#and a mythology book that has a lot of cultures but less myths about each one

[americangodstalk]

American Gods’ incomplete bibliography (1)

On his website, Neil Gaiman left, in his own words, an “incomplete bibliography” tied to America Gods, listing various books he used during his research and writing process. He does point out that the bibliography is incomplete, put together from memory, and that the books in it range being extremely important to the creation of American Gods to just a way for him to check one or two things while writing, so with each book he lists he adds some commentaries to precise their use. 

1) The Richard M. Dorson books

Neil Gaiman explains that the work of Dorson was one of the reasons “American Gods” was even created. The opening quote comes from Dorson’s texts, and Neil Gaiman got the idea (and desire) to put John Chapman/Johnny Appleseed in his novel upon reading Dorson’s account of the figure. Neil Gaiman describe these books as “vigorous, sensible and informative”, and he explains that they greatly helped him understand folklore and learn a lot about it. Neil Gaiman lists four Dorson books:

Bloodstoppers and Bearwalkers: Folk Traditions of the Upper Peninsula

American Folklore

American Folklore and the Historian

Buying the Wind: Regional Folklore in the United States

2) America by the road

Here is a handful of books talking about... let’s say “America by the road”.

Roadside America (1986, Jack Barth, Dough Kirby, Ken Smith and Mike Wilkins)

The New Roadside America (1992, Mike Wilkins, Ken Smith, Doug Kirby)

About these books, Neil Gaiman precises that there is more content in the revised edition, but that the essays of the first edition are longer and it feels less crammed. The second edition has 80 more pages to its account, while the first edition rather presents color photos. He also insists that the books are less fun than the website corresponding to them, (www.roadsideamerica.com) which holds a lot more surprises and wonders. (I haven’t checked if the website is still up)

America Bizarro ; in Neil Gaiman’s own words “strange festivals, state by state”

3) General mythology books

In Neil Gaiman’s own words, “some handy books that may be of use to the casual reader”

Who’s Who in Non-Classical Mythology

Neil Gaiman thought of this book as “genuinely useful”, and it is where he discovered the Slavonic myths (and where his fascination for it started out)

A Dictionary of World Mythology

According to Neil Gaiman, “not unuseful even though it has nothing on the Slavonic myths”. 

Encyclopedia of Gods

Neil Gaiman barely used it, says it basically recycles a lot of things you can find elsewhere, and it has some glaring mistakes, such as describing Sleipnir as “winged”. But, he still included it in the bibliography because it has entries on some deities that other books tend to skip over, such as Coatlicue.

Myths and Legends of All Nations

According to Neil Gaiman, “a fine potted history of about 22 cultures and their gods”. He especially points out that pages 190 and 191 contain info about kobolds that might be extremely interesting to whoever finished reading the novel. Overall, Neil Gaiman judges it “readable and interesting”, even though he points out he only used the book to “check stuff”, not as a main source. 

#american gods bibliography #american gods #bibliography #neil gaiman speaks #books #novel #resources #general mythology #roadside america #american folklore #neil gaiman

[dwollsadventures]

Magnus Chase Project Idea

The next thing for my list of projects is something a little closer to home and achievable, but also perhaps less anticipated. 

Percy Jackson was the first series of novels that I ever read of my own volition. It instilled a love of reading and appreciation of mythology that continues to this very day. When I heard that Riordan was going to be writing a series based on Norse mythology in 2014, I was ecstatic. Unlike before, I had a basis of knowledge to draw from to prepare for the books. When the books were released and I read them though, I felt a little disappointed. I actually have a large document that I wrote back in 2017 detailing all of my criticisms, but I’ll summarize them here: 

Magnus Chase as the protagonist goes through a very well defined and meaningful character arc in the first book. It’s probably one of the only things that make him stand out from Percy Jackson, who he can sometimes read as a carbon copy of. In the subsequent two books, however, he loses everything that made him special. His identity as a peacemaker and healer, and his choice to not use Jack the sword as a weapon are all forgotten about. 

Rick Riordan’s passion for Greek and Roman history oozes out of everything he wrote for his previous books. And while he did make an attempt, the mythology presented in Magnus Chase and the Gods of Asgard is one of its greatest flaws. The gods of the stories are shallow, one-joke cut-outs compared to the complex parents and power players in PJO. Heimdall is the worst example. Rather than echoing themes and remixing myths, oftentimes the characters play out recreations of Norse myths word for word during the course of the story. Norse mythology has a lot of large gaps in its content, meaning that an author will almost certainly have to bridge them with their own creations at some point. Riordan chooses to do this by mixing in modern culture and folklore from the 1800’s of Scandinavia. 

This book was not the first to feature cross-overs from other Riordan books, but it is the one that leaned the most heavily on them. Annabeth’s inclusion in the first book was appropriate, but it seemed like pandering to include Percy in the last one. When reading reviews to refresh myself for writing this, a good percentage of them cried out about their insufficient screen time. 

Slavery. The mythology point above makes me the most peeved, but this one baffled me as I read the books. One of the first einherjar characters introduced is Hunding, from the Volsung Saga. In the Saga, another of the characters, Helgi, kills Hunding, and his reward for the victory is that Hunding becomes his slave in Valhalla, commanded to “of every hero / Wash the feet, | and kindle the fire, / Tie up dogs, | and tend the horses, / And feed the swine | ere to sleep thou goest”. This is present in the books, but couched in PG13 language, so that Hunding is Helgi’s “servant”. One of the main cast of characters is Thomas Jefferson (TJ) Jr., a runaway slave that died fighting in the Civil war. In the third book, one of the other main characters replays a scene from mythology where she gets a bunch of jotunn slaves to accidentally kill each other. This character then apologizes to TJ for killing the slaves and they make up off-screen. Hunding is never rescued from eternal slavery, the existence of slavery in Valhalla is never acknowledged, the end. 

So what? Why did I list all of my gripes with the series and put it under the future projects title? Well, after I wrote my laundry list in 2017, I capped it off with a “what I would do” section. I’ve never been able to get into the realm of fan fiction. But what about fan rewrites? Rewriting the book chapter by chapter with my own changes? 

The reason I haven’t done this is because, again, I don’t have a foot in the fan fiction world, and for most of my time I’ve thought that spending so much time and effort working on something like that would be a waste of my time when I could be working on my own stuff. But recently I’ve been rethinking that. Finding the motivation to work on my own Acronym Pending series is conflicting with my anxiety about perfecting it so that I don’t tear it down a month afterwards. What if working on fan fiction doesn’t trigger this response? After all, the hard work’s already been done. If I end up doing this, it will be because I can’t bring myself to work on the TDG, which is bad, but it would mean something is still getting done, even if it’s something I cannot claim as 100% my own. 

What would I do differently? Here’s a few examples:

Magnus is not a demigod. Demigods are not a big thing in Norse sagas or myths, and it links the series too much to the previous ones. 

Samirah would not be a valkyrie, but another of the einherjar. 

Valhalla and the Norse elements would not be modernized, at all. 

Hearthstone’s father would be Volundr. 

Overall, the story would be closer to a runaway tale rather than a hero’s journey. The overarching mythological theme would be focused on breaking the cycle. 

#magnus chase #magnus chase and the gods of asgard #mcga #magnus chase spoilers #rick riordan #writing #writing idea #fan fiction idea

[demi-shoggoth]

2022 Reading Log pt 28

136. Drunk Flies and Stoned Dolphins by Oné R. Pagán. This book is about pharmacology, the possible evolutionary benefits of drug use, and the documented cases of animals using drugs, both in lab and wild settings. It might be partially because I’ve read a lot of books on similar topics, but this one stood out to me only in that I didn’t like the authorial voice. It felt vaguely condescending. The book is mostly a literature review, and not a particularly engaging one at that. There were some studies I was unaware of (like a follow-up study to the infamous “elephant on acid” experiment), but overall I wasn’t impressed.

137. The Hidden written by Neil Christopher, illustrated by Mike Austin. This is a book about Inuit mythology and folklore, primarily looking at anthropomorphic gods and other humanoids: giants, fairies, hags, etc. The book has descriptions of the monsters in question, and quotes from tales told to the author over the course of his research. The writing is good, but the art is better. Austin has a very naturalistic style, making the various trolls, dwarves and deities within look like actual people, and actual Inuit people, with authentic dress and features. For people interested in the cultures of the American Arctic, and/or for people interested in monsters, this book is highly recommended.

138. Fascinating Shells by Andreia Salvador. This book is similar to The Smithsonian Handbook of Interesting Insects, in that it’s a reprint of a British book showcasing photos from the London Natural History Museum, with a paragraph or so of text for each specimen. I liked this book much more than that one. Possibly because I know less about mollusks so am less judgey about books on the subject, possibly because Fascinating Shells had only one author, as opposed to the four (!) of Interesting Insects. The shells are organized loosely taxonomically (in that gastropods are grouped together, then bivalves, etc., but not within clades). Some of the information in the paragraphs of text are about biology, and others are focused on the cultural history of that species or specimen.

139. Unmask Alice by Rick Emerson. This is one of those true crime books that reads like literary fiction, and this is also one of those true crime books that shows empathy for the survivors and the victims. The topic is Beatrice Sparks, a literary ghoul who preyed on the fears of adults about children to push fearmongering about teen runaways, LSD and Satanism, and who preyed on the grieving family of a teenager who committed suicide for fodder for her lurid forgeries. Those forgeries, books like Go Ask Alice and Jay’s Journal, masqueraded as “true stories”, while Sparks claimed to be a doctor of psychology. Emerson argues that Jay’s Journal was Patient Zero for the Satanic Panic, which is not an angle on that moral panic I had heard before.

139a. A History of Food by Maguelonne Toussaint-Samat, translated by Anthea Bell. This is another book that’s not necessarily bad, but I put down because it is way too long and too dense for me at the moment. It’s 675 pages of stream of consciousness about culinary history, making all sorts of broad, universal claims with very little citation to back it up. There’s a “select bibliography in English” rather than an actual works cited, which seems somewhat suspicious to me. To give you an example, the book begins by talking about means of cooking in bags and skins before ceramics or metalworking, then moves to honey, which is the “first food” because of its role in a handful of myths, not actual history, then a detailed history of French spice bread and the rivalries between towns, followed by some information about mead making. I could see myself coming back to this book at some point, but I have many other books to read, and do not especially have the patience to sift through the author’s very dense and florid style.

140. Action Park by Andy Mulvihill with Jake Rossen. This is the memoirs of one of the sons of the man who created and ran Action Park, a New Jersey water park where safety, logic and insurance requirements were not welcome at the gates. The book soft-pedals Gene Mulvihill’s many crimes and indiscretions in favor of an “all in good fun” sense of nostalgia, which sort of makes sense because the main author is his son and worked at the park. You can almost see the author struggling with cognitive dissonance when writing about the deaths and more grisly accidents on park grounds. The book ends with an epilogue of how he briefly ran the park before being pushed out by investors, and comes close to, but not quite, being a rant about how the snowflakes in the government won’t let people give themselves whiplash anymore. There’s some fun sections (such as the opening, which is a description of going down the infamous Cannonball Loop, and the trial run of the too-dangerous-even-for-Action-Park Bailey Ball), but you’d probably have more fun and use less time reading the Wikipedia page or watching YouTube videos on the topic.

#reading log #action park #poor life choices #food history #inuit folklore #animal behavior #drugs are like that #true crime #satanic panic #marine invertebrates #mollusk

[destieldailynews]

John’s Journal, Indian Missions and the Lesbian Nuns

January 16th, 2021

By @lateral-org​

Our staff had a lot of conversations about how to frame this topic. None of us are Native American so we wanted to make sure we didn’t spread any misinformation while still using our platform. Our compromise was to try to speak using sources for information rather than personal opinions.

TL:DR

It is our responsibility to educate ourselves on Native American history. Even moreso as Supernatural fans, since so much of the show’s mythology is derived from Native American beliefs. Native Americans are still forced to live under oppressive laws constructed by the people responsible for the deaths of millions of their forefathers. Raising awareness is the first step to combatting this injustice. Links to more resources and places to donate are at the end of this post. 

We’ve gotten a few confused asks about how this post relates to John’s Journal entry. In the post it makes some remarks connecting the journal entry to children being tortured. The aim of this article is to provide the missing context linking the two together and why it matters. 

Here’s the quote from John’s Journal:

January 24: Dean turns seventeen today. We went shooting. Then I sent him out on his first hunt. I’ve let him take the lead before, but I’ve always been there to back him up. This time he’s on his own. Partly it’s a test, and partly I wanted some time with Sammy. Should be no problem for Dean. Ghosts of two nuns haunting St. Stephen’s Indian Mission in Riverton, Wyoming. Simple salt-and-burn mission. Nuns in love with each other, then discovered. Killed themselves. We scoped the situation out, figured that something must be left behind that’s now a focus for the haunting. Bible, rosary beads, some small article that’s hidden somewhere in their room. I figured Dean would take care of it no problem, but I still stayed close by with Sammy... [Sam wants a normal life] … Dean took care of the nuns just like I thought he would, but I don’t think I’m going to be sending him on any more solos soon. That one was a little tense.

