#using the method i'm describing

[keeps-ache]

that crushed sugar feel

[xmoonlitxdreamx]

i found some wacky way to make borderless printing work...!!! it's not perfect but idk it might b ok enough until i can get a decent guillotine cutter and cut a bunch of sheets at once to size. I'll try experimenting with printing my comics and stuff sometime!!!!!

[hartlow]

IM ABOUT TO CRY TEARS OF JOY. I FINALLY MADE THAT WRETCHED DROPDOWN MENU. THANK YOU TUMBLR FOR MAKING ME REALIZE ID SOMEHOW GLOSSED OVER A VERY SIMPLE TUTORIAL. THIS SHOULD NOT HAVE TAKEN ME WEEKS.

[dykesbat]

help a palestinian teacher and her family of 6!

[PT: Help a Palestinian teacher and her family of 6. End PT.]

Ola's campaign is number 205 on el-shab-hussein and nabulsi'svetted fundraiser spreadsheet.

$53,726 raised of $85,000 goal as of October 4th

[PT: $53,726 raised of $85,000 goal as of October 4th End PT.]

No amount of words can describe how awful it is that a full year of genocide is coming up. Palestinians deserve to be safe in their homes not having to worry about their and their loved ones’ lives or trying to figure out how they can get people to care for their survival. Every single Palestinian I have talked with this past year has been so endlessly kind in spite of everything. Please return this kindness and stand up for Palestinians. Help them.

I’m writing this post for my dear friend, Ola. She’s a seventh grade math teacher who’s so incredibly passionate about her work and uses creative methods to better teach her students. When I first read about her using extracurriculars as a means of teaching, I was left with a large smile on my face. Seeing her connect her lessons to the students rather than making the students connect to the lessons is such a beautiful thing you could do as a teacher since it shows your active consideration towards your students.

Ola had just begun her first year of teaching when this Nakba began. She’s been on Tumblr for months, trying her best to spread her campaign which supports a total of 7 people including herself. Alongside that, she’s been using her blog to share the campaigns of her extended family. Her campaign is beginning to slow. We can not afford this. Please help Ola in any way you can, whether it be from a donation, reblog, or sharing her campaign’s link. I heavily encourage you to follow her at olaa123 and spotlight her campaign if you are able to!!

[cookidoughlilac]

I am COOKING ✨️

My OC is watching me, utterly terrified-

I am.... so close to caving and making a thunderbirds/captain scarlet crossover oc,,, I've been watching the new captain scarlet series for fun lately and oh man does it make me miss the original

[prokopetz]

I'm spinning this off of the main thread about tracing the origin of the term "d66" because it's not strictly germane to the topic – none of these examples actually use the term "d66" to describe their dice-rolling methods – but I'm going to post it anyway as a matter of general interest: following a conversation with Tumblr user @notclevr, it appears that before tabletop wargames (and, nearly concurrently, tabletop RPGs) got their hands on the mechanic, the principal (though by no means exclusive) users of the old "roll a six-sided die twice, reading one die as the 'tens' place and the other die as the 'ones' place" trick may have been tabletop American baseball simulators.

The most notable example of the type – and the only well-known example still in publication today – is J Richard Seitz' APBA Baseball, first published in either 1950 or 1951 (accounts vary). In this game, a d66 roll is cross-referenced with a card representing the active player and a "board" representing the current situation on the field:

For example, with Carlton Fisk at bat, a d66 roll of 31 would yield a result of "8". Assuming for the sake of argument that the situation on the field is a runner on first and a grade C pitcher, consulting the "Runner on First Base" board, this corresponds to an outcome of "SINGLE—line drive to left; runner to third".

(This example is, strictly speaking, incorrect, as Carlton Fisk didn't have his major league debut until 1969 and I'm using the wrong lookup tables for any year in which he played, but you get the idea!)

Interestingly, APBA Baseball is not the first game to use this setup. It's heavily derived from Clifford Van Beek's National Pastime, a game whose patent was registered in 1925, though it wasn't actually published until 1930. Even at a glance, the similarities are substantial:

Indeed, though National Pastime's lookup tables are much simpler than APBA Baseball's, where they overlap they're often word for word identical. It's generally accepted that Seitz plagiarised National Pastime without credit when creating APBA Baseball (ironically, given his own famously combative stance toward alleged imitators!), though he was within his rights to do so, as National Pastime had fallen into the public domain by the time APBA Baseball was published.

We can go back even further, though. As far as I've been able to determine, the earliest known tabletop baseball simulator to use d66 lookup tables for resolving plays is Edward K McGill's Our National Ball Game, first published in 1886:

A copy of the game's 1887 US patent application can be downloaded here. This one uses an unusual 21-entry variant of the standard d66 lookup table in which the order of the rolled digits is insignificant, with doubles being half as likely as non-doubles rolls; it's unclear whether McGill was aware of this when he laid out the table. Unlike later incarnations of the genre, there are no individual player statistics, with all at-bats being resolved via the same table.

[tellafairy]

thoughts on shifting + manifesting with ease. (as someone who's shifted many times, alongside manifesting)

coming back to this side of tumblr after spending years away from it has made me realized how many of you are truly the problem, it might sound kinda harsh but really. so many of you ask the same questions over and over again.. "but HOW do i do it?" "how do i shift" "how do i manifest" JUST DO IT. stop looking for signs, stop looking for methods or "cheat codes". just do it man.

your mind is so powerful and it actually kinda irritates me how many of you doubt it, just because it "seems to easy". you don't understand how you've been manipulated by society to not see your power. how have you been on loa social media, shifting social media, for soooo long — yet still don't see it?? let me tell you..

the moment i got off social media, the moment i took time to erase everything in my head and stop overthinking everything, was the moment everything came to me. i already had it, i just needed to stop telling myself i didn't.

it took me barely any time to get used to convincing myself i had everything i wanted, i shifted to my desired realities, and everything worked out in my favour. AFFIRMING IS ALL YOU NEED. I AM YELLING AT YOU. JUST AFFIRM.

really, please, affirm. the routine is so simple.

1. any bad thought is instantly turned positive.

ex: "i really want her waist"

to

"am i stupid ... i have her waist.. tbh mine even looks a little better.. am i crazy?? like actually? this must be a glitch or something cause my waist is practically identical to hers.. i literally love my waist"

exaggerate, say what you need to say to erase the negativity.

2. it's yours, so act like it..

ex: talk about ur DR normally. it's your reality, not a fantasy land you made up in a dream. ITS REAL. it's a reality. for example, i'd watch videos of my s/o in this reality, and speak about our lives in my dr. "i can't wait to see __ tonight... god i love __, it's so nice hanging out with them everyday.. wow they look so pretty in this video — i'm so lucky their mine". it's natural, they're yours aren't they? exactly, so act like it.. this is used the exact same way when manifesting..

you see someone with something you want? thinking of something you wanna do? something you wanna be? ... it's urs... so can you act like it?? like whyre u feeling sad someone else got a job promotion 😹😹 you literally got a better one ...

3. that's literally it

you don't need a fancy method (although it can give u some peace of mind.. let's be real, a lot of methods set y'all back and make you overwhelmed, blocking ur beliefs and making everything seem harder). you literally just need to live. tell yourself it's done, over and over again. nothing matters. it's done, it's yours, you have it, you're happy and fulfilled. other peoples sucess should really mean nothing to you negatively. it shouldn't make you stressed, shouldn't make you feel behind.. why would it when you have everything, you can do everything, go anywhere, and you can be anything.

it'll seem like manifesting blogs and shifting blogs just repeat the same things.. which is true, they do, because i'm telling you there's nothing more to it than what you've already read. it is that easy. all it takes is your mind. decide, and tell yourself.

as i said before, it took me barely anytime to switch my mindset once i actually started focusing on myself, my journey and not every body else's results. repeating stuff to yourself WORKS. repeating is literally ALL i did. choose what i want, told myself it's mine in any way i could describe it. and there, it's mine. ive shifted to many different realities, along side gaining a better life in this one after years of convincing myself there was nothing for me. if i can break out of the cycle, trust me you can too. i cannot describe how desperate i was at the beginning, how long i took in false info and wasted time on methods all while doubting every single thing.

so why don't you believe it? you'll sit there and tell yourself over and over again that you're ugly, or broke, or friendless... but you won't tell urself that you've shifted? that you have your dream body...? girl okay i guess....

once you realize nothing besides your mind truly matters, is when you'll be free with yourself. circumstances don't matter, past feelings don't matter, doubts don't matter, your mind is all you need.

yes this is just loa explained longer, that's the point of the post because some of u still can't get it in ur heads

[incorrectbatfam]

One thing I rarely see in injury and chronic pain fics is the grief that comes with missing out on stuff you love because you can no longer do them without hurting yourself. Writers who have been disabled their whole lives (or at least a long time) tend to forget that not all disabled people are used to being disabled. For able-bodied characters, especially athletic ones like vigilantes, a serious injury could mean a jarring change that includes giving up the things that mean the most to them.

I was physically fine until I was 18. Back then, my sense of self was entwined with interests that required a lot of movement and dexterity. I started doing MMA in middle school for self-defense. I loved parkour and even had a few hundred subscribers on my old YouTube channel. I learned to shoot and was gifted my first gun when I was 16. I took up multiple instruments. You get the idea.

My motorcycle accident fucked up the joints on my left side—my knee and shoulder especially, but also wrist to an extent. When it first happened, I thought I'd be on crutches for a bit but things would eventually get back to normal. The pain didn't go away even after I got rid of the crutches but I figured it was just residual and I should do what I'd been doing before. It's why I turned to substances—to block the pain and do what I love, but that's another topic. I didn't recognize my injury as a disabling thing until the end of the pandemic, when I put my parkour channel on an indefinite hiatus because it was seriously wearing my body down. It might sound silly to you but I was devastated. It's like if Spider-Man wasn't allowed to swing from buildings. It took me a long time to make peace with losing that part of me.

Another piece of that grief is even when you can do stuff, it's not the same because you have to exclude certain aspects of it for your own health. It's like the Robin that died and came back wrong. I can't use certain gym equipment and I have to tell my sparring partners what to avoid. I don't go to the shooting range much now because I can't extend my arm and hold a rifle for the amount of time it takes to aim without it starting to hurt. I'm a drummer, but I need breaks throughout the setlist and I can't do anything too fast or complex with the pedals, which means I can't play some of my favorite songs and my band is limited in what we write and perform. I can't take my motorcycle on road trips without frequent rest stops. Making accommodations helps physically, but emotionally, they're not always easy to accept because that means accepting the pain as a long-term disability rather than a temporary setback.

This got super long because I think it's unexplored in fics so some tips for creators:

First, learn how the body works and how stupidly fast and easy it is to get hurt. Mine was on a residential road because I didn't pay attention for 0.2 seconds

Learn the difference between internalized ableism and being upset over becoming disabled. I think a lot of writers skip over the feelings someone would naturally experience because it can be construed as ableism. Let them be in denial, sad, angry, etc. upon finding out because acceptance almost never happens right away. That's different from being a dick to themselves or others based on disability

Also, not everyone uses the same labels or has the same vocabulary to describe themselves. Different characters will have different ways of describing depending on their personality, level of knowledge, where they come from, and their relationship with their disability. I still don't really call myself disabled since I don't have it as bad as others so I tell people what happened instead (anyone who says "differently abled" will receive a different ability from me in the Denny's parking lot)

Think about how they cope with their new disability. Do they realize it's a disability right away? Do they talk to someone? Search desperately for a cure? Numb the pain? Turn to alternative methods? Do they worry about something else first, like money? Do they develop something else because of it, like a mental illness? Again, coping poorly is not ableism

What stays the same and what changes? I think about the difference between Forrest Gump and Lieutenant Dan after they were both wounded in battle

If they have a passion they can no longer pursue, it doesn't make much sense for them drop it so readily. Maybe they find a way to continue with accommodations (a good place to get creative!). Maybe they try and push through anyway. If they do ultimately resign, include the thought process and internal conflict behind it

[kyri45]

Kyri!!

I am fucking vibrating!

In my FanFic serious The Westward Sun.

(Still a WIP so it's not posted)

MK finds out he's Macaque and Wukong's son by, and lets run through the list here:

1: accidentally manipulating his shadow, 2: finding a second pair of ears while washing dust out of his mane after training his monkey form, and 3: realising that practically speed running through the training that THE Sun Wukong spent literal years learning isn't really possible if you don't already possess the magic.

So he confronts Nüwa.

(Haven't figured out how, again, still a WIP)

And, after quite literally screaming at her for answers, she goes on to explain the nature of Order and Chaos.

(Because he definitely needs a culture/ history lesson whilst in the middle of an existential crisis.)

One can not exist without the other.

To have true Chaos, you must maintain a semblance Order. To have true Order, you must maintain a semblance of Chaos.

There must be a Method to the Madness and a sense of Madness within the Method.

It's the Balance of the Universe, so to speak.

So, to create a true Harbinger of Chaos. She'd have to combine the two elements of that balance.

The nature of Order and Chaos is:

Energetic and Calm.

Impulsive and Rational.

Open and Reserved.

Bold and Soft.

Careless and Cautious.

Optimistic and Pessimistic.

Abrasive and Gentle.

Like the Sun and the Moon

Now, after that explaination, MK points out that, since she doesn't need exsisting life to make new life, she easily could've done all of that combining the elements thing without actually using the energies of two monkey men with the biggest "divorced couple" vibe in the Universe.

