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dedalvs · 5 months

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Hey! I'm David Peterson, and a few years ago, I wrote a book called Create Your Own Secret Language. It's a book that introduces middle grade readers to codes, ciphers, and elementary language creation. The age range is like 10-14, but skews a little bit older, as the work gets pretty complicated pretty quick. I think 12-13 is the best age range.

Anyway, I decided to look at the Amazon page for it a bit ago, and it's rated fairly well (4.5 at the moment), but there are some 1 star reviews, and I'm always curious about those. Usually they're way off, or thought the book was going to be something different (e.g. "This book doesn't teach you a thing about computer coding!"), but every so often there's some truth in there. (Oh, one not 1 star but lower rated review said they gave it to their 2nd grader, but they found it too complicated. I appreciate a review like that, because I am not at all surprised—I think it is too complicated for a 2nd grader—and I think a review like that is much more effective than a simple 10+ age range on the book.) The first 1 star rating I came to, though, was this:

Now calling a completely mild description of a teenage girl who has a crush on another girl controversial is something I take exception to, but I don't want to pile on this person. Instead I wanted to share how this section came to be in the book.

The book is essentially divided into four parts. The first three parts deal with different ciphers or codes that become more complicated, while the last part describes elementary language creation. The first three sections are each built around a message that the reader can decode, but with language creation, the possibilities are too numerous and too complicated, so there isn't an example to decode, or anything. It would've been too difficult.

For what the messages to decode are about, though, I could do, potentially, anything, so at first I thought to tie them into a world of anthropomorphic animals (an ongoing series of battles between cats and mice), with messages that are being intercepted and decoded. My editor rejected that. Then I redid it so that each section had an individual story that had to do with some famous work of literature. My editor rejected that as well. He explained that it needed to be something that was relevant to kids of the target age range. I was kind of at a loss, for a bit, but then I thought of a story of kids sending secret messages about their uncle who eats too many onions. I shared that, my editor loved it, and I was like, all right. I can do this.

The tough part for me in coming up with mini-stories to plan these coded messages around was coming up with a reason for them to be secret. That's the whole point of a code/cipher: A message you want to be sure no one else but the intended recipient can read in case the message is intercepted. With the first one, two kids are poking gentle fun at a family member, so they want to be sure no one else can read what they're writing. For the last one, a boy is confessing to a diary, because he feels bad that he allowed his cat to escape, but no one knows he did it (he does find the cat again). For the other, I was trying to think of plausible message-sending scenarios for a preteen/teen, and I thought of how we used to write notes in, honestly, 4th and 5th grade, but I aged it up a bit, and decided to have a story about a girl writing a note to her friend because she has a crush on another girl, and wants her friend's opinion/help.

Here's where the point of sharing this comes in. As I had originally written it, the girl's note to her friend was not just telling her friend about her crush, it was also a coming out note, and she was concerned what her parents would react poorly.

Anyway, I sent that off with the rest of my draft, and I got a bunch of comments back on the whole draft (as expected), but my editor also commented on that story, in particular. Specifically, he noted that not every LGBTQ+ story has to be a coming out story, the part about potential friction between her and her parents because of it was a little heavy for the book, and, in general, not every coming out story has to be traumatic.

That was all he said, but I immediately recognized the, in hindsight, obvious truth of all three points, and I was completely embarrassed. I changed it immediately, so that the story beats are that it's a crush, she's not sure if it'll be reciprocated, and she's also very busy with school and band and feels like this will be adding even more busy-ness to her daily life as a student/teen. Then I apologized for making such a blunder. My editor was very good about it—after all, that's what drafts and editors are for—and that was a relief, but I'm still embarrassed that I didn't think of it first.

But, of course, this is not my lived experience, not being a member of the LGBTQ+ community. This is the very reason why you have sensitivity readers—to provide a vantage point you're blind to. In this case, I was very fortunate to have an editor who was thinking ahead, and I'm very grateful that he was there to catch it. That editor, by the way, is Justin Krasner.