And that’s all she wrote. So why does this matter? It doesn’t talk about killing kids, just about lesbian nuns who were part of an indian mission. What’s the problem? Well, let’s start with the basics. 

What is an Indian mission?

Basically, an Indian mission is a reeducation camp for Native Americans. 

From an article published on History.com about indian missions in California:

The main goal of the California missions was to convert Native Americans into devoted Christians and Spanish citizens.

Spain used mission work to influence the natives with cultural and religious instruction.

Another motivation for the missions was to ensure that rival countries, such as Russia and Great Britain, didn’t try to occupy the California region first.

Why is that so bad? 

Indian missions contributed to the loss of hundreds of thousands of Native American lives. 

From the same article:

The mission era influenced culture, religion, architecture, art, language and economy in the region.

But, the missions also impacted California Indian cultures in negative ways. Europeans forced the natives to change their civilization to match the modern world. In the process, local traditions, cultures and customs were lost.

Some critics have charged that the Spanish mission system forced Native Americans into slavery and prostitution, comparing the missions to “concentration camps.”

Additionally, Spanish missionaries brought diseases with them that killed untold thousands of natives.

Prior to the California missions, there were about 300,000 Native Californians. By 1834, scholars believe there were only about 20,000 remaining.

Now back to the post that spawned this question: 

When OP (@fettcockfriday) says, 

spend some time thinking about why you latched onto “lesbian nuns” over “children being tortured and murdered.” did you not know what an indian mission was? did you think it was less interesting, or less important? sit with that for a while. 

To someone who doesn’t know the history of Indian Missions and wasn’t paying close attention to the journal entry, this feels like it's coming out of nowhere. With context, though, you can understand where this comes from. 

In the journal entry, the Indian mission only has the weight of any other convent nuns could reside in. This is a problem rooted in the american habit of erasing the ugly parts of its history. I highly doubt that Alex Irvine thought twice about the relevance of indian missions when he wrote that into the diary entry, which is the problem. 

From IllumiNative: 

American students learn some of the most damaging misconceptions and biases toward Native Americans in grades K-12. In fact, 87 percent of history books in the U.S. portray Native Americans as a population existing before 1900, according to a 2014 study on academic standards. For many Americans, we no longer exist.

With minimal mention of contemporary issues and ongoing conflicts over land and water rights or tribal sovereignty, Native Americans have become invisible and it can be argued that it makes it easier for non-Natives to take the lead on creating their own narratives about us. Our invisibility makes it easier to create and support racist mascots or over sexualize caricatures of Native women in everything from fashion to Halloween costumes.

For the well-being of Native peoples and future generations, these false narratives, the invisibility and erasure of Native peoples must end.

Native Americans are still disenfranchised, suffering under oppressive laws constructed by the people responsible for the deaths of millions of their forefathers. Attempts to reeducate native children are still happening to this day. The only way to move forward is to face the past and listen to the voices who have been kept quiet for so long. 

Resources:

Links for educating yourself:

The Traumatic Legacy of Indian Boarding Schools-The Atlantic

The Erasure Of Native America

History of Residential Schools- Indigenous People’s Atlas of Canada

We Were All Wounded at Wounded Knee-TikTok

How this affects white Americans: 

Whose Land Are You On?

Did You Know... All These States Have Native Names!

UNIST'OT'EN | Background of the Campaign

Thanksgiving - Tumblr

Knowledge Center- First Nations 

Ways to Donate:

#settlersaturday, gofundmes for native people

Ways to Give- First Nations

Support Us - Native American Rights Fund

Support the Wet'suwet'en Hereditary Chiefs!

17 Organizations Providing Emergency Food Relief to Native Communities During COVID-19

Support Native American businesses: 

Birch Bark Coffee Company

Indigenous Cosmetics

Red Planet Books and Comics - Unleash Your Indigenous Imagination

Orenda Tribe Clothing

20+ Native American-Owned Businesses to Shop

Please tag, submit, or link any other accounts or resources related to this topic to us @destieldailynews​, we will reblog as much as we can.

#destiel daily news #john winchester's journal #the lesbian nuns #native american history #indian missions #resources #signal boost #sources #donate #january 16th #information

[celiabowens]

underrated SFF books (YA and Adult)

So uhm, since I keep seeing the same books on my dash all the time (and I like them too, just...there’s more! to read!) here’s a list of less popular SFF books, divided into YA and Adult. I’ve tried to mention when there is lgbt rep and the trigger warnings. Also, books written by poc will be in bold. Please point out any typo or mistake or if I’ve forgotten specific rep/tw mentions.

All of these are books that I’ve read and enjoyed (by enjoyed I mean anything from 3 stars and above), but if anyone wants to add titles please feel free to do so!!

YA:

The Star-Touched Queen by Roshani Chokshi: beautifully written, fairytale-like story rich in mythology (inspired by several Hindu myths. There’s a full list on goodreads indicated by the author herself). Roshani’s prose is gorgeous.

A Crown of Wishes by Roshani Chokshi: it’s a companion novel to The Star-Touched Queen, but both can be read as a standalone. I liked this one more than its companion and I particularly loved how the romance was written (slow burn, but specifically, the author really highlights the mutual respect between the characters, we love to see it).

The Young Elites by Marie Lu: fantasy trilogy set in a world inspired by Renaissance Italy, in which children who survived a mysterious and deadly illness ended up with strange and dangerous powers. Secret societies and a female villain!

The Kingdom of Back by Marie Lu: historical fantasy following Mozart’s sister, Nannerl, a girl as talented as her brother, but afraid of being forgotten because of the lack of opportunities she has to be seen and heard. Nuanced sibling relationship, no romance.  

The Midnight Lie by Marie Rutkoski: fantasy f/f romance! Both a coming of age story set in a society with a rigid class system and a slow burn f/f romance with a lot of banter. TW: abuse.

The Weight of Feathers by Anna-Marie McLemore: magical realism. The book follows two families of traveling performers that have been locked in a feud for over a generation. This was the author’s debut and I remember getting an arc of it and being impressed by both the prose and how the forbidden love trope was handled.

When the Moon was Ours by Anna-Marie McLemore: another magical realism novel. One of the main characters is a trans boy and the book focuses on issues of racism and gender. One of my favorite YA!

Strange Grace by Tessa Gratton: fantasy romance set in a village that periodically sacrifices a young man in order to keep a deal with the devil that ensures their prosperity. Also, polyamorous and non-binary rep.

The Rise of Kyoshi by F.C. Yee: first book in a duology following avatar Kyoshi’s life. It explores the political and cultural aspect of the Earth Kingdom and Kyoshi’s past. Bisexual rep.

Descendant of the Crane by Joan He: sort of a murder mystery fantasy, as the main character finds herself suddenly thrust into power once her father has been murdered. The story has a slow build up to a last part full of twists and machinations and it features lots of court intrigue. Warning: the ending is quite open and afaik there isn’t a sequel planned as of now.

The Bone Houses by Emily Lloyd-Jones: a quite unique take on zombies influenced by Welsh mythology (it’s super cool). The novel follows Ryn and their siblings, as they try to get by after their parents’ death by working as gravediggers. Only well, the dead don’t always stay dead. The characters read a bit younger than they are imo. There is chronic pain rep.

The Magnolia Sword by Sherry Thomas: retelling of the original ballad of Mulan. The book follows Mulan, who’s trained her whole life to win a duel for a priceless heirloom, as she joins the army. There’s a lot of political and historical details, which I really appreciated. Do not go into it expecting a fun adventure though. The descriptions of war aren’t extremely graphic, but be aware of the fact that most of the book is set during a conflict.

The Candle and The Flame by Nafiza Azad: standalone fantasy set in a city on the Silk Road! It’s a quite slow-paced tale about love, family and politics. It has lush descriptions of landscapes and cultures (and FOOD, there are some really great descriptions of food). It’s a very atmospheric book and while I struggled a bit with the pace I’d still recommend it.

Forest of a Thousand Lanters by Julie C. Dao: sort of an East Asian inspired retelling of Snow White, but following the Evil Queen before she became Snow White’s stepmother. I honestly haven’t read its sequel (which should focus on Snow White herself), but I do think this can be read and enjoyed as a standalone too.

The Queen’s Thief series by Megan Whalen Turner: it’s hard to point out exactly what this series is about because it has evolved so much with time. It starts out as classic quest/adventure series with The Thief (which may seem a classic and simple book, but is actually full of foreshadowing and has a really clever set up), but develops into a complex and intriguing political fantasy in The Queen of Attolia and The King of Attolia (and then goes back to the quest theme in book 5, Thick as Thieves).

Adult:

A Fist of Permutations in Lightning and Wildflowers by Alyssa Wong: I’m cheating with this one because it’s technically a short story but I love Alyssa Wong’s stories so I’m putting it here anyway. It can be read for free and you should just...read it.

The Poppy War by R.F. Kuang: grimdark fantasy (TW: abuse, self harm, rape, drug abuse), inspired by Chinese history. It’s adult, but follows younger MCs and the unique blend of different historical periods/inspirations makes it extremely interesting. The characters are extremely fucked up in the best possible way, plus the use of shamanism is awesome. Please make sure you check all the TW before reading.

The Sword of Kaigen by M.L. Wang: a Japanese-inspired militaristic fantasy, with elemental magic, a badass housewife dealing with her past and hiding a sword in her kitchen’s floor. It has interesting and nuanced family dynamics and a great reflection on propaganda and the use of narratives.

Empire of Sand by Tasha Suri: first book in an epic fantasy duology inspired by Mughal India (TW: abuse, slavery). I really liked both Empire of Sand and its companion and I find them pretty underrated. Both books have great slow burn romance (with a focus on mutual trust and respect) and focus on culture, religion, self acceptance and politics.

Gods of Jade and Shadow by Silvia Moreno-Garcia: a fantasy bildungsroman set in Mexico during the Jazz age. It’s a great approach to adult SFF as it follows a young girl on a life changing adventure. It features Mayan mythology and a god slowly becoming human (this trope is everything!).

The Bear and the Nightingale by Katherine Arden: a coming of age story inspired by Russian folklore. The trilogy as a whole has one of the best arcs I’ve ever seen: each book is perfectly self-contained and has its own arc, but also fits perfectly in the bigger picture of the trilogy. The atmosphere is amazing, the cast of characters is extremely well developed. Also frost demons are better than men.

The Binding by Bridget Collins: historical fantasy, but with very minimal fantasy elements. It’s set in a world vaguely reminiscent of 19th century England. I’d say this book is about humans and self discovery. It’s about cowardice and the lies we tell ourselves and those we wish we could tell ourselves. Gay rep. (TW: abuse, sexual assault, pretty graphic suicide scene).

The Divine Cities trilogy by Robert Jackson Bennett: starting with City of Stairs, it follows a female diplomat and spymaster(!!). The whole trilogy features an interesting discussion about godhood, religion, fanatism, politics, without ever being boring or preachy. It has complex and rich world building and a pretty compelling mystery.

Foundryside by Robert Jackson Bennett: heist fantasy following a thief as she’s hired to steal a powerful artifact that may change magical technology as she knows it. Set in a Venice-like merchant city. Also, slow burn f/f romance.

Jade City by Fonda Lee: sort of a gangster urban fantasy, heavily inspired by wuxia and set in an Asian-inspired metropolis. It follows a pretty big cast of characters, each with their own journey and development. It features nuanced family dynamics and a lot of political and economical subplots. Not extremely prominent, but book 2 features m/m side rep.

Trail of Lightning by Rebecca Roanhorse: inspired by Native American culture and specifically by the idea of subsequent worlds. It has a kickass MC and a good mix of original elements and typical UF tropes. TW: the book isn’t extremely violent but there is death and some gore.

A Memory Called Empire by Arkady Martine: space opera inspired by the Mexica and middle period Byzantium. It focuses on topics like colonialism and the power of narratives and language. It has one of the best descriptions of what it’s like to live in between spaces I’ve ever read. Also very interesting political intrigue and has a slow burn f/f romance (and a poly relationship recalled through flashbacks). I ranted a lot about it already.

Ninefox Gambit by Yoon Ha Lee: a Korean-inspired space opera with a magic system based on math. It’s honestly quite convoluted and difficult to follow, but it also features some of the best political intrigue I’ve ever read. Plenty of lying, backstabbing and mind games. It also features lesbian and bisexual rep and an aroace side character (TW: mass shooting, sexual assault, abuse). I also really recommend Yoon Ha Lee’s short-story collection Conservation of Shadows.

The long way to a small angry planet by Becky Chambers: character driven space opera featuring a found family journeying through space. A fun read, that also deals with topics such as sexuality and race. Quite easy to go through, as the world building and plot aren’t particularly complex themselves. f/f romance.  

