#to 'it's essential to the worldbuilding and sets up a major turning point in the climax'

[annikathewitch]

My favorite way to worldbuild fictional histories is what I like to call the “insert noun here” method. Here’s how it works.

You need to have some idea of the most broad strokes worldbuilding stuff already set up. Like “these two countries have a long rivalry” or “this country used to be a colony of this other country” or “there was a major religious schism that happened at some point.” This method works by taking those broad strokes, filling them in with events, and then fleshing out the conflict and/or time period as a whole by establishing causes for those events.

Great. Now that you’ve got a rough idea of what is gonna happen, pick a noun. Any noun that fits in your setting works. Even some nouns that don’t fit in your setting might work if you tweak their meaning slightly. (Ex: “calculator” might not fit in a high fantasy setting unless you’re using the old meaning of “someone who does calculations for a living.”)

Stick that noun onto the word for whatever type of event you need to create. (Ex: The Bottle Uprising, the Cheese War, the Great Pencil Schism, etc.)

Come up with a somewhat logical reason for the event to be called that. (Ex: the Bottle Uprising was started by workers in a bottle manufacturing factory, the initial conflict in the Cheese War started because some people from one country tried to steal some cheese from a town just across the border but the cheesemonger they were stealing from caught them and a fight broke out, the Great Pencil Schism was a religious schism over some sort of theoretical philosophical problem often explained through pencil-based metaphor (like how the trolley problem isn’t actually about trolleys))

Explain how whatever you came up with in the previous step actually escalated to the point of becoming a major historical event. You need bare minimum 3 other causes, at least two of which should be broader societal things, such as “there were already border disputes between these two countries; the fight between the cheesemonger and the robbers was just a catalyst,” or “increasing class divides and low social mobility led to frustration towards the upper class,” or “(insert name of dominant religion here) placed great importance on the relationship between the body and soul, and one of the two main conceptions of this relationship is often explained via a pencil-related analogy.” At least one of the causes should be something really stupid, like a messenger accidentally dying while delivering an important message, some weird technicality with how the military command structure is run, a stupid miscommunication, or a tiny loophole, discrepancy, or vaguely worded passage in a legal document or religious text.

Come up with names for important figures, just so you don’t go insane while trying to explain this or write it down. If you have time, you can also flesh out their backstories, motivations, etc., essentially turning them into characters in their own right instead of just set dressing.

Change name of event if it doesn’t have the overall tone you’re going for. The names of people involved are often useful here.

Create other events that were a result of this one, such as later battles in a war, specific debates or conflicts caused by a religious schism, etc.

Make sure to keep in mind what the broader causes for each event say about the time period as a whole and what effects they might have down the line. If people overthrow the government because of bad working conditions, any constitution (or equivalent) they establish is probably gonna talk a lot about worker’s rights. Any other events taking place around the same time and/or location as the one you initially create are gonna be affected by the same overarching societal causes.

#worldbuilding #writing #writerblr #writers on tumblr #fictional history #history #this is partially inspired by real world historical events such as the pig and potato war #which is an actual thing that actually happened

[mattskitchen67]

You have no idea how annoyed I am that my two new one-off side chapters, one of which being a hot springs episode because the setting is too cold for a beach episode, have both fixed major issues with the eventual climax of the story.

#seriously went from #'lol hot spring chapter i probably won't write' #to 'it's essential to the worldbuilding and sets up a major turning point in the climax' #i'm so mad #writing #i am cutting it off here though #y'all get a fun chapter and a spooky chapter and that's IT before we get back to the original outline

[him-e]

what did you think of shadow and bone? have you read the books? i only read the duology

Thoughts on Shadow and Bone, now that you've probably seen it?

I think the show is alright? It lacks a real wow factor as far as I’m concerned, but it’s enjoyable. It’s especially enjoyable in those parts I didn’t anticipate to like / didn’t even know would be there. 

Whereas the main selling points leave a lot to be desired.

The good stuff: the visuals. The aesthetic. The overall concept. Production, casting and costumes are excellent, the setting is fascinating. The worldbuilding isn’t perfect and is sometimes confusing, which is probably due to the show jumping ahead of the books and introducing elements that happen much later in the book saga, but I’m loving the vague steampunk-y vibe of it mixed with more typical fantasy stuff and slavic-inspired lore, the fact that it’s set in dystopian Russia rather than your usual ye olde England.

I find it interesting that in this ‘verse the Grisha are simultaneously superstars, privileged elite, legendary creatures and despised outcasts, according to the context and the type of magic they wield. It’s A Lot, and so far it’s all a bit underdeveloped and messy, like a patchwork of different narratives and tropes sewn together without an organic worldbuilding structure. (there are hints to a past when they were hunted, but how did they go from that to being, essentially, an institutionalized asset to the government isn’t clear yet. There’s huge narrative potential in this, and I hope future seasons will delve into those aspects)

Many of the supporting characters are surprisingly solid. I appreciated that Genya and Zoya eventually sort of traded places, subverting the audience’s assumptions about them and their own character stereotypes, despite the little screentime they were given.

Breakout characters/ships for me were Nina/Matthias, and even more so the Crows, i.e. the stuff I didn’t see coming and knew nothing about (having only read the first book). (I thought the entire Crows subplot was handled in a somewhat convoluted way, at least in the first episodes; it was hard to keep track of who wanted Alina and why, but the Crows’ chemistry is so strong it carried the whole Plot B on its shoulders).

HELNIK. As an enemies to lovers dynamic, Helnik was SUPER on the nose, I’d say bordering on clichéd with the unapologetic, straight outta fanfiction use of classic tropes like “we need to team up to survive” and ��there’s only one bed and we’ll freeze to death if we don’t take our conveniently damp clothes off and keep each other warm with the heat of our naked bodies” (not that I’m complaining, but i like to pine for my ships a bit before getting to the juicy tropetown part, tyvm). And then they’re suddenly on opposite sides again because of a tragic misunderstanding - does Bardugo hate high-conflict dynamics? It certainly seems so, because between Helnik and Darklina I’m starting to see a pattern where the slow burn and blossoming mutual trust is rushed and painted in broad, stereotypical strokes to get as fast as possible to the part where they *hate each other again* and that’s... huh. Something.

^That’s probably why I’m almost more interested in Kaz x Inej, because their relationship feels a bit more nuanced, a bit more mysterious, and a bit more unpredictable. (I didn’t bother spoiling myself about them, so I really don’t know where they’re going, but it’s refreshing to see a dynamic that the narrative isn’t scrambling to define in one direction or the other as quickly as possible)

-

Now, as for Darklina VS Malina... I found exactly what I expected. 

Both are ship dynamics I’m, on principle, very much into (light heroine/dark villain, pining friends to lovers) but both are also much less interesting than they claim to be, or could have been with different narrative choices. I’ll concede that the show characters are all more fleshed out and likable than their book counterparts, and the cringe parts I vaguely remembered from the books played out differently. And, well, Ben Barnes dominates the scene, he’s hot as HELL, literally every single second he’s on screen is a fuck you to Bardugo’s attempts to make his character lame and uninteresting and I’m LOVING it, lol.

But yeah, B Barnes aside, Darklina is intrinsically, deliberately made to be unshippable. 

It makes me mad, because it’s - archetypally speaking - made of shipping dynamite: yin/yang-sun and moon, opposites attract, COMPLEMENTARY POWERS AND SO ON. And what does Bardugo do with these ingredients? A FUCKING DELIBERATE DISASTER:

^ Placing the kiss so early on (season 1, episode five) effectively kills the romantic tension that was (correctly) building up until that point, and leaves the audience very little to still hope for, in terms of emotional evolution of the dynamic. 

Bardugo lays all the good stuff down as early and quickly as possible (the bonding, the conflicted attraction, the recognizing the other as one’s equal, etc) only to turn the tables and pull the rug so y’all sick creepyshippers won’t have anything to look forward to, because THEY’VE ALREADY HOOKED UP AND THAT BELONGS TO THE PAST, IT’S OVER, THEY’RE ENEMIES. This, combined to the fact that she falls for him *without* knowing who he really is, is the opposite of what I want from a heroine/villain ship (it’s basically lovers to enemies, and while that can be valid too, I wanted to see more pining and more prolonged, tormented symbolic attraction to the Shadow/Animus on Alina’s part). 

But here’s the trick: it’s not marketed as lovers to enemies - it has all the aesthetics and trappings of an enemies to lovers (the Darkling is, from the get go, villain-presenting, starting from his name), so it genuinely feels like a trollfic, or at the very least a cautionary tale *against* shipping the heroine with the tall dark brooding young villain, and I don’t think it’s cool at all. It makes the story WAY less interesting, because it humanizes the villain early on (when it’s not yet useful or poignant to the story, because it’s unearned) but it’s a red herring. The real plot twist is that the villain shouldn’t be sympathized with, just defeated: there’s a promise of nuanced storytelling, that is quickly denied and tossed aside. So is the idea of incorporating your Shadow (a notion that Bardugo must be familiar with, otherwise she wouldn’t have structured Alina and the Darkling as polar opposites who complement each other, but that she categorically refutes)

Then we have Malina. The good ship.

Look, I’m not that biased against it. I don’t want to be biased on principle against a friends to lovers dynamic that antagonizes a heroine/villain one, because every narrative is different, and for personal reasons I can deeply relate to the idea of being (unspeakably) in love with your best friend. So there are aspects of Malina that I can definitely be into, but it troubles me that in this specific context it’s framed as a regression. It’s Alina’s comfort zone, a fading dream of happiness from an idealized childhood, to sustain which the heroine systematically stunts her growth and literally repressed her own powers, something that in the books made her sickly and weak. But the narrative weirdly romanticizes this codependency, often making her tunnel vision re: going back to Mal her primary goal and centering on him her entire backstory/motivation, to the point that when she starts acting more serious re: her powers and alleged mission to destroy the Fold, it feels inorganic and unearned. 

Mal is intrinsically extraneous to Alina’s powers, he doesn’t share them, he doesn’t understand them, he has little to offer to help her with them, and so the feeling is that he’s also extraneous to her heroine’s journey, aside from being a sort of sidekick or safe harbor to eventually come back to. People have compared him to Raoul from Phantom of the Opera, and yeah, he has the same ~magic neutralizer~ vibe, tbh.

The narrative also polarizes Mal’s normalcy and relative “safety” against Aleksander’s sexy evil, framing Alina’s quasi-platonic fixation on the former as a better and purer form of love than her (much more visible and palpable) attraction to the latter. This is exacerbated by the show almost entirely relying on scenes of them as kids to convey their bond. I’m sure there are ways to depict innocent pining for your best friend that don’t involve obsessively focusing on flashbacks of two CHILDREN running in a meadow and looking exactly like brother and sister. LIKE. I get it, they’re like soulmates in every possible way, BUT DO THEY WANT TO KISS EACH OTHER?

