please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!
gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.
SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:
diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.
non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.
the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.
now, on to how I apply this to bdsm in fiction.
if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.
if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.
this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.
it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.
but yeah, spontaneous writer plug aside, that's what I mean.
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Can't stop thinking about reverse Scott Pilgrim au where Ramona has to fight all of Scott's exes, Punk drummer Kim, Megastar Envy Adams with an army of groupies, Femme fatale Lisa Miller, Jaded obsessive Knives Chau, maybe an alternate timeline version of herself.
And when she's all done it's just kinda Wallace standing there and she's like Wallace what are you doing, I'm meeting Scott's ex here and he just gives this sad shrug smile and she's like Oh and then he pulls out the baseball bat-
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ppl who are like “there’s no way sokka’s art skills would improve, he’s ontologically bad at art” ummmm. dude. you realize that this is the mary sue of hobbies, right? this guy could out-westley westley. he would develop an immunity to iocane powder in less than a week because he’s just that prodigious. he became a kyoshi warrior who could best their leader in a matter of hours, and this was the first time he had ever trained in his life with an actual teacher and opponent. he mastered the sword in one day, if we’re to take piandao’s word for it (and considering his name is literally sword, he is clearly an expert). sokka looked at the rough schematics for hot air balloons after the eminent inventor in the world had spent who knows how long not able to get his idea to actually work like “uhhh…. this may sound obvious, but have you tried a lid???” he has borderline supernatural aim with a boomerang. he was dropped into a haiku battle knowing nothing about the form, and not only beat the leader of ba sing se’s premier haiku club, but also chose, completely unnecessarily, to make each verse rhyme. if he actually sat down and practiced drawing, maybe with some instruction from a trained artist, or easier beginner’s materials than ink and a brush (you’ve all seen my art, and I still cannot paint with ink and a brush), I think sokka would easily be able to produce a work on par with (if not superior to) the mona lisa by the following morning.
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Alfred is getting up there in age. It's time for him to go see the Ghost King, and uphold his end of their deal.
He tells Bruce that he needs to return to England for a bit, to meet up with some old friends.
Gets the Manor prepared for life without him.
And as he's standing in his room, luggage packed and ready to go, Bruce knocks on the door.
"You don't have any plane tickets purchased," Bruce starts, looking concerned.
"Indeed, I have not."
"There's no correspondence between you or your friends to indicate a visitation."
"I suppose I should have expected your insatiable curiosity would lead to that breach of privacy," Alfred sighs, resting a hand on his luggage.
"...Where are you really going?"
Alfred doesn't answer. Bruce has dug enough, and perhaps he deserves a little confusion.
What Alfred does do is snap a small, glowing crystal. One that looked like Kryptonite, but was not.
A portal opens before him, and before Bruce can reach him, Alfred calmly steps through.
The portal shuts behind him.
He turns to face the Ghost King.
"Ã̵͙̤̚͜r̶͓̓ȇ̵̢͝ ̸̝͂͠ẙ̶̘̳̿o̷͈̎͋̽u̵͈̔ ̸̖͉̔ṛ̸̅̀͆e̸͉̓̂͒a̴̻̓͝d̵̬̉̏̉ỳ̶̬͂̕?̴̼̈́͗̀"
Alfred nods.
The Ghost King's face breaks out into a wide smile.
"I believe I have put together a menu that will satisfy you, My King."
~~~~~~
Two months later sees Alfred being given another crystal, and a portal opened for him back to the Manor.
Alfred steps through, a bounce in his step and not a speck of grey in his hair, looking for all the world like he's twenty again.
Now, how is he going to explain this to the very sleep-deprived looking Master Tim sitting on his bedroom floor, staring at him with unfocused eyes?
Or: Alfred made a deal with the Ghost King when he was twenty and dying in the remains of his ship, just after the Battle of Trafalgar in 1805.
If he can cook food the King has never tasted before, and keep it up for two months, the King will put forward his case to the God of Time and rewind him to the point in his life three days before he was grievously wounded.
Basically, he gets to go back to being a 20 year old.
He staves it off for as long as he can, often getting quite elderly, before breaking that crystal and serving two months of full courses to the King of the Dead.
He hasn't told anyone this.
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