The Empress of Salt and Fortune by Nghi Vo: an Asian-inspired fantasy novella that gives a voice to people usually silenced by history. It follows a cleric (non binary rep) as they chronicle the story of the late empress, retold through objects that she used in her life. It focuses on bonds between women and the power that lies in being unnoticed. f/f side rep.

The Black God’s Drums by P. Djèlí Clark: an urban fantasy novella, based on Orisha mythology and set in an alternate, sort of steampunk, New Orleans. I really like how creative Clark’s worlds are and how good he is at writing female characters (which rarely happens with male authors).

The haunting of tram car 015 by P. Djèlí Clark: novella set in an alternate steampunk Cairo populated by supernatural entities. It’s set in the same world of a Dead Djinn in Cairo, which is a short story you can read for free.

This is How You Lose the Time War by Amal El-Mohtar and Max Gladstone: epistolary novella set during a time-travel war. It has gorgeous writing and an amazing f/f romance. As a novella, it’s quite short but it’s beautifully crafted and so complex for such a short book!

The Citadel of Weeping Pearls by Aliette de Bodard: a novella set in the Xuya universe (a series of novellas/short stories set in a timeline where Asia became dominant, and where the space age has empires of Vietnamese and Chinese inspiration), but can be read as a standalone. It’s a space opera featuring a disappeared citadel and the complex relationship between the empress and her daughter as war threatens her empire.

One for My Enemy by Olivie Blake: self-published urban fantasy following two rival families in New York. Sort of a Romeo and Juliette retelling but with gangster families and magic. Honestly recommend all of her books, I love how Olivie writes and especially how she writes female characters.

#book recs #book recommendations #adult sff #ya literature #lgbt fiction #litblr #listen this doesn't show in tags i'm DONE #done with this tagging system lol #also if there are mistakes please tell me!! #book rec

[samwisethewitch]

Polytheism

Most pagan religions are polytheistic in nature, meaning they believe in multiple divine beings. This is one of the hardest parts of paganism for outsiders to understand. In a culture where strict monotheism is treated as the norm, it can be difficult to wrap your head around the idea of worshiping more than one god.

Ironically, monotheism — the belief in a single, all-powerful creator deity — is a relatively new invention. Zoroastrianism, the first monotheistic religion, is only about 4,000 years old. In the big scheme of things, that really is not a long time. Evidence for polytheistic religion dates back much, much farther (like, up to 40,000 years). We could argue that polytheism is the natural state of human spirituality.

Within pagan communities, polytheism is often described as a spectrum, with “hard polytheism” on one end and “soft polytheism” on the other. Hard polytheists believe that every deity is a distinct, separate, autonomous spiritual being. Soft polytheists believe that every deity is a part of a greater whole. As we’ve already discussed, extreme soft polytheism isn’t actually polytheism at all, but monism — the belief in a single divine source that manifests in different ways, including as different deities.

Hard polytheism is pretty straightforward. Norse paganism is an example of a hard polytheist system. Most Norse pagans believe that Odin is distinct from Thor, who is distinct from Freyja, who is distinct from Heimdall… you get the idea. Each of these gods has their own area of expertise over which they preside. If you’re dealing with a love matter, you’re probably going to seek out help from Freyja rather than Thor — unless you have a close, ongoing working relationship with Thor. (We’ll talk more about these types of close working relationships in a future post.)

Soft polytheism can be a little harder for people coming from a monotheist system to wrap their heads around. I think Jeremy Naydler describes it best in his book Temple of the Cosmos (here discussing Kemetic/Egyptian polytheism): “Shu and Tefnut are distinct essences dependent on Atum for their existence… The image often used in ancient Egyptian sacred texts concerning the gods in general is that they are the ‘limbs’ of the Godhead.” Shu and Tefnut, who are described in mythology as Atum’s children, are an extension of Atum’s creative power. However, they are also distinct beings with their own thoughts, feelings, and agendas. (It’s worth noting that we also have myths describing Atum’s birth. He is not a supreme being or a timeless force like the Abrahamic God.)

Monism is soft polytheism taken to its logical extreme. In her book, Wicca For Beginners, Thea Sabin describes it this way: “Think, for a moment, of a tree with a thick trunk that splits into two large branches. In turn, smaller branches grow from the large ones, and still smaller branches from the small ones, and so on. Deity is the trunk of the tree, and the God and Goddess are the two main branches. The smaller branches that fork off of the two big ones are the worlds gods and goddesses…”

If you’re not sure what the difference between soft polytheism and monism is, here’s a good litmus test: If you believe in the existence of a supreme divine force, you’re a monist. If not, you’re a polytheist.

Many pagans are somewhere in between hard and soft polytheism. For example, you may believe that Zeus and Jupiter are different versions of the same deity, filtered through the lens of Greek and Roman culture, respectively — but you believe that Thor is distinct and separate from Zeus/Jupiter, even though all three of them are gods of storms.

To make things even more complicated, there are some pagans (and some atheists, for that matter) who believe that the gods exist less as autonomous beings and more as archetypes within mankind’s collective consciousness. Their stories resonate with us because they serve as mirrors for different parts of ourselves. In this sense, we create the gods in our own image.

This belief is how we get “pop culture pantheons.” Some people work with fictional characters as archetypes in their spiritual practice. After all, if Sailor Moon is the ultimate representation of feminine power for you, what’s stopping you from putting her on your altar? Some pop culture pantheons have actually broken through into mainstream paganism — there are a lot of Wiccans who work with Merlin, believe me.

This interpretation is a bit different from polytheism, and could really be its own post (or several), so for the sake of keeping things short and sweet I’m not going to go any deeper into it. If this interests you, I recommend reading the work of Jungian psychologists like Clarissa Pinkola Estés and Robert A. Johnson. You may even want to check out The Satanic Bible by Anton LeVay for a particularly spicy take on the idea that we create our own gods and devils.

Just know that you can still practice paganism, even if you aren’t 100% sold on the idea that the gods literally exist.

Your take on polytheism doesn’t necessarily have to match up with the historical cultures you take inspiration from. For example, you may be a hardcore monist, but find that you’re drawn to work exclusively with the Norse gods. Or, you may be the hardest of hard polytheists, but find that the Kemetic gods are the ones who really speak to you. This is all totally okay! One of the benefits of paganism is that it allows for a lot of personalization.

Now that we’ve got the types of polytheism out of the way, let’s address the other big question that comes up when pagans discuss polytheism with monotheists: Does that mean you believe all those crazy myths are true? Once again, the answer depends on the pagan.

Just like some Christians are biblical literalists who believe that the Bible is a factual historical account, there are some pagans who believe that their mythology is factually true. However, many pagans accept that these stories have fantastical or exaggerated elements, but still convey a spiritual truth.

There are multiple Norse myths about men being transformed into dragons by their lust for riches, the most famous of which is probably the story of the dwarf-turned-dragon Fafnir. (Yes, Tolkien did steal that plot point from Norse mythology. Sorry.) These stories aren’t really about the dragons, though — they’re about the corrupting power of greed. The stories are true in that they teach a valuable life lesson that resonated deeply with ancient Norse culture. But did dragons really roam the earth in ancient times? Probably not.

This is one of the most important skills for any pagan: finding the spiritual truth in a myth or story. If you read a myth about Artemis transforming a man into a deer because he spied on her while she was bathing, what does that tell you about Artemis? Next time you read or listen to a myth or folk tale, try to find the message at the core of the story. You may be surprised by how this changes your understanding of the mythology.

If you’re interested in paganism but aren’t sure where to start, it might be helpful to gauge where you fall on the polytheism spectrum. Are you a hard polytheist, a soft polytheist, or somewhere in between? Are you a monist? Do you believe the gods function more as archetypes? Write it down so you can look back on it later.

When we talk about specific pagan traditions in future posts, I’ll point out where they fall on the polytheism spectrum. If you’re looking for a path that is compatible with your own beliefs, this is one thing to keep in mind.

Finally, know that your beliefs about the gods might change as you continue to learn and grow. That’s a natural part of religious exploration, so don’t try to fight it!

#paganism 101 #pagan #paganism #polytheism #deity work #wicca #wiccan #feri #reclaiming #goddess worship #goddess #hellenismos #hellenic polytheism #hellenic paganism #religio romana #roman polytheism #heathenry #norse paganism #kemetic polytheism #kemetic paganism #eclectic pagan #baby witch #witchblr #long post #my writing #mine #pop culture paganism #pop culture pantheon

[yamayuandadu]

Wikipedia troubles, or “Father Enlil, (...) don't let your precious metal be alloyed there with the dirt of the underworld“

clarification regarding my post about troubles with a certain site i’ve been contributing to a lot for the past few months. To preface this with a mythical metaphor: in Inanna’s Descent, when Ninshubur pleads with the other gods to save Inanna, she uses the formula “don't let anyone kill your daughter in the underworld. Don't let your precious metal be alloyed there with the dirt of the underworld. Don't let your precious lapis lazuli be split there with the mason's stone. Don't let your boxwood be chopped up there with the carpenter's wood.” Currently this is what is happening to the Inanna article, I am afraid.

So, long story short, as most of you probably have noticed I am contributing relatively often to wikipedia as of late, starting with the creation of a Matara-jin article a few months ago. Among other things I wrote, rewrote or at least significantly improved the following:

articles about Mesopotamian medicine goddesses:

Ninkarrak from the western frontier, Nintinugga, who was associated with funerary offerings, Ninisina, who took over Inanna's gimmick in Isin, Bau, who became a healing goddess by chance, Gula, who eclipsed her peers - as expected from someone named “the great” articles about Inanna's courtiers and associated goddesses:

Ninshubur, her sidekick (my best work overall imo, the one article I wrote which I think fully deserves the “good” badge but I am not vain enough to apply myself), Ninegal, a goddess turned into her title, Nanaya, just the horny part distilled (bought a book just for this one!), Irnina, inexplicably cthtonic personified victory

articles about Mesopotamian gods too insignificant for anyone else to care about them:

Tishpak, a god so foreign nobody knows where he came from, Sebitti, seven warlike brothers, Enmesharra, Enlil's evil uncle, Urash, not the earth goddess – there are two... Urashes, Ningishzida, Dumuzi but with a snake gimmick, Zababa, a war god who's NOT Nergal, Ninimma, Enlil's court scribe, Gatumdag, popular as ersatz mom among kings of Lagash, Manzat, the rainbow

articles about Mesopotamian goddesses whose main trait was being someone's wife: Marduk's wife Sarpanit, Adad's wife Shala, Shamash's wife Aya

articles about Hurrian gods: Alalu, primordial vanquished king of gods, Kumarbi, his son, divine Saturday morning cartoon villain, Ninatta and Kulitta, a pair of divine musicians who always appeared together, Allani, oddly joyful queen of the dead, Šauška, who was so firmly genderfluid there's two of them in the most famous image of the Hurrian pantheon, Lelluri, a mountain goddess, Kubaba, who isn't Cybele, Goddess of the Night, who has no proper name despite being a case study in important religious rituals, Belet Nagar, who was like Ashur before Ashur got popular, Nupatik, who was important but we don't know why

articles about Eblaite gods: Ishara, “independent lady of love associated with scorpion and cannabis” popular everywhere where she went, Aštabi, a war god who really wanted to be like the weather god, Hadabal, who used to be famous but vanished out of blue, Kura, whose mask had to be renewed each year, Adamma, who left her husband to hang out with Kubaba

articles about Elamite gods: Pinikir, sort of like a bootleg Ishtar and an international sensation, Jabru, who exists only in Mesopotamian texts about Elam, Humban, mandate of heaven personified, Ruhurater, oddly obscure creator of mankind, Inshushinak, the underworld judge and his Akkadian helpers Lagamar and Ishmekarab, and Simut, the “strange star”

articles which were borderline unusable before due to low quality of sources:

Astarte, who was much more than vintage Bible scholars might lead you to believe (but not a fertility goddess), Dagan, who wasn't a fishman, Qetesh whose existence proves that Egyptians were fond of making ocs for their favorite foreign franchises

assorted articles about general topics pertaining to Mesopotamia:

Sukkal,  Hurrian religion (ongoing project), List of Elamite gods; also a much needed overhaul of List of Mesopotamian deities (ongoing project)

and, last but not least, a solid chunk of the Inanna article.