Which brings me to a general complain: for a young adult saga centering on a young heroine and full of so many hot people, this story is weirdly unsexy? There are a lot of shippable dynamics, but they’re done in such a careless, ineffective way that makes ZERO EFFORT to work on stuff like slow burn, pining and romantic tension, and when it does it’s so heavy handed that the viewer doesn’t feel encouraged at all to fill the blanks with their imagination and start anticipating things (which is, imo, the ESSENCE of shipping). The one dynamic that got vaguely close to this is, again, Kaz and Inej, and coincidentally it’s also the one we didn’t get confirmed as romantic YET. Other than that, where’s the slow burn? What ship am I supposed to agonize over during the hiatus to season two? Has shipping become something to feel ashamed of, like an embarrassing relative you no longer want to invite in your home?

Anyway, back to Alina/Darkling/Mal, this is how the story reads to me:

girl suspects to be special, carefully pretends to be normal so she can stay with Good Boy

the girl’s powers eventually manifest; she’s forcibly separated from Good Boy

the girl’s powers attract Bad Boy who is her equal and opposite but is also a major asshole

girl initially falls for Bad Boy; has to learn a hard lesson that nobody that sexy will ever want her for who she is, he’s just trying to exploit her

also, no, there is no such thing as a Power Couple

girl is literally given a slave collar by Bad Boy through which he harnesses her power (a parody of the Twin Scars trope)

you know how the story initially suggested that the joint powers of Darkness and Light would defeat evil? LOL NO, Darkness is actually evil itself and the way you destroy evil is using Light to destroy Darkness, forget that whole Jungian bullshit of integrating your shadow, silly!

conclusion: girl realizes being special sucks. She was right all along! Hiding and suppressing her powers was the best choice! She goes back to the start, to the same Good Boy she was meekly pining for prior to the start of the story.

... there’s an uncomfortable overall subtext that reads a lot like a cautionary tale against - look, not just against darkships and villain/heroine pairings, but also *overpowered* heroines and, well... change? Growth?

Like, it’s certainly a Choice that Alina starts the story *already* in love with Mal. That she always knew it was him. The realization could have happened later (making the dynamic much more shippable, too), but no. 

#anon #asks #* #sab for ts #long post #darklina for ts #malina for ts #sorry it took me a while but i wanted to see the whole season first

[flufffysocks]

let's talk about andi mack's worldbuilding

sorry this took forever to make! i've been pretty busy with school stuff and i kind of lost my inspiration for a bit, but i ultimately really enjoyed writing it! i wish i could've included more pics (tumblr has a max of 10 per post), and it kinda turned from less of a mini analysis to more of an extremely long rant... but i hope it's still a fun read!

i've been rewatching the show over the past few weeks (thanks again to @disneymack for the link!), and i’ve been noticing a lot that i never did the first time around. this is really the first time i’ve watched the show from start to finish since it aired, and it honestly feels so different this time - probably a combination of the fact that i’m not as focused on plot and can appreciate the show as a whole, and also that the fandom is much, much smaller now, so there’s a lot less noise. so the way i’m consuming this show feels super different than it did the first time, but the show itself doesn’t - it’s just as warm and comforting to me as it was the first time around, if not more so.

i think a lot of that can be attributed to andi mack’s “worldbuilding”. i’m not quite sure that this is the right word in this context, to be honest, because i mostly see it used in reference to fantasy and sci-fi universes, but it just sort of feels right to me for andi mack, because you can really tell how much love and care went into constructing this universe. for clarity, worldbuilding is “the process of creating an imaginary world” in its simplest sense. there’s two main types: hard worldbuilding, which involves inventing entire universes, languages, people, cultures, places, foods, etc. from scratch (think “lord of the rings” or “dune”), and soft worldbuilding, in which the creators don’t explicitly state or explain much about the fictional universe, but rather let it’s nature reveal itself as the story progresses (think studio ghibli films). andi mack to me falls in the soft worldbuilding category. even though it takes place in a realistic fiction universe, there’s a lot of aspects to it that are inexplicably novel in really subtle ways.

so watching the show now, i’ve noticed that the worldbuilding comes primarily from two things - setting and props, and oftentimes the both of them in tandem (because a big part of setting in filmmaking does depend on the props placed in it!).

one of the most obvious examples is the spoon. it really is a sort of quintessential, tropic setting in that it's the main gang's "spot", which automatically gives it a warm and homey feel to it. and its set design only amplifies this:

the choice to make it a very traditional 50s-style diner creates a very nostalgic, retro feel to it, which is something that's really consistent throughout the show, as you'll see. from the round stools at the bar, to the booths, to the staff uniforms, this is very obvious. the thing that i found especially interesting about it though is the choice of color. the typical 50s diner is outfitted with metallic surfaces and red accented furnishings, but the spoon is very distinctly not this.

instead, it's dressed in vibrant teal and orange, giving it a very fresh and modern take on a classic look. so it still maintains that feeling of being funky and retro, but that doesn't retract from the fact that the show is set distinctly in modern times.

of course, this could just be a one-off quirky set piece, but this idea of modernizing and novelizing "retro" things is a really common motif throughout the show. take red rooster records. i mean, it's a record shop - need i say more? it's obviously a very prominent store in shadyside, at least for the main characters, but there's no apparent reason why it is (until season 2 when bowie starts working there, and jonah starts performing there). a lot of the time, though, it functions solely as a record shop. vinyl obviously isn't the most practical or convenient way of listening to music, but it's had its resurgence in pop culture even in the real world, mostly due to its aesthetic value, so it's safe to say that it serves the same purpose in the andi mack universe.

the fringe seems to be nostalgic of a different era, specifically the Y2K/early 2000s period (because it's meant to be bex's territory and symbolic of who she used to be, and its later transformation into cloud 10 is representative of her character arc, but that's beside the point). to be honest, exactly what this store was supposed to be always confused me. it was kind of a combination party store/clothing store/makeup store/beauty parlor? i think that's sort of the point of it though, it's supposed to feel very grunge-y and chaotic (within the confines of a relatively mellow-toned show, of course), and it's supposed to act as a sort of treasure chest of little curios that both make the place interesting and allow the characters to interact with it.

and, of course, there's andi shack. this is really the cherry on top of all of andi mack's sets, just because it's so distinctly andi. it serves such amazing narrative purpose for her (ex. the storyline where cece and ham were going to move - i really loved this because it highlights its place in the andi mack universe so well, and i'm a sucker for the paper cranes shot + i'm still salty that sadie's cranes didn't make it into the finale) and it's the perfect reflection of andi's character development because of how dynamic it is (the crafts and art supplies can get moved around or switched out, and there's always new creations visible).

going back to the nostalgia motif though, the "shack" aspect of it always struck me as very treehouse-like. personally, whenever i think of treehouses, there's this very golden sheen of childhood about it, if that makes sense. i've always seen treehouses in media as a sort of shelter for characters' youthful innocence and idealistic memories. for example, the episode "up a tree" from good luck charlie, the episode "treehouse" from modern family, and "to all the boys 2" all use a treehouse setting as a device to explore the character's desire to hold onto their perfect image of their childhood (side note: this exact theme is actually explored in andi mack in the episode "perfect day 2.0"!). andi shack is no exception to this, but it harnesses this childhood idealism in the same way that it captures the nostalgia of the 50s in the spoon, or the early 2000s in the fringe. it's not some image of a distant past being reflected through that setting; it's very present, and very alive, because it reflects andi as she is in the given moment.

some honorable mentions of more one-off settings include the ferris wheel (from "the snorpion"), the alley art gallery (from "a walker to remember"), SAVA, the color factory (from "it's a dilemna"), and my personal favorite, the cake shop (from "that syncing feeling").

[every time i watch this episode i want to eat those cakes so bad]

these settings have less of a distinctly nostalgic feel (especially the color factory, which is a very late 2010s, instagram era setting), but they all definitely have an aura of perfection about them. andi mack is all about bright, colorful visuals, and these settings really play to that, making the andi mack universe seem really fun and inviting, and frankly very instagrammable (literally so, when it comes to the color factory!).

props, on the other hand, are probably a much less obvious tool of worldbuilding. they definitely take up less space in the frame and are generally not as noticeable (i'm sure i'll have missed a bunch that will be great examples, but i'm kind of coming up with all of this off the top of my head), but they really tie everything together.

for example, bex's box, bex's polaroid, and the old tv at the mack apartment (the tv is usually only visible in the periphery of some shots, so you might not catch it at first glance) all complement that very retro aesthetic established through the settings (especially the polaroid and the tv, because there's really no good reason that the characters would otherwise be using these).

besides this, andi's artistic nature provides the perfect excuse for plenty of colorful, crafty props to amplify the visuals and the tone. obviously, as i discussed before, andi shack is the best example of this because it's filled with interesting props. but you also see bits of andi's (and other people's) crafts popping up throughout the show (ex. the tape on the fridge in the mack apartment, andi's and libby's headbands in "the new girls", walker's shoes, andi's phone case, and of course, the bracelet). not only does doing this really solidify this talent as an essential tenet of andi's character, but it also just makes the entirety of shadyside feel like an extension of andi shack. the whole town is a canvas for her crafts (or art, depending on how you want to look at it. i say it's both), and it immensely adds to shadyside's idealism. because who wouldn't want to live in a world made of andi mack's creations?

and, while it's not exactly a prop, the characters' wardrobe is undoubtedly a major influence on the show's worldbuilding. true to it's nature as a disney channel show, all of the characters are always dressed in exceptionally curated outfits of whatever the current trends are, making the show that much more visually appealing. i won't elaborate too much on this, because i could honestly write a whole other analysis on andi mack's fashion (my favorites are andi's and bex's outfits! and kudos to the costume designer(s) for creating such wonderful and in-character wardrobes!). but, i think it's a really really important aspect of how the show's universe is perceived, so it had to be touched upon.

[^ some of my favorite outfits from the show! i am so obsessed with andi's jacket in the finale, and i aspire to be at bex's level of being a leather jacket bisexual]

and lastly, phones. this is a bit of an interesting case (pun intended), because the way they're used fluctuates a bit throughout the show, but i definitely noticed that at least in the first season terri minsky tried to avoid using them altogether. these efforts at distancing from modern tech really grounds the show in it's idealist, nostalgia-heavy roots, so even when the characters start using their phones more later in the show, they don't alter the viewer's impression of the andi mack universe very much.

so, what does all of this have to do with worldbuilding? in andi mack's case, because it's set in a realistic universe and not a fantasy one, a lot of what sets it apart from the real world comes down to tone. because, as much as this world is based on our own, it really does feel separate from it, like an alternate reality that's just slightly more perfect than ours, which makes all the difference. it's the idealism in color and composition in andi mack's settings that makes it so unmistakably andi mack. even the weather is always sunny and perfect (which is incredibly ironic because the town is called shadyside - yes, i am very proud of that observation).

the andi mack universe resides somewhere in this perfect medium that makes it feel like a small town in the middle of nowhere (almost like hill valley in 1955 from "back to the future"), but at the same time like an enclave within a big city (because of its proximity to so many modern, unique, and honestly very classy looking establishments). it is, essentially, an unattainable dream land that tricks you into believing it is attainable because it's just real enough.

all this to say, andi mack does an amazing job of creating of polished, perfect world for its characters. this is pretty common among disney channel and nickelodeon shows, but because most other shows tend to be filmed in a studio with three-wall sets, andi mack is really set apart from them in that it automatically feels more real and tangible. it has its quintessential recurring locations, but it has far more of them (most disney/nick shows usually only have 3-4 recurring settings), and it has a lot more one-off locations. it's also a lot more considerate when it comes to its props, so rather than the show just looking garish and aggressively trendy, it has a distinctive style that's actually appropriate to the characters and the story. overall this creates the effect of expanding the universe, making shadyside feel like it really is a part of a wider world, rather than an artificial bubble. it's idealism is, first and foremost, grounded in reality, and that provides a basis for its brilliant, creative, and relatable storytelling.

tl;dr: andi mack's sets and props give it a very retro and nostalgic tone which makes its whole universe seem super perfect and i want to live there so bad!!

