao3 does not require an account to view stories. You can easily browse as an anonymous user. You just are not able to view certain works, as creators have the ability to show their works to registered users only. Some cases, commenting is possible while anonymous, but again, it's up to the creator of the work.

If you want to be a creator and share works, you need an account.

An account also gives you the ability to bookmark works, so you can re-visit them, mark works for later, keeps a history of the works you've visited and allows you to favourite tags.

How do I get an Ao3 account?

When you first open the site, it gives you the option to "Get Invited". An invitation will be sent to your email anywhere from 24hrs later to a week later, depending on the amount of people in the automated queue.

After the invitation, you are able to set up your account like any other social media account. Pick a username, pseuds (name), description and bio. You can have a profile picture as well.

How do I navigate the site?

There are few ways to do so efficiently, but there's countless of ways you can experiment with to find which is more comfortable.

1st option: As the website loads, you can go to the 'Fandoms' tag.

Then, after clicking on it, this column appears. Through there, you can pick which media your fandom is from and from there, browse the huge list of different fandoms until you spot your own.

The list is in alphabetical order, so if your fandom begins with an "C", it shouldn't be too far down.

2nd option: At the top right, under your profile, and the options 'Post' and 'Log Out' should be a white oval search bar.

(im using my own account for demonstration)

When searching, there are many ways to work around it.

Personally, I press search as it is. It will lead you to a page where all the fanworks of the site are listed. (i believe its easiest, but always feel free to experiment)

From there, you press the 'Edit Your Search' button, located near the top right.

It will then lead you to a page with multiple fields.

Don't panic when you see all the fields. Only half those are of interest when you want to browse works for a fandom.

The most important ones are those under the Field name 'Work Tags'

Whatever you select under this field will be included in the works the site presents you with.

What are the work tags? What do they do?

Lets go through the options.

Fandom(s): when typing on this option, multiple fandom names will autofill in a list under the white space. If your fandom shows up, you can just click on it.

example:

From there, you can select the fandom you want to see works from. If your fandom doesn't show up, it can mean one of two things:

-there are no works for it

-it isn't popular enough to be picked up by the algorithm

After selecting one fandom, you can select another fandom, or more, to see works that are crossovers over universes.

Ratings: Ratings are selected by author. It defines the level of maturity it has in the work

- General audiences is the tag you want to use when nothing bad happens in the work. No swearing, no sexual activities, no violence or gore. It wont contain scenes that minors are not allowed to see.

- Teen and up audiences is the tag used for most works on the site. It is what would be used when you have mentions of/vague sexual content or violence. Normally, the most extreme stuff on there is excessive swearing, heavy angst and hurt/comfort with no excessive details

- Mature is the tag that is for 18+. It is mostly filled with one of following : Violence, Sexual Content, Ab*se, R@pe, Death and SH.

Reader descretion is advised by looking at the additional tags the author has provided, especially for those with triggers.

- Explicit is like Mature, but contains more graphic content. Works rated explicit mostly fall under the 'Graphic depictions of sexual content', 'Graphic depictions of Violence and Gore' or 'Graphic depictions of Ab*se, R@pe, or Self H*rm

Reader descretion is advised, stronger than mature, since it can be much more triggering. The works are scarily detailed sometimes.

- Not rated: the author has not given this work a rating because none of the other ratings fit the work. Pay special attention to the tags.

Warnings: Also known as Archive warnings by older users. The trigger warnings of Ao3. There are 6 archive warnings:

-Creator Chose Not To Use Archive Warnings: The author didn't use the warnings, either because none of them fit the work's theme and warnings, or to avoid spoiling the story. Pay attention to the tags for any warnings.

-Graphic Depictions Of Violence: It is pretty self explanatory. Can contain any sort of violence, from wars, to simple fights, to ab*se of any kind. Can and often contain death. The type of violence is in the tags.

-Major Character Death: A main character in the story will die in this work. Pay attention to the tags always. The name of the character will be mentioned, as well as the way they die.

-No Archive Warnings Apply: None of the warnings apply. It is most times a perfectly safe work. Check the tags to make sure though!