Two guiding principles of these ventures were the following:

people who cannot access academic resources or don't know how to use them and as a result rely on wikipedia aren't any less deserving of receiving up to date, credible information

Wikipedia's mode of operation isn't flawed in itself and the only problem is lack of will to edit it

I think I did a pretty good job at these two things, honestly. I made sure to rely on rigorous, credible, and, if possible, easy to understand sources, and removed the horrors which sometimes were hidden in bibliographies: a book written by a hate preacher who believed Bush didn't start enough wars; 1930s race science; what I can only describe as a hybrid of Woman's Encyclopedia and a bdsm manual; a fringe book asserting that Minoan palaces were graveyards and that Egyptians only learned mummification from superior Minoans; etc. Of course, it’s a thankless job, but as long as I could make the site more credible undisturbed, that’s fine by me. I even got some help in a few cases, most notably that of the god list, indicating that the work was on some level appreciated. The only problem I've encountered prior to today came from editing the Ereshkigal article – I've removed the claim the Burney relief depicts “Lilith”; this edit was however undone. I left a message on the editor's page, complete with links to articles about the Burney relief AND about the possible Mesopotamian forerunners of Lilith (who are undeniably not depicted on the Burney relief). They're responded rather dismissively to it, and asserted that even if unproven, a connection existed, so I pretty quickly gave up, as they relied on sources which were outdated or fringe. I focused on fixing two long, important articles instead: the god list, and the Inanna article. Some parts of it were alright, but there was much work needed: fringe theories trying to assign greater antiquity to relatively late myths, and frankly insane hyperdiffusionism, had a prominent place in the article, while well attested association between Inanna and similar deities from cultures closely associated with Mesopotamia wasn't, much of the info was outdated, scandalous hot takes about Dumuzi's treatment were all over the place, the section on Inanna's descent favored Jungian confabulations over credible research, etc. My progress on fixing that had been slow and steady. However, today the aforementioned person intervened when, in between editing the Inanna article and the god list, I reverted a dumb, brief , unsourced edit – made by a third party - which asserted that Inanna's descent is “similar to Persephone” which it isn't – if anything is similar to Persephone in Mesopotamian mythology it's Nergal and Ereshkigal. They pretty clearly didn't take it well: not only the unfounded speculation went back up, but they also added a “source” affirming it, from a controversial -medical- author, not an Assyriologist. They also added Persephone to the list of Inanna equivalents in the infobox, removing any credibility whatsoever from it. The author of the claim this is all about relied on sources so antiquated that they interpreted Inanna's sexual character as her being a child-snatching boogeyman. Inanna's primary connection to boogeymen is that she was invoked, alongside Nanaya whose sexual connection is even more blatant, to -ward off- child-snatching boogeyman Lamashtu (whose character was not sexual, because sumerians and akkadians weren't victorian aristrocrats and weren't paranoically afraid of sex - and why would a demon representing death in infancy be sexual in nature, anyway?). Simply put, the book in mention is worthless as a source. Of course, I reverted that; when it went back up (despite a justification being included in my reversal) I edited the Inanna article to remove this outlandish claim (you have a limited number of possible reversions per day for some arcane reason), also adding other information about Inanna I had prepared: a few tidbits on Assyrian royal inscriptions which involved the warlike and erotic aspects at once, suggesting that transgressors should lose both potency and bravery in battle, some info on love poetry about her and Dumuzi, that sort of stuff. The weird person reverted my edit – removing valuable info – and reinstated the claim. For a moment I lost my cool and reverted this edit, which sadly put me in the reversion overuse danger zone, but which was a necessary sacrifice to save the credibility of article I put weeks of work into. See the edit history here. As you can guess HaniwaEnthusiast is me. I left messages critical of this decision on the talk page of the article and on the talk page of the outlandish editor. Sadly, they responded rather rudely, and basically declared Wikipedia isn't meant to be credible, and that favoring academic sources over random crap is an “ivory tower” approach and should be discouraged; they also insulted me but that's much less relevant and much less hurtful than their desire to spread lies. If you ask me it's more of an ivory tower attitude to say people who cannot access or don't know how to use academic sources do not deserve equally credible info and need to be at the mercy of weird wikipedia editors. What's the main problem here, though? That person is a mod. Not a random user. They have 16 years of Wikipedia experience. They spread fringe, pop-spiritual claims about Lilith and the like, so I assume they have an ulterior religious agenda of some sort, which they seem to actively encourage judging from these ventures. I'm not sure if the Inanna article is a lost cause yet but I do think the weird addition of Persephone they made is a step into some hellish direction, and I am entirely certain I cannot win this conflict. Simply put, I think that if this is the sort of staff the site has, this is a lost cause. I am not sure if I will go back to editing.

[trans-cuchulainn]

I want to get into medieval Irish lit, where do I start?

welcome to the party!

gonna adapt this from a previous answer since i don’t think my thoughts have changed much, please note that these are amazon affiliate links so if you buy via these i get a tiny commission but ideally it’s better to try and support your local bookshop if you can!

a great starting point is táin bó cúailnge (big epic of the ulster cycle) -- either carson’s or kinsella’s translation. carson’s was my first intro to irish lit and i love the style, but kinsella includes more of the remscéla (prequels, fore-tales) that explain some of the background of the text, so can be a more logical starting point. really, you can go into the táin knowing absolutely nothing about medieval irish lit (i did!) and the availability of these editions makes it a really good first text to read

you might also find early irish myths and sagas useful -- it’s a collection of texts from the ulster and mythological cycles, trans. jeffrey gantz. i’d personally recommend ignoring his introductory notes for each story bc they’re now quite outdated and not always accurate, but the translations are solid enough and it’s a handy little collection that i use constantly

you could also try the celtic heroic age by john carey and john koch -- this is a great collection of sources, but they’re aimed more at an academic audience and they don’t try and smooth over the syntax or any gaps in the manuscripts to better suit a modern audience, so they’re not necessarily the best place to start if you’re brand new to the material (and it’s a bit pricier, as a book)

tales of the elders of ireland is a big finn cycle text, irish title acallam na senorach -- there’s a good, recent translation by dooley and roe. it’s maybe a little bit less immediately accessible than the táin because it’s long and has a lot of different stories woven into it, rather than being a single narrative, but it has a lot of really good stuff in it including werewolves, otherworldly music, animal transformations, and people being really keen to put their heads in st patrick’s lap

if you’re looking for some more academic books about the material, i would 100% recommend ireland’s immortals: a history of the gods of irish myth by mark williams -- it’s a great overview of the mythological material, looking both at the medieval texts and at their afterlives (e.g. the celtic twilight) and how they’ve developed over time, which can be a good way to see where some of the pop culture ideas came from!

i’d recommend staying away from victorian/early 20th century retellings (rolleston, yeats) because they’re generally a bit inaccurate and misleading. even the more straightforward retellings like lady gregory’s try and synthesise the texts into a larger, more coherent body which can give an inaccurate impression of what they’re actually like -- i have a ton of respect for lady gregory but it’s not a translation, and imo it’s better to get a sense of the stories themselves :)

i’ve focused on the stuff that’s accessibly available to the general reader in like. cheap, modern editions rather than academic stuff, but if you want more irish texts than the ones mentioned above, there are a lot of good academic translations available at the corpus of electronic texts (CELT) -- they’re generally on the older side but they’re at least a little more sound than some of the retellings you’ll find

you might also like to check out finn longman on youtube, who makes videos about medieval irish literature (@finnlongman)

hope this helps! :)

#reading list #resources #medieval irish #ulster cycle #irish mythology #no matter how many times i put together a reading list #i can never find it when someone asks me #i need to pin one to my blog or something #thebirdandthewyrm

[kanyniablue]

hws characters & belief in the supernatual

we’re not done yet w/ the headcanons

this is about interpreting the individual characters, not a statement on whether any real-life beliefs are true or not.

a.merica:  extremely superstitious but doesn’t believe he is.  every plane he’s ever flown, ship he’s ever sailed, and gun he’s ever carried has good luck charms.  his bomber jacket has lucky patches.  he wouldn’t let a rocket launch without first making sure the commander has lost a poker game.  and of course, no matter how secular he claims to be, he’s got religious--mostly protestant christian--imagery out the ass.  he’s got lucky rocks, lucky shoelaces, lucky underwear, lucky breakfast foods.  he particularly likes reverse-lucky things, saying black cats or the number 13 are actually good luck for him.  these are all “for fun”...except he would never go without them.  he half-believes in ghosts--moreso when he’s just watched a horror movie or it’s the middle of the night--but he’ll go on a ghost hunt at any time for any reason, just because it’s fun to believe (no i don’t believe he has a phobia of ghosts.  i think most of the things that cause him to feel real fear are too intense to be “fun,” so he likes horror movies and roller coasters and everything that can give him a thrill with no pressure).  he loves cryptids and gravity hills and the bermuda triangle, more for what they represent than what they actually are--finding bigfoot would just mean discovering a new species, which is great and all, but thinking bigfoot might be out there somewhere means you can go bigfoot-hunting or think you saw one in the background of a blurry photo.  his roommate is a literal space alien, but like, bro what if that was a ufo just now???

e.ngland:  he’s a sailor, of course he’s superstitious.  add into that how he can apparently see and talk to spirits, practices magic, and has sites like stonehenge across his land, he’s just going to outright tell you he’s not going to whistle on a boat and that he wants you to refer to macbeth as “the scottish play.”  he only gets upset about it, much like everything else he gets upset about, if you laugh at him.  the bigger question is, does he believe in the rest of the world’s superstitions or are they “silly legends and old wives’ tales” while his are real, and the answer i think is an “everyone else’s is fake until something happens right in front of me.”

f.rance:  he loves things like love locks on bridges (until they cause the fence to collapse) or visions from saints (esp jeanne d’arc), but he doesn’t necessarily believe they’re real.  more that it’s very romantic to think they’re real, and if something as strange as a Nation can exist, who’s to say other mystical things can’t exist too?

c.anada:  he has some old beliefs about where you don’t want to fuck around and find out--if you want a successful hunt you don’t insult the prey, if you don’t want to freeze to death you don’t talk back to general winter--but for the most part he doesn’t have that sort of belief system.  he’s a lot more about what’s directly in front of you and what it means in literal terms.

c.hina:  his grocery list always includes snacks for wandering spirits.  if he hears a strange noise in the house he talks to it like it’s a person, just in case it is.  he consults fortune tellers before buying a new cellphone.  his house is carefully organized for most harmonious energy flow right down to the color of paint on the walls.  yao lives by the rituals he’s made for himself, some of which are so ancient or personal to him that even the humans who study ancient chinese culture & mythology have never heard of them.  it’s not myth for him any more than tying your shoelaces to make sure you don’t trip is a myth--you do it because you know how these things work; you’d be foolish not to.

r.ussia:  he’d tell you no and furthermore any sort of supernatural belief is stupid, but don’t leave him alone in the middle of the woods where there might be...something.  this is mostly from after his revolution--in earlier days he’d have anything from good-luck hunting gear to lucky gambling dice.  he still has a lingering belief that talking about wolves makes them more likely to show up.  he couldn’t say why, except that it’s such an old fear even modernization couldn’t get rid of it.  he’d also never disrespect general winter, which is a theme with northern Nations.  (he’s also got his lucky rocket launch ritual, as mentioned in that ripley’s article i linked before...😒...)  much like alfred, he’s less scared/interested in a physical, literal being than he is in the concept--more afraid of being afraid than of dealing with an actual monster.

j.apan:  you’d be surprised; as someone who loves ritual and whose mythology is known the world over, kiku tends to disregard supernatural belief.  he’ll join in the activities surrounding holidays and ceremonies, but that’s more for the joy of participating than because he thinks it will actually change anything.  in his past he fully believed in all the things that caused those rituals to come into existence in the first place, but nowadays he considers them more “cute” or “fun” or “cultural” than “necessary.”  if one of the others comes over to his house looking for yōkai or something he’ll join in, but mostly in a mildly amused way.  not that he’d say that out loud, obviously; that’d just be impolite.  he is however sometimes outright rude to yao about his devotion to rituals, claiming he’s living in the past or holding up their business.  they’ve known each other long enough they don’t sugarcoat how they talk to each other.

north & south i.taly:  these two are super superstitious.  feli consults his horoscope for daily business and has good luck charms for everything from the weather to love to money to traffic.  he’s a gambler and a fisherman, he’s not taking chances.  lovi is a weird mix of catholicism-to-the-point-of-paganism and ancient roman rituals--not that he’s sacrificing animals to the gods, but it wouldn’t be unusual to see a miraculous medal and a roman god’s icon both hanging from his keychain.  they frequently swear by a broad selection of saints, they always eat lentils on new year’s, they’ve got a million idioms and hand gestures they themselves only half-remember the origins of.  they also get into arguments as to which of them is interpreting such-and-such sign or saint the ‘correct’ way.  feli also starts brushing off on kiku & ludwig when he hangs out with them; he’s just so into it they subconsciously start doing the same things he does.

g.ermany:  extremely no-nonsense, practical, matter-of-fact...except for how he’ll talk to his computer as if he can convince it to work better.  oh, and don’t take candy from strangers living in gingerbread houses or offering to take you to your grandmother’s house.  and much like alfred & ivan, he’s not scared of ghosts or monsters until he hears a bump in the night.

p.russia:  in his early years when he was devoutly religious, he was constantly praying, lighting candles, following his book of hours...usually after “smiting” a bunch of “heathens,” but like, it’s moral when he does it...but as time went on he became more interested in what could be scientifically proven.  even still early european science was a mix of magic, religious belief, and nature, and he basically did the same things as before except now he claimed it was all an experiment instead of all for the Glory Now And Forever Amen.  i firmly believe he lost his faith in any sort of religion by the end of WWI and nowadays he’d laugh off most of his past beliefs as ridiculous superstition.  since he ‘died’/got laid off from being a Nation he’s more interested on where the line between Nation and normal human exists, and where that goes past nature and into the supernatural--things he never really thought about when he could rely on his super-healing to keep himself alive and could feel his citizens’ emotions if they were strong enough.  those diaries he keeps have a lot of notes and observations along those lines nowadays.