#andi mack #buffy driscoll #cyrus goodman #jonah beck #tj kippen #tyrus #ambi #bex mack #analysis #film analysis #disney channel

[imthepunchlord]

I’ma be completely honest right now and say that I don’t think anyone (who follows you and knows/shares your feelings on the specials at least) would mind if you were straight up like “yeah sorry guys the New York and Shanghai specials are non-canon for Off to Italy because I really don’t like the way they handled diversity, worldbuilding, or relationships, and the future Rio and Africa ones are non-canon as well for the same reasons” from the get-go. Like those are such valid reasons to cut something out of a story, and it doesn’t seem too different from cutting out certain episodes or starting from a specific season like a lot of ML fanfics do, especially since the specials feel even more removed from the main canon to begin with because of how the writers decided to handle the ML continuity, AND this frees up a bunch of the kwami animal choices used, which would make things exponentially easier for you like you said in both animal choice and character design by having a visual base to already work off of for the ones you pick.

I also don’t think a majority would take issue with me cutting those out either. Because the things they bring in, lore wise, I don’t see anyone talking about. 

No one is talking about the NA Order, and its existence brings in so many questions. 

So I’m going to put this under cut cause I want to go off. I technically don’t have a right to as I didn’t watch either, but I listened to those who did to get an idea and somethings bother me. 

But first, I think the only thing I saw being talked about was LS stuff in the NY special and HM getting pink Thanosed in Shanghai and that’s it. That’s the only stuff I’ve seen between the two specials. And that’s not good if those are the most iconic things to be brought up. 

Anyway, onto my salt. 

Was the NA Order around when Fu made Feast? Why didn’t he work his way to them to pass the Miracle Box to them? Or did he know they exist? Is the NA Order aware that something happened to the Chinese Order? Presuming that they communicate, did they not reach out with how quiet the Chinese Order was and look into it or try to gather lost miraculouses if they did? 

And then there’s the wonder of the historical context. You can’t just casually reveal there’s an NA Order and Native American miraculouses that brings up a lot of questions as the Native people have experienced a lot of wrongs and sufferings in our history and still are facing issues. What does having confirmed Native miraculous mean for America’s bloody history with Native people? 

And then there’s the Shanghai special, bringing in the Renlings and that’s another can of worms. 

Not only are they another magical set from China, cause you know how magical China exclusively is since all magical stuff comes from them, but these are established coming in before miraculouses and were put away because they were “dangerous”. So, what are kwami views on the renlings and vice versa? And from what I’ve seen and heard, I don’t get how they’re dangerous? And then there’s the issue of their power set up, turning the user into an animal, and you got Fei, a Chinese girl, using it. This adds onto character of color being/becoming inhuman, and this is the 2nd special to do so (with Aeon, our official 2nd black girl to appear, being a robot). And this adds onto poc becoming an animal. 

And there’s Mei Shi, who design wise, as a “kwami” I really I like, but, what is Mei Shi? Is Mei Shi a unique kwami? A renling? Or is Mei Shi a 2nd sort of cousin to kwamis to reveal later? I also hear Mei Shi is a guardian but didn’t really do anything as a guardian. I will say, I wish now there was an in between the kwami and renling designs, for sometimes the kwamis are weird and some of the renlings look off or are creepy, and so far, Mei Shi is like the best take for that ideal mixture of both. 

While this is not lore wise related and more nitpicky, I am also bothered with Fei, not really the character herself but more the choices the creators made with her set up. Between her design and her backstory, she is essentially the older concept of Marinette that we didn’t get. 

Visually she’s had tweaks, but you can see that they took big inspirations from Marinette’s old look. How Marinette was going to originally look before they decided to make her more white. 

And then there’s Fei’s backstory: her father being mysteriously murdered. That was Marinette’s first backstory, back in the day of Mini Menace Ladybug, coming home to find her dad mysteriously murdered. 

And adding to this, there are implications that Gabriel might’ve played a role in the murder of Fei’s father, and I’m incredibly salty about that. Fei has more tie in and connection to ML’s plot than Marinette. 

And what frustrates me is that, by set up, they actually could’ve still given this to Marinette. You can cut out Tom and Sabine and very little changes in ML, and you can add more depth to Marinette, who is a bubbly and nice girl who wears her heart on her sleeve and will go over the moon for you if you need her to, but she has a dark thorn in her heart as her parents were mysteriously murdered and she doesn’t know why. 

Keeping in that Gabriel (and potentially Emily) played a role in their death and took something from her parents that they had, this would give Marinette that emotional stake in the plot and direct tie in to Gabriel. You could even set up that her parents had the Butterfly, Peafowl, and/or the book, and at least one or two of those items technically belong to Marinette as they belonged to one of her parents. Peafowl would probably make the most sense as we don’t when they got it or how it even got broken. All we have is that Butterfly and book were found together a year prior to the events of ML. But that comes down to how long ago the murders should be. 

And narratively, this set up would work. 

Marinette’s parents are incredibly removed from her life and are hardly ever seen; it’s also to a point she doesn’t even go to them for advise or help for anything, only Tikki. And they themselves are hardly characters of their own. At the start of the show, which we know know has her being 13 yo, she’s incredibly independent which can back the impression of absent parents. This also really backs her knowing next to nothing about Sabine or the Cheng side of her family, not even knowing the name Sabine used to go by. 

This set up also could’ve set Fu up as a closer mentor and really add to the grandfather-granddaughter theme they were going for, especially if he steps up to act as a guardian for her and secretly trained her to be ready for a miraculous, adding to how he has such faith and trust in this 13 yo to save the city. 

So that is my biggest gripe with Fei, not so much her herself, but the factor that the creators took Marinette’s most interesting and original set up (and design) and gave it to a random character who we are probably never going to see again or even get mentioned again, and is largely here for diversity brownie points and give us half hearted lore that won’t be elaborated on; and Marinette could’ve had this back story and set up instead and actually have a tie in and stake to the plot. 

it was very frustrating to hear. 

So yeah, I am more inclined to cut out the NY and Shanghai special and not count any other specials that come as lore wise, they don’t do anything or what they add is just too much and doesn’t answer much. I think the biggest shame is that there were some big appeals to them. NY and Shanghai actually should’ve been more Adrien and Marinette having their own exclusive adventures, or at least just have them be Marinett’s own adventures. 

I would’ve loved it if the NY Special was instead Marinette having her own adventure with Sparrow and Aeon and have her face a different villain who is not HM. 

And that the Shanghai special was instead giving us a look at Marinette’s Cheng side of the family, and her going to see the ruins of the Chinese Order, facing something supernatural, and potentially this is where she finds the Chinese Zodiac miraculous and brings them back to Fu. If you want to work off the canon Shanghai a bit, perhaps instead of introducing “kwami cousins”, Mei Shi/Meeshi/idk is a lion kwami who distanced himself from his miraculous, went to the ruins, and made himself a Guardian Lion to watch over what remains. They work together and he approves of Marientte taking the Zodiac, and he travels back to somewhere in Africa hinting at the special that will have Lady Lion. 

This also nicely sets up why Fu didn’t release any of the Zodiac to help LB, as what he had of the 5, Cat would’ve been the best partner to work with LB and it was worth risking the very two HM is after. Revealing that he has the Zodiac from the start didn’t work in their favor. 

#ask Punchie #ml salt #ml spoilers

[lorata]

How does the Centre deal with fatigue and mental/physical attrition? Obviously the training has to be tough but these kids do it for literal years. I imagine even the super motivated kids can feel burnt out and need to recover. How does the Centre deal with recovery in general? Even elite-level troops irl usually dial back the training at some point or another in order to recover and stop them from burning out.

PS I'm in the Army and you have nailed soldiers (particularly the rebels since Peacekeepers are also police so they behave a little differently). They act, speak and think like people I have met in the service. It's super on point and I want to say well done.

so with the caveat that burnout is less of a concern when they only need two kids per year (the rest get shunted off to different tracks), you are correct in that there are breaks built into the program! this is the kind of thing that makes it less into the main stories just because of pacing reasons and more into silly things like "Petra and Selene and their cohort sneak out to go clubbing" but the bones are sort of scattered throughout there are recovery points built in after every 'bead' aka major progression -- each kill test you get to take time off to recover (longer for humans than animals, longest for first human), and the Field Exam can be several weeks depending on how rough it gets. this is mandatory: no points for getting out of it and coming back to training 'early'. you come back when they say you're done. the other thing is once the kids hit the Seniors (post Field Exam) the physical training scales WAY back. these ones are in it to the end: there are no more mandatory cuts (as in, no more 'bottom third gets cut at the end of the year) like in years previous. if you pass your FIeld Exam, you're there to the finals unless you wash out from a failed psych eval, major injury or you actively sabotage yourself. they don't need to push them physically after this, so there are no more mountain hikes or winter swims or anything else. from here it's just mental -- not that the sleep deprivation or tracker jacker tests aren't HARD but it's a different kind of hard. you don't punish mind and body at the same time, basically, and you don't waste that kind of training on kids who will probably wash out in the practical, so pre-15s don't get any of that. prior to Field Exam it's all physical; after that it's largely psychological, plus conditioning to keep it up. and of course unlike the military there's no furlough -- these kids are in a brainwashing program, so they don't get to go home for vacation. instead there's day passes, they can go out to the town, flash their bracelets, show off, buy ice cream (the 14s) or go dancing (the older ones), with the caveat that anyone seeing their family gets iced. by this point the conditioning is well set enough that the kids who are left don't bother. like, there might be one every so often? but then off they go. the kids also have more freedom than they think they do -- the trainers know when they sneak out at night and they let them, so long as it's not contacting family or washed-out ex-candidates, but they let the kids think they're getting away with it. good for morale. but yeah, they run the kids hard but they have to slow down, you're absolutely right, or you'd get a bunch of broken kids and nothing out the other side. this is what the trainers argue whenever Capitol head office makes noise about the budget. do you want results or not? (and yeah the PKs are weird, they're essentially what happens when you turn your cops into a national military force so writing them is always a bit of a mix, worldbuilding-wise)

#lorata answers #anonymous #we must be killers: tales from district 2

[shima-draws]

Tell us abt the story, Shima. I would D I E for your stories (also, an ATS game would make my entire LIFE I would be so broke on it)

[[Anonymous said: hey- hey shima.... what;s ur new story about?]]

uwu

So this is based off of Arthurian lore and has some elements of it but it’s mostly (?) original!