So why?

(Actual exerpt from the chapter below)

~~~

She hummed at the question, raising a hand and tapping at her chin, just under her bottom lip, with her index knuckle as a thoughtful expression graced her face. Her eyes, curious and gentle, examined the little monkey before her, studying him in a way that, for some fucking reason entirely unbeknownst to him, could only be described as sympathetic.

After what seemed like years, her eyebrows flew to the nonexistent ceiling above them, as if she had reqched an unexpected epiphany. Eventually, a chuckle left her, followed by another, then another, and more until Nüwa's voice had disolved into pleasant laughter. It was warm and sweet, wafting through the empty air like the scent of fresh bread.

MK felt his shoulders relax, feeling at ease with the sudden change in atmosphere as the Goddess' laughter increased, every giggle and snort bouncing against the nonexistent walls surrounding them.

"You know-" She paused, allowing a bubble of laughter to pass her lips "-it's the funniest thing!" Another giggle.

She placed a hand on her chest, smiling at him.

"I... I don't really know myself!" She didn't even try to bite back the giggle escaping her, eyes once again studying him, this time with care.

"It just felt right."

Mk went to respond, mouth opening and closing in confusion, like a fish.

Only to find himself back in his room in the blink of an eye.

Literally.

"Holy shit... Mei's gonna flip."

~~~

I've been working on The Westward Sun ever since S3 came out and did a whole lot of rewriting after S4 & 5, so I was super proud of that idea.

And then I got distracted, and a little overwhelmed, and worried that it might've been a bit of a stretch.

You have no fucking idea how excited I got when reading this and the previous chapter! I was vibrating!

Like:

"Yes! I'm not the only one who had this idea! It's not as far-fetched as I was worrying it was! I'm so fucking excited!"

And now here I am.

Also, just reading the comic has helped me improve my drawing skills. Do you have any idea how easy it is to draw clothing wrinkles now? I used to have so much trouble getting wrinkles to look nice, and failing because they ended looking too detailed, then I experimented with the way you draw them (which I assume is roughly inspired by Studio Ghibli films)

And it's fucking easy now!?

You're a beautiful human being.

Have a nice day.

❤️🧡💛💚💙💜

This is an absolutely beautiful explaination on how Chaos can work!! I wanna steal that (joking, I wont of course) but I'll definetely tag you and link this post if anyone ask me how chaos magic work because you describe it beautifully!

[sunstoneserval]

Also an ADHD-haver here. The 'build momentum until you can launch yourself at it' method is so so hard :( Something I found for my brain is putting putting a task with a big wall in front of it at the top of the to-do list just means nothing (or very little) gets done at all.

I've found that starting with some task that is (relatively) easy, that I like doing, and makes me feel like I've Done/Achieved Something, gives me more momentum to start swinging in the direction of the harder stuff, even if it's more of a 'fun' task than a To-Do-List-er.

I hope you don't mind the intrusion, I'm intimately familiar with the Brain Ferrets and was hoping I could be helpful :)

Does anybody know any faster ways to get yourself into Work Mode? The way I try to slowly build up momentum by allowing myself to just do nothing uninterrupted until the urge to get work done comes naturally doesn't work because my Doing Nothing can and will get interrupted, so it's like trying to build a card house while locked in an elevator with five ferrets who hate it in the elevator and want to get out but don't understand that you have to build the card house in order to open the door, so they keep knocking it over because they're bored and anxious and keep stopping you from doing what you all want to get done.

[posh--bee]

falling for you (into the deep end) || Aaron Hotchner

pairing → Aaron Hotchner x Reader

summary → One second, you're standing next to your father's pool, ready for a cold drink on a hot summer day, and the next you're suddenly falling into said pool with a man you have never met before in your life. A man who shortly after introduces himself as Aaron Hotchner to you, your father's unit chief and friend. Yep, this is definitely your worst nightmare come to life.

warnings → meet-cute, fem!reader, rossi!reader, reader has rossi's last name, reader wears a bikini, reader is down bad immediately, Aaron is the sweetest guy ever, but also down bad, a cuss word here and there, short description of a hypothetical crime, no y/n used

author’s note → I wanted to write something for Hotch, preferably with a reader who is Rossi's daughter. Throw in a quirky and slightly awkward meet-cute and voilà—here we are! I'm pretty sure Rossi's mansion doesn't have a pool, but who cares, now it does! This fic kinda developed a life of its own near the end so let me know what you think about it <3

word count → 4.8k

masterlist(s) || ⋆part 1⋆ - part 2 coming soon-ish :3 || series masterlist

The soft ripple of the pool's aquamarine water rocks you gently, caressing your sun-warmed skin, the smell of chlorine, sunscreen, and what can only be described as summer tickling your nose.

The leaves of the trees surrounding your father's property rustle in a lazy breeze and you open your eyes, the clear sky that greets you as brilliantly blue as the water you're floating in, your arms and legs spread like you're mimicking a very happy and very relaxed starfish.

It's one of the hottest days of this year's summer and you decided to enjoy it thoroughly in the best way you know how: By lazing around your dad's house—sorry, mansion—eating his food and commandeering his pool until you're all wrinkly, while he is at work, catching the worst monsters humanity has created.

You will always be worried about him when he's gone but you've only ever known a world where that is what your father does; hunting down killers, teaching others to do the same, or writing books about understanding and capturing these dangerous people. And making a ton of money in the process.

Naturally, he never wanted you to follow in his footsteps, knowing how dangerous, how grueling, how draining his work can be, hoping that his only daughter would choose a different path for her professional life.

And naturally, you defied his wishes.

Kind of.

Only last week, after years and years of studying and researching and writing papers and pulling all-nighters and drinking enough caffeine to power an aircraft, you graduated with a PhD in Forensic Science and can now proudly announce yourself as Doctor Rossi instead of Miss Rossi.

That's why you're currently back at your father's place, simply enjoying doing absolutely nothing before you're officially joining the workforce, hopefully helping to catch many more of the monsters your father and his team hunt and developing the methods and practices of your field further.

But for the moment, you're content to simply float in the pleasantly cool water, watching a single lonely cloud drift across the endless blue sky before you decide in a stroke of pure genius that a cold and fruity drink is exactly what you need to make this perfectly carefree day even better. You let yourself grow heavy in the water, your body sinking to the tiled bottom of the pool where you remain motionless for a few seconds, admiring the mesmerizing shifting patterns the sunlight paints underwater before you kick off the tiles, your fingers wrapping around the metal bars of the pool's ladder as soon as you reach them.

You climb out of the pool, water cascading down your body and creating a small puddle on the sun-warmed wooden planks of the patio at your feet. You grab your towel from one of the fancy deck chairs and quickly dry yourself enough to go to the kitchen and make yourself a drink before leisurely sipping on it while you lie in the sun, a hopefully good book keeping you company until you decide it's time for another relaxing activity.

With your game plan fully formed, you set it in action, going over to the sliding glass door that leads back into the house when you catch sight of your reflection in it, briefly pausing to fix the top of your—if you might say so yourself—super cute and flattering bikini.

But before you can then reach for the handle, a silhouette of a person appears behind the glass out of nowhere and the door slides open all the way, revealing a man you have never seen before in your life standing in front of you.

In your father's house. That you thought you had to yourself.

Oh hell no.

Immediately, your heart jumps into your throat, your pulse spiking in pure panic and you stare at the stranger fearfully, your brain frantically scrambling to find the best course of action that doesn't lead to your pictures ending up on one of the boards at your father's workplace—one photo showing a candid shot of you smiling, probably from your recent graduation, while the others would document how the killer left your broken and bruised body behind on the patio, your blood painting the wooden planks red, seeping into the cracks between them, maybe even dripping into the pool's clear water and staining it with clouds of diluted blood.

The stranger's dark brows furrow in concern, and when he gently, carefully says your name, it does nothing to calm you—not in the slightest. Your body is stiffly frozen on the spot while your fight-or-flight response is busy flipping a coin and waiting to see which side it will land on.

But then the stranger takes a step towards you and you spring into action, yelping in alarm and instinctively taking one, two, three steps backwards—away from him—which you quickly realize was a big mistake when the terrible feeling of having missed a step makes your stomach drop.

And then time slows down.

With a startled cry you fall backwards, flailing your arms helplessly but without a chance to regain balance when your back foot is already hanging over the edge of the pool. The stranger's eyes widen in surprise and he urgently reaches for you, his warm and strong fingers actually closing around your wrist firmly, trying to pull you back towards him—but it's too late.

Your momentum makes the stranger lose his footing as well and not a fraction of a second later the two of you break the pool's glittering surface in a joint, enormous splash, instantly submerged by the water.

Little drops of it are still raining down on you when you and the stranger come back up at the same time to gasp for air, your pulse ringing in your ears, looking and feeling more than a little disoriented. Your wide eyes find the deep brown ones of the unfamiliar man next to you and he silently stares back at you with an equally befuddled expression.

He's extremely handsome, your brain notes unprompted, even with his previously styled hair now completely wet, the dark strands sticking to his forehead and sending droplets running down his sharp features, some stubbornly clinging to his eyelashes and even the tip of his nose. Naturally, his clothes are completely soaked too, his dress shirt now clinging tightly to his body and it embarrassingly takes you a moment to avert your eyes from this sight, from his chest, and shoulders, and arms, especially when you notice the way he has the sleeves rolled up above his elbows.

With warm cheeks that have nothing to do with you lazing around in the sun all day, your gaze snaps back to his face which looks like he's still trying to comprehend what just happened.

And that's when the horrible realization dawns on you.

That maybe this man who didn't show any signs of aggression towards you and even tried to save you from falling, who knows your name and is dressed in suit pants, a dress shirt and nice shoes might not be a serial killer coming to end your life after all.

And you just made him fall in the pool with you—completely clothed.

Oh no. Not good. Very not good.

"Oh god, I'm so sorry! Are you���are you okay?"

The words tumble out of your mouth franticly, your voice too loud, too shrill, a wholly different kind of panic settling in that makes your hands tremble and your stomach feel slightly sick.

The stranger lets out a high-pitched, breathless laugh, an amused kind of disbelief on his face when he answers, "I am, yes. Are you alright?"

His deep voice is good-humored and kind, the kind that makes your knees go a little weak despite yourself and all you manage in response is a quick little nod, threading your fingers together in front of your body, nervously playing with them under the water.

You watch him brush the hair from his forehead with one large hand, slicking the wet, jet-black strands back, water running down his arm, droplets getting caught in the dark hairs on his forearm and he quickly looks at the probably very expensive and now very drenched watch on his wrist before his kind gaze finds yours again, saying, "I'm sorry I startled you like this. I thought Dave texted you I was coming over. He has some old case files on his desk he asked me to review while he's still at the office."

As soon as these words leave his mouth, your cheeks and ears flame up in shame while your eyes widen in horror. Because that means this man who is currently in the pool with you is an FBI agent, a highly skilled profiler working on the same team as your dad, and it's all your fault that he took a completely involuntary dive with you.

And then, as if you're not already wishing for the bottom of the pool to open up and just swallow you whole to end your misery, he adds the one thing that makes this surreal situation even worse.

"I'm Aaron—Hotchner. It's good to finally meet you. Your father talks a lot about you."

Cool.

Cool cool cool cool.

Because of course, of all the agents your father works with you just made Aaron Hotchner, the BAU's unit chief and your dad's very serious, very important and very no-nonsense FBI boss fall in the pool with, completely clothed, and probably ruining his expensive shoes and watch and wallet and phone in the process.

Sure.

No problem.

Definitely not one of the most humiliating things to ever happen in your life.

You are going to drown yourself in this pool.

With your mind and body locked in a continuous state of distress, you exhale a trembling breath that does nothing to calm you, the words just spilling out of your mouth, your voice cracking pathetically as you try to explain yourself and apologize to him, completely distraught.

"Oh god, I'm so so sorry, I—I didn't know—I left my phone inside and haven't checked it in hours—If I'd known you were coming over, I'd—I'd never—oh my god—"

To make matters even worse you have to realize with renewed horror that tears are welling up in your eyes and you stubbornly press the heels of your hands to your eyes as you gasp for a breath, struggling to keep your emotions under control and regain even the semblance of composure. You refuse to make an even bigger fool out of yourself in front of him than you already have.

But that's nearly impossible when Aaron's voice is so infuriatingly understanding and kind, his tone soft and comforting.

"It's alright, you really don't have to apologize to me. You didn't know and I scared you half to death. It's not your fault, so don't worry about it, okay?"

But how can you not worry about how much you messed up when this is probably the worst first impression you have ever left on someone—and that includes the time you destroyed someone's side mirror with your own car only to learn a few days later that that someone was your then-boyfriend's very unamused mother when you visited his parents for the first time for a very uncomfortable and icy dinner. (Your mind still likes to torture you with this little incident when you're busy trying to fall asleep, basically dooming the relationship from the very beginning, but in the end it was for the best—because that woman would've shown up wearing a white dress to her son's own wedding. So you're pretty sure you dodged a huge bullet there.)

You risk a glance at Aaron through the gaps between your fingers, the reassuring smile on his face making you feel a little silly, a little overdramatic but it also makes you calm down enough to let your hands drop from your face. Not that you had any chance not to, not when he's looking at you like you couldn't do anything wrong in his eyes, ever.

"I mean it, it was just an accident. Don't blame yourself for that."

