#this is quite a problem

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[loriache]

"I've been waiting for ages for somebody to unmask them."

This moment tends to elicit negative reactions in a first read through, and I've got some opinions about why where Kabru is coming from here actually makes a lot of logical sense. So I thought I'd elaborate on that.

I think people hear this and go, "He thinks they must be hiding something because they gave money to someone? What a cynic." Or "he dislikes them because they did charity?? What's wrong with this guy!". And obviously, a lot, a lot is wrong with him. But I think this makes more sense than it seems at first glance! What people evaluating this judgement miss is why Kabru is paying attention to Laios and co to begin with.

Kabru knows of the Touden siblings because (he's a little bit of a stalker-) he is keeping an eye on all the relevant parties in events developing on the island, in order to be able to guide them to his preferred outcome. This includes adventurers because they are the ones actually exploring the dungeon! He's well aware that something as minor as internal tensions between party members could be key to the historical events that are developing. (He would love the assassination of Archduke Franz Ferdinand.)

His desired outcome is that whatever the rewards are of breaking the dungeon's curse, whether that's kingship or the ancient elven secrets of dungeons, are claimed by:

A) a short lived person

B) Someone who will be a good, effective leader and/or use those secrets and the power they carry wisely, with foresight, and to establish a political bloc for short lived people.

The person he can best trust to do this is, of course, himself. But due to his PTSD regarding dungeons and monsters, he's not able to develop the necessary skills to conquer the dungeon. Once he realises this, he starts looking for someone else who he can support to that end.

But most of the adventurers don't have any intentions of conquering the dungeon, don't have the skills, or are unsuitable in other ways. In fact, it seems like some potentially suitable people are the Toudens. There are a lot of good rumours about them going around - they actually seem to have a very positive reputation! That's what Kabru means when he says "unmask".

So when Kabru is observing something like them giving money to an old comrade from their gold-peeling days, he doesn't consider it a problem because "they're giving money to this person who doesn't actually need it" or because they must have some dark secret if they act superficially nice. I think he actually understands this situation and what it implies about Laios (in particular) perfectly well.

Laios and Falin gave money to an old comrade who got injured and couldn't work. That person then healed up but kept taking their money. Then he used the money to start smuggling illicit goods to the island.

The key is that for Kabru, the problem here is the same as with the corpse retrievers - people using the dungeon's resources to fuel dangerous, selfish, or violent pursuits cause problems for the island, attract more criminals and people with motives other than breaking the curse, and increase the chances of the whole situation ending in tragedy.

Kabru is willing to work with the Shadow Lord of the island if it gets him to his goal - he isn't scrupulous - but the criminal element of the island increasing is something he sees as a major issue.

Also, when you're evaluating someone as a candidate for power, riches, secrets, potentially kingship - then being curious about how the money you give to people is going to be used is kind of a relevant trait!

Interpersonally, Kabru's actually very easygoing - I mean, Mickbell isn't exactly an upstanding guy, is he! But Kabru likes him and they get along well. These traits wouldn't be a problem at all in a friend, or a comrade, or someone Kabru was confident he could use. But he can't get a handle on Laios, and Laios is someone who has the potential to be a major player!

On Laios' end, this is the same as with the marriage seeker who joined their party. She kept asking for things and he gave them to her, because he tries to be nice to others. He even gives her money! It's the exact same thing.

That's fine, but it became a problem because he basically wasn't interested in her motives, didn't notice she was trying to manipulate him, and it also didn't occur to him that the other party members would notice or be affected. We can assume the situation with the gold peeler is the same. When Kabru says that "It's not that they're bad people, they just aren't interested in humans," he isn't wrong.

The extent to which this is true of Laios is linked to his autism imo, (because it isn't just disinterest - he genuinely isn't able to notice nonverbal cues that people are lying to him or have ulterior motives) but to a greater or lesser extent I think it's a very common trait. Most people aren't actually that interested in other people who aren't close to them. Kabru is the weird one here. It isn't an issue except as a leader - which is why we see an immediate comparison to the Island's Lord, because that's how Kabru is evaluating them.