It starts out in a normal high school setting, centered around these two kids named Elin and Niro. Niro’s had a life of total misfortune—his parents died when he was little and there was nobody else to take him in, so he was forced into foster care, and has switched schools so often that he never really got to make any permanent friendships. He’s a quiet guy, sort of weighed down by all of the loss he’s experienced, so that sort of makes him a mysterious and attractive sort of person, which gains him immediate popularity as the school’s handsome new kid. (He’s in his senior year, now, and has been at this school for almost the full year.) Despite his withdrawn personality Niro actually gets along well with his peers, but mostly because he’s a very agreeable sort of person that just goes along with what he’s told to do to fit in. He’s just going through the motions at this point, trying to survive and figure out what he wants to do in life. It isn’t really working out too well because Niro has major depression so every day is a struggle, but his current “guardian” at the foster home he’s staying in helps a lot with that, and Niro views her as sort of a mother figure to him, and it’s soft :’)

Elin, on the other hand, is the school’s laughingstock, and gets picked on a LOT by his classmates. He never fights back and tries to stay out of everybody’s way, so people think him even weirder because of it. He rarely talks and is always found with his nose stuck in a book, which has also labeled him as a major geek, so you can bet he gets targeted a lot because of this;;

Unfortunately, the kids that Niro’s friends with are the group that picks on Elin the most, and it always makes Niro uncomfortable but he’s too hesitant to really speak up about it, especially since Elin just. Sort of takes it and never outwardly complains. It’s basically just Niro making excuses to himself, and whenever he DOES try to talk his buddies out of it they’re like come on man we’re just joking around it’s not a big deal. So that sucks. One day when Niro’s walking to school he notices he’s being followed by a weirdly dressed girl. Eventually she corners him and she’s like “Merlin’s been taking too long to find you so I took things into my own hands since we’re running out of time” and Niro’s like ???? Excuse me? But she doesn’t explain and literally yanks him into a portal and that’s that. LMAO

When they emerge, the girl introduces herself as Lunete, and reveals that she’s taken Niro to the world of Avilion, in the kingdom of starlight called Inlustria. Niro’s still processing that he’s been pulled into another world entirely when Lunete begins to escort him to the castle, and pretty much dumps the world’s lore and his Destiny™️ on him on the way.

Rest is under the cut to save space because it is loooong lol

Lunete explains that there have always been two central figures in Inlustria, for many centuries across many generations. Those figures are Merlin, the wizard, and Arthur, the king meant to wield the holy sword and unify the five kingdoms on the continent together. Currently there are two Merlins, with the second being younger and newer to the position, still in training. However, she adds that this particular Merlin is the most powerful they’ve ever seen in the long history of Merlins to exist, and that he’s basically a child prodigy. It is Merlin’s task to watch over, guide and protect Arthur, so that peace can remain and the cycle can continue anew. The current Arthur is sadly old and very ill, practically on his deathbed, so the process of choosing a new Arthur to replace him had to be rushed.

Lunete then tells Niro that the Arthurs are chosen by fate before birth and are always humans from the other world. Arthurs are always loyal, confident and kindhearted, so there’s never a chance of an Arthur going astray (unless their Merlin purposefully leads them down that path). Niro’s like why are you telling me all this and Lunete goes well isn’t it obvious? Why else would I be telling you. And then Niro realizes that he has been chosen as the new Arthur, and immediately goes into panic mode. Lunete apologizes for the abrupt introduction and Avilion crash course lol but she says that usually it’s the Merlin’s job to remain in the human world, scout out the new Arthur, and bring them to Avilion, since they’re naturally drawn to them by their magic. But this Merlin is particularly stubborn and wants nothing to do with Arthur or his born duty to essentially serve the king, so he’s been stalling on locating him out of sheer spite.

Lunete and Niro arrive at the castle and she leads him into the grand library, where Merlins usually spend most of their time. Niro is shocked to find out that Elin is Merlin, and Elin immediately goes “You have GOT to be kidding me” when he realizes that the new Arthur—who he has to spend the rest of his life with btw—is Niro.

Niro’s even more shocked to find out that Elin is a completely different person than how he is at school. Elin is witty, arrogant and very sassy, and constantly throws shade at Niro for doing nothing while he was being bullied. (Niro then accuses Elin for not standing up for himself when he’s CLEARLY capable of it with both his silver tongue and his knack for magic, but Elin explains that it’s a rule for Merlins not to make a big presence of themselves in the human world. Then Niro feels very guilty.) Elin swears off of accepting Niro as the new Arthur and says he can protect the kingdom all on his own.

Naturally Niro is very reluctant to take on the position of Arthur and become the ruler of an entire kingdom, but Lunete tells him he doesn’t really have a choice, and that all Arthurs fall into the role eventually, so it will be something he’ll automatically adapt to because he’s The Chosen One and it’s meant to be. Niro continuously tries to reach out to Merlin, but he’s notoriously stubborn and refuses to acknowledge Niro.

Eventually Lunete lets slip that Merlin had a complicated history with another human in his childhood that ended...not so well (and no it’s not Esca lol), hence his general distaste towards the other world and humans in general. Ofc that’s not all Merlin is hiding, there’s another enormous secret he doesn’t want coming into the light. And you bet Niro’s going to discover them all ;)

So yeah there’s obviously a lot more that goes on after that—Niro trains to fit into the Arthur role (with a lot of sexy swordfighting training montages), Merlin eventually accepts him and they grow closer (yes. In that way ;D), Merlin shows off how skilled he is with his magic and Niro goes oh no I think I might be in love with him, there’s trouble with the northern kingdom they’re trying to deal with involving a new villain that’s popped up, Niro gets to meet a king from the southern kingdom who sort of becomes his father figure/mentor so that’s cool? Niro finds out exactly what sins Merlin committed in the past, and that past sadly catches up with him and nearly ruins everything so that’s fun. Niro finds out some shit and almost abandons his role as Arthur but eventually returns to Inlustria and obtains Excalibur to save Merlin’s ass, etc. etc. I think after the “main” story ends I’m going to send them out to sea so they can go on an epic magic pirate adventure, because when Niro was a kid he was super into pirates and treasure hunting and the ocean, he was never really a “magic and kingdoms” type of guy which is super ironic. Merlin’s excited about traveling but it turns out he’s really seasick and it’s hilarious. Somewhere down the line they’ll probably find out why there’s always been a “Merlin” and “Arthur” role in their kingdom as well. So LOTS of fun stuff is in store! And my brain hasn’t been shutting up about lore and worldbuilding for this story ever since I came up with it >;)

#I STILL DON'T HAVE A NAME FOR THIS YET SO. #And now you guys can send me asks about this ;)))))) #Shima answers questions #Long post #Shima's OCs #Anyway yeah there's a LOT going into this but that's just the basic plot #Esca is involved in a big way but I won't say how yet ;)

[icyowl]

A/B/O Worldbuilding

Every omegaverse author has their own spin on the idea, so here is mine! Feel free to use the ideas in your own writing. I really love world building as a whole as well as the omegaverse concept, so it kind of spiraled out of control ;).

These are just my own ideas so please don’t come after me if you don’t agree with something. I’m not asking anyone to use these ideas over their own.

It’s 9 pages so I’m putting the rest under a read more.

BIOLOGY:

What makes dynamic individuals different from others is the enlarged and highly developed limbic system. This part of the brain controls emotions, memory, and the endocrine and some of the olfactory reception. This is why they are so hormonal, experience deep emotional connections, and depend on smell for lots of information gathering and processing. It also explains why changes in hormones go along with changes in a person’s smell. The link to memory could mean that reincarnation may play a part, though researchers are still investigating.

Males are alphas or betas, females are betas or omegas. A person’s dynamic can be mutually exclusive to their personality, so you can have a really brutish and headstrong woman (such a personality does not always mean “alpha”), she’s just more likely to be a beta rather than an omega.

Both sexes have scent glands. Depending on the sex, the glands will be slightly different shapes, sizes, and in different locations (infographs at the end).

Males have canines and claws that extend during excitement or high emotion. If the canines extend far enough, they cause the gums around the teeth to split and bleed. The size, shape, and curvature of the fangs varies from person to person.

Omegas have canines and claws, but they are much smaller.

Rarely a person will have two sets of fangs, their canines and their lateral incisors. These people are always alphas.

Omegas have a “terror-mone” that is automatically emitted when she experiences extreme fear. It is very potent and far-traveling, and the idea is to alert others to come to her aid and overwhelm the opposing alpha’s senses until he backs off. People liken it to pouring bleach down their throat and in their eyes or getting pepper-sprayed.

Scent changes upon a person’s emotions.

Pheromones are emitted from scent glands. Pheromones are processed as a smell and therefore are a kind of scent, but are not directly linked with a person’s emotions. For example, even if an alpha is scared, he can produce comfort pheromones for those nearby.

Scent glands are very complex, high-value organs. They produce a person’s pheromones, scent, hold a mark, and are linked directly with a person’s mental and physical state because of the high density of nerve endings. Rather than check under the tongue or forehead for temperature, the most accurate way is to press the scent glands. Because of the nerve endings found there, they are sensitive to touch and overstimulation.

Scent glands sometimes need to be expressed in order to expel the build-up of pheromones in the blood. This is done via deep pressure or puncturing the skin with fangs or claws. The most effective place is the large scent gland on the neck but any scent gland will work. It is usually done by the significant other since the originator craves that physical intimacy and emotional closeness, but in their absence the person will do it themselves with their claws or by simply massaging the area.

If not expressed, the expired pheromones will build up in the blood and eventually cause anxiety, blurred vision, very high or low temperature, exposing canines and claws, intense trembling, and lethargy to the point of passing out. Essentially the person becomes very sick. The scent glands become puffy, sensitive, and the skin turns rosy as if sunburned.

Males produce venom from their canines and claws. Others of the same rank will be adversely affected by it, but those of the opposite rank are positively affected. The venom alphas produce can cause omegas to become catatonic if present in large enough quantities.

In extreme cases, alphas can go into R.I.L.A (Rut Induced Loss of Awareness), whereby they lose awareness of who they are, where they are, and what they should and shouldn't do. It’s a crazed trance-like state where reasoning is impossible and they act without inhibition.

Scenting is when one person wants to outwardly show everyone that someone is taken by them. It involves rubbing a person’s scent onto the skin of the other’s scent glands and body in general. This rubbing looks like nuzzling when done with the face, but can be done with any part of the body really. For two people to rub scent glands together is a very powerful experience. It strengthens bonds and dissuades outsiders from attempting to court one of them. An alpha’s desire to scent is stronger than an omegas, but they both do it. The desire to scent someone is an infallible sign that they have feelings for the person.

Marking is when an alpha intends to devote himself to that person for the rest of his life. The urge only develops when there is an extremely intimate bond between two people, and also involves emotional ties. Marks do fade and need to be replaced. There are creams that help the mark last longer, and people can buy an expensive contraption that has the dental impression of the alpha and can create a mark-like impression, but there is no scent of the alpha and it doesn’t last as long as the real thing. Nevertheless, people use it--on the daily, sometimes--when the alpha is gone for a long period of time. Omegas can mark too, but don’t really have an urge to do so. Marking can be done by the parents when the child is young and looking for comfort, but is done on the arm or wrist typically instead of the neck, as is typically used by romantic partners.