One reason I wanted to share this, though, is that while it always is a bit of a difficult thing to speak up, because there might be a negative reaction, sometimes there is no pushback at all. Indeed, sometimes the one being called out is grateful, because we all have blindspots due to our own lived experiences. You can't live every life. For that reason, your own experience will end up being valuable to someone at some point in time for no other reason than that you lived it and they didn't. And, by the by, this is also true for the present, because the lives we've lived cause us to see what's going on right before our eyes in different lights.

Anyway, this is a story that wouldn't have come out otherwise, so I wanted to be sure to let everyone know that Justin Krasner ensured that my book was a better book. An editor's job is often silent and thankless, so on Thanksgiving, I wanted to say thank you, Justin. <3

#conlang #language #code #codes #cipher #ciphers #thanksgiving #thank you

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am-i-the-asshole-official · 1 month

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Aita for telling my partner they need to be better at communicating during sex?

NSFW ask, but this has been an ongoing issue for a while and I’m very frustrated

My (19M) partner (21NB) is my first true sexual partner. They’ve been with other people in the past, some good experiences but mostly bad. I on the other hand have dated before and have had pseudo-sexual relationships (just touching) but my partner is the first person I’ve properly done the horizontal tango with

That being said, with my just-touching exes, we’ve always been extremely careful about communication in the moment. My most recent ex and I had the stoplight method even when we weren’t being kinky. It was reassuring to be able to check up on her and for her to be able to do the same. Maybe we were playing is too safe, idk, but that’s what I became comfortable with during sex

With my current partner, however, this has never been the case with their exes. I think I might be the first partner they’ve had that actually took time before making any sexual advances to ask them what they like and how I can make them happy because in the moment when I did, they looked confused.

Being horny young adults, we did eventually sleep together, and during the act, I realized that neither of us had checked in on the other outside of the initial “is this okay?” when removing clothes (I was the one who asked) so I slowed my roll and asked my partner if they were with me. They were not. They sputtered and said that I brought them out of the moment, and I became really really concerned that they had been disassociating the entire time because of previous sexual trauma. I told them I wanted to stop, they did not, so I rolled off and whispered into their ear while (and I apologize for not finding a better way to describe this without being overly graphic) I was straight jorkin’ em off. They were happy, they fell asleep, and I felt awful.

About half an hour later they kicked me out because their mom was coming home from a New Years Eve party (it was my 19th birthday which also hurt), but that’s not relevant, I just need the timeline in place.

We’ve done more sexual things since then and every time I try to check on them, they get weirded out. I stopped doing it in the moment so overtly and changed tactics to asking “what can I do for you” and “what do you need baby”, and this seems to get the job done. However, afterwards when I ask actually ask them how they were feeling, they would say that “the afterglow’s ruined” (which is wild because we’ve been together for six months and I’ve never finished -> I am a pre-op transman and my partner is AMAB, aka has told me that they don’t know what to do with my parts and once joked that sex would be easier if I had a dick, for context)

The last straw was tonight (March 4th) when they came over to my place and we started making out. I wasn’t really feeling it, so I tried to back off and shift to just lazy kisses, but my partner didn’t stop so I pulled away and said: “not tonight, baby”

They said: “if you weren’t in the mood, why did you kiss me?”

I said: “because I like kissing you?”

They said: “you should have told me you didn’t want to do anything. I don’t want to get the wrong idea.”

I said: “I’m sorry, I should have. I thought I wanted to, but I changed my mind. Can we go back to watching anime?”

They said yes and we watched another episode of a show (dungeon meshi!!) before I finally asked them why they don’t check in with me the way I do with them

They said: “I don’t like talking during sex. Ruins the vibe”

I said: “Okay, so can we find a system that lets the other know how we’re feeling when we don’t want to talk? Like how I use signs when I go nonverbal?”

They said: “I don’t see the point. If you don’t want to fuck, just push me off.”

I got mad and said: “What is wrong with you? I don’t want to push you off, I want to talk about it!”

They told me I was getting worked up and left. It’s been two hours and I feel like total shit for pushing the subject when they’ve expressed that they don’t like my expectations for sex. Am I too high maintenance?