#headcanon #hetalia #hws america #hws russia #hws england #hws china #hws france #hws canada #hws italy #hws japan #hws prussia #hws germany #hws romano

[solennitawrites]

WIP & Writeblr Intro!

About Me

You can call me solennita or A.H. or whatever your heart desires. I am in my late twenties, South American, bi, living with ADHD, and you can refer to me using they/them pronouns. I have been writing since I was a child but more or less had to set it aside from high school until last year when the pandemic hit and quarantine gave me an opportunity to finally revisit this novel trilogy idea I began about 15 years ago in a dilapidated, blue composition book and commit to actually completing it.

WIP Intro

Working Title: The Sapphire Room

Inspiration: South American mythology and legends (mostly Venezuela, but also Colombia, Chile, and Peru)

Genre: YA Fantasy, Latinx Fantasy, Adventure, Coming of Age

Status: Writing (Chapters 1-3 are up on Wattpad).

Premise: On the continent of Amasi, where a unique mineral, aranate, and advancements in metalworking have resulted in a highly secular and technologically developed society, two fifteen-year-old, orphaned girls have grown up together in Namina Boarding School, a remote institution situated in the middle of the swamplands at the edge of the Arúni Rainforest. One night, Nina and Adelaida discover a hidden object in Namina’s attic—a golden hourglass filled with diamonds and mysterious engravings. Nina and Adelaida begin to learn that this object is not all that it seems, and that familiar faces in Namina know more than they let on. Roped into a dangerous but enticing adventure taking them across all of Amasi, the two friends must face challenges beyond their wildest dreams and learn who to trust as everything they thought they knew begins to slip away. With dark and powerful forces threatening to destroy all life, can these two young girls learn the truth about Amasi’s mystical history, and themselves, to save the world before it’s too late?

Characters: Zafira Fam (Nina, Adelaida, Noémi, Milaraya, & Zo); Brujxs Fam (Maiara, Irália, Aracéli, Mireia, & Tamaya); Namina Fam (Amara Quila, Sol Acedo, Luciana Quíspe, Aria Nuali, Ortensia Rayena, Úrsula Bira, Valeria Vera, Candé Intira)

Tag Navigation: General TSR; Geography; Characters; Plot; Excerpts

Intro to Amasi Posts: Yanura, Orona, Guayra, Islas Maracainas (Maragua)

About My Writeblr

I hope to use this blog to help me work out world building and plot ideas, as well as character development and all that jazz! I’ll likely post excerpts here and there (many of which may just be background writing exercises for story building rather than actual scenes!) and welcome as much feedback and critique as folks are willing to give!

I'll also reblog writing resources, advice, tips, and of course, others' works and I'm open to tag games, asks/ask games, and just general getting to know each other! I may reblog non-writing posts here and there as well, which I’ll tag as “not writing.” 

I am still very much in early stages and my posting may be sporadic as I am graduating law school soon and then will be taking the bar in the summer, so hope y’all will bear with me :) But please feel free to let me know if you’re interested in being tagged in any of my WIP posts (and feel free to specify -- i.e., only character posts, only excerpts, etc.)!

About My WIP

My current WIP is tentatively titled The Sapphire Room. You can use the navigation links to check out TSR posts (general tag; excerpts; geography; characters; and plot). This is a project that has undergone a lot of revision from when I first had the idea at around 12 years old to now, when I’ve been able to dive more into world and story building.

A huge motivation/inspiration for my is the lack of latinx fantasy in YA fiction. I adore YA fantasy stories, YA coming of age stories, and YA adventure stories, but I’m tired of reading the same adaptations or variations on the very Anglo-centric narrative. Latinx history and culture is so rich and diverse, though much of the cultural stories have been lost today as a result of colonization and its aftermath.

I decided to reach out to my family about this and started collecting myths and legends from my South American country, and researching those from others in the region. There’s a lot of overlap among the stories shared, especially between Venezuela, Colombia, and Peru, as well as Chile to an extent, so this is where the basis for my worldbuilding really comes from.

As a first-gen latinx immigrant who grew up in a pretty conservative, Catholic area, stories like Romina Garber’s Lobizona and Tehlor Kay Mejia’s We Set the Dark on Fire would have changed my life. I want to make sure my story can serve a similar purpose for young, latinx readers who struggle to see themselves represented in stories they love.

I am very intentional about including racial representation (afro-latinx characters), gender and sexuality representation (queer, trans, and NB characters), and disability representation (characters with both physical and mental disabilities). Though I share some identities I will be writing about, I obviously will be going outside of my own experience in many ways and welcome all critiques and feedback on how I can improve in any of these aspects.

I am also being very intentional about writing an escapist and entertaining story where racism, colonialism, and trauma are not fundamental parts of the story. There will be conflict and pain and sorrow, but after seeing story after story that focuses on the toxic machismo in latinx cultures, on racism and colorism in fantasy settings, and other forms of discrimination and trauma in QTPOC fantasy narratives (all of which are really, really important stories to tell!!), I really am aiming for my story to be different and serve as an entertaining escape.

As mentioned, please feel free to let me know if you’re interested in being tagged in any TSR posts and please feel free to send any feedback, questions, criticisms my way at any point!

#mine #writeblr #writing #my wip #original #wip #worldbuilding #writblr #latinx writing #latinx fantasy #latinx #latine #latine writing #latine fantasy #latine writers #latine authors #latinx authors #latinx writers #queer writing #queer writers #intro post #welcome to writeblr #TSR #fantasy #fantasy writing #fantasy stories #ya fantasy #lgbtq writing #writing with color #writing with adhd

[mistwraiths]

3.5 stars

Évike is the only girl in her village without magic. The Woodsman come to her village and take a wolf-girl away, and they never return. After a betrayal, Évike is sacrificed to them. However, after a monster attack, the only Woodsman left with her is the prince, Gáspár, and he has a better plan. Help him gather pagan magic so his father can keep the throne, or his vicious bastard brother will seize it akknd bring death to pagans and other cultures as well. Through their travels, they start growing closer and soon have to decide what side their on and what they're willing to risk for a nation that's only ever hated them.

I actually enjoyed this book overall but I rated it a bit lower because this book felt too long in places with not a lot happening. Which is odd because the plot is interesting and should be the main focus, it didn't completely feel like it. I've said this once and I'll say it again: constant traveling or journeying isn't fun to read and it's hard to keep it interesting in the long run. A lot of the traveling became rote: travel, monster attack, telling a story, rinse and repeat. This book suffers from extended traveling which takes up a lot of the book leaving less time for the "true" plot in my opinion.

The writing in this book is compared to books that were called lyrical and fairytale-esque. I want to know who put that because personally I'd like a word. It's nothing like that. The writing felt achingly raw and gritty, and very atmospheric and dark. Also, this wasn't an issue for me, but this book is extremely full of gore. If you're squeamish or struggle with graphic depictions of gore, avoid this book.

The subject material of this book is heavy and dense, and the amount of care, detail, and research is well done. The Wolf and the Woodsman has themes and deals with religious persecution, ethic cleansing, along with cultural genocide and oppression. The Hungarian and Jewish history and mythology fill these pages. I will say you could easily argue there's the whole abused saving their abusers here as well, and it's kind of not great. Both Évike and Gáspár both have suffered from their homes and people.

I really liked the magic concept, the body horror magic system. I think it was unique and I would have liked to learn more about it. While the world history is rich, the pace suffers because there is constant story telling of myths and legends and fairy tales. It also just never felt like there was a rhyme or reason or something we could learn from most of the stories.

Once we get into the "main plot" of dealing with the King and the bastard brother, I felt like the story did pick up its pace and we finally really realize how horrible everything truly is. The people in the city being oppressed, the boiling pot of violence threatening the others who have different religions. I loved seeing the main character meet with her estranged father and experience his culture. I wish we got more with the political/royal part.

I liked both Évike and Gáspár. Évike is angry, rightfully so, and ruthless at times, and also constantly horny. She's not a likable protagonist but I enjoyed her overall. Gáspár is wonderfully tortured and secretly a softie. Their romance was enjoyable since both were clearly obsessed with each other and hated it, and each other.

The ending with a surprise attack kind of felt like it popped up out of nowhere but I'm fine with it. I actually liked the epilogue because it gave us a bit of a run down on what was happening now in the world, and a glimpse of the future for Évike and Gáspár. I still have some questions regarding Gáspár's brother and his ability though.

#the wolf and the woodsman #ava reid #steph's book review #book review #steph reads

[e-louise-bates]

Talk about the Netflix adaptations of Narnia has resurfaced again, and it’s made me think about some of the things I would desperately love to see in it.

1. NOT MIDDLE EARTH LITE!! There is this weird but pervasive notion out there that Narnia is some sort of weaker, less thoughtful, shallower version of Middle Earth. This is so, so far from the truth. Narnia follows it own rules, forges its own path. (I suspect this is tied into the “it’s so popular it can’t really have depth” notion that plagued Lewis even throughout his lifetime, even with his apologetics, as though the ability to take deep truths and translate them into something accessible for everyone isn’t a rare and precious gift.) I want to see the untamed-but-safe aspect of Narnia, as well as the places where maybe it isn’t so safe. I want to see a world that is a blend of medieval and ancient myth. I want to see richness of color, of texture, of JOY. Peter Jackson’s Middle Earth is a beautiful thing, but it is not Narnia, and it is doing both a disservice to try to imitate it. Let Narnia be its own world.

2. Tie it into medieval cosmology, but subtly. Okay, this one is a little abstract. I read Michael Ward’s Planet Narnia years ago, and I went into it a firm skeptic, and came out seeing that even if each book wasn’t deliberately tied into one of medieval cosmology’s planets the way Ward depicted, they could be read in that way without doing violence to the text, and oh, what a rich layer of meaning and beauty that adds. Please, Netflix, get a medieval scholar on your team and let them loose on symbolism, it would be AMAZING.

3. More myths! Here’s another area that many people tend to misunderstand what Lewis was doing in Narnia. They take the “JRR Tolkien thought Narnia was a sloppy conglomeration of myths” idea (which isn’t even exactly true) and run with it, acting as though Lewis simply couldn’t be bothered to come up with his own mythology. No, no, no. Lewis had come to see (through Tolkien’s arguments, no less!) all myths as pointing toward the “true” myth of Christianity. So why would he not include them all in Narnia, to show how many different facets come together to show a beautiful image of truth? And when we look at it in that light, well, we have no need to stick to only the myths Lewis himself knew and loved. We can add in myths and mythological beings from all around the world.

4. Well done cultural representation. Regarding point 3, we do not want cultural appropriation, please no! So, if we want to do myths from around the world, we need representation as well. Just as Rick Riordan has done with his Rick Riordan Presents, giving POC opportunity to share their own myths with their own voices, I would love to see POC behind the scenes as well as in front of the camera, having input into how the myths should be used as well as being seen. Narnia belongs to everyone, and we should show that! I have ideas of some ways that I think could be done well (a Polynesian-influenced Lone Islands is one of them), but I would much rather see how the cultures to whom those myths and traditions belong want to see them used. Because I have blind spots, and something that I think could be great could actually end up being hurtful to the people of that culture.

4b. Staying true to the spirit of Narnia without being slavish to descriptions. Look, Lewis never once complained that Pauline Baynes drew Lucy with brown hair when he described her as golden-haired, so even he wasn’t as fussy at one might expect. Lewis thought in images, and those images were generally a representation of a particular idea or feeling. (Which, I believe, is why you get Mrs. Beaver with a sewing machine--it’s meant to evoke a feeling of homeliness, comfort, and peace, even though technically a medieval society wouldn’t have had sewing machines yet. Again--not sloppiness on Lewis’s part, rather his way of painting pictures for his readers.) So then, why not an Indian Jill Pole? Or a black King Frank and Queen Helen? Or a black Ramandu and Star’s Daughter? Or half a dozen other characters that I haven’t even thought of? Not “diversity for diversity’s sake,” but genuinely looking at the stories and saying, “how can we show that Narnia is for everyone?” Again, Netflix would need to consult with people from various cultures to make sure they are being represented in a way that is helpful, not harmful, but I honestly believe that this would honor Lewis’s vision of Narnia MORE than sticking so closely to book descriptions that there’s no room for imagination.