Marking isn’t for life, since marks need to be updated, but they do insinuate a very strong bond with the intentions of being long-term, since marks last about a year. You also feel that person’s emotional state while the mark is active, so you’re committing to that when you mark. 

A mark may not last as long as normal if the omega is stressed. The increased adrenaline pulls the remnants of the alphas venom out of her system more quickly and some may not last six months given the right stressors.

Marking works because he gives her his venom, and she gives him her blood, so the omega doesn’t need to also mark the alpha, but sometimes will in the heat of the moment. Through scent glands the emotions of that person can be felt by the other, because scent glands contain high concentrations of nerve cells.

Even if an omega is already marked, the feeling of being marked is the same as the first time if it's by the same alpha.

If an omega is marked by another alpha while the previous mark is still strong, the omega will experience extreme pain as the two opposing venoms fight for dominance. It can take days, but one will always win. The venom of the alpha the omega is more attached to has a better chance of winning the battle, but it isn’t always certain.

Once a person has been marked (especially for the first time) the bond between the two is exceptionally fragile and should be carefully fostered by time spent together and physical contact.

Eyes dilate in response to many things. Typically it is a sign of physical relaxation in response to affection. It is also a major sign of trust, since severe dilation can cause the vision to blur. Dilation can be forced though, for instance when copious amounts of pheromones are in the air.

Preening refers to when a person is showing off to their significant other, and the physical change a person goes through when another person notices and/or appreciates their efforts. The face becomes flushed, they’re eyes may dilate, and muscles tighten in an effort to flex. Claws and fangs will lengthen in an effort to show physical fitness. Males preen to show their prowess and fitness to the female. Females focus on the dedication of a male to care for her needs, but canines are a symbol of the male’s ability to protect her, so when males preen, their canines drop and aren’t usually easy to retract.

Purring occurs when a person is either very content or wishes to make another person content. A person can talk while this is happening, but it can be difficult to understand. Omegas have a special frequency of purr that promotes healing and stress-relief.

There is a kind of deeper purring that only occurs between a pair of deeply bonded, typically romantically involved, individuals. It is a subconscious choice, so the first time a person does it, it usually comes as a surprise. Because it takes more muscles (the diaphragm, chest muscles, lungs, and larynx all work together) a person is more incapasitated than with normal purring, so it carries a connotation of deep trust in the receiver. Usually only alphas do this, but omegas can do it too. Because the muscles associated with talking are all occupied, it can make talking nearly impossible.

Glating (from the latin “gadio” for sword) is an intimidation tactic used between alphas so they may not have to resort to physical violence. It can also be used to prove an alpha’s rank to another so they are seen as a serious competitor/threat. This also affects a person’s ability to talk. It is an involuntary reaction like blinking, so trying to stop one’s self from doing it is a challenge. The term comes from the intense volume, causing it to reverberate around the surrounding area.

When omegas feel an overpowering urge to protect something they can become “theta”, where their reflexes and willpower skyrocket and they become little crazed animals

Children first present around 18/19 years of age, and experience their first heats/ruts about a year later. Over the span of a week or so they get extremely uncomfortable in their own skin. Their temperature rises and their gums become inflamed, tender, and swollen. Senses randomly sharpen before going back to normal. When they finally “tune”, it happens in a single instance. The body temperature peaks until they literally steam. The influx of emotions, senses, and hormones means they flee until they feel safe. It normally doesn’t last more than a couple hours. Typically, alphas will have an intense need to protect that which they consider part of their territory. It may be a person like a sibling, a girlfriend, or a parent, or it may be a location like their house or the nest of someone they love. Omegas feel insecure and unsafe and look to be with someone they feel safe with. Omegas won’t even want to leave that person’s arms.

Traumatic or transformative moments can force a person to change presentations. Sometimes the change is permanent, sometimes it lasts only a little while (weeks or months). They are referred to as “alternate alpha/omega/beta”.

Bunting is the term for a kind of head-butting, similar to what cats do, that works as a subtle yet deep sign of affection.

Moroi is a term for the sickness that overcomes a person’s body when intense negative emotions stem from one’s mate (i.e. rejection, cheating, fear of that person, falling out of love). It comes from the mythological term for a phantom ghost that leaves its grave to drain energy from the living. Side effects include extreme lethargy and phantom chest pains. The severity varies and the treatment is supportive care (rest, fluids). Some may even fall into a resting trance of sorts. It is very rare that a person dies, but sometimes the extreme phantom pains never go away.

A person’s smell changes depending on how they feel. It may be neutral (clean linens), happy, sad, angry, fearful, physical pain (copper or metallic), love, etc.

Every male possesses a knot. 

Tonic immobility (aka ‘megaspace or the Rapture) is the term for how an omega becomes placid, calm, and compliant. It happens when lots of alpha pheromones act as a depressant to the brain by ‘bleeding out’ from the limbic system to the rest of the brain. It happens more easily when the alpha is someone she has great trust in. The depressant side-effect means the omega experiences an addicting calm-high. Alphas can experience this to an extent, but not with the same intensity. There is a problem with omegas experiencing tonic immobility and then, unable to have it again for whatever reason, turns to drugs and/or become prostitutes in an attempt to reach that high again.

Going feral is the layman's term for the very beginning stages of R.I.L.A.. It isn’t nearly as dangerous as the real thing but should certainly be recognized so that the alpha doesn’t drop further into his instincts. It’s how alphas prep their bodies for battle by flooding the system with testosterone and other chemicals. When glating doesn’t work, alphas may become feral in an effort to scare off another alpha before things become physical, but it generally happens any time an alpha senses an omega becoming upset with no sign of the situation getting any better. It also happens when he feels the need to go to an omega but is prevented from doing so. Lessening nearby stimuli is the solution to feralization, as well as scenting with the omega that he is worried about if she isn’t already with someone.

CUSTOMS AND SOCIETAL PRACTICES

If there are normal people, then many are struggling with where to place dynamic people. Are they a subspecies? A baser kind of human, or the next step in evolution?

Bites occur to the neck because the blood flow is large, fast, and goes directly into feeding the brain. This makes it the perfect spot to deposit the pheromones in venom. This can make the recipient a little loopy and very compliant, making consent problems an issue. Alphas have an especially hard time because consent is such a popular thing these days, but waiting and worrying about the omega and giving her the power makes him anxious and emotionally unhappy because it goes against his nature to hold back. Alphas gain purpose and satisfaction from knowing what their omega wants innately, and omegas crave an alpha that will take the lead and make them feel safe and cared for.

Touching another’s scent glands expresses a deep bond between two people. To touch one when the owner doesn’t want you to is a big taboo.

An alpha’s instinct is to look after, an omegas is to be looked after. For this reason it is especially heinous for an alpha to harass an omega, because it goes against their instinct. To deliberately do something that frightens an omega takes a great deal of willpower because the smell of fear an omega produces is strong enough to stop the assailant from continuing.

Bouts of extreme rage can happen if someone harms another’s mate.

A person’s mate is considered off-limits and to break that law is extremely terrible.

An adverse reaction to intense negative emotions can cause an omega to cope with the overwhelming empathy she feels by mentally shutting down. It is an emotional block from all the emotions she feels of others and the desire to have everyone go back to being happy.

Scenting is considered extremely intimate. To interrupt a couple when they are scenting is considered very embarrassing. Usually, it is incorporated into a couple’s daily routine. 

If an alpha wants to show another alpha that an omega is taken, he will mark her in front of the other alpha.

In modern culture, the size and thinness/thickness of canines don’t usually matter, but heavily curved and long ones are considered conventionally attractive.

In a relationship, the first time a person purrs for the other is considered a big step in the relationship.

Dynamics (a.k.a. “Dynams” for the hip youngsters) is the name for the class that every student must complete. Like any history or science class, it is part of the class schedule and is taken throughout high school. It teaches students about dynamics, how to be an alpha/beta/omega, and what each class means for a person. History of scientific discoveries and important figures are also discussed as they relate to it.

When an omega feels safe enough to nest, that is cause for celebration. It is only celebrated between the couple, however. When a young person finishes tuning, their parents typically have some kind of celebration. Marking involves a celebration where anyone can be invited or involved (with all the relatives, or just the couple). 

TECHNOLOGY

Suppressants nullify most all the side effects of heats and ruts. It takes an hour or two to take effect and should be taken once per day (uncommonly, people up the dose if they feel they need to for whatever reason). Suppressants are different for alphas and omegas, since one needs to calm down and one needs to be more awake and not so placid. 

Rut gear involves a type of bite guard and metal nail caps that go over the fingers. This makes them safe for others and prevents damage to others and property.

“Scent stones” are special kinds of rock that absorb scent really well. They are worn for extended periods of time by a person before being given to the other, where they are worn against a scent gland in the wrist to provide comfort and protection. After a week or so of being worn by another person, the scent fades, at which point the stones are switched between the two people.

“Phero-bombs” are grenades of concentrated scent to subdue raging alpha(s)

Bouts of extreme protective instinct--brought on by an overwhelming urge to protect an injured or scared loved one may get bad enough to only be stopped by vials of an omega’s concentrated pheromones. If this is a known/recurring problem, vials are drawn in advance to be injected into the alpha to bring him out of it and calm him down if need be. There are special divisions of S.W.A.T teams to deal with this.

Omegas can wear a type of scarf that is rigid on the inside and won’t release unless the scent stones in it detect enough feel-good pheromones from the omega.

RUTS AND HEATS

Males experience ruts, females experience heats (no matter the presentation)

Heats/ruts happen 4 times per year

Heats are characterized by muscle weakness, muscle cramps, and/or skittish behavior. Ruts are characterized by irritability, increased reflexes/senses, heightened physical strength, and/or short temper. Both sides experience varying degrees of restlessness. Alphas will often spend the nights unable to sleep, watching over the omega as the protective instincts take over, they’re canines also grow and can’t retract. Omegas’ scent glands will swell and become tender, and will sleep a lot. When omegas are awake, they fidget and crave company. The sense of touch becomes hyperactive, making every surface prickly and uncomfortable. Below is a chart to help better visualize the contrasts and similarities.

NESTING

Nesting occurs when an omega feels 100% at ease in the presence of an alpha. It requires the subconscious to be perfectly content as well, so it takes a long time for an omega to get to the point. When it does happen, it counts as a major step and is normally followed by celebration.

It’s a big deal if the omega verbally shares her nest with her alpha. Either by offering for him to enter or saying “our nest” can basically cause an alpha to fall to his knees.

When an alpha wants his omega to nest, or thinks she might do soon, or while she is nesting, he will go about trying to prove he can protect and care for her. This involves doting on her, showing her affection, bringing things for the nest, or otherwise showing his fitness. The omega will carefully consider his offerings for her nest. If she doesn’t take any of his offerings, it means he didn’t do a good enough job proving himself to her. For this reason, having an omega view and scrutinize his offerings is very stressful for the alpha.

Below is a chart for the different ways alphas and omegas behave.