TL;DR, I annoyed my partner by asking too many times for them to talk to me during sex, they got pissed and left my house. Atia for asking too many times?

What are these acronyms?

#aita #am i the asshole

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drdemonprince · 13 days

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don’t know if this is relevant to your ask box, but I thought you might find it interesting.

I’m a 20 yr old trans man who’s just started an ongoing thing with a new Dom, who is over twice my age. I’m currently finishing up my second year at uni, and he’s, you guessed it, also the, uh…. academic sort.

He’s a busy guy so obviously we can only meet up every once and a while, but we text almost every day. From the beginning he was always curious about my school endeavours, but recently it’s become more of a thing.

He won’t let us meet until certain assignments are done. He’s flexible and understanding, like any good dom, but holy shit this man had me at a cafe for ten hours on 40mg of vyvanse writing my final essay like my life depended on it. I didn’t even know who I was, motivated by the pure need to please and, quite frankly, desperate desire to be absolutely taken and used. This man has “cured” my ADHD (not really, but damn well is he fucking helping it).

I think the point I’m getting at here it that I can’t believe it took the motivation of my D/s relationship to get me to get shit done. Like, I’m done DAYS before the deadline for things I usually would have left last minute. I’ve been honest with my struggles with motivation and difficulties taking care of myself, and he is genuinely invested in my well-being so I know it all comes from a place of care and respect.

At the moment I’m working on my final short film for a class, and he told me to make a list of all the foley sounds I thought would help drive the narrative (he knows I love making lists, it’s also the autism), and as probably one of the best rewards for my good behaviour, he shared with me a collection of audio files (he dabbles in audio mixing) that were relevant to the list I shared. Can you believe this??!!

All these studentxprof fics are getting it wrong. Sometimes nothing comes between a teacher’s genuinely investment in student learning (if they enjoy what they do, like he does) and that is absolutely true in this case. Absolutely unbelievable this is my life right now. Would love to hear your thoughts on this!

This sounds so fucking sweet and HOT anon! I'm so glad you're having an exciting time with an older dom who cares about you and helps you meet your goals! And the phrasing of this guy making you write for hours on vyvanse is especially titilating...making it sound like an intox scene omg drool

ADHDers are generally very socially motivated, which is not rare for human beings at all. It makes sense that having the external structure that an outside observe can provide and the sense that your actions actually matter to other people and that people care about you would help facilitate you focusing on shit and getting organized! Not to mention how much fuckin easier it is to perform any kind of household task or bit of drudgery once it becomes sexual service. Shit gives boring regular life a charge of excitement, and the abdication of power gives you the discipline to actually follow through, because you're not the only one on the hook for everything and that's less scary!

I have nothing much more to say other than this rules and I hope you keep having a fun time!

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aesethewitch · 23 days

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From Notes to Grimoire

I’ve talked some about my thoughts and recommendations for taking notes for witchcraft, but what comes after that? In my method, notes are taken in a date-based, linear fashion. Subjects aren’t usually grouped together (unless you’re using separate notebooks for specific topics), and it can be tough to use rough notes like that for much more than basic study. I said in that post that I wasn’t talking about a reference document; I was just talking about writing down thoughts, ideas, spell tests, book notes, study notes, theory notes, and other assorted things as you research and learn about your craft.

So what about when you want to take your rough study notes and turn them into a nice-looking, well-organized, practical collection that’s better for regular referencing and actual use? That’s when you go from notes to grimoire.

(Note that this post is loaded with my opinions. I say it throughout, but go into this knowing that I’m speaking from my personal perspective — you won’t, and really you shouldn’t — agree with everything I say here.)

What Goes into a Grimoire?

Ultimately, what you put in your grimoire is up to you. I’m of the opinion that grimoires are and should be working documents. If you aren’t familiar with the term “working document,” it just means that the contents of the grimoire are always under construction. It means that you’re allowed to add, remove, and modify things as your practice changes over time. It also means that you’re supposed to reevaluate the grimoire’s contents every so often to make those updates. Complacency is the enemy of progress — there’s always a new question to ask or a new perspective to take. Keep the working document mentality in mind while you decide what to put in your grimoire.