5. Additional storylines and subplots that deepen and enhance the existing stories, rather than altering them. For example, I have been on-and-off writing (most off this last year, I confess) a Silver Chair screenplay which leaves the main storyline intact, but adds a subplot of rebellion in the Lone Islands and an attempt to make Caspian’s cousin’s child the new ruler of Narnia. It gives added tension for the viewer, because they are now wondering if there will even be a Narnia for Rillian to return to or if it will be torn apart by civil war, and it stretches things out, without changing ONE SINGLE THING about the story as Lewis told it. This is all stuff that could have been happening off the page while Jill, Eustace, and Puddleglum were trudging northward. That’s the sort of thing I’d love to see in this adaptation, as well as brand-new, original stories told in-between books. There’s a whole lot of room between Rillian and Tirian, between Frank & Helen and the White Witch, between the Pevensies leaving and the Telmarines arriving. There’s even plenty of room for stories between Caspian’s coronation and his journey east, as well as between his return from that journey and the start of Silver Chair. You could include stories from the Telmarine occupation, but I personally think that would be boring since the Telmarines tries to suppress everything that makes Narnia special, so let’s skip that period.

6. Let’s try not to make the children from 1940s England think and act like modern day teenagers, please. I realize we want them to be accessible to today’s mentalities, but I really, really don’t need another floppy-haired angsty Peter. Or Lucy discovering that she just needs to love and accept herself. Those are not necessarily bad character developments, they just don’t really work with the attitudes and mindsets of the era these characters are from.

7. Joy, joy, joy. Narnia is a land that has a deep thread of joy running through it. It is wild and free, it was born out of song, and it is above all joyful. As I mentioned in the first point, if you try to make it look too much like all the other medieval fantasy worlds out there, you lose its unique flavor. And if you lose the joyfulness that underlies everything, you don’t have Narnia. Oh please, let me see a joyful Narnia.

#narnia #netflix #adaptation #cs lewis #apparently I have a lot of thoughts about this

[andy-the-8th]

Day Of and Day After - Jess (Part 1)

First part of Creatures That Defy Logic - picks up right at the end of the movie

Read on AO3

There are a lot emotions wrapped up in seeing your best friend transform into a merman

"I finally get a friend, and he turns into a fish; this is so typical."

Damn, there were a lot of feelings wrapped up in the last few minutes. Jess had always been better with facts over feelings - science was straightforward, people were complicated. The whirlpool of emotions over such a quick span of time even more complicated, for him as well as everyone else there on the dock.

Exhilaration and awe - it was one thing to have been alongside Cody for the last few weeks, see his changes, speculate and then know he was a merman, in theory - and another thing entirely to see him fully transform and breach with a glittering tail right in broad daylight. Not exactly every day that creatures (people?) straight out of mythology just appear right in front of you. And the excitement that they'd get to hear about whatever he saw when he was away? New sealife, mysteries of the open oceans, may even merpeople culture? One hell of a prospect for anyone, triply so for an aspiring marine biologist.

Relief - more of a twofold sensation as well. Most prominently in the last few minutes, it certainly was a relief to not be dead. Almost drowning, no vital signs, shocked back to life by merman lightning - that'll do a wild number on your feelings about your own mortality. Still, Jess was kind of surprised that that wasn't the main sense of relief he felt right now.

Much more powerfully, he was relieved that Cody was safe. That boy's lack of self-preservation had scared Jess half to death plenty of times over - risking himself at the swim meets, ignoring the advice to stay away from the water, potentially blowing his cover to Sean or the school or worse. Whether or not it was normal to care so much, Jess didn't know or really care - he had spent plenty of nights unable to sleep, worried sick with images of cruel scientists, cold laboratory tanks, faceless men in black suits, dissection tables, taxidermists, freak shows - all kinds of threats, and the only thing Jess could about them was to try to keep Cody's secret.

So all that in mind, there was the relief that Cody had finally gotten away from all of that. Going off with his mermaid mom (mermom?), another mythological creature as far as 99.99% of the world knew, safely out to sea. Maybe that was merpeople's best protection, that short of having physical evidence, most of the world didn't believe in them - guess that's how they manage to avoid discovery. Most people anyway. On that topic though, the next feeling Jess was dealing with -

Anger. This one didn't even really start to register until after Cody had resurfaced to wave goodbye one last time, but thinking about all the threats he'd been afraid of, Jess couldn't avoid the conclusion that his own father should have been at the top of that list. Hadn't he literally just kidnapped his friend to use him as bait? What had been his plan then, if he'd caught Cody's mom? His dad's mermaid obsession had just been a mundane fact of life growing up - a kind of sad, fruitless endeavor. He didn't like to think his dad was crazy, but it didn't mean he really had believed his mermaid stories and theories since he'd grown out of that. It was just like any parent's eccentric hobby - kind of embarrassing sometimes but ultimately innocuous, right? Jess hadn't ever thought of how dangerous it might have been if his father had caught on - and he mentally kicked himself for not making that connection, for not planning for it, for not talking his dad out of it - Jess had basically caught him at the swim meet, and guessed he'd have put it together when Jess was reading through his mermaid theory papers, talking about the thirteenth year theory - but actually capturing Cody and his mom? The dull, cold fear that had caught in Jess's throat when he'd seen his father testing the giant net, when he'd biked at top speed to the Griffin's house, when he'd found the cove empty, Cody already gone -

Well, at least the upside of almost-dying was shocking John Wheatley into the danger of his actions, to his own son if not the merpeople. Jess was pretty sure his father just hadn't been thinking of the consequences past simply catching the mermaid - was never really much of a realist like that.

This didn't make Jess any less angry with him.

On top of all of these feelings, and maybe least expected - loss?

He definitely wasn't expecting that. Sure, the feeling of loss was all around him - however temporary his departure, Cody going away was definitely crossing a line. He wasn't human, and for each person on the dock, that meant on some level, he wasn't really theirs anymore. Sam was losing her boyfriend, Mr. and Mrs. Griffin their child. In a way even his dad was losing his proof to justify his obsessive search over the last 13 years. Sure, Jess was losing his friend, but hadn't their relationship been built around helping Cody through this transformation? What was he losing, if this was just the logical endpoint? He'd known where the transformation was headed, and he didn't expect to feel anything other than scientific satisfaction now it was done.

Jess told himself it was natural to feel like this; humans are social creatures, empathy has been one of our strongest survival tools over the course of our evolution. To solve problems together. To care about each other. Like it or not, we feel how the others around us feel, in one way or another. It was simple science.

His whole time with Cody had been like the best science project ever - an fantastical extension of the assignment that had brought them together. The thrill of getting to know him had been tied to the thrill of discovering his new abilities, helping him test them, spending hours talking through theories and myths. From a purely scientific standpoint, spending time with Cody was fascinating. It was simply to be expected that he'd want to spend as much time with him as he could - as a scientist.

What Jess hadn't expected was Cody's interest in getting to know him in turn. It made sense - Cody was going through strange changes, and Jess was the closest source of finding answers. And more or less, Jess knew that that was the glue of their friendship. He wasn't bothered by that, really.

Of course Cody would listen attentively when he went off on a string of marine biology theories, whether to get ahead in school or to make sense of his transformations. Of course he'd start asking Jess to hang out when they were free - no one else knew what was going on, and he'd been drifting away from his real friends. Cody didn't trust anyone else with the secret - and that was simple self-preservation, to seek out a scientist, rather than a friend. Especially someone who wouldn't blow the secret.

And there had been a kind of special thrill in that for the first few weeks - Jess got to be the only one who knew. Jess got to be the only one who Cody trusted.

A purely scientific thrill.

Jess suddenly shivered as the salty breeze picked up a bit, snapping him out of his own head and the feelings rushing through it. Cody had probably only been gone a few minutes, even if it felt like hours. Mrs. Griffin was still quietly crying, leaning back on Mr. Griffin, both of them still facing the water. Jess didn't really know if he was supposed to say anything to them, or leave them to each other. Should he confront his dad now? Should he try to talk to Sam? oh god he should apologize for the kissing comment but would that just make it worse?

The silence grew more tense for the next several moments, until Sam finally spoke.

"I - I guess I'll just be going home now." Jess could hear that she was pushing to sound confident after crying. She shook her long red hair back behind her shoulders and readjusted her shirt as she stood up straight.

"Oh hon, don't worry, we can drive you back to your place." Mrs. Griffin looked up, finding her voice again, almost sounding relieved to be able to help someone, do something.

"No thanks, Mrs. G, I want to walk. I want to, uh, decompress. Take some time alone to, to y'know, process this. Just feel like I should get some air" she finished hurriedly, with a half-laugh, at the normality of the statement. She nodded awkwardly as she backed away, toward the steps leading up from the floating dock, a pursed-lips-everything's-fine-fake-smile on her face. "Jess, I'll see you at school then?"

Sam had almost never acknowledged him outside of talking through or next to Cody, so Jess gave a somewhat confused nod and tried to smile at her. They only had one day of school left, mostly to pack up books, say goodbye to everyone, and leave for the summer.

"OK wait then" Mrs. Griffin was quickly more serious, purposeful. "I know this would probably go without saying, but you kids cannot tell anyone what happened here." She was talking at Jess and Sam, but had an uncharacteristically sharp glare at Big John as she said this. He didn't miss that, and immediately looked penitent and cowed.

Clearly, Jess wasn't the only one angry at his father for using Cody as live bait.

"Of course!" Jess immediately responded emphatically, even a bit incredulously. He was almost put out that she felt the need to say this, as if they all hadn't - as if he hadn't, longer than anyone - kept Cody's secret safe.

"We'll, um...we'll just tell the school, um..." she was casting about, turning to her husband, looking for a quick explanation.

"Hon we don't need to tell the school anything right now - it's summer vacation, it's not that weird to leave a day early."

"No, we need to be clear, we need a convincing story -

"If anyone really asks we can say he's doing a swim training camp, and he'll be away most of the summer" Mr. Griffin offered, a slight twinge of his usual humor back in his inflection. "It's not really that far from the truth. We'll say it's somewhere in Australia, far enough away from anyone looking to visit or call. And your sister lives out there anyway." He put his hand on his wife's shoulder - Jess thought it looked like he was reassuring and steadying himself as much as he was for her.

Sharon breathed quickly, calming herself. "OK, perfect!" Mrs. Griffin clearly seemed relieved - not calmed, but at least less frantic. Jess was also happy to have something simple and straightforward to tell anyone who asked.

Not like anyone will ask *me* anyway he thought. Jess always had been used to being more or less invisible when it came to social gossip at school, which he honestly preferred. And furthermore, probably for the better, it wasn't like anyone really associated him with Cody, even the teachers. At least not in any meaningful way beyond biology homework. No one would think to ask the nerd that Cody Griffin got unluckily saddled with for a science project what had happened to him.

"OK. OK, good. I'll see you all later then." Sam was hurriedly wiping her face as she turned on her heel, dashing up the steps to the main pier above the floating dock. She was quickly out of sight.

"Jess, you wanna go home, get dried off?" His dad was looking at him now, worry still coating his words. John Wheatley was not a particularly emotional man when it came to anything other than fishing and sea monster stories, but he clearly had not forgotten how close a call his son had just had. "Maybe go to a doctor?"

Jess could hear Mrs. Griffin's sharp intake of breath at what Cody had always humorously called "the D word." Thinking of Cody laughing at that caused the corner of Jess's mouth to twitch up for a second. But once his dad had turned to him, Jess could still see Mrs. Griffin staring daggers into his back.

"No I'll be fine. I feel fine, really." Jess could hear his anger seeping into his own voice and inflection but didn't really care. John Wheatley may have been more thoughtless than he was malicious, but that wasn't enough for Jess to forgive him right now, and he was still too much of a mess of emotions to process any of that with other people.

"I'm going to head home. Mr. and Mrs. Griffin, um, have a good summer?" His inflection put it through as a question - he wasn't really sure what to say but at least that sounded funny enough to deflate the situation as much as possible. It worked - both the Griffins kind of quietly laughed at that.

"You too Jess. We'll see you soon." Jess smiled back at Mrs. Griffin's words, then hesitantly started to walk back up the dock. He was actually surprised that he didn't feel any dizziness or illness after being revived - apparently merman-made hand (fin?) defibrillation worked wonders for the body. He turned and started up the steps roughly, quickening as he reached the top. Big John didn't move to stop him, pausing awkwardly at the foot of the steps, clearly getting the message that Jess didn't want to talk to him right now. Jess reached the main dock and turned across the parking lot of the marina, down the little road toward the family boat yard and sheds, shoulders straight, and not looking back.