Scent gland locations (in blue):

Female (17 total):

Male (12 total):

#omegaverse #A/B/O verse #a/b/o

[ofdreamsanddoodles]

if you don't mind me asking, how do you deal with consuming content with 'problematic' aspects? for example, i see you reblog posts criticizing things like racism in tma, and you can still make content while being able to recognize those things. it's hard for me to continue enjoying something when it has even 1 thing slightly bad in it, but i know that's not a healthy way to consume content. is there anything you keep in mind when interacting with a given series? u don't need to answer ❤️ ty

also a note on my ask -- of course you don't need to answer, and you aren't a therapist & etc. i just admire your ability to both recognize flaws in works but still enjoy them, and thought since you seem to have critical thinking skills you might have a perspective that you could offer. being on tumblr from a young age seems to have affected my ability to separate things in my mind, lol. thanks so much for reading even if you don't feel comfortable answering.

I mean... you’ve kind of answered your own question? The only way to consume media is to remember that everything has flaws. My brother came by while I was typing this up and told me the answer is to “just vibe” because everyone is more or less terrible in one aspect or another but obviously, that’s not the answer you’re looking for.

I guess the short answer is just... you have to learn how to trust your own set of morals and understand that you shouldn’t feel guilty if a story you like betrays you. And yes, that’s hard, especially when you grow up surrounded by very rigid rules on what’s “okay” to watch, but if you’re just looking for some tips, here’s a list that I hope will help:

Find people you trust and see what they think of the situation. Think about whether or not they’re coming from an informed place. A friend of mine asked me if I knew about a Jewish tradition a while back. I had no idea what they were talking about. Turns out, it was something popular with German Jews. None of my family is from Germany. Sometimes, just being Jewish doesn’t mean I’m the right person to ask.

Find people who are complaining & see why they’re upset. Think about who is annoyed by this and how many of them there are. Think about what they think the proper response is, if any. Think about whether you have the right to wave off their concerns. Think about how those concerns are treated, both in-fandom and by creators. I saw a lot of people in the tma tag complaining about twitter “overreacting” to MAG 185, but if Jonny felt the need to issue an apology and specifically say that he realizes he’s crossed a line, chances are, the complaints were probably warranted (a thing I’d like to add is that apparently, RQ also issued an apology for a fluff episode they released, which I thought was kind of silly, because the episode was essentially just joking about martin forgetting a word. But also, as a neurodivergent person who sometimes struggles with speech, I do understand why that might upset people. not all apologies have to about incredibly important topics, but even the ones who aren’t show a lot about the cast behind it. Alternatively, if RQ had only apologized for this episode, and not MAG 185, that also says a lot about where there priorities are, and what fans they care about keeping)

Think about what will happen if you continue watching/reading etc. It’s not so much “is it okay if I keep watching this?” but “if I continue to watch this, will I convince myself that this problematic aspect isn’t actually a big deal? Is it so ingrained in the show that I can’t watch an episode without seeing the problems in it? What will I say to others, if they want to watch this?” For example, if someone sees you’ve reblogged a scene from a show you like and asks what it’s about, how many excuses are you going to give? How many trigger warnings are there, and can you justify them? There’s a difference between a piece of media having a character say homophobic slurs, and a piece of media saying a gay person should have homophobic slurs thrown at them.  Also: If you think you cant justify getting someone else interested, you probably shouldn’t justify contributing to the show. This might be obvious, but there’s a very big difference in pirating a tv show and buying its merch. 

Think about the fandom. If you continue talking about this, who are you surrounding yourself with? Like, there are a LOT of weirdos making content for kids shows, but that doesn’t always mean the show itself is weird. What it does mean, though, is that you should be careful navigating your enjoyment. Sometimes, the only way to enjoy something is to talk about it with a select few friends. Sometimes, it’s to enjoy it by yourself. I do believe it’s possible to enjoy a show in spite of the canon, but at the same time, if you’re watching a show that’s attracting a lot of racists, think about why that might be. 

some more thoughts under the cut, because I already wrote them out before I realized I could just make a list.

The thing about consuming media is that it’s very subjective. I know a lot of people who have given up on tma recently and while that’s not wholly because it’s “problematic,” it definitely plays a part in it. People have different meters for what they can excuse in media. The important thing to remember is WHY they left, and if you’re able to keep that in your mind while also continuing to engage in contact with the media. Will you be able to remember that Daisy traumatized Jon more than any other avatar if you consume context calling her Basira’s hot murderwife? Can you talk about the Flesh and acknowledge the racism in the creation of the Haans?

Personally, I don’t think you can produce positive content about Daisy and also acknowledge the harm she causes. You can’t point at a character and say, yes, she has committed actual police brutality, but I think she deserves a cute lesbian romance anyway. That’s not really a thing tma has done wrong as much as it is a problem with the fandom, but like, at the end of the day, it’s all just a matter of critical thinking. Who is being hurt by these portrayals of the characters? How? Most of the problems with tma aren’t things that are, like, baked into the actual worldbuilding and for a lot of people, that’s enough for them to still justify making content for the show.

If your complaints sound like “oh, if only they didn’t do xy, this would make for a good show,” then you’re probably fine. But if it goes into “i like this, but only if I can ignore (major plot point)” think about why you feel the need to keep watching. There are shows I’ve stopped watching based on principle. There’s manga I read that I only talk about with my brother and no one else, because I don’t want to be exposed to the fans. It doesn’t have to be as simple as “well, this artist did a bad thing, so now I’m going to ignore it forever.” If you think the creators of something are bad people, don’t support them. You can still pirate it or whatever, but if it’s something like hetalia, where the point of the show is just “let’s put all these stereotypes in a room and see how they react” then yes, for your own sake, you should stop watching because this is how stereotypes become normalized, and no one should be consuming media where nazi germany as the protagonist.

Really, at the end of the day, it’s just a matter of becoming media literate and that’s a process that takes time. Remember that being interested in something that isn’t 100% doesn’t make you a bad person, and listen to the people around you. Try and be a safe space for the people who do have complaints and remember not to place your enjoyment of something over the comfort of others. Other than that, just... do your best, I guess?

#this is far much more detail than you asked for i think but thats what you get for coming to me #asks #apologies if this took a while to answer i worked all day and needed some me time before i could tackle this #Anonymous

[niseamstories]

Tl;dr: The heavily revised physical edition Dreams of the Dying, my novel set in the Enderal universe, is now available for pre-order via Amazon via my website. Special early bird prices are $32.99 for the hardcover with an illustrated appendix, $12.99 for the paperback, and $2.99 for the eBook. It’s a prequel featuring Jespar, but, for reasons outlined below, opens up a new canon. Amazon.de has yet to pick up the listing for the physical editions, but they are incredibly slow—I’m working to get that done.

Hey guys,

This is Nicolas, the writer of Enderal speaking. As some of you may know, I’ve been working on an Enderal novel, Dreams of the Dying. First released as a web version, I spent the past year completely rewriting and improving the book, adding and removing chapters, revising characters arcs, and improving plotting, worldbuilding, and style. In total, I rewrote the web edition three times from cover to cover. Well, it’s finally time: Dreams of the Dying is now available for pre-order on Amazon!

The English version of Dreams of the Dying will release on October 20. A German (and perhaps Russian) translation will follow as soon as possible.

Please note that this is a rendering and that the actual hardcover looks slightly different, with same format but a matte dust jacket and a matte, laminated case. A big shoutout to Dominik Derow for the cover artwork, Johanna Krünes for her cover design, and Joyce, for her tips, patience, and help with this product shot.

Jaaros Oonai, magnate, visionary, and master of coin, doesn’t muse about whether the glass is half empty or half full—only about ways to fill it.

Jespar Dal’Varek, drifter, mercenary, and master of avoidance, doesn’t muse at all. He’d rather just drink the damn wine.

Two lives that could not be more different intertwine when a strange contract leads Jespar to the tropical island empire of Kilay, the wealthiest nation of the Civilized World.

The mission turns out to be as bizarre as it is lucrative: Jaaros Oonai, the country’s merchant king, knows something that could stop a catastrophe, but he has fallen into an inexplicable coma. Together with an ex-priestess and a psychic, Jespar must enter Oonai’s dreams and find this secret.

What should have been a fresh start rapidly turns into a nightmare, as Jespar slides into a spiral of disturbing dreams, political intrigue, and clashing ideals, where not only the fate of Kilay but his own sanity are at stake. It’s not long before he learns that only a spider’s thread divides the sleeping and the awoken.

And that there’s no greater enemy than one’s own mind.

The hardcover edition comes with an appendix that includes additional lore, such as an illustrated bestiary, a guide to Kilayan fashion, illustrations of the (re-envisioned) seven Light-Born, a short guide to the Makehu language, and much more.

Even though Dreams could be considered a prequel, I didn’t write this as an expansion or fan service but rather as my debut, and a book that stands on its own. This edition differs vastly from the web version, and, though it is up to you to judge, I’m a million times happier with it.

If you’re on the fence and would like to wait for reviews—here’s hoping I get enough—I fully understand. However, if you would buy the novel, you’d do me a great favor if you considered pre-ordering. One of the biggest challenges as an indie author is exposure; since Amazon registers all pre-orders as Day 1 sales, a lot of Day 1 sales would give me a chance to climb in the novel’s category and boost visibility for readers outside the Enderal community. To make this worth it to you, the book will sell for a special early bird price of $32.99 for the hardcover with the illustrated appendix, $12.99 for the paperback, and $2.99 for the eBook, as opposed to $37, $16, and $5. Just follow the link to my website and click pre-order—it will take you right to your local Amazon marketplace.

Unfortunately, Amazon.de has yet to pick up the listing for the physical editions, but they are incredibly slow—I’m working to get that done.

I’m aware the hardcover is in the upper price range, but it uses the best materials, and the illustrated appendix cost a lot to produce. It’s also the only edition where I make a more solid revenue, so see it as a way to support my work, if you wish.

If you’re a patron and pledged $110 or more since October 2018, I’ll be in touch a few weeks before launch to send out your signed hardcover copy right away. Thanks again for your support, Dreams became a far pricier project than I anticipated, and your patronage helped me immensely in covering the cost.

Lastly, a word of warning before you pre-order: For the paperback edition, I took the drastic step to separate Dreams and all future Enderal novels from the game canon. There are two good reasons for this. First, the Vyn games were created over 17 years, the earliest one being Myar Aranath in 2003. Fascinating as this idea may be, it also means that the lore of the Vyn universe was created by a myriad of different authors (the latest and current one being me when I joined the team in 2011). As a result of this, the lore of Vyn has always felt a little disjointed and inconsistent; I initially took these differences as challenges to conquer, but the longer I wrote, the more I realized how much these inconsistencies bothered me and how hard they made it to write the story and the universe I envisioned. Let me assure you that this decision wasn’t easy and does not reflect a lack of appreciation for the work of the previous workers. I stayed faithful to the lore whenever possible.

The second reason is a trickier one: Jespar. This character has been in my mind for nine years now, and I love him with all my heart. Still, the more I immersed myself in the story of Dreams, the more I grew aware of how incredibly constraining it was to write a story where the end is already written; because Jespar is alive in 8234 a. St. (1234 P.L. in new canon lore), you all know he will never be in real danger. Again, there is undoubtedly an intriguing challenge to writing such a “safe” story, but—similar to the lore, I increasingly felt like I was writing with fetters on. 