He says it with so much conviction that you're almost ready to believe him, but the unhappy frown still clings stubbornly to your face, still mentally berating yourself over this whole situation you actually had very little control over.

That's why you jump almost a foot into the air (the water you're still standing in) when a warm and big, big hand gently squeezes your naked shoulder. Aaron is somehow so much closer than before, looking down at you and steadily holding your gaze while all you can do is dumbly stare back into his eyes, captivated by the sparkle of amused patience in them, by the way his dark eyelashes frame them so perfectly, following his sharp features to the slope of his nose, further down to his lips, wondering just how they would feel pressed against yours—

Nope—!

That very attractive and very wet man in the pool with you is still your father's colleague and friend, you remind yourself with burning ears, letting out an involuntarily awkward little giggle that ends in a dramatic sigh, your whole body deflating under the comforting weight and warmth of his hand on your skin.

You manage to smile up at him despite your chest still feeling a little too tight with anxiety while butterflies undeniably start to stir in your stomach.

"Thank you for saying that," you murmur defeatedly as you try and fail to tear your gaze from his eyes. "But I'm still sorry about your clothes and watch, and everything else too."

But he simply shakes his head, easily dismissing your attempt to apologize once more, shutting down your offer to pay for the damages that would surely follow before it could even pass your lips.

"It's fine, really. All of these things can be replaced. I'm just glad you didn't hurt yourself."

How can he just say things like these with that stupidly attractive and smooth voice of his while his hand deliberately rubs up and down your arm and not expect you to fall for him right then and there? Because you're pretty sure that's what's happening right now, without you having the slightest of chances to stop it.

But that's a problem you will have to deal with later, you decide, because right now the two of you are still just standing in the water together, and while your attire is completely pool-approved his very much isn't and you probably should get him at least a towel and some dry clothes to change into.

So you softly tell him as much, nodding your head towards the house, "I could get you some of dad's clothes so you can change, I hope that's okay."

"That would be perfect, thank you," Aaron answers, a grateful smile on his lips and you can't help but notice and appreciate the enticing crow's feet framing his eyes while he does.

You give him a timid smile in return, mumbling, "It's the least I can do."

He only gives your elbow a final tender squeeze in reply before pulling his hand back, his fingers lingering on your heated skin for just a moment longer and you can't find it in you to complain about it, not when a pleasant shiver runs down your spine at that.

Crap. You're in so much trouble already.

Reluctantly, you look away from him and turn around, heading to the pool's ladder, your whole arm tingling with the ghost of his touch but you try to ignore it as best as you can—which isn't all that much.

You climb up the steps first before holding out your hand for Aaron even if it's not strictly necessary. You're delighted when he takes it anyway without hesitation, your whole hand swallowed in his firm grasp, a discovery that makes your stomach do a funny little flip.

"I hope this at least takes the first place of the most memorable ways you ever met someone for the first time," you joke as Aaron emerges from the pool, finding some humor in this absurd situation as you watch his soaked clothes lose probably half of the pool's content on the planks of the patio, the wet fabric sticking to his body unpleasantly. But you don't miss the quick upwards quirk of his lips despite him looking like a pretty miserable, drowned rat now. You try to cover up your amused snort with a cough, but you know he can't have not caught it.

He however takes it in stride and graciously ignores it, instead starting to take off his watch while saying, "It absolutely does. And I can't say I wasn't wishing to cool off all day today, but that wasn't really what I had in mind. Not that I'm mad at all about this spontaneous opportunity to take a swim with you."

He smiles at you, fully, boldly, and you're probably mistaken when you think you saw just a sliver of shyness shining in his eyes because you're too distracted by the rest of his face that looks somehow even more handsome than before.

"Well, in that case, you're very welcome," you play along easily despite your heart slamming almost painfully against your ribcage. "And what can I say, I just love to leave a lasting first impression."

You're blessed with that charming high-pitched laugh of his again while he lays his watch on the patio table before his hands move to the buttons at the top of his shirt—which is not something you should find as enticing as you do.

"You definitely did. I just hope you don't make everyone you meet for the first time fall for you like that."

The words take a moment to fully register in your mind as you're busy admiring his deft fingers working on the first button of the shirt, but when they do something must suddenly take possession of you because your mouth curls into a teasing smile without you really meaning to and you casually hum, "Hm, no. Just you."

Aaron's fingers freeze mid-movement, his gaze so much more intense than just moments before but to your own surprise you don't shy away from it, keeping your eyes locked with his as he carefully utters his next words, his voice just a little rougher.

"That must make me pretty special, then."

You consider his words with a slow tilt of your head, your teeth sinking into your bottom lip to keep the eager smile threatening to overtake your face contained, your heart hammering away in your chest and your head feeling slightly dizzy. The daring and impulsive part currently in control of you makes you step directly into his personal space without hesitation where you can openly admire the small amount of chest hair peeking over the collar of his t-shirt which immediately cancels out the disappointing discovery that even in this heat he's wearing multiple layers.

"It probably does, Mr. Hotchner," you practically purr in reply, your voice almost unrecognizable to your own ears as you bring your hands up to his chest.

Your eyes never stray from his when you nudge his hands away from his shirt and replace them with your own, your fingers shaking visibly as you slowly, deliberately slide another button through its respective hole for him. And he lets you, his lips slightly parted, his gaze so much heavier, so much more heated than before that you have to suppress a full-body shiver.

You know it's not appropriate to do what you're doing right now, not with a man who is easily ten years your senior, who you never met in person before today and—most importantly—who is not only your father's superior but also his friend. And before today you would have never given in to your impulses like that, simply shoving them to the farthest corner of your mind where they would come back to haunt you during sleepless nights, making you wonder what could've been if you had just taken a chance for once in your life.

You don't know why it's different now with Aaron Hotchner of all people, what it is about him that makes you act like this so suddenly, so uncharacteristically bold, but you can't stop yourself—and to your thrilled delight, it doesn't seem like he wants you to either.

Not when you can clearly see the nice blush dusting the apple of his cheeks pink. Or when you notice the anticipation in his eyes, his tongue absentmindedly peeking past his dry lips to wet them. Or when you catch his pupils dilating as his attention snaps down to a droplet of water shining on your collarbone, his eyes following its path utterly transfixed as it slowly runs down between your breasts, the soft swell of your chest on full display for him thanks to your bikini top hugging you so perfectly.

To your astonishment, his gaze doesn't make you uncomfortable or exposed and you don't shy away from his attention—quite the opposite. You let yourself revel in it, a pleasant tingling sensation spreading from the very tips of your fingers to the rest of your body, making you feel confident and desired in a way few, if any, people have in the past.

He makes you feel cherished, the (poorly hidden) want in his eyes only increases this feeling.

But most importantly—he makes you feel safe.

That's what's so different about him.

So it's not surprising that you're lightheaded in the best way possible when your fingers slowly trail further down his shirt, smugly smirking up at him when he realizes he was caught red-handed ogling his friend's daughter's scarcely clad chest.

You see his Adam's apple work uneasily in his throat as he tilts his head slightly, not being able to meet your eyes anymore, his whole posture suddenly uncomfortable and stiff and the look on his face downright terrified. You find everything about this incredibly endearing and equally entertaining, the way his cheeks are now deeply red and probably burning hot to the touch, the tips of his ears very much in the same condition and his hand flexing by the side of his body as if debating whether physically pushing you away and creating some distance between the two of you would somehow remedy the situation.

But he doesn't, instead his gaze guiltily flickers to meet yours for a split second and then his lips part for the first words of a sincere yet deeply embarrassed, stammered apology. Yes, Aaron Hotchner, the ever-serious, ever-composed, big bad FBI agent who stares down serial killers for a living, who doesn't even flinch when the barrel of a gun is pressed against his head, actually stammers, evidently not used to losing control like this, not used to allow himself to give into temptation, anything that would expose that behind his almost perfect mask is simply a man, a human, with tragically repressed wants and needs and desires.

But you smile up at him, kindly, giddily, because you're really not used to someone like him giving you this kind of attention and you refuse to let yourself feel bad about it now and start to overthink it, so you simply say, "It's okay. I don't mind."

And then, because it's the truth, you add, "Not when it's you."

Your words cause a quick succession of emotions to flash across Aaron's face—regret, surprise, doubt, relief—only to finally settle on something so soft, so gentle, so close to adoration that your first, entirely instinctual reaction is to shrink and hide away from gaze.

But he doesn't let you, holds your gaze steadily and brings his hand up to yours still lightly resting against his chest. His fingers curl around your much smaller palm and he has the audacity to smirk at your very obvious, very telling reaction to this as if your roles weren't reversed just moments before. But then he gently presses your hand against his chest, his hand still covering yours and you immediately forgive him.

Because like this, you can feel the heat of his skin slowly bleed through the wet fabric of his shirt and into your own skin. You feel the steady rise and fall of his chest, the low hum forming there when your other hand moves with a mind of its own to rest on his shoulder, anchoring you to him further.

But most importantly, like this, you can clearly feel his heartbeat mirror the almost frantic, thundering pace of your own.

It's as confusing as it is exhilarating, knowing that for some bizarre reason, you and this stranger (because as many times your father has talked about Aaron, you have never met him before today) feel the same magnetic pull towards each other, and without knowing who moved in first you're suddenly breathing the same air, your faces close enough for you to count each individual dark eyelash and admire every single detail and imperfection of his handsome face.

Questions linger unspoken in the small space between you—Is this okay? Should we really be doing this?—but the small impatient noise escaping you is enough to dissipate them immediately.

He moves in even closer and you let your eyelids flutter shut, your heart stuttering in your chest when you feel his breath fan across your face, feel his lips hesitantly brush against your own, the faint touch enough to send a spark of overwhelming pleasure down your spine, the eruption of butterfly wings in your belly like nothing you ever felt before in your life, before finally—

Finally—

—the devastating sound of the front door falling shut echos through the whole house, your father's cheerful voice calling out both your and Aaron's name.

Your eyes snap open in horror, your heartrate spiking alarmingly, and like you were burned you push away from Aaron, desperate to create even the illusion of distance between the two of you. You're lucky you don't fall in the fucking pool again but only because of Aaron's quick reflexes, his arm wrapping around your naked waist and urgently pulling you flush against him, thankfully not losing his footing this time.

Terrified, you stare up at him, both of you frozen in this blatantly incriminating position—entirely too close, too intimate for two strangers, a daughter and her father's friend—his palm burning into your naked skin while your dad's footsteps are coming closer, and closer, and closer—

In a last, desperate attempt to save yourself and Aaron from being discovered like this your tardy fight-or-flight response kicks into gear again, urging you to—albeit reluctantly—exit his hold and rush towards the house, fleeing the scene of the crime and leaving poor Aaron to explain what happened to your father.

You don't stop when you run past your dad, only squeaking something unintelligently about getting some dry clothes when his confused voice calls after you, your wet feet almost causing you to slip and fall on the cold and hard marble floor but somehow you make it to the safety of the upper story, making a beeline to the master bedroom's dressing room.

With your heart beating painfully inside your chest, you curl up into a miserable ball of anxiety and regret in the middle of the room, not caring that you're dripping pool water onto the expensive carpeted floor, your shaking hands coming up to cover your face.

What the hell were you thinking? How will you be able to face your father—or worse, Aaron—ever again?!

You press the heels of your hands hard enough against your eyes that stars and shapes overtake the darkness of your vision, contemplating if staying inside this dressing room for the rest of your life is really that bad of an option.

But you're startled back into action when Aaron's calm but carefully controlled voice followed by your father's boisterous laughter travels up the stairs to you and you pick yourself off the floor before hectically digging through your father's clothes until you find something passable for Aaron to change into.

As you descend the stairs, knees weak and threatening to give out underneath you, your anxiety pressing heavily against your chest, you wonder helplessly how you will survive the rest of this day, how you will ever survive seeing Aaron again after today.

Because this afternoon, while he fell in the pool with you, you fell for Aaron Hotchner.

(And he fell in love with you, too.)

⋆ part 1 ⋆ - part 2 coming soon-ish :3 || series masterlist

divider by @/cafekitsune

[evercelle]

Hello! If you don't mind me asking, how do you achieve/keep the vibrancy of colors in your illustrations?

I've been studying your art a lot and your colors always stand out to me because blending and painting digitally tends to result in muddier colors (normally in trad painting yellow & blue would result in green but due to how art programs work, blending yellow & blue would just result in a more desaturated version of one of the colors overlaying on top of the other) so I was wondering if you have any tips or advice on how to avoid that :0

Hope you have a great day!

i tend to use one inking brush (ciro pen) for sketch/ink/paint, so i usually just flat color and then draw in shades at lighter opacity, then color pick where it overlaps with the base shade, paint over again, rinse repeat... like using a blending brush with more steps i guess lol

some art programs (csp and i think kritia, maybe??) have improved color mixing! i haven't messed with any options myself but i just tried mixing yellow + blue and it caught the green tones pretty well, both with the method i described + using the default oil paint brush. todays sample picture features loml venti:

i think i tend to use pretty desaturated colors as a whole with not a lot of varience throughout an entire piece, then i'll add something neon/saturated later as an accent, so i think that might help control the "muddy" feeling as well

time lapse from step 3 -> painting! idk if this is super helpful but i'm not sure how else to demonstrate my process short of streaming lol

i think it'd probably be helpful to study color theory too, because the way your eye perceives vibrancy of colors is greatly affected by the saturation and value of the adjacent colors you use...!!