-R@pe/Non-Con: The work contains non-consensual activities. Ranges from non-consensua sex to non-consensual use and ab*se of substances. Very close attention to the tags!

-Underage: The main character(s) in this work are underage/minors. This is normally tagged along sexual content so be aware and pay close attention to the tags!

Categories: This regards the relationships in the work:

- M/M, or better known as mlm or a relationship between two non-woment (men mostly, can include characters under the non-binary umbrella)

- M/F, a heterosexual relationship (is inclusive of trans characters too!)

- F/F, or wlw, or a relationship between two non-men (women mostly, can include characters under the non-binary umbrella)

- Gen, no sexual or romantic relationships are in this work, or if there are any, they arent of main focus.

- Multi: Polyamorous relationships, or multiple relationships are included in this work (this is also where threesomes+ are tagged in sometimes)

- Other relationships: One of the two people in the relationship is non-human (mostly), or the relationships are platonic/family.

Characters: The characters you want to be included in the story. This works just like the 'Fandom' filter, so the same things apply. You can tag as many characters as desirable.

Relationships: The relationships that you want present in the work. This includes both major and minor relationships. It can also include ended relationships (tagged Past x/y) and implied/referenced relationships. This works just like the Characters and Fandom filter.

Additional Tags: These are things the author has included to give potential readers an insight to the story. 'Angst', 'Fluff' and 'Smut' are additional tags. Works like the Relationships filter, so all same applies.

Is there anything I have to avoid/ I should avoid?

There is this very infamous tag, 'Dead Dove: Do not eat.' This tag is a warining to readers that the things in the work are really messed up, and can include anything illegal in it. PAY VERY CLOSE ATTENTION TO THE REST OF THE TAGS IF YOU STILL ARE INTERESTED.

How else can I filter works?

You can choose how they are:

sorted (Titles, Authors, Hits, Kudos, Comments, Bookmarks, and Best Match)

the word count (from 1 word to millions)

the language (most are on there)

the amount of chapters

if the work is complete of not

when it last updated/when was posted

and if there are crossovers.

These are all options that author has to include, and therefore you can sort freely. Most are bulletin options you can click on.

What if I want to find a specific work?

If you happen to know one of these: Author, Title, Fandom or Rating, you will find it. If you were reccomended one, it's better to ask for the author or the title, to make looking for it easier.

Can I find a specific author/ user?

People search is for finding users on the site

Bookmark search helps you look through other people's public bookmarks. Not really used.

Tag search finds works that include this specific tag you searched. Also not used a lot.

People can see my bookmarks?

When bookmarking a work, you are able to do a lot.

if you do not want your bookmarks to be visible to the public, make sure to check off the Private bookmark box at the bottom left.

Common terms thrown around by Ao3 users:

-tags: the additional tags of the work

-kudos: liking a story

-bookmarks: saving/saved stories. makes it easy to revist. you can see your bookmarks from your profile

-hits: the amount of people that have clicked on a story. Isn't necessary they liked it, but they did click on it.

And those are the basics! If you had to take one thing only, its ALWAYS READ TAGS

I hope this helped the clueless souls even a bit :)

Im open to reply to any other questions, and you can send me them in my asks, messages or comments of this post

[pixiedane]

Fic Writer Review

Thank you for the tag, @ussjellyfish ! I don't know whom to tag so I will just say to all of you: TAG, you're it (scroll to the end to copy paste the questions).

how many works do you have on AO3?

187

what’s your total AO3 word count?

373,260

how many fandoms have you written for and what are they?

The count is 74, but they're not wholly individual (lots of "all media types" for example). I have pseuds for Star Wars (68 works), Star Trek (63 works), and Marvel (18 works). There are 38 works in other fandoms including Leverage, Killjoys, Harry Potter, The Hobbit, House MD, Game of Thrones, Once Upon a Time, Law and Order, Peter Pan, Willow...

16 more questions beneath the cut.

what are your top 5 fics by kudos?

512 kudos, Let's Go Steal a Family (Leverage), 2044 words | The Leverage team decide they don't need to settle down in order to start a family.

This was written for the "Leverage-a-thing-a-thon" run in August 2015 (making this fic almost exactly six years old). It's about found family in the most literal sense.