So, what does this mean? Aside from the fact that anything can now happen, the consequences aren’t that drastic. Enderal is still Enderal, and Jespar is still Jespar, albeit thirteen years younger and at another point in his life. I changed and expanded details about his backstory, but his essential conflicts are still the same, only refined. Major changes include modifications to the Light-Born (their aspects, how they came to be, when and how they disappeared, and the societal consequences of that disappearance), the time frame of the different eras, and a complete rework of the magic system. Minor changes include dates, the spelling of names and locations (Kilay, not Kilé), and others details I tweaked for consistency and worldbuilding coherence.

And that’s about it. I’m aware and grateful for the love many of you have for this world, and believe me, I did my best to honor it; I just realized I cannot tell a good story with one arm tied behind my back. If it’s any solace, I can promise you that new book canon is ironclad – I’m pathologically obsessive about consistency and cohesive worldbuilding, but without a solid framework, that’s a recipe for frustration and disaster. See it as a different but nearby eventuality: details and fates may differ, but the soul of the world remains the same.

If all that didn’t scare you off, pre-order away! I also set up a Goodreads page for the book, so you can add it to your To-Be-Reads or even recommend it to your friends – this is an indie project by all means, so I’m grateful for every bit of support. Please keep in mind that the Goodreads is for the revised edition, not the web edition, so if you’re planning to leave a low rating, I’d be grateful if you waited to read the actual book in October 20. It’s a different experience.

Last but not least, a big thank you to everyone who supported me on Patreon, created fanart for Enderal, or just let me know they enjoyed this game and were looking forward to the novel. This novel was meant to be a 6-month stint but, boy, did it turn into something more. It sounds sentimental, but this last year has been rough personally, and your support and encouragement kept me going.

I hope this story will live up to your expectations.

Best,

Nicolas

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#dreams of the dying #enderal #jespar dal'varek #sureai #vynblr #enderal forgotten stories #indie novel #horror #mystery novel #LGBT protagonist #cover art #artwork #gothic artwork #art nouveau

[chaoticspacefam]

OC Worldbuilding Tag Pt 2!

...electric boogaloo! I’m sorry I know this joke is old now but I cannot help it, it’s ingrained in my brain XD

I got another tag for this from @a-master-procrastinator , thank you! :D

I think all my friends & mutuals have already been tagged for this one? But I’ll throw a couple out here if you want to, no pressure as always!: @mercurypilgrim​ , @actualanxiousswampwitch and @sleepswithvillains maybe?

Some more Saarai, because I love her. Some very slight spoilers for some of the differences in the Subterfugeverse plot points but nothing major! ;3 Long post warning again, as well as some brief mentions of Valkorion being a dick and causing a mass-genocide but all on the same level as the presented game canon.

- Saarai is psychometric and has been since she was pretty young, a Force power she inherited from D’leah’s mother, Saa’thri, because it “skipped” D’leah and Saarai got it instead. Though she didn’t realise it at the time and it wasn’t until she brought it up to her mother and D’leah went “oh yeah, your grandma had that too :)” that she realised it was actually A Thing.

- She’s not always good at recognising when a vision is from the Psychometry and when it’s just “her imagination”, particularly when she’s younger (which gets her into some trouble, see: the whole Tsâhis thing). Even after she gets used to it, sometimes it still hits her out of nowhere and if it’s a particularly nasty vision she’ll sometimes lose her footing and hit the deck - thankfully, because of their Force bond, Ni’kasi can usually figure out what’s happening and react fast enough to catch her before she smacks her head on something.

- Nathema was...not fun for Saarai thanks to the Psychometry. She’d wanted to go with them to protect them and ended up having to be dragged back to the ship and wait there because the moment she tried to touch anything there the Force went “Oh hey!! would you like some Detailed Flashbacks About What Happened Here!!” and yeah...she did not have a good time. Going to Nathema was kind of a mistake for her. Woops. (She gets through it though, Lana gets her back to the ship and she gets a handle on things but definitely doesn’t go all the way into the facility with Vano and Lana. Probably a good thing, too, if she’d picked up that toy of Vaylin’s I think she would’ve found those visions quite upsetting to watch, too.)

- She and Lana don’t share a Force bond, only because she has one with her sister, Ni’kasi instead. Neither of the twins are exactly sure when it formed, but they’ve had the connection for as long as they can remember. When they’re separated while Saarai and Ty are on Rishii, it’s harder for them to communicate because of the distance between them and Kas putting up barriers “just in case” the Sith tried to interrogate her at any point, she didn’t want to give Saarai away. They knew enough to know the other twin was probably still alive, but not to know exactly what was going on with each other until they finally reunite with the first Coalition on Yavin IV. That was the final relief for the twins, actually getting to see the other one standing there and definitely very much alive, there were hugs and a lot of tears, absolutely. <3

- Saarai is very much a “reluctant leader”, she never wanted to be a figurehead in the Alliance nor did she want to be telling people what to do, but circumstances “forced” her into the role and she had to stumble around awkwardly and adapt. With Vano gone and stuck in carbonite, somone had to step up and make sure the people that were working with Vano stuck together and didn’t fall apart (Not all of Vano’s crew disperse, Broonmark, Pierce and Jaesa always remain with the Alliance. Quinn ends up in jail after the Quinncident and Vette goes missing during one of their attempts to search for Vano’s whereabouts only to reappear as in canon later ;)) With Marr dead and the rest of the Dark Council under Zakuul’s heel or missing, that left Lana, Ni’kasi and Aria as alternative “leadership” figures. Lana lacked the ambition for it and was more tooled to be an advisor and while both Ni’kasi and Aria are bossy enough to delegate tasks, they’re abrasive and people don’t like them. But they like Saarai and they listen to her. So everyone kinda went “Okay cool you’re in charge now :)” I’m sorry, Saarai, you’re symultaneously the most and least qualified for this job but you got it anyway :P She settles into it eventually, though, but will be the first one to adamantly insist that it’s a team effort between not only herself and Vano once they have her back, but Lana, Koth, Theron and all the other trusted members of the Alliance acting as advisors in their respective fields of interest.

- In Subterfugeverse, I headcanon that Vano and Saarai share the command of the Alliance once Vano returns. Vano has the Commander title and handles most of the battle tactics and strategy, whereas Saarai handles things like conflict resolution and public relations, as well as controlling the Eternal Fleet. Things work very differently in Subterfugeverse in terms of the Throne so I’ll try to keep it brief but essentially:

Valkorion “took over” the Sith Empire from the Ahaszaai, Saarai’s ancestors. It was a very hostile takeover and currently Saarai, Ni’kasi, Ty, eventually Ni’kasi’s kids, and their uncle Vowrawn are the only four Ahaszaai left in the entire galaxy.

While they didn’t technically have claim to the Zakuulan throne, the original Sith homeworld before Valkorion’s bullshit was Medriaas (which is canon, I’m just borrowing this part because it fits in nicely ;)), which became Nathema after Valkorion did his whole “planet eating” thing.

Vano is initially the only one who can control the Throne and the Fleet via the whole “Valkorion is in her head” loophole. However, that loophole becomes defunct once Valkorion gets yanked out of her mind since it was Valkorion that gave her the ability to control it in the first place.

I’m assuming for the sake of plot flow that it’s based upon two specific “checks” and that’s 1) direct blood ties to the Emperor(ess) in power and/or 2) said Emperor(ess) currently controlling the throne directly and willingly passing their authority over the throne to a successor - which is how Valkorion is able to give the Outlander/Vano control of the Fleet while he’s in her mind, even though she’s not blood related to him.

They’re able to, with some research, deduce that they can exploit this apparent loophole in the system, to avoid losing control of the Fleet entirely and risking any of the GEMINI droids turning into another SCORPIO; and Vano essentially rescinds control of the Throne/Fleet to Saarai, everyone (including Ni’kasi herself) agrees that Saarai is the responsible choice because she’s not going to get a bee in her bonnet and with an errant thought accidentally set the Eternal Fleet on the Jedi or something of the sort.

Since Saarai has direct blood ties to the original ruling Sith before Valkorion userped the title from them, and Vano willingly gave the Throne up to her, the Throne can’t throw a tantrum about it and just has to deal with it. XD

- Once they do manage to track down where Vano is, before Lana and Koth head to Zakuul to actually break her out, Lana comes to Saarai for help with that. Ni’kasi has to stay to watch Ty and also try and keep a tenuous line with the other Sith thanks to her position on the Dark Council, Aria’s too emotionally charged to think straight and Lana is rightfully worried she might make a mistake that puts the whole rescue mission in jeapordy, so they ask Saarai instead. It’s kind of awkward and she and Koth rub each other the wrong way at first, they bicker for two thirds of the entire trip there and Lana almost throws them both out of the airlock for it, but eventually do find a way to bury the hatchet before they actually arrive at Zakuul to rescue Vano.

- By the time they find the Gravestone, Saarai and Koth have made up and though they are not yet involved with eachother at that time, have both agreed that fighting over Lana is stupid and they can make this work without making things difficult for anyone else, so the whole interruption in the Gravestone’s cargo hold, for Subterfugeverse, is genuinely an accident. Saarai heads up to check on him afterwards and they have another amicable and productive conversation and end up growing a little closer. Their side of the relationship is a little slower to form, but they do eventually end up developing deeper feelings for each other, though it’s strictly non-sexual between Rai and Koth and they are both 100% happy and okay with that.

#swtor #elven's swtor worldbuilding #subterfugeverse headcanons #swtor oc: saarai ahaszaai #sith pureblood #the outlander #LS! eternal empress #the ahaszaai twins #platonic force bond #ot3: sorry i ''stole'' your girlfriend #saarai/lana/koth #quite specifically more like headcanons for #saarai/koth #but yeah #me once again yelling about how under-appreciated and gr8 non-sexual intimacy is and how much i love their dynamic bc of that? #more likely than you think

[dndaddyissues]

Do you habe any advice for new world builders?

i probably have too much advice lol. oh, god, where to start. how to make this concise. let’s see. here are some rudimentary tips ‘n’ tricks! (below the cut, as always!)

the tl;dr: 1. start local; 2. lean into your personal style; 3. what makes your world weird? 4. build a timeline; 5. build a future timeline, i.e., write out what will happen unless the PCs intervene.

**full disclosure: as with all of my advice, this is what’s helpful for me – it might not be helpful for you!**

1. start local. start with a tavern, a town, an area. it’s much easier to start small and build upon it than begin with an entire continent or continents. and your players will likely spend the first few sessions just in that town, that dungeon, that area, anyway. i’ve also written about this before, but starting local allows you to imply a larger world beyond its borders – a tavern is not just a tavern, but a place where different perspectives, cultures, tensions, and themes come into conflict and play.

2. lean into your personal style. i’m chinese, and i based one of my countries off of various aspects of chinese folklore. i also made many of the place-names pinyin. my chinese players have been picking up on these linguistic double-meanings, which has been deeply rewarding. if there’s any area of culture, history, etc. that you’re experienced in (or just have a burning passion for!) i highly encourage you to incorporate that into your world.