[x-brik-x]

I'm seeing a lot of people say that punk fashion is expensive and inaccessible, which is very wrong. here is a list of some ways you can make punk fashion easier, cheaper and more accessible for you, since that's... kinda the whole point.

others are encouraged to add onto this!! (just don't recommend corporations like amazon. not cool.)

1. patches!! you don't need to buy them. DIY patches are not ugly or boring. in fact, they are encouraged here!! DIY, in my opinion, is always the best thing to do when it is an option and is safe to do so.

2. speaking of DIY, spikes!! you can make them!!

cut the top and bottom off of an empty can. cut down the middle of the cylinder and flatten it, so it's just a flat rectangle of metal.

cut out a shape that is kind of a third of a circle, but around 3/4 of the curved edge is taken up by triangle shapes. (I'm not very good at describing, so here's a badly drawn picture)

roll it into a cone, leaving the 4 triangles sticking out at the bottom. this bit is optional, but you can fill it with hot glue to make it more sturdy, just be careful touching the hot metal. I tend to hold the cone by one of the triangles with a bit of fabric wrapped around my fingers for this bit. cut 4 small holes in your fabric in this kind of shape:

and put the spiky bits of triangle through the holes. fold the triangles in on themselves to secure the spike in place. boom. spike obtained. this is one I made and attached to a little piece of fabric to test this method out:

3. battle vests!! (like the base jackets). the best places to buy these are charity shops and second hand websites in my opinion, but if anyone else knows any better options, please reblog with those!!

a good trick I find works well on eBay is to filter search results to your country (or state? can you do that in the US? idk) so that a: fast delivery because local, and b: all the sellers of everything that shows up are in YOUR TIME ZONE.

why is this important? when people sell something for really cheap, it goes FAST. check eBay at like, 2am or something. all the scalpers in your area are asleep. grab the cheap stuff while they can't.

4. sewing!! want patches, but can't sew for whatever reason? I've heard of a lot of people with joint conditions like arthritis complain about the inaccessibility of patch stuff, and that does sound extremely annoying, however:

safety pins!! while they are still a little fiddly, they're much less work so you don't have to fiddle about for long. if you can, you could even ask a friend to help, since it doesn't take long at all I'm sure someone will be willing to help out!! (I know I would, but that's just me, and I love this kind of thing). safety pins on clothes are also widely considered to be a symbol of solidarity, so if anything, you're adding some extra love and meaning to your patch pants/battle jacket.

if that's still too fiddly, fabric glue is always an option. unfortunately this means you won't be able to remove/reposition patches, at least without leaving a massive patch of residue, but if you're ok with that then fabric glue is probably your best bet.

for people who prefer sewing: as for where to get the thread, I've heard a lot of people recommending dental floss, as it's apparently much cheaper and works just as well. I haven't tried this myself so can't confirm that, but I thought I'd share it regardless.

5. where to get fabric!! old clothes. rip em up. you don't need any kind of fancy fabric from the craft store. my patches are made of old jeans that I grew out of.

don't have any old clothes and you don't want to waste any good ones? I'm not sure about other countries, but in the UK, as long as you're not on private property (trespassing), dumpster diving is perfectly legal.

I definitely ;) do NOT encourage ;) trespassing rich people's land ;) to steal from their dumpsters ;)

or tbh it doesn't matter too much how rich the person is, since it's all going to landfill anyway. if it's in the bin, it's free game, but you didn't hear that from me. ;)

please add onto this where you can!! and if I missed something or got anything wrong, add that on too!!

[caligvlasaqvarivm]

Actual Ultimate Classpecting Guide

For real this time.

Buckle up, this is a really long one. For everything that's posited, I can provide textual evidence; that being said, I'm not going to be including the textual evidence within the essay itself, because it's already long enough as-is. As such, please feel free to ask for clarification or sources on any assertion, and I'll do my best to provide.

Before we begin, there's some things to discuss about how we're going to be approaching classpect in the following essay. In numbered list form for our short attention spans:

1. There is a concept Hussie talks about multiple times in his book commentary, "personality alchemy" - the idea that there are these "platonic ideals" of certain characters, which can be mixed and matched with others, in order to create new characters. The examples he gives are of how Eridan was a proto-Caliborn, how Kanaya has shades of Jade, how Nepeta was a proto-Calliope, and how Sollux and Eridan have shades of Dave in them. Classpecting is fundamentally a form of this personality alchemy:

2. Class describes the character's arc and emotional hurdles, while Aspect describes the character's base personality traits by which this arc is experienced.

3. For example, all three Seers struggle with hubris: Rose's need to be the smartest person in the room led to her being manipulated by Doc Scratch, Terezi's obsession with meting justice led to her engineering a situation where the only option was to kill Vriska, and Kankri's desire to be seen as a spiritual leader amongst his friends led to him furthering their divisions and harming them.

Then, when their pride is shattered, they cope by inflicting willful self-blindness: Rose turns to drinking herself stupid (the opposite of Light's sway over knowledge), Terezi gets down with the clown (the opposite of meting out Mind's justice, as it's a Gamzee W), Kankri goes celibate (Blood L) despite his clear romantic feelings for certain teammates.

4. As for Aspect: note how all three Life players share the personality traits of optimism, stubbornness, and obstinacy. All three Breath players share an immaturity and naïvety, and are quite frankly irresistible to people for some reason. All three Light players share a need for the spotlight and a tendency toward long-windedness and persnicketiness. So on and so forth.

What's interesting is, if you start analyzing characters that share Classes and Aspects, these specific types of similarity crop up over and over - all our Knights struggle with insecurities and facades, both our Bards have a crisis of faith. All three Breath players have an aspect of immaturity and childishness to their characters, and all three Light players are deeply concerned with appearing intelligent and feeling important.

5. As a result, this guide is NOT intended for classpecting real life people, because we are complicated, we contain multitudes, and we don't have arcs. This is primarily an analysis of what Class and Aspect mean in Homestuck based on textual evidence, because I genuinely believe that you can basically figure it out if you read carefully.

6. Duality, and the idea of "equal and opposite," are major themes within Homestuck - Prospit and Derse, Skaia (described as a crucible of birth and creativity) and the Furthest Ring (the literal afterlife). Which classes are involved in an Active/Passive split, and opposing Aspects, are the same way. This is the primary method I used to determine the Active/Passive pairings and opposing Aspects. After all, as Callie describes, both Thieves and Rogues are classes "who steal" - so, too, do I try to unify Classes by a common theme, even if they diverge wildly in how that theme is expressed (as Thieves and Rogues do). In the same way as the opposite of "up" is not "apple," but "down", because "up" and "down" are both fundamentally concerned with relative vertical position, so too can be defined concepts like Breath and Blood, Hope and Rage, Light and Void - as well as the reasoning behind Class pairings like Heir and Page, Maid and Knight, and Seer and Mage.

7. Descriptions for both Class and Aspect are left deliberately vague and up to interpretation within the comic itself, and this is by design: the actual manifestations of an Aspect can vary wildly given the Class, and even individual person, that it's tied to. Calliope even makes note of the fact that, under the right circumstances, someone can manifest effects that appear to be the opposite of their aspect. She's also careful to couch her language in "may" and "can" - because these concepts are intentionally somewhat nebulous and malleable. As such, while this guide certainly lays down what can be gleaned and inferred from the text, do note that Homestuck runs on a soft magic system, and as such, nothing stated is firm, 100%, must-always-be-this-way - just an overview of what we've seen.

8. There is often great overlap between Aspects, Classes, and Classpects - which Calliope herself notes. Heart and Blood are one of the most salient, as they both have a fixation on relationships, and Calliope mentions that under the right circumstances, a Classpect may even be able to manifest what appears to be the opposite of their Aspect. Again, Homestuck operates on a soft magic system, so this is a feature, not a bug.

ASPECT

There's a little less to say about Aspect, not because it's less complicated, but because "base personality traits" are much more nebulous compared to Class's sway over character arc. Still, Aspect represents the fundamental way a character is, and thus, color every interaction that character has. There's a reason Ultimate Selfhood is sought through Aspect, not Class - Aspect is the core of the character's being, what makes that person that person.

That all being said, Class has major sway over how an Aspect manifests, and certain classes can even invert the Aspect and even the character's role in the party. As such, these descriptions must be parsed carefully in relation to Class. Moreover, due to the soft magic system, there is at times overlap between unrelated Aspects, which can also be exacerbated by Class - Heart and Blood being the most obvious in this regard. Still, overall, you'll find the Aspects to be fairly distinct from one another.

Please also note that every Aspect can deal with its literal counterpart by default - Light players can wield lasers, Breath players can wield the breeze, et cetera. Because this kind of goes without saying, and because the non-literal stuff is more interesting to discuss, I'm not really going to go into too much detail about the literal qualities.

Finally, something interesting to note is that nearly every Aspect follows its own Hero's Journey cycle - full actualization for each one usually means reaching around to its opposite Aspect, and taking lessons from them - for example, Breath players need to learn maturity and responsibility, while Blood players need to learn relaxation and whimsy. Thus, an Aspect at its worst manifests in two ways - either a toxic overabundance of the Aspect's worst traits, or such a dearth of the aspect that it begins to resemble its opposite. Only by reaching into the opposite, however, can the player be tempered and reach full maturity - can they become more of who they are.

SPACE / TIME

Space and Time are both concerned with physical reality, goals, and the way one approaches them.

Space is associated with "the big picture" - with recycling, reproduction, and the interconnectivity of all things. The aspect also presides over the enjoyment of the journey over the destination - Space players serve as reminders that the present moment is as important as the end goal. Space is often a more passive Aspect, being the stage upon which the story is set. They're the hosts of the party, and the one who marks the ending.

Its players reflect these tendencies, often being feminine, with penchants for life-giving acts such as gardening. Their personalities tend towards frivolity and silliness, finding it difficult to stay on-topic or bring full gravitas to serious situations. Perhaps a better word would be "distractable;" when the aspect is so concerned with all things in connection with each other, it's easy to lose track of details, and it's easy to enjoy things simply as they come. Space players tend to be kind, patient, and forgiving, which is a strength as much as it is a flaw; it's easy for malicious actors to take advantage of this compassion, or for the Space player to find themselves in a poor situation by being overly permissive. They can easily be painted over by stronger personalities, and tend to struggle with romantic relationships, as they attract many with their kind and giving natures, and few are naturally so considerate of the Space player in turn.

"Passive" is a good word to use; at a toxic overabundance of their Aspect, Space players are trampled underfoot. They become enablers, servants to dark forces, or so lost in their own worlds that they neglect the one they live in. With their Aspect "inverted," a Space player becomes a demon of poor prioritization. Distracting not just themselves from their true purpose, but others, too, the Space player will wreak havoc by overemphasizing unimportant topics and ignoring important tasks. This superficially resembles Time, in that the Space player will become fanatically dedicated to their task, but note that the poor prioritization is still Space-esque at its core.

Still, within this nadir is a valuable lesson: the strength of self-assertion, and the determination to see a goal through. These will allow the Space player to weed their garden, separating good from bad, allowing it to flourish like never before.

Time, in contrast, is associated with "the little things" - with details, minutiae, and processes. Time presides over the struggle toward something greater, the endurance of hardship with an eye on the prize - the destination over the journey. Time players are the ones keeping track of the tasklist, marking off each item as it reaches completion; they are the tireless workers keeping the whole engine running.

Time players, thus, are ones whose lives are marked by struggle. They are highly goal-oriented; in contrast to how Space players can easily move from goal to goal, task to task, Time players feel bound to see things through to the end, finding satisfaction only when they've achieved their desired result - and only until they come across the next goal in their journey. A Time player isn't happy without a goal to work towards, a craft to polish, a prize to win - but this driven nature can easily be its own downfall, as it leaves little room for the player to admit to their own shortcomings, or ask for help from others. Moreover, their focus on minutiae can leave them blinded to the bigger picture, and it's easy for a time player to fall to despair, able to do nothing more but spin their wheels. They're prone to directionless anguish, frustration, and resentment towards the seeming futility of their actions, becoming destructive and defiant even when it doesn't serve them to do so.

At a toxic overabundance of their Aspect, Time players become explosively destructive. The ultimate "goal" of all things is death, with which Time is associated, and accordingly, Time players have a penchant for aligning themselves with futility and entropy, struggling so hard that their thrashing leaves a trail of annihilation in their wake. With their Aspect "inverted," Time players detach entirely - they can become so fed up with struggle that they simply opt to lay their weapons down and let the end take them. It's very easy for them to come to the conclusions that either everything matters, or nothing matters. This superficially resembles Space and its big picture thinking, but note that its framework of struggle, and whether or not a goal needs to be pursued, makes it a Time concern.

But the inherent meaninglessness of existence is, in itself, an important realization to make - that whether or not anything "matters" in the grand scheme, things can still be worth doing, worth caring about, and worth investing in. This realization allows the Time player to attack their goals with renewed vigor and greater clarity, which in turn means that the party becomes an efficient, well-oiled machine.

BREATH / BLOOD

Breath and Blood are both concerned with directionality, interpersonal relationships, and autonomy.

Breath is the Aspect governing freedom, liberty, and independence; it is a force that breaks shackles, clears out social norms, and refutes "the rules," whatever those rules may be. Breath players can't be tied down, whether by physical bonds, societal rules, or even the ineffable forces of the narrative itself. They are leaders of example, pioneers, and trailblazers, opening new paths for their teammates to follow.