And disinterest in/lack of ability with people to the extent Laios exhibits it, it does, actually, make him a worse leader... it's just that as we see in the story, people can help him out. The rest of the party tell him the marriage seeker is taking advantage of him so he tells her he can't give her special treatment anymore. They're pissed and it's a crisis point - he couldn't have recovered their trust without Marcille and Falin - but that's exactly the point. With Marcille and Falin, he was able to recover their trust.

And he has other good traits that make up for it, such as his intelligence, strategic knowledge, open-mindedness and sense of fairplay.

Kabru doesn't disqualify Laios as a candidate based on what he sees about him from afar, though - he still tries very hard to get close to him, obviously hoping that if he manages he can steer Laios to defeat the dungeon and make up for his lack of people-skills in the aftermath. (Which... he does eventually achieve that goal!) He completely fails until the events of the story, so... definitely I think "They just aren't interested in humans" could also partially be a stung reaction to Laios' complete disinterest in him.

Anyway, that's my read on what exactly Kabru's "issue" with Laios is. Obviously, once he does find out what Laios' true nature is like - about his love for monsters - he develops an entirely new set of fears about Laios' priorities. But since Laios kept that a secret until the start of the story, he has no idea of that yet.

Given all that, I think it's interesting that he says that he doesn't think that the Toudens are suitable to defeat the dungeon, and that he's hoping they'll turn out to be the thieves. As some of his few potential candidates, people who he thinks may play a big role in the island's future, you'd think he'd hope they would be good people!

I suppose it's better, in his eyes, because it means that he's involved in something "interesting". They haven't just had their stuff stolen by regular criminals (boring, puts them further away from his goal) - they've been caught up in the beginning stages of "a historic event". The desperate and dwindling group forgetting morals in their quest to retrieve their lost comrade probably appeals to his sense of melodrama. Because he also just... loves drama.

Despite it being "uglier than anything he was expecting", he still pursues Laios as the person he wants to conquer the dungeon pretty much as soon as it becomes clear that he won't be able to do it himself and they are out of time. That's because... well, to be fair, there aren't any other options. And he fits standard A: he's short-lived!

and Kabru still hopes he can fit standard B, too, and be persuaded to use the power he wins for good. No matter how many nightmares he has about Laios, or whether he thinks about killing him. He doubts him, but ultimately he puts his faith in him and seems happy after the manga's ending that he made the right decision.

[starburstminibot]

What’s megatron’s reaction to bee’s sparkling?? And that breakdown’s the father..? I’m curious.

It's not everyday Megatron meets a bot who's not already aware of every wrong he's ever committed. It's not everyday he meets a bot who isn't terrified of him at first, but instead looks at him with awe and wonder.

You can't just reform your entire life/ideals and not go a little soft...

Though, it's important to note that Megatron still has a lot of relationships to repair. Not just with the autobots...

Megatron isn't the only one trying to turn over a new leaf. However, having some recent experience in trying to become a better person, he assumes he can maybe share some advice. Perhaps it was a moment of hopefulness, that he too could be looked at so fondly as Optimus; that he could be looked upon as a guidance figure.

[boar-sjn]

eidolon.

[flowersforthemachines]

|| Companion skill animations (+ bonus Rook)

[hydrachea]

[chiricat]

ryomina demons are winning

[marutchi]

[splickedylit]

HAPPY HOMESTUCK DAY U WANT FIC? >:U

It's 4/13 and 4 days ago I finished posting Karkat Vantas vs The Evil Gods, a fic that I've been percolating for more than a decade and am very proud of, and which readers so far seem to have quite enjoyed! So this is me enthusiastically doing jazz hands at my baby. HEY THERE MY FRIEND DO YOU LIKE

1. Humanstuck, vigilante/superhero AUs, eldritch gods, possession/exorcism, religious horror, hurt/comfort and drama?! Alternia City as Basically Gotham?!

2. Riffs on the Winter Soldier/Turns Out The Guy You Love's Not Dead But He Came Back Wrong?! People slowly recovering from horrible dehumanization and learning to be people again through the power of many different forms of support and love?! People negotiating messy poly situations?! Pale Gamkar, even, perhaps?!