415 kudos, catch a glimpse of sunlight (Star Wars), 2324 words + a fanvid | What if Anakin listened to Padmé more than Palpatine and Obi-Wan listened to Anakin more than Yoda? tldr; galaxy saved

Created for the 2016 Star Wars Rarepairs exchange, a canon divergent au where Anakin, Obi-Wan, and Padmé work together to take down the Chancellor and raise the twins as a triad.

253 kudos, and a softness came from the starlight and filled me full to the bone. (Star Wars), 726 words | Luke wants to know about his mother.

Written for PadMay 2018, for the prompt "How should Padmé be remembered?". Wow, I'm surprised this is in the top five given it's a tiny ficlet in a giant fandom written for a challenge I made up myself. But I'm pleased! Padmé deserves to be remembered, that's why I started PadMay.

247 kudos, Serendipity (Star Wars), 1914 words | That time Padmé accidentally walked in on the wrong naked Jedi.

Another ObiAniDala AU written for the Star Wars Rarepairs Exchange, 2018 in this case. Two years earlier I'd made a random photo manip of Natalie Portman and Ewan Mcgregor drinking tea and it eventually inspired the fic.

221 kudos, Your Beating Heart Tonight (Star Wars), 3121 words | Padmé develops feelings for her other Jedi protector.

And another written for the Star Wars Rarepairs Exchange in 2016! And also another AU based in a storm of emotions between Anakin, Padmé, and Obi-Wan. I have a specialty.

All five of these are about family first and foremost. Three and a half feature polyamory. Three and a half are canon divergent AUs. None breaks 3200 words. All were written for an event/exchange.

do you respond to comments, why or why not?

For the most part. Sometimes I don't right away and it becomes awkward. And I generally don't respond to negative comments because who needs that.

what’s the fic you’ve written with the angstiest ending?

Probably Abduction, a mirror universe story vaguely inspired by The Handmaid's Tale. My author's note: "It is not a happy story for anyone and implies the extreme emotional abuse of a child, as well as the coercion and torture of adults."

do you write crossovers? if so what is the craziest one you’ve written?

I love crossovers! I've completed a few and have fifty more in wip folders. The most ambitious is War of Stars, a Star Wars/Game of Thrones fusion with 26,480 words, thirty chapters, and five different povs (Cersei, Anakin, Daenerys, Ahsoka, and Boba). Niche, but I am very proud of how it worked out.

I've also blended Star Wars with Mad Max, Kelvin Star Trek, Star Trek Discovery, Deep Space Nine, Sleeping Beauty, and Black Widow.

have you ever received hate on a fic?

I've had a few mean comments but they're basically "I don't like this pairing and I want you to feel bad about writing it" and I won't.

do you write smut? if so what kind?

No. Just not my thing.

have you ever had a fic stolen?

Not that I am aware of.

have you ever had a fic translated?

Yes, I've had a few translated into Russian, which just adds to the headcanon that I'm secretly Black Widow.

have you ever co-written a fic before?

Yes, back in the LiveJournal days I wrote many thousands of words with @vasnormandy. I am slowly posting those stories to AO3 under my Marvel pseud Amelia Danvers, my OC and main character.

what’s your all time favorite ship?

An impossible question because I multi-ship like my life depends on it. Anakin/Padmé is my most prolific ship followed by Rey/Ben, Kat/Lorca, and Carol Danvers/Peter Parker (the parents of Amelia above). But I've written alternate ships for all of the above.

You can read more about my shipping interests here.

what’s a WIP that you want to finish but don’t think you ever will?

Oof. I have a lot of WIPs that I would like to finish but it's hard to get back to.

what are your writing strengths?

Dialogue. Introspection. I'm good at writing a specific point of view. Characters addressing their issues. I like to pull at threads so I've built up those skills. I love mixing and mashing fandoms and pairings. Complex relationships and the discussion thereof.

what are your writing weaknesses?

Action, like sex scenes or fight scenes, and anything plot heavy. I'm more interested in character and it shows in my writing.