Breath players are goofy and gullible, often with hearts full of childlike whimsy, naivety, and even immaturity. They are friendly and well-meaning, fond of simpler things, and easily swayed by others. They approach the world with a sincere and innocent good-naturedness, like a baby animal before it learns to be fearful of danger. Something about this sincerity seems to make Breath players irresistible to others, and they often find themselves the subject of romantic attraction. However, in this childishness is also the great pitfall of many Breath players - their natures are naturally conflict-averse, and egotistical the way a child can be, failing to see beyond themselves. They can be incredibly callous when not considering the consequences of their actions, or the viewpoints of others.

At their worst, Breath players are irresponsible and callous. They'll shirk the consequences of their actions, blaming anybody but themselves, or simply choose not to care who they hurt in order to get what they want. They may even choose to stop making choices for themselves, leading to the "inversion" of their Aspect - a voluntary loss of freedom and independence, derived from an Breath-like aversion to responsibility, which superficially resembles the bondage of Blood.

But if they are able to overcome these tendencies, a Breath player will learn what true responsibility looks like - responsibility for themselves, their choices, and the effect they have on others. Armed with this, a Breath player's ability to break bonds can be focused into a clear force for good, clearing away all obstacles and harmful societal standards, leading the charge into something new and beautiful.

Blood, in sharp contrast, is the aspect that governs bondage, contracts, and interdependence. It is a force that binds. Under Blood's sway are not only romantic entanglements, but familial, friendly, and societal ones as well. This aspect sees overlap with Heart, but the division is this: Heart concerns itself with feelings, and Blood concerns itself with compatibility. Blood players are diplomats, forces that remind us all that we are more similar than we are different, and that that similarity should bring us together when we are on the verge of pulling apart.

Blood players, reflective of their Aspect's association with bonds, tend to be neurotic and obsessive. They have a tendency to over-examine and overthink, constantly fretting over the infinite and infinitesimal variables that influence the shape of society and interpersonal relationships. However, this judgmental nature stems from a deep well of idealism and empathy; Blood players can't help but care about others and wish for the best for them. In a way, this makes them one of the most mature members of the team, being concerned with its overall well-being. Unfortunately, their prowess does not extend inwards, and their assessment of themselves is usually direly incorrect - all the worse because Blood players always feel responsible for those around them. Blood, being the Aspect concerned with interdependence, is the weakest one when all alone.

Thus, it's easy for the Blood player to wind up controlling - desperate to make sure everyone is moving according to their vision, they'll become iron-fisted dictators, with a "my way or the highway" approach to social interactions. It's easy for them to wind up pariahs of their own making, becoming so critical of others, or so adamant about enforcing their own will, that they inadvertantly sever their ties - something that superficially resembles Breath's independence, but is truly a result of Blood's neuroticism.

But with that space and separation can come great clarity. Blood players must learn to relax their grip, and allow people room to breathe - including themselves. Once able to grasp that sometimes bonds must be forged with a soft touch, Blood players' natural empathy shines through, allowing them to build something so much kinder and greater than the sum of its parts.

LIGHT / VOID

Light and Void are both concerned with knowledge, ontology, and "narrative relevance".

Light (as well as its counterpart) are perhaps best understood through the lens of "narrative" - this idea that, of all things that do and don't exist, and all events that do and don't happen, only the ones put to page are "relevant". Thus, Light is associated with knowledge and luck - that is to say, it's associated with the knowable, the objective, and the concrete, and the ability to determine "important" events. Light players have read the book they're participating in, and able to serve as luminary guides from one plot point to another, lighting the lampposts for others to follow.

Light players, naturally, are erudite and educated, possessing keen intellects and cunning minds. They are fond of knowledge itself, of markers of status and prestige - whether that's wealth, the adulation of the masses, or a massive library. They harbor a desire to be important, to be seen, to be acknowledged, and are happiest when they are looked up to. Conversely, they deal poorly with being looked down upon. Their confidence transmutes easily into hubris, and they struggle with having that pride challenged. As such, they tend to be volatile and unpredictable, quick to retaliate against those who threaten their egos, or obsequious to those whose acknowledgement they desire.

Their desire for the limelight can quickly spell disaster - they can become incredibly cruel, harsh, and egotistical in their pursuit of narrative significance. They forget, in their obsession, that they, too, are fallible and flawed, and the inevitable reminder can come very harshly. Light players struggle with moderation, and as such, when they feel shame, they'll often take drastic measures to cope with it - deliberately darkening their own influence or intellects, removing themselves from the "story" entirely - something which superficially resembles Void's penchant for the background, but which is firmly rooted in Light's obsessive need for drama.

But in experimenting with narrative insignificance, Light players can reach an epiphany - in their absence, others may shine, and that can be a wonderful thing. Light players, then, can learn to shine not just for their own sakes, but for the sake of others, allowing them to weave a story even more brilliant than any that can be weaved alone.

Void, in contrast, is the blank spaces between the words. That which is secret, subjective, unknowable - these are Void's domain. It's associated with taboos and hidden things, sexuality and pleasure. It's also associated with the empty canvas - the blank space before creation, and the oblivion to which creation is eventually destined for. Thus, it stands for infinite possibility, though the collapse of those possibilities into a reality removes that reality from Void's domain.

Thus are Void players ever cosigned to the background, though this generally suits them fine. Void players are very self-possessed. Where Light players tend to exaggerate and complicate, Void players are honest and simple, preferring straightforward solutions. They don't tend to think very hard, instead letting intuition and emotion guide them to where they want to be - which makes them one of the more stable personalities on a team. However, this simplistic, feelings-driven approach often leads to pleasure-seeking behavior, poor impulse control, and overindulgence in vice, and from there, to irrelevance, with which Void is so closely interlinked.

Void players are especially prone to vice, and at their worst, will become so drunk on pleasurable activities that they pursue them to the active detriment of the party's goals or the Void player's self-improvement - making them the ultimate irrelevant character. They can also very easily drag others into their mélange, with a forcefulness that resembles Light's illuminating guidance, but which is ultimately rooted in Void's pursuit of personal pleasure.

But there's a lesson to be learned in Light's domain: how to bring themselves into relevance and greatness. A Void player, once they learn to pursue not just personal pleasure, but a greater satisfaction for the collective whole, can drag the Void behind them, kicking and screaming, to where it'll be of use.

MIND / HEART

Mind and Heart are concerned with what it means to be a sentient being, with identity, and with why we do what we do.

Mind is the Aspect associated with logic, rationality, karma, ethics, and justice. To a Mind player, they "are" because they "think". They are keenly aware of the consequences of every action, and well-versed in cognition and behavior, such to the point of manipulating others with ease. Deeply concerned with the "effect" of cause-and-effect, Mind players are always cognizant of debts and credits, where justice is owed and where it has been over-meted, and their subtle machinations culminate, like well-placed dominoes, in grand and explosive finales.

Mind players are schemers - it's in their nature. They have a tendency to view the world as a puzzle or game, with themselves and the people around them as pieces on a board, and set as their standard rules the laws of ethics and karma - owed debts and overhanging credit - guilty and innocent. Mind players are wickedly cunning, and have an high success rate with every scheme they commit themselves to, but the grand downfall of all these tendencies is that they tend to lack in a sense of identity, and have a poor grasp on their own emotions or desires. While they may know how to provoke a desired reaction, they don't know how to change someone's mind. They often find themselves grappling very painfully with their own selfhood, with feelings of emptiness, inadequacy, or uncertainty.

Thus, a Mind player at the worst zenith of their Aspect is heartless and cruel. Leaving no space for empathy or even personal feelings in their plans, the Mind player will plot for an ending as heartless as they are. But a Mind player is never truly without emotion, and ignoring their own feelings causes them to manifest in terrible ways - Mind players have a tendency to seek toxic, codependent relationships, hoping to find external validation, subjecting themselves to the wishes of others, which can appear like Heart's fixation on feelings and desire.

But in recognizing their own need for emotional validation, and the importance of their own feelings, a Mind player can realize that there's an entire dimension to the game they've been playing that they've been ignorant of. When a Mind player learns to temper their schemes with empathy, compassion, and kindness, how much more success they'll see - and how much happier that grand finale will be!

Heart, then, is associated with feelings, motivations, intuition, the soul, and the self. To a Heart player, they "are" because they "feel" like they are - and they're keenly aware of the multitudes that are contained within themselves. Deeply concerned with the "cause" of cause-and-effect, they're drawn to desires, those of themselves and of others, especially where strong feelings are concerned. Heart players are gifted with an intuitive understanding of those around them, both their good and bad qualities, and are tasked with the grand task of bringing out the best.

It stands to reason, then, that Heart players have a firm grasp on who they are and what they want. For the same reasons, it's difficult for a Heart player to truly hate or condemn another person, because they are so adept at understanding them. However, this understanding comes with a price - because the Heart player is so aware of themselves, they can't escape their own worst traits - nobody self-loathes as accurately as a Heart player can. Nor can they ever truly be untruthful with another, making them poor manipulators. Capable of presenting a different facet of themselves as the situation calls for it, certainly, but just as it's impossible to lie to a Heart player, who always knows how someone really feels, it's impossible for a Heart player to lie to themselves.

With this sincerity comes vulnerability. Heart players wear theirs on their sleeves, and at their worst, this can make them demanding, needy, and sensitive - so eager to connect with others emotionally that they'll cramp themselves to fit others' desires. But they can't ever keep this up for long; Heart players have a tendency to withdraw from others after being hurt too often, finding it easier to be alone and silent about their feelings than to deal with the pain of rejection. They may even work to manipulate others, preying on their emotions and desires to force them to act in their worst interests. This superficially resembles Mind's cold logic, but unlike Mind's cool rationality, Heart's aloofness is a mask, an attempt to avoid pain by pulling away.

But this isn't purely a negative, because a Heart player can learn a healthier form of detachment, and separate out healthy and helpful desires from harmful and detrimental ones. Given this clarity, the Heart player becomes the team's emotional core, able to raise up each teammate's best qualities, while helping them deal with their worst, enabling everyone to be the best possible version of themselves - which the Heart player knew them to be all along.

LIFE / DOOM

Life and Doom are concerned with outlook, with journeys, and with trials and tribulations.

Life is an aspect concerned with healing, growing, and improving. It is associated with beginnings, optimism, and positive emotions. The very essence of Life lies in its healing abilities, in this idea of overcoming the odds and triumphing over hardship and difficulty. Life is action, movement, and motion, and its players can scarcely hold still. Life will find a way - and Life players harbor the same immutable belief; they are the most stubborn weeds in the garden, the cockroach that survives the apocalypse, and the beating heart that refuses to stop.

Life players tend to be optimistic and confident. They are self-assured individuals, with a stubborn belief that good things are on their way, and any hardship they face is not only temporary, but something that can be overcome. They can find the silver lining in any cloud, and enjoy themselves under any circumstance. They love to nurture, to care for others, though this love has a tendency to be one-sided. Indeed, Life's stubborn nature is its players' greatest pitfall; their persistence easily becomes obstinacy, and their confidence can become condescension. Their self-assured nature easily becomes egotism, and they can have great difficulty grappling with those who don't share their views - even coming to oppose those who bring emotional pain and suffering that can't be easily fixed.

It's very easy for a Life player to decide another person isn't worth their attention, and opt to leave them behind - after all, Life has to move forward, no matter what it tramples in the process. At their worst, they're stubborn to the point of not listening to anyone but themselves, confidence becoming blockheadedness. This focus on forward progress without looking back can even cause Life players to become harmful to others, so focused they are on their own growth that they don't notice that they're choking everyone else out. This may resemble Doom's death in its worst case - arresting everything else, eventually blocking even their own path with unruly, out-of-control fecundity.

Thus, a Life player needs to learn to more gracefully accept Doom's influence - to pause, slow down, and consider viewpoints that are negative, unpleasant, or difficult. A Life player, endowed with moderation, will be able to cultivate a bountiful garden, rather than an unruly jungle - a place for all to flourish and live in plenty, never wanting for anything.

Doom, then, is the aspect concerned with death, with rest, and with endings. Doom is associated with suffering and with negative emotions, with peace, with sleep, and with dreams. Doom players have a natural penchant for prophecy, and are often dual dreamers, able to take advantage of both Skaia's oracular clouds and the Horrorterrors' voices over Derse. All things must eventually come to an end, and not all times will be good; in these troubling times, Doom players shine, as they are the guides who call the murk home, and know best how to navigate rough waters, course-correcting until the storm passes.

Doom players tend to be deeply pessimistic. They experience, to a much more magnified degree than others, negative feelings and impulses, and it's difficult for them to see the world without seeing its flaws, first and foremost. They are not healers, but commiserators, those who understand greatest that sometimes there's no way to deal with tragedy but to simply sit with it and wait for it to pass. The counterpoint to Life's insistence on breathless positivity, Doom is a reminder that pain, grief, sadness, shame, and guilt are not unnecessary things - in fact, excising them can lead to terrible consequences. Doom players are the universe's martyrs, often taking it upon themselves to course-correct, to sacrifice themselves in order to give others a chance to continue on, to avert a terrible fate.

Unfortunately, this tendency also brings with it a tendency for Doom players to wallow in misfortune, or worse, to take themselves out of the picture, giving up entirely on seeing a better ending. As if energized by their own sense of futility, a Doom player at the "inverse" of their aspect may seem to echo a Life player's focus on forward progress and motion, actively spurring their team on towards an untimely demise.