With that said, in my opinion, a grimoire is not a place to take raw notes, write out theories, test spells, or even record divinations. Those things ought to go in your notebook, not your grimoire.

A grimoire is a reference document. It holds information on the spells, rituals, traditions, incantations, observances, and materials you actually use and need to look up. Grimoires are practical tools. Yes, they can look nice, but if the function isn’t there, it isn’t a grimoire — it’s just a scrapbook.

So, what should you put in a grimoire? Here’s a general idea of things I’d recommend:

Proven spells and recipes

Rituals you perform and when you perform them

Sigils, symbols, and spell vessels you’ve made and what they’re for

Instructions for making or obtaining materials for spellwork

A reference sheet for making substitutions

Holidays and events you observe and how you observe them

Divination instructions, including cartomancy spreads, magpie oracle charm lists, symbols you look for, and other relevant information

Plant, herb, stone, and crystal profiles

Fire, smoke, pet, and other safety details and instructions

Your astrological chart and its meanings

Profiles on spirits and deities you work with, including preferred offerings, important dates, descriptions of vessels, and details about any ongoing deals or agreements

Anything you commonly need to reference from books, online articles, or other sources

Conversely, here are things that should not go in a grimoire:

Notes on books you’re reading

Spells that are works in progress

Drawings of sigils in progress

Divination notes

Lists of books you want to read

Lists of topics you want to research next

Notes on spirit encounters

Journal pages

Rambles on magic theory

Information that has nothing to do with your witchcraft, spiritual path, religion, or other related field

Information you simply will not use

Obviously, you can add and remove things as you see fit. You should put whatever you commonly reference and whatever is practical for you in your grimoire. If you’re using it all the time, put it in there. If you don’t use something that “everyone” says “has” to be in your grimoire, don’t put it in. For example, I don’t use my astrological chart for anything. I know my big three, and that’s good enough for me. So, it doesn’t go in the book, no matter how many times I see it on those “what to put in your grimoire!” lists that go around witchblr every so often. Similarly, if you don’t have pets, you don’t need to put pet safety information in your book.

Use your common sense and discretion. Your grimoire is yours. If it isn’t practical, don’t put it in. If it is practical and relevant to you, but no one “recommends” putting that particular bit of information down in a grimoire, who cares? Write it down. You can always take it out later.

Creating and Maintaining a Working Document

Now, you’ll see grimoires referred to as working documents (or “living” documents) pretty frequently. You’re allowed to (and meant to) change things over time as you and your practice change.

But how do you do that? How do you keep an organized, practical reference document if it’s constantly changing?

Well, first of all, stop over-thinking it (I say to myself, frequently and loudly). Second of all, no matter what format you choose, from bound notebooks to binders to apps, the primary idea is to evaluate the contents regularly and to keep them in some kind of predetermined order. How that will look and how frequently you do reviews depends on you, your preferences, your practice, and the medium you choose. So, let’s have a look at some options and how I would suggest setting them up as a working-document-grimoire.

Binders

First (and best, in my opinion), are binders. There are a plethora of sizes and styles, so you can choose based on portability, available volume, color, and features according to your needs.

By far, the greatest benefits of using a binder for a grimoire are versatility and adaptability. You can create sections by inserting hunks of cardboard, sheets of colored paper, or pre-made pages with tabs that stick out for easy navigation. And, if you decide you don’t like the way your sections are organized, you can easily open the binder rings, take the section out, and put it wherever you want. In the same way, you can add and remove pages to any section at any point. You don’t have to allot space ahead of time or worry about running out of room in a given section.

Binders have a sort of inherent working document nature. With these, I would recommend reading through the entire thing at least twice a year to review the contents. When something sticks out as inaccurate, unused, or outdated, remove it. You can discard the page entirely or set up a separate “archive” folder to keep it in so you can look back and remember what you’ve taken out. (I keep one of these, though I’m considering moving it into a folder clipped into the back of my grimoire binder.)