3. Copious shenanigans of Space and Time?! The ever-increasing urge to beat Doc Scratch's smug little "Hee Hee Hoo Hoo" ass with your bare fists?! Goddessdemonangel in a sundress?!

3. Ensemble casts whose backstories could sustain multiple spin-off fics each?! And the personnel forms I fabricated and filled out for every single one of them because I've lost control of my life?!

WINTERSOLDIERSTUCK WEDNESDAY WSUNDAY BE UPON YE. If you've been on the fence please consider checking out my huge and fully-illustrated brainchild (with an eye to the tags and warnings of course) because I had a lot of fun and think it turned out pretty sick! Thank you for attending my TED talk.

[starp00k]

Chalk eating!

[ministarfruit]

day 10: love is devotion ♡

(femslashfeb prompt list)

[starry-bi-sky]

do yall ever think about bruce/batman!clone danny standing in front of his bathroom mirror after finding out he was a clone and silently tracing his face. The slope of his jaw and point of his chin. The high angle of his cheekbones and the shape of his eyes, the curve of his brow bones and the shape of his nose. The volume of his hair and the way it curls and gets fluffy when it gets too long.

His hair is black the same way a crow's wing is black. His dad's hair is black the same way a black bear's fur is black. His dad's eyes are blue like the ocean is blue. Danny's eyes are blue the same way a glacier is blue.

His dad has a square jaw and straight flat hair, and he tans and gets a face full of freckles when he's out in the sun for too long. Danny burns like a lobster and his face remains untouched. Danny has a sharp jaw and tall cheekbones, and Sam says when he's not smiling there's almost something regal about him. You would never call Jack Fenton "regal" when he's not smiling.

Sam says when he's not smiling he looks scary the same way a stone statue is. Jack Fenton when he's not smiling looks scary the same way that german shepherd staring at you across the street is.

Do you ever think he grew up wondering if he was adopted. Because of course, he has black hair and blue eyes like his dad. But having the same color doesn't make you someone's child.

Or, worse, things he's heard from the other kids and the other parents and even some of his teachers growing up; that he was the product of an affair. And that his dad was just too stupid to notice. And Danny would defend his parents until the day he died, because Jack Fenton wasn't an idiot and Maddie Fenton wasn't a cheater.

But doubt comes in with fickle tongue. his parents swear up and down that he is their child when he asks about either. That Danny just had his grandparents' features, but he was their son and they loved him.

But Danny doesn't look like either of his parents. His mom's eyes are blue like an aquamarine and Jazz's too. And they burn like lobsters in the sun too, but Jazz gets freckles on her face and so does Maddie. And as Danny grows up he doesn't bulk up or get stocky like his dad did, and when he hits puberty he doesn't shoot up like a tree like Jack Fenton did.

He stays small, and they say he's a late bloomer (and he is), or that he just has his mom's height. But he's fast and has good stamina, and some days it feels like he's built entirely different from his family. That the things they went through growing up just didn't apply to him. Jack and Maddie Fenton both had acne and breakouts when they hit puberty, and Jazz inherits it and he's seen the amount of skincare products she keeps on her side of the bathroom.

And then he hits puberty and breaks out maybe once or twice, but his skin stays clear for the most part and the problems and changes his dad went through just don't happen to him.

And the truth is worse than all of the lies.

How horrifying.

[alexakakarumi]

Get the wormies!!!! Now!!!! Get them!!!!!

[whotfelsewantedtobelynnyx]

Chat, I regret to inform you that I have added a new hyperfixation…so…

Agatha All Along Incorrect Quotes!

Alice: Hold the fuck up.

Also Alice, crawling into Lilia’s lap: It’s me. I’m the fuck up. Hold me.

Rio: I have an idea!

Jen: No murder.

Rio, sighing petulantly: I no longer have an idea.

Lilia: I have a bad feeling about this…

Agatha: What do you mean?

Alice: Don’t you ever get that little voice in the back of your head that tells you if something is going to get you in trouble?

Agatha: No.

Jen: That actually explains so much.