I am also terrible at follow through and finishing things. It's why so much of my fic is written for challenges with external deadlines.

what are your thoughts on writing dialogue in other languages in a fic?

I'm not fluent in any other languages and I wouldn't want to do it without extensive research.

what was the first fandom you wrote for?

Either Star Trek (TNG, mainly the adventures of Beverly Crusher - as a preteen, at the Academy, as a single mom, and because I'm me I also gave her a Romulan lover) or Star Wars (the adventures of Han and Leia's daughter who was ME but also Jaina Solo before Jaina Solo existed because she was a twin who wanted to be a pilot more than a Jedi). These stories were written on notebook paper in colored pen and I'd do dramatic readings in the backyard, in costume, with only the trees (all of whom I'd named, mostly after heroines in books, like Elizabeth, Jane, Anne, Alice, Mary, etc.) as the audience.

what’s your favorite fic you’ve written?

Well, the one I imagine as something more is Pas De Deux, my Jedi Dance Academy AU. I can picture the senes in my mind and I really enjoyed the adaptation process, melding two things I love into one. The characters and events are recognizable, but also very different and that's something I enjoy.

Questions for anyone who wants to complete it:

Fic Writer Review

how many works do you have on AO3?

what’s your total AO3 word count?

how many fandoms have you written for and what are they?

what are your top 5 fics by kudos?

do you respond to comments, why or why not?

what’s the fic you’ve written with the angstiest ending?

do you write crossovers? if so what is the craziest one you’ve written?

have you ever received hate on a fic?

do you write smut? if so what kind?

have you ever had a fic stolen?

have you ever had a fic translated?

have you ever co-written a fic before?

what’s your all time favorite ship?

what’s a WIP that you want to finish but don’t think you ever will?

what are your writing strengths?

what are your writing weaknesses?

what are your thoughts on writing dialogue in other languages in a fic?

what was the first fandom you wrote for?

what’s your favorite fic you’ve written?

[fallout-drabbles-n-stuff]

Fallout x Skyrim Crossover Ideas

(I’ve already done a post about medieval fallout but..let’s get more specific? Idk, this is self indulging trash that I’m writing to help procrastinate while I work on other reacts/scenarios. If anyone has any ideas regarding this, feel free to comment! )

Macready would still be a freelancing mercenary, likely to be found somewhere shady as hell like the Bee and Barb in Riften. His archery skills shame Aela the Huntress.

Cait would be found in some crazy bandit fortress, forced to fight while loaded up on moon sugar constantly. Whenever she is “rescued” from her lovely bandit audience, she opts for returning to Riften. (Totally kidding..or maybe not.) To reunite with her distant relative, Brynjolf himself.

I could see hancock taking the place/similar to Madanoch, where Markarth is somewhat like Diamond City (although I would also say Whiterun too?) but with the corruption and everything..you know. Anyway, he’d basically be like a jarl in his own right, a jarl known for his eccentric liking towards skooma and ethnic diversity.

Arthur Maxson is young and powerful jarl, closely backing Jarl Stormcloak in the rebellion- as a matter of fact he strangely enough is an extremely high ranking officer in the stormcloak army as well, using his impressive military to aid whenever necessary.

Piper would be good friends with viola of windhelm okay? She’d also move from hold to hold, getting the latest scoop and even starting somewhat of a Skyrim-esque news type of thing. The thalmor have a hefty bounty on her though, thanks to all of her exposés of them.

Curie is an alchemist with her own shop and creepy sleever pets..don’t let them bite you though, she hasn’t yet perfected the elixir to cure the disease they can give.

Old Longfellow gets his money from trading with the skaal and taking “mainlanders” safely to the northern side of solstheim.

Nick works as somewhat of a mercenary, however he specifically works to help the locals find missing loved ones and things related to that line of work. He also is a particularly gifted illusion mage, frequently using the “clairvoyance” spell.

Gage is the right hand man to a ginormous, terrifying bandit clan’s chief. He..um..also is a bit of a pyromaniac, using fire spells left and right..but that about where the extent of his magic capabilities end. Used to run with the dark brotherhood though.