A Doom player must learn to harness this sense of progress for good, rather than harm. A Doom player, once able to grasp the joy of life even in the greatest depths of despair, will be able to fill even the darkest hours with peace, meaning, and hope.

HOPE / RAGE

Hope and Rage are concerned with permission, and are the lens by which we define reality.

Hope is described by Hussie in the book commentary as being "framed as the most powerful aspect" because it is, literally, an aspect that defines reality. Its specific ability is lies in reducing the "fakeness attribute" of something, thus making it "real". Hope is associated with convictions, with idealism, with faith, order, holiness, and, of course, with magic - which Hope turns real. Hope is permission itself - a reality-breaking ability to look at the world and decree that it must be another way, a way in which the Hope player believes it ought to be.

Thus, Hope players tend to be hard-headed zealots, with no self-awareness whatsoever. Their inclination towards powerful beliefs makes them very difficult to dissuade from a path they've set their minds to, and their specific suite of abilities makes them terrifyingly likely to make their vision come true. Hope players are usually not particularly cunning, nor particularly intelligent, nor even particularly empathetic. Given the Aspect's focus on conviction and faith, it's usually very difficult for Hope players to notice anything occurring beyond their own minds and feelings. Thus are Hope players hopeless optimists, hopeless romantics, and hopeless in general - often great sources of embarrassment to their teams, as their naked sincerity is painful to witness. However, their ability to define reality does not leave them when their beliefs are faulty (which they often are, given Hope players are not particularly introspective, either), which is what makes a Hope player so dangerous.

A Hope player can easily be set on the wrong path - as convicted as they are, and as difficult to shake from that conviction as they can be, Hope players can easily march down a path of destruction, if not persuaded with a deft touch and gentle guidance. In the event that their faith is broken, Hope players easily become despondent and lost, floundering and wishy-washy, which superficially resembles Rage's self-consciousness, but is truly just a lack of direction.

But Rage has a powerful lesson to teach Hope players - that of questioning themselves, interrogating their own beliefs. Once their convictions have gone through rigorous scrutiny, revised into the best, brightest versions of themselves they can be, a Hope player is a worker of miracles - speaking into existence a beautiful future on faith alone, proclaiming that how they see the world is how the world shall be.

Rage, then, is the power of denial. If Hope reduces the "fakness" of a thing, then Rage reduces its "realness". Rage, too, is a means of defining reality, in this case taking a torch to the aspects of reality that it rejects. In more passive Classes, this works in subtler ways, stoking others towards destructive fury. Rage is associated with anarchy, chaos, revolution, destruction, anger, and nihilism. A Rage player will not suffer a world that does not satisfy them, breaking it to pieces, such that something new can take its place.

Therefore, Rage players are prone to harboring anger and resentment, discontentment with the status quo, and faith only in that what currently exists must somehow be dismantled. However, unlike Hope players, who can't help but be pathetically sincere, Rage players are incredibly self-conscious, and often try to mask and hide their embitterment and anger. This, ironically, leads to further ostracization, as others can tell they're being inauthentic. This only further compounds their sense of alienation, and drives them further into smoldering resentment. This makes Rage players sound volatile and dangerous, and they are - but the same fury that moves them is the fury that ignites revolts and tears down oppressive regimes, a necessary and vital well of energy and momentum. It takes careful handling to ensure that the team's Rage player can channel this energy towards righteous causes, rather than marking all as a target for their destructive ire.

In the worst-case scenario, the Rage player turns that rage out indiscriminately, deciding that there is nothing worth fighting for - only unpleasant things to be brought to ruin. This is Rage at its toxic overabundance. Conversely, a Rage player can retreat so harshly into their mask that they allow others to dictate their beliefs, taking them to heart - an action motivated by Rage's destruction (this time, turned inwards) that superficially resembles Hope's convictions and faith.

The true path for a Rage player is a healthy balance - to allow themselves some of Hope's sincerity, and by doing so, to become more sincere and true. This will let them release the pressure of their mounting ire, such that it can be converted into productive, rather than destructive, energy - the heralds of a revolution, razing away the faulty, corrupt old systems such that something better and new can take their place.

CLASS

As previously stated, Class governs a character's character arc - the character's starting circumstances, whether their conflict is primarily internal or external, and what major aspect of their Aspect becomes a hurdle for them to overcome.

In the same way an Aspect's sways tie into the character's base personality, the character's Class abilities tie into the kinds of struggles they face, and have great influence on how their Aspects manifest.

That being said, a character - and their Class - are always subject to their Aspect, as their Aspect is tied fundamentally into who they are. Thus, it can be said that a Light player will always have an affinity for knowledge and provide Seer-esque guidance even when not in a Seer role, a Doom player will always have prophetic abilities even with a non-prophetic class (note that Mituna, an Heir, still had prophetic visions, despite those generally being the realm of Mages and Seers), and a Life player will always have a penchant for healing, even paired with a destructive Class like Prince or Thief (the Condesce, after all, could still extend life; a Prince of Life would likely manifest not as one who causes plants to wither and die (this would actually suit a Prince of Doom), but one who destroys in the way of nature overtaking an abandoned shack, or a forest breaking down a body).

This means that when a character's Classpect inverts their Aspect, it doesn't mean that they suddenly become a hero of the opposing Aspect - rather, it means that, at their very worst - at the nadirs of their character arcs - they will lean so much into their Aspect's worst traits that it will superficially appear as the opposite, when all it really is is an absence of themselves. Dave, a Time player, usually so attentive to detail (despite his disaffected facade, he's always paying rapt attention to Karkat's rants, and noticing all the clues pointing to his destiny of defeating LE), at his lowest emotional point (arguing with Grimbark Jade after sobbing about his lost childhood whimsy), states that he doesn't think Lord English is that big a deal, and never even did anything directly bad to him or his friends - when he was literally directly haunted by LE via Cal his entire childhood. Similarly, Rose drinks herself stupid in order to cope with her mother's death.

Note how, superficially, this almost appears to be an invocation of Space's "big picture thinking," its passivity and permissibility, or how Rose's case appears to be Void's tendency to indulge in vices and pleasure - but they're not. Time's worst traits superficially resemble Space, Light's resemble Void, and vice versa - Grimbark Jade is the Condesce's taskmaster, and Porrim at her worst was as much of a nag as Kankri, trying to do a Time player's managerial job. Horuss and Equius at their worst won't shut up and won't stop talking over their partners. So on and so forth.

Finally, Calliope tells us a couple things about Active/Passive pairings. The first is that Calliope introduces the idea of paired classes with the idea that both Rogues and Thieves "steal" (and later, that both Princes and Bards "destroy"). This presents the idea that both classes can be roughly summed up with the idea that every pairing can be summed up with a common theme.

The second is her description of what makes a Class Active versus Passive - that Active Classes move their Aspect to benefit themselves, whereas Passive Classes allow their Aspect to be moved in order for others to benefit. In a way, they're like active and passive voice in grammar (to tie in with the way Classes and Aspects are so tied to ideas of narrative and character arc) - an Active Class performs their Aspect, and a Passive Class allows the Aspect to be performed "by others" (the famous piece of advice regarding telling the two apart being that a sentence written in passive voice can have "by zombies" tacked to the end of it - eg, John is attacked "by zombies", as compared to active voice - John attacks).

Thus, the Class pairings, along with their basic themes, are as follows:

KNIGHT - / MAID +

"One who controls."

Knights and Maids are paired together through two key factors: the first is that they both hold leadership or managerial roles; the second is that both classes carry the connotation of serving a Lord. Fittingly, they are both struggle with the control of malicious forces - Knights with prophecies indicating their role as heroes, Maids with direct usurpation by malicious forces.

PAGE - / HEIR +

"One who inherits."

Pages and Heirs are paired together because they both fundamentally deal with the great inheritances placed before them. Pages can come into incredible, limitless power - but they must struggle and work hard for it; Heirs begin the game in societal comfort and wealth, and must learn to defect from their decadence.

THIEF - / ROGUE +

"One who steals."

Thieves and Rogues are highly adaptable, as Thieves are capable of fantastic on-the-fly adaptation, whereas Rogues have an infinite toolbox at their disposal. They are both provocateurs, shakers of the status quo, though the Thief does so for personal gain, while the Rogue does so to right injustice.

MAGE - / SEER +

"One who guides."

Mages and Seers are tied together by the gift of prophecy and future sight. Seers are privy to the endless branching paths that the future may take, while Mages are gifted with the ability to outright determine a future that will certainly happen, appearing to be prophecy.

WITCH - / SYLPH +

"One who changes."

Witches and Sylphs are individuals blessed with great magic, but poor judgement. Sylphs heal and nurture, but are drawn to those with strong desires, and enable them to cause great harm; Witches, meanwhile, possess strong emotions, which they often use as moral guidance, for better or worse.

PRINCE - / BARD +

"One who destroys."

Princes and Bards are representatives of society - the one who determines its course, and the one who recounts its passing. Princes suffer from a toxic overabundance of Aspect, and are prone to spectacular meltdowns, whereas Bards are always poised for a crisis of faith. Both are responsible for catastrophic failures - but also breathless victories.

INDIVIDUAL CLASSES

KNIGHT

"One who controls [Aspect] or controls using [Aspect]."

Knights are frontline warriors, rallying points behind which the party falls into line. Although they are often leaders, just as often, they are logistical planners, strategists, or simply the team's beating heart. They are almost always thrust into positions of narrative significance, often carrying grand destinies or even outright heroic prophecies on their shoulders. The are the party's rallying force, its center, and a guiding light - the one to lead the charge, behind which the party will follow.

The primary character struggle a Knight will have is with crippling insecurity. Knights are prone to self-loathing and imposter syndrome, and will often adopt a façade in direct opposition to their aspect (ie, their fundamental personality) in order to cope with their feelings of inadequacy. Thus, their relationship with their aspect becomes love/hate - though they're naturally drawn to their aspect, and even naturally skilled at utilizing it, they have a tendency to become their own worst enemy, as their insecurities make them push their façades, and their façades distance them from their aspect.

"Controlling their Aspect" means that the Knight has easy access to their Aspect, wielding it like a tool or weapon - for good or for ill; "controlling using their Aspect" is what grants Knights their leadership abilities, able to dictate how others ought to act in accordance with the Knight's Aspect - whether their understanding of their Aspect is high or low, whether their advice is good or bad.

Therefore, at their worst, a Knight will fall prey to their insecurities, retreating into their facades, rejecting their Aspect, which will allow disharmony or misuse of it to proliferate throughout the team. They may even wind up deliberately twisting their Aspect's presence within the team so that they never have to be confronted by it; these distortions ripple outwards and eventually culminate in major catastrophes, all on account of the Knight's negligence.

But at their best, a Knight is a shining beacon and guiding light; when they come to terms with themselves, and allow themselves to be comfortable in their own skin - when they no longer allow themselves to be ruled by their insecurities and anxieties - they ensure that their aspect is harmonious wherever it appears throughout their party, and can wield it expertly as a weapon, as if it were their own flesh and blood.

MAID

"One who allows control through [Aspect] or allows [Aspect] to be controlled."

Unlike Knights, which take positions of frontline prominence, a Maid is a managerial presence in the backlines, though no less crucial for the smooth functioning of a party. Just as the invisible hands of the hired help keep a household running, the Maid will be called upon to provide vital services to keep the game stable, even if those services are more noticeable by their absence than their presence. Maids are often the party's unsung heroes or even shadow leaders, tugging at invisible strings, fingers on the pulse.

A Maid's primary character struggle will be that of escaping oppression. Maids tend to start the game in positions of subjugation or subservience, especially to malicious forces, and their abilities often end up being exploited to serve their masters' ends. Therefore, one may even have the impression that a Maid is ruled by their aspect, held prisoner and slave - at least until they're able turn the tables.

"Allowing their Aspect to be controlled" means that Maids are capable of directly dispensing their aspect unto others - a Maid of Time can dispense time unto foes, pausing them in their tracks; a Maid of Life can grant so much life that they can revive the dead. Their boons are great and direct, straightforward in a similar manner to Knights. "Allowing control through their Aspect" grants them their uncanny managerial abilities, as their aspect dictates the realm in which nothing occurs without the Maid's knowledge or permission, a realm made available to whomever the Maid's allegiance lies with.

Thus, at their worst, the Maid becomes a saboteur. Exploited by malign forces, their abilities to allow control over others through their aspect, or control of their aspect, makes them perfect vehicles by which their aspect can be hijacked or usurped, and made to turn against the party, and they often find themselves placed into these positions through no fault of their own. It takes the party banding together to shake off the forces that would keep a Maid in bondage.

However, at their best, Maids ensure that the party can never go too far off the rails. There is a place for everything, and everything will be in its place; a Maid is a supply line, a safe haven, and a promise that everything will be neat and tidy when the party returns from war. When the Maid belongs to themselves, their homestead becomes a fortress, and nothing occurs under the Maid's watchful eye without their express permission.

PAGE

"One who works to inherit [Aspect] or inherits [Aspect] for themselves."

Pages are a class defined by promise. As the name suggests, a Page begins weak, but has the great potential to develop into one of the most powerful players in the game. The exact nature of a Page's powers are vague, not because they are insignificant, but because they are so great that it's difficult to encompass them all. At the apex of their arcs, Pages are capable of miraculous feats, overpowering even Lords and Muses - if only they could reach that point and stay there.