3. what makes your world weird? in one of my campaigns, the surface level of the world is ravaged by a mysterious, magical storm that makes people insane – forcing humanoids to migrate into the equally perilous, wintry peaks in the northern reaches. in another campaign, each of my continents exist in a state of eternal season: a continent each of eternal winter, summer, autumn, spring. what makes your world weird? what are its defining feature(s)? what sets it apart from other fantasy worlds out there?

4. build a timeline. this is probably the most personal piece of advice on this list, but i’m including it because it’s essentially how i structure all of my campaigns. after coming up with a local area, some personal flairs, and some defining features, i sit down and write out the entire history of the world – up until the present. this is an evolving timeline, subject to change, deletion, and major additions as the campaign itself evolves. but i’ve discovered that a thorough and specific timeline, with major NPCs, world events, disasters, wars, famines, diseases, magical calamities, etc. to be an invaluable aid to running my campaign. this lends itself to my next point…

5. build a future timeline. this is maybe less worldbuilding advice, and more campaign-running advice, but whatever. i have a list of 10-15 events that will happen in the world unless the PCs intervene – assassinations, brewing resentments between factions, defamations, corrupt officials being elected, etc. i’ll probably write more about this in the future, but this future timeline, along with #4, are probably the notes in my worldbuilding document that i reference with the greatest frequency. by framing future events as things that will occur unless the PCs do something about it helps to lend verisimilitude to the events in my campaign (i.e., the world doesn’t revolve around my party and will go on turning), and it gives the PCs a sense of urgency. if they don’t broker a peace between the feuding centaur herds by the moon’s end, then one of the leaders will kill the other one, and the survivor is not gonna be the one they want. hehe.

a big takeaway: you will never have an entire world ready in time for session 1. your world will continue to evolve alongside your players. this is something to be embraced and enjoyed, not feared. don’t worry about having EVERYTHING ready, down to the wire – just have enough ready for the next session. and then the next. and then the next. the most important thing when you begin to play is to write notes after each session – and add to your continuously evolving world as you see fit. 

also, have fun with it!

#dnd #dm tips #worldbuilding #dnd ideas #dnd inspiration #ask

[koala-otter]

the teacher and the scientist au: worldbuilding

I am writing some original stuff right now, and as a break where I can keep writing, I’m going to explain some of my worldbuilding/choices that I make when it comes to my modern “the teacher and the scientist” AU. The hope is that it will be fun for others to see what goes into a fic, or give people ideas for their own fics!

*a quick note: I am a white Latina! I have no East Asian heritage! I studied for a while in Beijing and speak Mandarin Chinese fluently, so I kind of defer to my experiences there when making worldbuilding choices in fic (because I believe strongly in writing what you know, especially given the damage you might cause by writing what you don’t know), but will also do research online or through friends on other countries and cultures that inspired the four nations in ATLA. But all of this is just to say that while I do put a lot of thought into this stuff, I am by no means the authority on any of it, and I am open to criticism and of course always want to make sure I’m not doing anything harmful with my writing. I promise to listen and adapt if you approach me about literally anything in my fic or in this post.

Ok now let’s get into it!

1. The setting: Ba Sing Se’s Natural History Museum This is based on a combination of the Beijing Museum of Natural History, the American Natural History Museum in New York, and Beijing’s Forbidden City/Gugong. Beijing I think is probably the biggest inspiration for Ba Sing Se with the ring system and centering of the palace (and I mean the Earth King’s palace is pretty directly based off of Tiananmen Square), so it seems like a pretty solid model for a modern Ba Sing Se to me.

2. The field trip I went on so many field trips to the Natural History Museum when I was little, and they were always the absolute most fun of the year. And I feel like we went to the planetarium basically every time? It was kind of fun to recall and try to capture the experience of being a little kid on this trip in this fic

3. The Lower Ring & the Middle Ring I put Zuko and his students as coming from the Lower Ring for a few reasons. Firstly, I couldn’t imagine Katara and Aang living in either the financial district that is the Middle Ring or the ostentatiousness of the Upper Ring. I think if they were in Ba Sing Se they’d work and raise their family in the Lower Ring (I will be getting into their jobs in later installments of this story, so I won’t explain them here!), which means Bumi goes to school in the Lower Ring, which then means Zuko has to work there in order to be his teacher and for this entire concept to work out (and also the reasons explained in the actual fic where he lived there with Iroh and wants to give back). And the museum is in the Middle Ring because I wanted it connected to the university, which canonically is in Ba Sing Se’s Middle Ring.

4. Sokka as an astrophysicist Because Sokka is a smart kid and a huge science nerd, okay??? And Yue and the space sword. It makes sense. Also, because Ba Sing Se = ATLA’s Beijing, I think of Ba Sing Se University as Beida （北大）or Peking University, which is China’s first national university and one of the most, if not the most, selective university in the country (disclaimer: I did not study at Beida!!). But yeah BSSU is the Earth Kingdom’s most illustrious university and one of the best research institutions in the world, and Sokka’s a tenured professor there. My boy’s world-class brilliant.

5. “Teacher Zuko” Ughhh I really struggled with this. Basically, I was taught in learning Chinese to address teachers as “Surname 老师 (lao3shi1),” which is “Surname Teacher.” But! I didn’t want to give Zuko a surname, because that seemed rife with opportunities for missteps (there’s a lot that goes into surnames of literally any country or culture, from geography to family history and occupations, and I didn’t want to co-opt anything that wasn’t mine to use). So I knew the kids would call him by his first name. But “Zuko Teacher” sounded off. And in Chinese, titles like Mr. or Miss or Mrs. go after one’s surname, while in English it’s the opposite, so I figured for this fic it was appropriate to implement the English convention. So! “Teacher Zuko.”

6. Sokka’s appearance Sokka’s one of those hot, young professors that appear only in popular media, or once in a blue moon. He finds out from Katara that white sneakers are an easy way to look in the fashion know while remaining marginally professional for class, and they become a staple of his uniform. I picture him in Stan Smiths. (And of course they’re a little beaten up! It’s Sokka!)

7. The gaang’s ages Okay, so, I can’t find the actual post where this is broken down, but I think canonically it makes sense that Katara and Aang were 22 and 20, respectively, when Bumi was born. I put them in this fic at being maybe a year or two older in this fic, so let’s say 23 and 21, when they have Bumi, in Katara’s second year of med school. So when this fic takes place, as Bumi is six years old, they are 29 and 27, and Sokka and Zuko are then 30 and 31.

oh my god we’re only 700 words into a 4,000-word fic why did I decide to do this to myself

8. Sokka looking at his watch and having a penchant for exact minutes He’s a master scheduler. That’s it. 

9. “My Uncle Mushi lives in Chin City” This was just kind of an opportunity to integrate more from the ATLA universe! Obvi “Mushi” is Iroh’s refugee alias, but whatever another kid can have it, and yeah Chin City is that terrible village with all of those wacky people from “Avatar Day.” So we know the kid’s uncle is wacky. Fat chance of going on a field trip to visit him.

10. Zuko calling Bumi talented There’s that scene in the episode where they go to the Sun Warriors that Zuko calls Aang “a talented kid.” Bumi’s Aang’s son, so I figure by the transitive property Zuko would describe him the same way.

11. Zuko’s scar  I don’t know why but I often forget to mention Zuko’s scar in other fics! Either way, I find kids usually respond to people’s differences better than most adults do. Kids just see things and comment on them, which, yeah, can be rude by societal standards, but I’d imagine it would be very refreshing for Zuko after going much of his life with people trying to avoid either staring at the left side of his face or talking about what happened. Also, I didn’t really want to get into the cause of the scar. Obviously Ozai did it. I don’t have an idea of how. Other fics have done that better. Explaining it within the fic the way Zuko would explain it to his class seemed like a good way to tell the reader, “Hey yeah it’s the same cause as in the show,” but then not have to get into it.

12. Sokka hates intro classes Ughhh no one likes intro classes, and I’d imagine it’s even worse for professors. Prerequisites are often too easy for the kids intending on majoring or too hard and meant to weed out the kids who can’t stick with the department’s program. College is funny.

13. Aang volunteers in Zuko’s class From what I can tell, parental involvement in schools is only getting bigger. And Aang is a great dad and I think he’d take any opportunity to get involved with Bumi’s school.

14. Zuko’s backstory I should probably take the time to explain this! Basically I think of this story existing in a universe where after they moved to Ba Sing Se under circumstances comparable to their being refugees in the show, Iroh and Zuko actually stayed in the city, and Zuko got his education there. And yeah! My boy went to BSSU, too!

15. Stargazing at the South Pole and seeing the moon at the North Pole Oh my god the pure amount of thought that went into this. I worked with the assumption that A:TLA takes place on Earth, and that then the rotations of Earth, and the rotation of the moon, are the same as what we experience now (I’ve thought about this extensively, especially as it pertains to the hemispheres and the seasons, but I don’t want to talk about it here, we simply do not have either the time or space). So the South Pole is essentially the same as our Antarctica/South Pole, except that it is capable of sustaining human life for an extended amount of time, and in theory has greater biodiversity (clearly I have also thought about this extensively, but again, we have neither the time nor the space for my theories). I had to read a NASA report on the phases of the moon as seen from the South Pole! And it turns out you can’t see much of the moon down there, and it is always in crescent form. but yeah, you see a lot of stars (but in the opposite rotation of what we see in the Northern Hemisphere), and I thought that was intriguing, especially given the importance of moon imagery throughout the show. Thus, Sokka’s first seeing the moon in the Northern Water Tribe, which ties in perfectly with his meeting Yue, his first love: “You could say the moon was my first love.” (Which someone pointed out in a comment on Ao3, and it absolutely delighted me that they noticed!)

16. Pipsqueak Just looking for more people from the show to serve as first graders in this fic. Someone commented that they pictured him the same size as he was in canon, and I laughed out loud.

17. Tuyanjing I was trying to think of constellations that look like badger-moles, and I honestly just thought, “Ursa Major. Badger-moles look like giant bears.” And “Tuyanjing” (土眼睛) is my own translation of “earth eye,” which was meant to be a nod to the animals’ connection to Toph and their blindness and earthbending. 

18. All the stars & mentioning the Fire Nation & Water Tribe navigation I was initially going to write something in this scene about ancient constructions, like the pyramids, that were built using the constellations, and then create some elaborate metaphor about them and Zukka. But the only coherent thought I had about it was that it was “Too Much Work.” Instead I realized okay sailors always use the stars for navigation, and the Water Tribes and Fire Nation are the only nations we’ve seen with boats, so let’s go for that, and it works out because if you squint maybe you’ll read something about the stars guiding them to each other. Maybe we’re evoking thoughts of star-crossed lovers. And then we mention the moon again, and Zuko’s really seeing it for the first time, kind of like Sokka did, so hey I don’t know maybe that’s a symbol of something. Maybe.  

And that’s really it I think! Hopefully this was at least entertaining if not entirely informative. I don’t normally write stuff out like this, but it is a good reflection of my thought process while writing most fics. Again, I am open to any kind of communication about the above as well as anything else I’ve posted! And I’d love to hear about any of your own ideas that help you with worldbuilding and writing your own fics :)

#atla #writing stuff #my writing #zukka #the teacher and the scientist