Deacon is a champion of nocturnal, a nightingale. He is also an outstanding illusion and alteration mage, having allegedly been a star student at the college of winter hold before mysteriously disappearing.

Paladin Danse is the old forgotten champion of Hermaeus Mora, you know, the dragonborn dude..just kidding, he’s actually the unfortunate child of a couple of Hircine worshipers that didn’t learn about his moon born abilities until it was far too late..being kicked out of Maxson’s army because of it. However he later found a home with the companions of jorvasskr, where he met Preston Garvey. Who knows though...maybe under all of that steel heavy armor really does lay the soul of a dovahkiin.

[grassylampshade]

Tagged by @kushielsmercy and I was happy to fill it out because shit, I love talking about me.

What is your total word count on AO3?

158,867. I am a chatty one, despite only starting to post fic at the tail end of 2020.

How many fandoms have you written for?

Back in the dark ages of internet fandom I posted at least one Harry Potter fic on livejournal, but The Witcher is the first fandom I've ever written significant content for. Though as a reader, I consume several fandoms voraciously.

What are your top 5 fics by kudos?

By the Skin of Your Teeth

Violent Ends

Experiment in Ruins

Let Sleeping Dogs Lie

Eglantine

Unsurprisingly, short and smutty tends to = more kudos. As an honorable mention, Can't is in 6th place, which makes me happy.

Do you respond to comments - why, why not?

I do! I desperately miss the long, discussion-laden comment threads from livejournal, where people asked questions about why the author chose specific words, or offered possible justifications for why a certain character acted a particular way and what might happen next. I cherish those conversations. However, I read on a phone most of the time now, so as a commenter myself I understand that it really is hard to dump out a lot of insightful between-the-lines analysis on that tiny keyboard. Please know if you ever want to ask questions about my fic or my thought process, I would be delighted to read it and discuss with you.

What's your fic with the angsty-est ending?

I don't leave anything ending in angst for my own mental health, but I'd say probably Cadence, and even that is a stretch. Maybe Experiment in Ruins since Geralt is left out of the loop. But neither of those truly end with angst.

Do you write crossovers?

Not so far.

Have you ever received hate on a fic?

No, but I'm relatively new, so my audience size is small.

Have you ever had a story stolen?

Not that I know of, but there are tons of fandom spaces I don't participate in.

Have you ever had a fic translated?

No.

What is your all time favourite pairing?

I am a multishipper to the bone! I suppose if I had to pick one in the Witcher fandom, it would be Eskel/Geralt/Jaskier BUT I am only choosing that because it is currently at front of mind. I love exploring how different characters fit together and read an extremely broad range of pairings.

What is a fic you would like to finish but don't think you ever will?

I'm not a "closer" so anytime I finish something it is a surprise. I don't post WIPs to AO3 unless they're completed because I'd hate to leave people hanging.

Writing strengths?

Smut, honestly. I really enjoy writing realistic sex (realistic within the boundaries of porn, of course) in uncommon circumstances. One of my most beloved comments on a fic mentioned whenever they feel like they've 'seen it all' I publish some entirely new relationship dynamic or sexual situation, and that's exactly what I strive for. I enjoy playing with roles and finding the shades of gray between them, and I can often write my way into a kink that I hadn't previously resonated with.

Writing weaknesses?

Plot and angst. Generally, if you want to have a plot, something bad has to happen, and I get very upset by bad things happening (I am a tender bean, what can I say?). It's hard enough when Bad Things happen in other media because I know it will all be resolved, but when I have to imagine the Bad Thing for hours at a time, and write it down, and try to help the characters escape the Bad Thing, I find it exhausting.

What are your thoughts on writing dialogue in other languages?

No strong opinions, really. I'd prefer to have a native speaker translate it rather than Google, since even if something is literally correct, it might not have the same emotions or subtext that I'm looking for.

What was the first fandom you wrote for?

Harry Potter, way way way back in the day. As far as I know, that fic is long gone, but it was written in response to a piece of fanart that I liked.

What's your favourite fic?

Can't, maybe. Or Cadence. Cadence is perhaps the strangest of my fics, but I like how sparse it is, how it's mostly a series of physical and emotional feelings. It's very different from anything else I've written.