A Page begins the game weakest of all, reflective of their long journey of growth. Where most classes only fall into deficit of their Aspect at their lowest emotional points, Pages begin their arcs in deficit - exhibiting character traits opposite to those their Aspect normally encompasses. Moreso than any other class, a Page must learn to grow into their Aspect. Weak-willed, naive, and easily hurt, Pages require careful nurturing if they're to come into their own.

"Working to inherit their Aspect" describes the endless journey of growth the Page must undertake - one with many missteps, backslides, and setbacks along the way. Still, they "inherit their aspect," meaning that their full potential, when realized, is overwhelmingly great - practically becoming their Aspect in humanoid form, capable of utilizing it to its glorious full potential.

However, their nature defeats them, and even if they can attain this state, the Page usually can't stay there for long. At their very worst, the Page's deficit of their Aspect's better qualities can turn the Page into a gravitic well of misfortune - an albatross about the party's neck, the centerpoint, if not inciting incident, of a massive disaster, as their team is sucked in by the Page's natural weakness.

But this is only true as it contrasts to a Page at their best - having grappled and won with the greatest of all weakness, a Page is poised to come into the greatest of all strength. Shown kindness, compassion, and support, a Page at full power reflects a party at their best. A Page at full strength is breathtaking to behold, an unstoppable force of nature, their Aspect made manifest.

HEIR

"One whom [Aspect] grants inheritance or inherits [Aspect] for others."

Heirs, in contrast to Pages, start the game strong. They usually belong to the upper echelons of their respective societies, a position of great wealth, leisure, and comfort, and are set to be inheritors of even greater wealth. Similarly, their Aspect comes to them as if of its own will - it is powerful, but difficult for the Heir to control, reflecting the wealth and status they've enjoyed as birthright.

An Heir's main challenge is that of examining their privilege, and learning where they wish to spread the gift they've been given. Because of their positions of sheltered comfort, Heirs are not particularly world-wise, and often harbor massive blind spots to the suffering of others and the ills of society. As such, they tend to be fairly aimless, given great power but no strong motivations, and have a tendency to simply indulge in their Aspect without contributing great help or hindrance to their team at all.

The Heir's Aspect is practically an independent entity. Being one whom "their Aspect grants them inheritance" refers to how the Heir starts powerful, able to summon their Aspect to perform great, miraculous acts. However, it is highly intuitive and difficult to control. The Heir's challenge lies not in attaining great power, but in attaining control over, and the ability to direct, their existing abilities. Once they do, they can "inherit their Aspect for others" - Heirs become a conduit through which their party can experience their Aspect, making it a usable pool of wealth for them all to draw from. However, because of their comfortable positions, many Heirs end up dallying, finding no pressing need to do so.

But this dallying hides a ticking clock. An Heir's inheritance will come to them, one way or another, and if they aren't ready to receive the great responsibilities that come with such great power, then the power will eventually consume them. An Heir with no clear direction will eventually become lost to their Aspect, entirely removing both from play. Like how wealthy inheritors simply become part of the status quo, so, too, does an Heir disappear into their Aspect, fixing it in place.

Thus, Heirs must learn where they have been blind, where they have been foolish, and what it means to be underprivileged. Then, once they turn their energies towards addressing those injustices - to taking responsibility for building a better future - when their wealth comes to them, they'll be able to distribute it where it's needed most. An Heir, fully-realized, brings their Aspect to heel, and makes it a resource available to their entire team, as if welcoming them all into the family.

THIEF

"One who steals [Aspect] or steals using [Aspect]."

Thieves are, as the name suggests, greedy - much of their arc revolves around a desire to amass wealth, though what's considered "wealth" varies based on the Thief and especially their Aspect. They tend to be callous people by nature, capable of ignoring or trampling over the feelings of others in order to take what they want, in the hopes of filling an emotional void the Thief may not even be fully aware of.

The Thief's playstyle is one of careful resource management. Reflecting a natural tendency to take "wealth" from others, Thieves are unable to use their Aspect without first "stealing" it - a subtractive act which leaves the victim bereft of the Aspect, weakening them in the process. Because of the finicky nature of these abilities, it takes great cunning to be a Thief, and the Class both demands and requires the player to be adaptable, flexible, and quick on their feet, able to effect complicated schemes and engineer the perfect situations for their powers to have the greatest effect. Thieves aren't necessarily strong, but they have a very high victory ratio, because they're experts at turning a situation to their own advantage.

"Stealing their Aspect" refers to the fundamental way in which the Thief class is played, this resource management game; "stealing using their Aspect" reflects how the Thief often becomes a malignant force within the party, viewing their own teammates as caches of wealth to plunder. Thieves are naturally prone to hurting others for their own purposes, craving drama and attention, and being of such callous dispositions that they're able to perform extreme acts of cruelty given the right motivations.

Thieves often become a target of ire within the party, disruptive forces whose quest for personal wealth and fulfillment comes at the cost of those around them. At their worst, they can bring so much heat down upon their own shoulders that the party feels the need to treat them like an enemy, which is disastrous for party harmony. Moreover, it's disastrous for the Thieves themselves, as Thieves seek wealth to compensate for some emotional emptiness, and making enemies of their friends only serves to deepen their ennui.

Thus, a Thief must be taught that true happiness and fulfillment doesn't come from the struggle for wealth, but from the building of something better with those they care about. A Thief, thus turned to heroic purposes, becomes the party's pinch hitter - an adaptable spy, an unpredictable maverick, an element of surprise - and above all, a reliable ally, capable of turning any tide in the party's favor.

ROGUE

"One who steals from [Aspect] or steals [Aspect] for others."

Rogues, on the other hand, call to mind such figures as Robin Hood, stealing from the rich to distribute to the poor. Rogues are at their best when they're agents of a well-planned heist, as they possess an unlimited toolbox - their own Aspect - to play with. Their Aspect is a treasure trove, just waiting for the Rogue to plunder it and share its riches - if only the Rogue can figure out how.

Rogues are forces of revolution. They naturally carry a rebellious spirit, one which bristles at injustice, takes a stand against authority, and questions the status quo. Their ideas are unfocused, however; they know they must rebel, but usually don't start with a clear idea of against who or what. They know that their society is injust, but they don't know how to address that injustice. They know there are villains, and may even know these villains' identity, but they don't know how best to defy them. In a similar way, they're often lost as to how to utilize their Aspect beyond its most basic applications, and usually require external assistance in order to bring out its full potential.

Rogues' true potential lies in "stealing from their Aspect" - an additive act, rather than a subtractive one, as a Thief's stealing is. Rogues are capable of removing their own Aspect's sway over another entity, allowing it to exhibit the characteristics of the opposite Aspect; a Rogue of Void can create things out of nothing, a Rogue of Heart can tease out behaviors and actions. They can also "steal their Aspect for others," allowing them access to their own Aspect's suite of abilities as well. This allows the Rogue incomparable flexibility, their abilities - like their dispositions - rebellious and subversive.

But their rebellious spirit, coupled with their lack of understanding as to who their real enemies are, is dangerous when left unchecked. Rogues often suffer from a failure to start, giving up on trying to understand the deeper implications of their abilities, and of the society they can't seem to find contentment in - but they can also suffer from a worse fate: rebellion without a cause. Rogues' free spirits can lead to them bucking the status quo in ways that actively harm others, performing acts of taboo or poor taste just because that rebellious energy needs to be put to use somewhere. These can have disastrous knock-on consequences, as some things are taboo for good reason.

Thus, Rogues need to be guided - to make connections with others, and come to a greater understanding of the world at large. Once they know their target, and what needs to be done, the Rogue makes sure there are no obstacles along the way - no safe is uncrackable, no prison inescapable, and no problem unsolvable, so long as the Rogue is there to work their magic.

MAGE

"One who guides [Aspect] or guides [Aspect] for themselves."

Mages are prophets, of the "always correct" variety - or so it seems. In actuality, Mages don't "predict" the future, they "choose" it - in a setting where the future is mutable, the Mage's ability is to speak into existence a future they desire, to tip the scales of causality and collapse possibilities into a single definite course. Their Aspect is the lens through which their "prophecy" occurs, a realm in which they command the fabric of reality itself.

As if to karmically balance this incredible power, Mages are afflicted by deep and terrible sadness. They start the game miserable, having been subjected to the greatest injustices their Aspect can offer, tormented by guilt, shame, and self-loathing. Their worldview has been shadowed with a lens of suffering and anguish, and so, too, is their view of the future. Mages usually begin the game having already set several prophecies into motion, and these early prophecies are usually obstacles that the party must overcome.

Mages "guide their Aspect" - this refers to the way their prophecies, that is, their chosen futures, always come true. Their visions may be limited to the sway of their Aspect, but it remains a powerful ability nonetheless. "Guiding their Aspect for themselves," then, outlines the Class's Active nature - the futures the Mage picks must be ones the Mage believes will come to pass.

Unfortunately, Mages have a tendency to pick ugly futures. This isn't out of malice or anger; this is because Mages start the game sad, and without intervention, grow sadder. They're prone to spirals of negativity, self-loathing, and depression, and as their outlook dims, so, too, do their forecasts. Mages suffer, but even suffering can grow familiar - can even appear comfortable or desirable, if the Mage suffers long enough. It's easy for them to grow so accustomed to misery that misery is the only outcome they can see - spelling doom for the rest of the party, one prediction at a time.

But a Mage whose party shows them kindness and forgiveness, compassion and empathy, can pull them out of their misery. How beautiful, then, the future appears! A Mage who believes in a brighter future is a force to be reckoned with. When a Mage can bring themselves to say, "and everyone lived happily ever after," you had better believe they did.

SEER

"One who who is guided by [Aspect] or guides [Aspect] for others."

Seers, meanwhile, are the true future-sighted, able to see the myriad paths the future could take. Like Mages, their Aspect serves as the lens by which their vision is colored; the Seer can sense, with fine accuracy, which paths are closest to the sway of their aspect, and which paths will take them further away. As if gifted with a guide to the game, their intuition is tied directly to the mechanics of SBURB, and they serve as the party's guides, a role indispensable in a game with so many moving parts.

Seers will struggle with blindness, first by hubris and ego, and then by self-harm. Seers begin the game quite full of themselves, proud of their prowess in their Aspect - usually arrogantly so. When this pride is inevitably shattered, Seers have a tendency to deal with their feelings of shame and guilt with willful, self-induced blindness - as if flipping a switch, they become ashamed of the pride they once placed in their Aspect, and seek to place as much distance between it and themselves as possible. There's comfort in ignorance, even if it renders the Seer useless.

Seers are "guided by their Aspect" - able to sense its presence, they gravitate toward it, and towards futures with it in abundance. And, in the same way, they "guide their Aspect for others," lighting the way for others down the path of greatest reward. Seers truly love their Aspect, no matter how much they may misplace their faith in it, and seeking it out is a great joy for them.

This is why a Seer at their worst is so tragic. By inducing intentional blindness within themselves, they are functionally deadening the strongest part of their soul. No matter the temporary relief this brings to the sharp, jagged pain of shame, it invariably deepens the Seer's suffering, as they deny themselves not only their own joy, but their ability to help others - another act which inherently delights them.

Thus, a Seer needs to be made to deal with their shattered ego head-on, to accept their own shortcomings, to become at ease with the idea that they don't have all the answers. Once their vision becomes clear, and their view becomes honest, the party nevermore has to fear becoming lost or straying from the path - the Seer will see to that.

WITCH

"One who changes [Aspect] or changes [Aspect] in others."

Witches are the winds of change, tweaking reality all around them until it suits their desires. A Witch is presence that commands both fear and respect, and their Aspect bows down before them, reduced to a mere minion in the Witch's presence, ready to attend to all their needs. In a way, the Witch's powers are straightforward - they can manipulate their Aspect as they desire, changing its qualities as they see fit. "How they see fit," then, is where the issue lies.

Witches are usually of "outsider" status, never truly being part of the society from which the rest of the party descends. Free from the same rules and common sense that govern the others on their team, Witches instead operate on a value system heavily reliant on their own emotions. What a Witch deems to be correct, to be true, or to be righteous, are often based not in any objective measure, but in subjective, emotional bias - and they're emotional creatures, indeed. Prone to fits of great anger, Witches can be benevolent one second and malicious the next, and their abilities let them imprint, to a greater degree than any other Class, their desires onto the world that comes after them.

Witches "change their Aspect," as in, the crux of their abilities lies in manipulating the qualities of their Aspect in their surroundings - extending, shortening, magnifying, shrinking, growing, removing… so on and so forth. It's a fearsome power. They also "change their Aspect for themselves" - their Aspect is hapless but to obey their desires; Witches change the world to suit themselves, and their feelings of how things "should" be often become how things "are" in short order.

Thus, a Witch who has been swayed toward evil entities and nefarious ends is a truly dangerous opponent - and it is unfortunately easy for this to happen. Witches' social isolation means they tend to trust their emotions, and a force that flatters these emotions can easily win a Witch's trust. By the same token, those that fail to flatter the Witch are often considered enemies, even if they're benevolent forces. A Witch's morality can thus become warped and topsy-turvy, which has grave consequences for the world that the Witch then shapes.

Therefore, a Witch's struggle lies in learning to see beyond their own emotions, to take in the opinions and assistance of others even when it seems superficially unpleasant, to move beyond the childlike rejection of that which is uncomfortable. Once able to see a more nuanced form of right and wrong, once able to tell evil from good, Witches can build even utopia.

SYLPH

"One who allows [Aspect] to change others or changes [Aspect] for others."