#the thirteenth year #mermen #mermaid #dcom #disney #disney channel original movies

[hermeticimp]

Witchy Then Vs. Now #WakingWitchblr

Hey guys! So, I’ve seen a bunch of posts on witchy things we’ve done as children. I really love the idea and have been meaning to do a post on it for the longest, but I wanted to add a bit of a twist. Instead of just making a list, I want to compare and contrast my childhood witchy things to my practice now. This is definitely something I want to see other people’s takes on as well, so feel free to tag this under the #WakingWitchblr or #WitchyThenVsNow. Without further ado, I’m going to do mine! 

Elemental Work

Then: I was super into shows like Shaolin Showdown and Pokemon, which had plenty of abilities that were linked to particular elements. Back then, I found myself very attracted to fire, wishing that I could have the ability to manipulate it. Kimiko was my favorite because of that (besides the fact that she was the only female member of the group). I was also into water pokemon like Squirtle and Staryu. I found it funny when I found out I was a Fire Rat under the Chinese zodiac. Despite knowing that Libra was an air sign, I identified more with the passion and intensity of fire. 

Now: I work with all the elements! XD Nah, but seriously, now I see the strengths and weaknesses of each element, then use whichever one or ones work best for the situation. I do a lot of work with fire through candle and sun magic. I work with water via cleansing, water magic, and lunar magic. I use earth when grounding, relaxing, and using crystals and my wooden wand. I use air when I work with the wind, humidifiers/diffusers, and incense. I still love fire, but not so much for the cool factor. I find myself much more aligned to air now, actually. Of course, I now know I’m an air sun, fire moon, and water rising, so that’s entertaining. 

Astrology

Then: Speaking of signs, when I first picked up an astrology book in the 3rd grade, I was only aware of sun signs, as most people do when first stepping into the subject. I was fascinated by the different signs and figuring out who was which based on birthday. I would read off sections from books or apps I had and found it hilarious when people freaked out about how accurate things were. In middle school, I started learning about moon and risings signs. It was an interesting experience, but I still focused more on sun signs. 

Now: Goodness gracious, I’ve come so far. XD Not to say I’m an expert at all - far from it - but I now understand more about astrology as a whole. I can read a birthchart, I have an astrology mentor, I understand that there are placements for each of the 10 planets. Astrology has become a major aspect of of my craft. I (try to) follow the moon cycles and other transits. I utilize astrology in my divination readings. I’m fascinated by seeing the different ways people express each of their placements and their charts as a whole. I’m a student of astrology (primarily modern and evolutionary) who is always eager to learn more. Soon, I’ll share some of my notes, but not quite yet. 

Astronomy

Then: I was super into reading books on space as a child. I often found myself nose deep, learning about galaxies, stars, black holes, meteors, comets, and so on. It wasn’t odd to find me staring up at the stars and Moon whenever I had the chance. I was fascinated by astronomical events, like meteor showers or lunar eclipses. I adored planetariums. I wanted the glow-in-the-dark star stickers on my ceiling like my cousins had. I wanted a constellation projector. I was ecstatic to work on a project regaring Haley’s Comet. Space excited and thrilled me in a way nothing else did. 

Now: It’s a shame, but I don’t really focus on space much outside of celestial magic and astrology. Don’t get me wrong, I still find space exciting and I will always have eyes for the Moon and the stars, but I’m not keeping up with the science like I used to. There’s still a sense of affection when I happen to read articles on new discoveries or technology or when I see pictures of the solar system and galaxies. However, my focus is mainly on the movements of the heavenly bodies and how that impacts us. I work with the energy of different planets through associations and timing spells for planetary hours, but that’s about it. 

Crystals

Then: Oooh, boy. So I was a major nerd as a kid (if you haven’t caught onto that by now. Honestly still AM. XD), so I adored going on science trips. At museums, it was common to find all kinds of rough crystals for cheap. I thought they were cool. I loved the colors and the feel of them against my fingers. I was drawn to rough rose quartz, amethyst, granite, and quartz back then. With tumbled stones, it was amethyst, ruby, sapphire, topaz, and tiger’s eye. I collected them as a child and was always excited to add to it. This interest kind of faded out as I went on less and less school trips to science museums. 

Now: You will pry crystals out of my cold, dead hands. XD Seriously though, I have a whole bunch of crystals. I keep them on my altars, in a metal box by my bed, and all over my room, honestly. I favor tumbled stones more than rough ones, but there’s still an affection for rough rose quartz and quartz. I adore tiger’s eye, amethyst, carnelian, moss agate, and amazonite.Crystals are a major part of my work. I use them in just about all of my spells, from the ritualistic ones to minor aches and pains-based ones. I occasionally meditate with them. I will most likely be found wearing some kind of crystal jewelry. My spells may be infrequent, but they’re a regular ingredient (which I’ll get into in another post). 

Animism

Then: As a child, I believed everything had some kind of spirit, from the stars, to the Moon, to the wind, to my stuffed animals. I remember talking in my head to the moon anytime I could. I imagined hearing her speak back to me (and a lunar deity very well could have been, who knows?). I remember when I would play games reminescent of Noah’s ark, wanting to bring everything I loved with me in the event of a disaster. I’d place all my toys under my blankets and feel at ease, knowing that everything was safe and had its place. I very well could have been influenced by media like Toy Story or Cars. Either way, I vividly remember all of that. 

Now: I now know that this is the concept of animism. It’s an ideology that I still believe in whole-heartedly. I still talk to my stuffed animals (room’s full of them), I’ve dedicated some to my deities, I’ve spoken to the spirits of plants and trees, I greet the Sun and talk to the Moon as I used to, I have a spirit in my pendulum. It’s a part of my practice and philosophy. I’m not as all over the place with it as I was a child, but it still matters deeply to me. 

Mythology

Then: I was first introduced to mythology by a friend in 5th grade, as I’ve mentioned before on this blog. Or rather, I was introduced to Greek mythology at that time. I had grown up reading Native American and African stories, such as those of Anansi. I found Greek mythology to be fascinating. Haven grown up in a Christian family (though my parents were rather lax about it and encouraged us to explore our personal beliefs), I’d read the Bible plenty of times. I didn’t really believe in those stories, particularly because God was either portrayed as an omniscient and violent being or omniscient, omnipotent being of perfection and love. Neither sat right with me. It also didn’t make sense to me for there to only be one god. So when I read myths as a child and learned what polytheism was, I jumped on that ship in a heartbeat. I didn’t worship anyone, but I loved the idea that there were gods of different things. With Greek mythology, I especially loved it because the gods were portrayed as having flaws, of being human in a sense. They were powerful, but not all-powerful. It was mindblowing to me at the time. I fell in love with the stories of heroes and tricksters, I expanded into Egyptian, Norse, and Japanese mythology. I took these stories as stories but also as accurate depictions of gods. 

Now: Mythology... doesn’t really play a part in my practice. Contray to some polytheists, I don’t take the myths seriously. To me, all they are are human made stories about higher entities. I used to get so angry when I imagined the horrific things that deities did. I balked when I saw people question why worship or work with these deities that were notorious for doing horrific things to each other and humans? I made jokes about Zeus and his supposed indescretions, which I largely regret now. The turning point, I believe, was hearing @underworldariel​ discuss how you didn’t need to follow the myths or worship if that didn’t feel right. And for me, it didn’t. Suddenly, it made sense. When I started considering the cultural aspect of mythology and began working directly with deities rather than attempting to worship them, things were easier. They slotted into my practice effortlessly. I do take some inspiration from myths, namely associations, relationships, and domains, but not much else. To me, they’re just stories - which is what myths means. There’s a part of me that cringes away from the people who use mythology in a literal manner to call Zeus or Poseidon or Hades a rapist despite that... not being the truth? And that “rape” had a waaaaaay different meaning back then. I’m not saying the gods are perfect and infalliable - I think they make mistakes and have regrets too - but I don’t think they have anything to do with the stories. Deity work is a core aspect of my craft. I adore the gods with my whole heart. The stories are still fun, but I’ve learned to dissociate them from the gods I know. I’m not saying that this is the right way to approach it - that depends on you. That’s just my take on it. 

And that concludes this post! At least for now. I may find some things to add later. I’m curious to see the comparisons you guys all come up with. Feel free to tag me if you do! 

#my post #my path #WakingWitchblr #WitchyThenVsNow #witchblr

[back-and-totheleft]

Counter-myth

With each shot fired at the President, Stone’s head snaps involuntarily. This may be the movies, and the foreign distributors showing up for screenings remind one daily of the high financial stakes for the $40-million Warner Bros. picture (with another $15 million for promotion), but there’s no question that for Stone, “JFK” was--and is--a cause.

In an industry built on recycling pleasing myths into profit, Stone insists on doing it the hard way. His are counter-myths. Stone, a twice wounded Vietnam veteran, views “JFK” as digging deeper into what he sees as the origins of that war and nothing less than “a battle over the meaning of my generation with the likes of Dan Quayle, a battle between official mythology and disturbing truth.”

With his slept-in sports jacket and sense of easily outraged idealism, the always irreverent Stone bears the unmistakable marks of the Kennedy generation. It is not that either he or his movie exaggerate the accomplishments of the brief Kennedy presidency. Rather, like many of his generation, Stone persists on mourning an innocence lost. [...]

But Garrison was also a rebel hero for some, making him a natural subject for Stone, who with movies like “Platoon,” “Born on the Fourth of July” and “The Doors,” has fought a battle for the soul of the ‘60s. Stone is compelled by what he self-mockingly terms a “demon counter-cultural drive” to stick his cameras into the most sensitive national wound, attempt to solve the most puzzling of mysteries, champion a widely discredited lawman and take on the CIA, the FBI, the Joint Chiefs, L.B.J., the Mafia and the Washington Post. Say what you will about Stone, he does not go gently into the success of the Hollywood night.

“So I’ve created a counter-myth to the official one--is that so bad?” he asks, with one of his trademark sucker questions designed to throw a challenger off guard. No, it’s just unusual for the business he’s in, and he knows that. This is not some low-budget rebel film like Costa-Gavras’ “Z” or his own “Salvador,” which he often brings up. This is the high-stakes holiday season, make-it-on-the-first-weekend crap game.

It’s understandable why Stone would make provocative political films, given his past experiences recounted in “Platoon” and in numerous interviews. But why would Warner Bros., united in a partnership with Time-Life, bankroll this excoriating view of the American Establishment? Is this a ruling-class death wish? Is it, as Stone puts it only half joking, that “the Establishment is obviously cracking and fissuring”? [..]

The presence of Joe Pesci, Walter Matthau, Ed Asner, Donald Sutherland, Jack Lemmon and the others was important to Stone’s strategy: “The supporting cast provides a map of the American psyche; familiar comfortable faces that walk you through a winding path in the dark woods. Warners thought it was too costly to have them but those actors all waived their normal fees to help the picture.”

Despite rumors that Mel Gibson and others were candidates to play Garrison, Stone insists that Costner was his preferred choice. “It helped that (CAA President) Mike Ovitz was a strong fan of the movie,” Stone says, and was strongly urging Costner, his client, to be in it. An obstacle was the actor’s promise to his wife that he would take a year off from work. But, as Costner says, “after she read the book, she said, ‘You have to do it.’ ”

Costner, who pointed out he comes from a conservative Republican background, researched the material carefully before agreeing to play Garrison. “I met with his critics as well as people on the street who still love him. He’s a complex character and both Oliver and I wanted him played that way,” says Costner, who credits Stone with exposing him to a full range of Garrison’s critics.

Stone adds: “I wanted Costner to get both sides, to witness the hatred and extremism that Jim engenders and as an actor to look into the eyes of his enemies and know what he was up against back then. These were tough people and they’d come in a parade in front of Costner with their New Orleans accent saying that Jim’s a snake--that he liked boys and was angry that Shaw stole his lover and a lot worse.

“Kevin read the script several times, saw back-up material and it was not easy for him to do. Kevin took some chances--he’s going to make some enemies with this movie but I’m proud of him.” Stone feels signing Costner was a crucial break for the film and not just because of the actor’s box-office appeal. “Kevin was the perfect choice for Jim Garrison because he reminds me of those Gary Cooper, Jimmy Stewart qualities--a moral simplicity and a quiet understatement. He listens well. He anchors the movie in a very strong way. He guides you through it because you empathize with him and his discoveries become yours. Through Kevin playing Jim you get on the 50-yard line for the Kennedy assassination.” [...]

This and other evidence led the House Select Committee on Assassinations in 1979 to conclude after a two-year investigation that “President John F. Kennedy was probably assassinated as a result of a conspiracy.” Most of Stone’s critics seem to also believe that there was more than one killer, as do most Americans. That suspicion has been largely latent in the public psyche, but if Stone has his way it may bubble up to the surface.

“I just want to get the people to smell a rat. I want people to be moved by it and have their consciousness shifted. I want a movie that works. All the words in the world don’t add up to jack if the movies don’t work--a movie is a seat-of-the-pants experience.”