Lilia: As far back as I can remember, I’ve always had this little voice in my head telling me to “live it up today, because there’s not gonna be a lot of tomorrows”.

Agatha: You do realize there’s medication designed to get rid of those kinds of voices, right?

Teen: A bird flew in through my window and I’m trying to befriend it.

*later*

Agatha: Why don’t you quit bothering me and go talk to your bird friend?

Teen: Matthew and I are not speaking at the moment.

*the coven, huddling together behind a makeshift shelter to shield themselves from repeated gunshots*

Alice, hastily shoving the others behind her so she can return fire: Agatha, do you have any idea who would want to shoot you?!

Agatha, squashed between Jen and Rio: Many people want to shoot me. I take great pride in that!

Jen, glaring at the group as she hands over bail money:

Alice, tapping her shoulder: What about Teen?

Jen, glaring more: I’ve got to bail him out too? Where’s Agatha?

Teen: No one called her. We used Lilia’s phone call to call Alice and Rio’s to call you. Then Rio used my phone call to vote for American Idol.

Rio: :)

Jen: Rio isn’t answering her phone.

Agatha: Here, I’ll try.

Jen: Alice and I have tried six times each, what makes you think that-

Rio, picking up on the first ring: Hey, sweetheart.

Agatha: The ends always justify the means!

Jen: Do you know who said that?

Agatha: Was it Oprah or someone nice and great like that?

Jen: It was Machiavelli. A decidedly non-Oprah like person.

Jen: I bet you didn’t even finish the thing I asked you to get done!

Agatha: For your information, I most certainly did! Got it done last night!

Teen, whispering to Agatha: You didn’t get it done, did you?

Agatha, whispering back: I don’t even know what she’s talking about.

Lilia: I am at a loss for words!

Teen, glancing at the camera like his mom like he’s on The Office: Despite being lost for words, Lilia yelled at us for the next 45 minutes.

Agatha, carrying Señor Scratchy out of the room:

Señor Scratchy: *snuggles under her chin*

Agatha, kissing his head: You are being punished. Please stop being adorable. I love you.

Teen: I got a trampoline tent for summer sleepovers!

Jen, whispering to the other adult witches: …think of all the sex.

Alice: There are two types of people.

Rio: If you wanted to eat someone, you could put a fire under it and slowly roast them :)

Lilia: …three. Three types of people.

Jen, cautiously: I can’t believe I didn’t notice this before, but…Teen, you are a little crazy.

Teen: Aren’t we all a little crazy here, Jen?

Jen: No, I mean you’re aging-ballerina, child-chess-prodigy, professional magician kind of crazy.

Teen: It’s my mom’s fault. You know, we come from a Jewish family, but she used to tell me the reason Santa didn’t come was because my room was too dirty.

Rio: I’ve come looking for trouble. And if I can’t find trouble, I WILL create some.

Alice: Do you trust me?

Lilia, smiling proudly at her: Yes.

Alice, who has been completely panicking: Wait, what? Why?!

Agatha, awkwardly glancing around for help: Er…Alice, I’m gonna be honest, I don’t know what to say to people who are crying. So I’m just gonna hope that the tone of my voice makes you think I do, okay, sweetie?

Alice, sniffling: …thanks, Agatha.

Agatha, patting her on the back with a bit too much enthusiasm: No problem, kid.

Lilia: I told Agatha about it weeks ago!

Teen: She WHAT?

Agatha: What??? Lilia says insane shit all the time, how was I supposed to know this one was true?!

Lilia: Bank accounts are a sham created by the shadow government!

Agatha: SEE?!

BONUS:

Wanda, watching from the afterlife: so…when exactly do kids grow out of that whole emo, rebellious stage?

Lorna, shrugging: I don’t know. Alice is still in it.

[ryuusea]

good evening

[elodieunderglass]

Bill, Bren, & Blaw - I'm surprised they're not collectively known as "The B-sides"

(in reference to original character Killie's father, uncle and aunt.)

That's a great idea, I bet they could've been in their wild youth. They were definitely inseparable.

there's no bond on earth like siblings who murder a guy and cover it up together.