Sylphs are nurturers and healers; they bring to mind fey folk whose very footsteps cause plants to grow. Wherever they go, whatever they touch, all becomes suffused with the Sylph's Aspect, which flourishes under their careful cultivation. Sylphs adore their Aspect, and their Aspect adores them; Sylphs generally feel at peace with themselves, surrounding themselves with what they like.

A Sylph's main challenge - or rather, the main challenge that Sylphs wind up posing the rest of the party - is that Sylphs are enablers. They're attracted to those with strong wills and extreme dispositions, amused by the havoc they wreak and pleased by their attention. Sylphs love to pick out favorites and lavish them with care and attention, excusing any wrongdoing on their behalf and shielding them from consequences. At the same time, those who don't strike the Sylph's capricious fancy find themselves discarded in the Sylph's mind, shut out from the boons the Sylph can provide.

A Sylph is "one who allows their Aspect to change others" - this almost always manifests as healing, as it's an additive ability (that is to say, the Sylph can grant more of their Aspect to someone). "Changing their Aspect for others," on the other hand, explains this enabling nature of theirs - the Sylph will intervene to make the world into a playground for their favored individuals, even to the point of turning other, less "interesting" teammates into playthings for the Sylph's beloved.

Thus, while the Sylph themself isn't particularly prone to wild mood swings and acts of malice, their influence can still cause disaster by allowing unscrupulous individuals to flourish - even encouraging their worst tendencies. A Sylph's touch is subtle, but that subtlety only lends it an insidious quality, as the Sylph quietly works against the good of the many for the cruel, selfish pleasures of the few. At their very worst, the Sylph can deem themselves their only favorite, and render everyone else a minor character in their one-man show.

Thus, Sylphs must be challenged. They must be made to reckon with the fact that favorable treatment is not necessarily kindness, and that bias can easily become harm. When a Sylph is able to grasp the difference between bias and doing good, and tune their approach toward that greater good, uncolored by bias and personal preference, then there is no place safer, kinder, and more conducive to growth than the Sylph's embrace.

PRINCE

"One who destroys [Aspect] or destroys using [Aspect]."

Princes are the most anxious, psychologically anguished members of a party. They suffer from a toxic overabundance of their Aspect - its traits are taken to an extreme, and not only the Prince, but those around them, are made to suffer for it. Princes are naturally set on a path of self-destruction, the culmination of their uncontrolled accumulation of their Aspect, and their meltdowns are spectacular, taking their Aspect - and whoever is unlucky enough to be in the same room - with them.

A Prince's challenge, therefore, is as simple to understand as it is difficult to overcome. The Prince needs to learn how to calm down, relax, and find inner peace. Princes are terribly prone to circular thinking and downward spirals. Their natural inclination is to feel anxious and responsible, like they carry the weight of the world, and this causes them to act out in extreme and aggressive ways. Eventually, others pull away, put off by the Prince's intensity. This only deepens the Prince's malaise, and Princes are - pushed by this hovering sense of urgency and catastrophe - willing to employ drastic, desperate measures to enforce compliance with their wills. They wake on their moons early, reflective of their driven natures. They're determined to a frightful degree, and no sacrifice is too great, no work too dirty, if it means achieving what they see as the greater good.

Princes "destroy their Aspect" in this way - by presenting their Aspect at its worst, they make others take distance, ruining it for everyone else. Their hard wills, intense emotions, and unshakeable drive to do what (they feel) needs to be done - at any cost - is their source of power. Thus, Princes "destroy using their Aspect" - their toxic overabundance of Aspect lets them channel it into a pure, annihilatory force; what they lack in the delicate utility of the other classes, they make up for in raw, ruinous power. Princes can easily deal the greatest damage in a combat scenario, their ability to destroy overriding nearly everything that would stand against it.

Thus is the problem with Princes. They're ticking time-bombs of anxiety and frustration; when they finally go off, they carve a path of destruction, before ultimately self-destructing, leaving no trace of their Aspect behind. Not only that, but it's very difficult to defuse the bomb early; Princes have finicky, aggressive, and complicated personalities, and tend to react poorly to straightforward attempts to calm them down and reason with them. They often appear to be their own worst enemies, marching inexorably toward their own destruction.

But Princes not only can be saved, but must be saved. They must be saved because kindness and compassion must exist for their own sake, and a Prince rescued from their own worst tendencies is living proof of the truth of that sentiment. A Prince, given the peace they need to reorient their priorities, will not rest until they see a brighter future realized. They will be the first to rise, and the last man standing, banishing - as if by royal decree - all obstacles, all enemies, all misfortune, and all ills.

BARD

"One who invites destruction through [Aspect] or allows [Aspect] to be destroyed."

Bards are the wild cards of a party, responsible for both improbable victories and catastrophic defeats - sometimes both in a single session. The methods by which a Bard works are a mystery to even the Bard themselves, which make it easy for the party to dismiss their powers - and, by extension, the Bard themselves. After all, who would expect there to be consequences for something so ridiculous as a Bard?

Bards are usually targets of abject ridicule by their teams. They can't help it - they're religious types, or at least types that hold great, lofty, ridiculous beliefs near and dear to their hearts. A Bard's primary struggle invariably winds up being a crisis of faith. Bards begin the game with a positive, "correct" faith in their Aspect; however, something will inevitably occur that shakes the Bard's faith in this viewpoint to its core. In this state, Bards are incredibly fragile, and it's very easy for them to succumb to whispers of cruelty and destruction, for their beliefs to warp, and for the Bard to come to serve the worst aspects of the society they represent.

A Bard "invites destruction through their Aspect" - their powers are subtle, but have catastrophic effects. Bards are instinctively drawn towards causing the first flap of a butterfly's wing, which cascades into a grand, impossible karmic backlash. They "allow their Aspect to be destroyed" by being the conduits for the forces of their faith - whatever faith they hold - to wreak unimaginable consequences across the game.

Thus, a Bard must not be allowed to fall into darkness. The cost is too great. They must be treated with kindness, patience, and sincerity, and given a chance to re-establish their faith in a better, brighter future. If this can be done, then at the party's direst moment - in their darkest hour - they will find that kindness paid back a thousandfold, as an innocuous act by the Bard that no one remembers balloons into a miracle.

[bearflinn]

Writing Advice: Worldbuilding as Tension

One of the most common pieces of advice/points of critique I see for writers of all skill levels, is avoiding exposition dumps, often accompanied by the age old 'show don't tell'.

When writing fiction in general, but especially sci-fi and fantasy, it's important that the reader understands how your world differs from our own. And worldbuilding is one of the few places where you're less likely to get hit by the proverbial SHOW hammer, since some things, like the rules of your magic system, are difficult to show. So telling becomes more permissible.

However, it can be incredibly tempting to just infodump at every opportunity. Especially for those of us who have a wiki with more words than the finished project will have. But as I'm sure you've heard before, doing this can break immersion and destroy the pacing of your narrative.

While there are multiple ways to make exposition engaging, I'm going to focus on the approach I use most commonly: The Drip Feed.

Filling an Ocean One Droplet at a Time

Before we get into the actual methodology, I want to take a moment to dissect how and why exposition dumps can be problematic.

The Problem: Context, Relevancy, and Retention

Context is both the thing we're trying to communicate, and the source of excessive exposition. It starts simple, like maybe the reader needs to know that the main character is poor. And I guess I should explain why they're poor. Next thing you know you've spent 4 pages describing the socioeconomics of your world.

That's what I call 'context chaining'. Since everything in fleshed out worlds is interconnected, it can be very easy to just keep on filling in the gaps. Preemptively answering any questions the reader might have. The problem?

Relevancy. When you introduce a ton of worldbuilding in one fell swoop, the vast majority of it won't be relevant to the current place in the narrative, even if it will eventually be relevant for the story overall. Which, you guessed it, hurts:

Retention. Without immediate relevant context for the worldbuilding you introduce. Readers won't have anything to anchor the information too. Calling back to the example I used earlier, readers will remember that the character is poor, and they will likely remember why. Anything beyond that is unlikely to be retained.

The solution?

Restraint and Trust

For many of us, the world we've built is a large draw of the narrative we're crafting. However, one of the best ways to draw people into your world is to talk about it as little as possible. But how will they know about x?? They won't, until it matters.

Now I'm not talking about soft worldbuilding. This will work for both hard and soft worldbuilding (honestly it's even better for hard worldbuilding).

Instead of straight up telling the reader about the world and all of its intricacies. Introduce the most complex aspects as questions that you answer bit by bit throughout the narrative. As an example, maybe our poor character is struggling to buy food because they went into debt casting spells.

Suddenly, the reader is wondering: Why do spells cost money? Who controls the supply of magic and/or components? Is spellcasting something everyone can do? What kinds of magic are more valuable than eating? and so many more.

But here's the key: don't answer them. At least, not until absolutely necessary or there's an organic place to do so. Wait until the perspective character is directly interacting with one of those questions. Maybe they walk past a trickling fountain, revealing that the mana wells are running dry. And later debt collectors come for the main character, revealing who controls the mana.

Unanswered questions are a huge source of tension, and worldbuilding can provide a subtle sustained undercurrent that you can leverage to propel the narrative in slow points and/or make your payoffs hit even harder. All you have to do is answer the right question at the right time.

The best part of this method is that by waiting until your perspective character is engaging with a part of your world. It allows you to convey exposition and character at the same time. But what about worldbuilding that the characters don't interact with directly? It doesn't matter.

Well it does, to you as the author. But in general, if something doesn't matter to at least one of your characters, it won't matter to your readers. If your character isn't a politician, they aren't going to care about the intricacies of your political system. So why would the reader?

In short, keep any worldbuilding closely tied to your characters' experience, and let the reader wonder. The end result is a smoother and more engaging learning curve that pulls the reader in. Giving them the satisfaction of putting the pieces together themselves.

If you have any questions or additional thoughts let me know!

[mesetacadre]

How can I stop my otherwise well-meaning friends and myself from falling into the trap of Adventurism?

Adventurism is so appealing because it interfaces with (1) an understandable impatience to see change and with (2) the individualism conditioned into people by growing up in and existing within liberal frameworks and common pathways for understanding societal and historical change. If, for the formative years of your life, the dominant ideology of capitalism, that being liberalism in all its branches, is educated into you through all possible channels, especially history, it's to be expected that an individual who decides to participate in some of that change will see themselves as an agent in and of themselves. If your perspective on both history and current events can be boiled down to a simple concatenation of events whose only common motor is the free will of the most remarkable individuals, then you will try to act like one of those remarkable individuals and create one of these events through the only motor of your free will. And, the set of actions and attitudes that fall under the category of adventurism meets those frameworks very neatly for the radical extremes of liberalism. It's both the far left of liberalism and far right of liberalism that find adventurist methods appealing, though for describing the attitudes of that far right, using accelerationism is more common and IMO more accurate, but at their core, adventurism and accelerationism are the same methods modified by the particulars of their corresponding ideologies.

That is an erroneous way to look at the world of course, history is moved by the forces exerted by massified classes, themselves defined by their role in the mode of production, as well as the historical forces that serve as a precedent. It's not remarkable individuals who move history in any direction that they please, it's history and the weight of the context in which they exist that limits and expands the possibility of their action. It's more than the simple sum of all individual parts. Individuals are not agents, they are constituent parts that can only effect change when they act like so, organized as constituent parts, aware of the limitations and possibilities afforded by the past and present context. If you want to avoid the pitfalls of liberalism and individualism, such as adventurism, you should commit to a conscious change in the framework through which you see history, because adventurism is logical in one framework, and isn't in another.

This whole CEO murder business has had people of all stripes (such as myself, even if you think I'm a wet blanket) making fun of the situation. I also don't particularly care for the life of a capitalist. But there is also a smaller group of people who seem to believe this is significant. And within that, I think there is another division. First, the people who think this is significant because they believe that healthcare insurance providers have now been bullied into giving a better service, or because they believe that now all CEOs across the board will be scared themselves and do better things (or even because apparently now everyone will be hunting their nearest CEO). These are all various forms of engagement with adventurism. The second group of people, who I think are being much more reasonable, see the generalized perspective on this being that of celebration, that such a bad person got their comeuppance, and that this is first a proof that it's still very possible to stimulate class consciousness in the US working class, and that it is second a good opportunity to stimulate it.

While this is in some ways true, the class consciousness in display ("even by trump supporters", as if the difference between them and US democrats even existed) is one that's extremely unconscious. People dislike this guy because he's notorious among healthcare insurance providers and even his predecessors for denying a lot of claims. This is individualism again, people dislike him individually and maybe they dislike all individual healthcare insurance providers CEOs, or even all individual CEOs regardless of sector. The vast majority of people celebrating who you wouldn't expect aren't class conscious, they're class unconscious from decades of consequent liberal punches to their liver, heart, and head. Most people dislike him as an individual, and it's not very difficult to hate all CEOs without ever stepping off the wide bounds of liberalism and individualism. In fact, it's the placing that of pointless hate at the center of your ideology that's preventing you from shedding the ideology of capitalism.

And no, I don't mean to say that it's pointless to talk to your lifelong republican uncle about this or whoever, and I would encourage my USamerican followers to use this event to their advantage. But you can't think that just hating CEOs is a good enough base to develop a revolutionary consciousness. You need to begin seeing the world through a class lens, only then can you only really understand the impotence of adventurism, and that it lies in the fact that it does not engage with change through class, but through the individual, who by itself is an insignificant agent of change.