At the film’s conclusion, the fact that many of the government’s records on the assassination have been sealed until the year 2029 is an end title on the screen. If the audience leaves the theater with an apprehensive and questioning buzz and heightened suspicion of official truth, why blame Oliver Stone?

-Robert Scheer, "Oliver Stone Builds His Own Myths," Los Angeles Times, Dec 15 1991 [x]

#oliver stone #robert scheer #los angeles times #jfk #kevin costner #jim garrison

[ofravensandgenesis]

World Building Through Character Creation and Background NPCs

Entry 03. I was thinking over how to build out more plot points for both the underlying bones of original fiction, and also fleshing out ideas for some of the arcs in my ACABH fic. Honestly, adding more characters within reasonable limits seems to really help with that. Even if they’re just characters with a name and a few lines of description, or even just one line of description, it makes for a great springboard point to start tacking on more details. From those details, it’s a lot easier to build out the world around them in various layers. Like for the original fiction world I’m building out right now, creating the character Corwin Blackwood with the helpful input from my friends on how the name sounded, resulted in spinning up a huge chunk of the underlying world order. Originally I was going with just a two-sided state of tension and conflict, but Corwin’s family brings with it a third side that’s caught in the middle—people minding their own business that aren’t actively affiliated with either side. In terms of mechanics, the Blackwoods’ existence brought in some specific broad categories of magical beings, a rudimentary idea of various magical systems with an as of yet undefined overarching universal magic system, and social conflict regarding differing points of view relating to said beings and affiliations with them.

His name is all about his role in the story, with the meaning of his first name being “heart’s friend,” and having had a close if tempestuous friendship with the main character. The last name of Blackwood automatically brings to mind a haunted forest, and as inspired by a Netflix Castlevania fic called Baba by Crownofpins on Ao3 as recommended to me by a friend, and the Blackwoods’ home-locale and name makes me think of the Belmonts. So it was easy enough to consider the Blackwoods tentatively as a family of exorcists/monster-hunters/etc in this rough draft. (The Baba fic is pretty awesome btw, it’s got great elements of old Slavic folklore, obviously Baba Yaga for example, among other things. I shan’t spoil it ofc, but I thought it was a lovely read. Adult content warning for the fic ofc, read the tags, etc.) There’s other external factors that helped bring him about, including other recent media consumption on my part also again in thanks to my friends for recommending them, including Mo Dao Zu Shi and The Legend of The White Snake. (Content warning: Both of those works contain adult content, etc.) They’re both stories of Chinese origin that focus on romances that contain supernatural elements, with The Legend of The White Snake being an old classic tale of folklore. But what’s really fascinating to me is the mythology system that’s at play in the stories—I’m so used to “medieval” fantasy settings being European-influenced landscapes and civilizations, it was really cool to see a more involved Asiatic-inspired one. I’ve certainly seen Asian-mythos-based supernatural movies and series before, but not in this specific niche that’s more fantasy-adventure-ish. Usually the ones I’ve come across are much more heavily leaning into the martial arts category of movies as I’d classify them, or set in more modern-based times. That’s probably just a sign I need to go out and find more content of this sort to consume, honestly. But how the above two works treat the whole spirituality/magic/supernatural aspect is admittedly a huge inspiration point for me for how I’m hoping this original fic’s world will be built, and provides a great starting point to go and try to research more into stories and myths relating to those elements. It also happens to fit in neatly with me being interested in trying to learn a bit more about some of my heritage and culture, being partly of Chinese descent. That’s another thing I know I want Corwin to explore as an additional main character: what does it mean when you’re a part of multiple cultures as a person? What’s that experience like? How does that fact shape how he interacts with his world? I know it has a huge impact on how he’s perceived socially and allows him greater access to magical training via one side of his family having the history for it, and it interests me to think of exploring that in writing. What I’m not certain of is what name to label this general cluster of magical beings as—are they demons? Yaoguai? Spirits? There are associations with each word and name, and giving them a newly made up name would mean severing those ties for better or worse. There are definitely classical monstrous elements in that group, but also a lot of diversity, holding up yet another mirror to the run of the mill humans of that world. What is this group of magical beings specifically in this world’s build? Are they humans that have cultivated themselves spiritually enough to transcend, or is it a reincarnation gig, or something else? I’ll probably have to make another OC or import ideas from mythology to explain where they’re from. With regards to the FC 5 fic though, I’m currently listening to more of the in-game dialogue and commentary as provided by DanaDuchy on their account/channel (also: thanks to DanaDuchy for providing the rest of us such wonderful resources on this and other games/works) and boy the dev team did a wonderful job of just adding more of those little details to help make the setting feel alive. Like it’s honestly really cool to hear the NPCs talk about how haunted the King’s Hot Springs Hotel or the Catamount mines are, how Casey at the Spread Eagle makes the best loose meat/steamer/etc sandwiches and burgers in the entire county, the stories behind the Whistling Beaver Brewery, etc. It’s also pretty grim to hear the tales of all the people the cult’s taken and some of the things other people have seen the cult do, namely killing civilians in gruesomely inventive fashion. Which raises as an interesting problem for me as a fanfic writer is trying to figure out A) how much did the Seeds know about these particular clusters of mass murder, B) did they permit it if they knew about it ahead of time, and C) what purpose does it serve? Currently the answer to A is more than enough because the Seeds not knowing wouldn’t fit this AU nor their character builds in it to go well with the level of importance that the themes of responsibility and consequences carry both in the meta of the fic and in-world for Joshua personally. So that means for B, the Seeds are definitely permitting the additional senseless acts of cruelty noted in the dialogue and conflicted-conversations among the Peggies. Certainly they’re aware at least to some extent if not fully aware of the entirety of it, but I would assume based on the Heralds’ personalities that they all do like to know what their people get up to. They all seem like they would want to know the details of what’s going on for various reasons. I’m leaning towards having the particularly senseless murders be a mix of some acts the Seeds ordered, some acts they left open to interpretation to their followers who then took it to a dark extreme, and some acts were instigated by the followers alone. Basically: humans being humans during chaotic dark times and doing terrible, bad shit. Which leads to the conclusion for Joshua that the Seeds should be more disciplined about keeping their followers in line and not sinking down to this level of pointless evil. He’s not wild about their more purposeful evil acts either and is intent on trying to get them to stop the worst of that, but there are darker gradients of black and grey morality for him there to be more outraged by. So that pretty much wraps up C with the answer of “not much” other than humans being terrible to each other. Perhaps from the villainous perspective it helps terrorize the people of Hope County and whittle down the number of people the cult has to fight now or later, but overall that is still straight up mass murder. ...hm, that reminds me, I need to go tweak a line in a past chapter regarding the population of Hope County. I had it too low for there to be a reasonably-sized if small county aside from the cult’s numbers. Hm. I have the cult at around 1,800ish souls, with their goal being 3,000 total based on in-game commentary from nameless background NPCs, and the line from the Book of Joseph “A few thousand pure souls, whose mission would be to start over and repopulate the earth.” Doing a little quick search, there are some counties even in Montana that according to past censuses had 3,000 or less people in them. For it to feel a bit less likely that the Resistance and civilian population would be easily overwhelmed, it probably should be somewhat higher than the cult, since the county’s numbers will include those who cannot or do not want to fight—that being the old, the young, the ill, etc. Plus if the cult’s being quite so gruesomely wanton in the murdering sprees, that means they aren’t out to absorb the entire county, just most of it. But the cult must also be expecting losses on their side as well since this is a violent conquest they’re undertaking and all of Hope County’s armed to the teeth, if not as necessarily heavily as the cult itself seems to be. We’ll stick the vague number at around 2,400 civilians who are not in the cult for now then and add that to the notes—plus some of the cult’s population is certainly from the county itself pre-Reaping, not including increases that happen during the Reaping with all the active brainwashing, kidnapping, etc. Hm, given some of the generic-NPC-dialogue of how people were forcibly turned to being obedient members of the cult who actually did turn on and shoot their once-allies (and in that dialogue, the brainwashed were also long-time pre-Reaping neighbors of the speaker,) that makes Pratt’s situation in-game all the more interesting. He definitely recognizes the Deputy, whereas it sounded like the aforementioned brainwashed-individuals did not recognize their once-neighbors and friends at all. Pratt’s capable of thinking independent thoughts and he’s remained lucid enough to observe his surroundings and plan an escape, despite going on what sounds like a very dark “hunting trip” Jacob may have taken him on to hunt “deer” which sounds definitely like he was hallucinating in a bad way per his own lines. Jacob apparently isn’t a guy to miss out on using easy symbolism for his enemies, specifically the Whitetail Militia. That was probably not the only “hunting trip” Pratt and the other converts have been on, and that would potentially suggest that the converts are still possibly hallucinating much like how the Deputy is during the first portion of Jacob’s boss fight with the destroy-the-music-beacons visual effects, after exiting the Wolf’s Den. Is Pratt seeing something like that scene though? He doesn’t seem to be triggered by the music box or in the scenes where the music starts playing certainly. He’s surely been exposed to Jacob’s conditioning or at least the trials, and the list his name’s on would strongly suggest he passed his trial, dark as that is. Who did he kill as his sacrifice? Is he perhaps more immune to the Bliss effects? It seems to vary in intensity of how effective it is and how it effects people, based on their susceptibility to it—some factors may include addictive tendencies, personalities, etc, looking at generic-NPC-dialogue in Faith’s region. The sparkles that show up on the screen in addition to the red edges do lend themselves to interpreting that Jacob uses Bliss as part of the brainwashing regime, in addition to the hallucinations Pratt, the Deputy, and others seem to experience. (Also the Judges disappearing in Bliss clouds during the first half of Jacob’s boss fight, etc.) Either way, with the mention of no one expecting Jacob to go easy on Pratt, it seems like Pratt was more resistant to the brainwashing and breaking than Jacob expected, even in light of there being potentially more torment lined up for Pratt than the average captured civilian. (I suspect aside from Pratt’s involvement with the officers who tried to arrest Joseph, Jacob in particular is more likely to not think kindly of police men, given his time in Juvie and the events leading to him being sentenced to doing time, setting him on the path to joining the Army and the ensuing tragedy, and separated from his brothers when they were younger. Also possibly the lack of perceived protection from policemen in the times prior to their father Old Mad Seed’s arrest.) However, it could also be that Jacob deliberately set Pratt up to test his loyalty to Jacob and the Project by giving Pratt the opportunity to help the Deputy escape, instead (or a little from column A, a little from column B.) That music did come on awfully fast after the breakout after all, and perhaps Pratt hadn’t made his sacrifice yet. Maybe the Deputy was meant to be his sacrifice, in a less murderous way of just leaving the Deputy in Jacob’s hands. Seems like Jacob would have mentioned it if the Deputy was meant to be Pratt’s sacrifice by leaving them in the cage to their fate, but on the other hand it would fit the game’s plot and Jacob’s theme real well. Plus Jacob’s a cunning bastard and able to plot this kind of scheme out quite readily, I would say. This all probably means I need to flesh out more of the fic’s world with background NPCs here and there a bit more for the plot. That being said, I’m all excited to be borrowing with permission AU versions of some of my friend’s OCs for this. It’s definitely a new addition to the plotting that I hadn’t started out with, but feels like they’d fit in well with the plot overall. Two of the OCs will have a significant impact on Jacob as a character across his entire timeline in the past, present, and future. It’ll be an interesting challenge to deal with that, since while I do want to try to interpret the characters as close to their original canon lines and outlooks as possible, I feel this addition does open up more preexisting lines for Jacob that do fit the hints we get of his internal workings from in-game. It’ll mean he’s got more development in certain areas of his psyche and mental state, but a little bit of twisting here and there still keeps it all in line with the initial interpretation this AU’s got for him. I do feel the addition of the OCs will help bring Jacob to be more emotionally involved than he potentially was to begin with before the real-world-now with the intended future events of the fic, and this creates much more potential for up-close-and-personal levels of emotional exploration for the entire lot of them, both positive and negative emotions. ...oo, we might get to see Jacob actually losing his cool on-screen externally as a result of possible plot happenings. That could lead to an entire mess of the entire Seed family being angry and yelling at each other, creating emotional development. It’s really quite fascinating to try to work out how to get a group to actually get along well with characters like Faith, John, Joseph, and Jacob who are often at odds with each other. All while dealing with their rampant personal issues. Still something to study and test out for other original writings—haven’t quite learned how to take that kind of group dynamic apart and construct something from that inspiration yet. But definitely learning as we go. Back to listening to more NPC dialogue recordings though.

#writing about writing #writing about fanfiction #so many dialogue lines to listen to #Danaduchy is an amazing person to have recorded all of this #you all should check out Danaduchy's tumblr youtube and everything else #ACABH #writing about writing FC5 fanfiction #FC5 #fc5 au #Far Cry 5 #original fic talk #original character talk #OCs