On the other hand, if you find something in your grimoire that needs more attention, detail, or elaboration — or you just get inspired and want to add a new spell or bit of information to what’s already there — you can pull out the old page and replace it, or you can add a new page right after the existing one.

It’s up to you how frequently you go through your grimoire. Remember that this is a practical reference document. Set it up in a way that makes sense to you. Again, the nice thing about binders is that if you decide the way you’ve set it up is no good, you can change it without having to start over completely.

Notebooks

Obviously, there are a ton of types of notebooks out there. It comes down to pure personal preference what kind you go with.

Because notebooks can’t be rearranged in the same way that a binder can, keeping one as a working document obviously looks different. With any kind of bound notebook, I recommend doing a sort of yearly review. If much of your practice has changed, or if you find you’ve run out of room in your grimoire for new entries, it’s time to start into a new notebook. This doesn’t mean you have to disregard the original grimoire entirely.

You can copy over spells, information, and whatever else you like into the new book and shelf the original as a relic or treat the books like volumes in a series. In that way, you wouldn’t copy more than the essentials into the new grimoire; you would instead add entirely new spells, rituals, and information to it.

Either way, I would suggest dating the books. I would jot down at least the year(s) you work in the grimoire for organizational purposes. Remember that practicality and usability are the names of the game. You want to be able to use these books as references for your magical practice to help you remember things accurately.

The major drawback of any kind of notebook is that if you find you hate the way you’ve set it up, you can’t just go back and rearrange it. Once it’s down on paper, it’s down. You would either have to rip out the pages and move them manually, leaving them loose or re-pasted into their new places, or start up a new notebook entirely.

On the other hand, that has benefits, too. It removes the temptation to arrange and rearrange endlessly. If you’re indecisive and would waste too much time worrying about layout as opposed to getting a functional document up and running (even if it’s imperfect), a notebook may actually be a pretty good choice for you. It’s an exercise in tolerance for imperfection, to say the least.

Now, let’s have a brief look at different kinds of notebooks.

Divided Notebooks

First, let’s look at notebooks that come divided already. Whether it’s a subject-divided spiral notebook, a journal with built-in title pages, or journals that are divided into smaller journals inside them, part of the work has already been done for you.

A drawback of using these types of notebooks or journals is that you lose the ability to decide how much space is given to a particular subject. On the other hand, it can make getting started much, much easier. My first grimoire was in a large spiral-bound five-subject notebook. I divided it into five sections: Spells, Holidays and Seasons, Spirits, Plants, and Miscellaneous. Granted, at the time, I was taking notes into my grimoire. It wasn’t a very practical document; that wouldn’t come until several years later, when I figured out why I couldn’t remember anything with any sort of reliability. Now, I’ve got very strong opinions on note-taking and record-keeping.

It’s the chemistry nerd in me.

Blank Notebooks

This includes plain lined notebooks, unlined notebooks, and bullet journals. These are harder to use, in my opinion. I don’t think they’re very friendly to beginners who are creating their very first grimoire. These lend themselves better to note-taking notebooks than official grimoires, but you can certainly make them work.

To make a blank notebook function as a grimoire, you should spend a bit of time deciding the order of contents. How many pages do you want to dedicate to a given subject? What subjects will you place next to each other? Will information about moon phases be followed by planetary information, or will you talk about moon water and moon-based spellwork? Do you want to create sections and title pages ahead of time? To make it organized, you’ll want to decide these things somewhat in advance or leave room to add them later on. It’s easier to add (taping, gluing, paper-clipping, etc.) or remove (cutting, tearing, etc.) pages in some notebooks than others. Take that into account when you choose a notebook for your grimoire!

Sketchbooks

For the more artistically inclined magical practitioner, a sketchbook might make a good choice. If you plan on using materials like paint or watercolors, the thicker paper stock would be a solid asset. Artists will feel right at home drawing sketches, diagrams, sigils, and other illustrative details in their grimoires with a sketchbook. They have the same drawbacks as blank notebooks, being complete blank slates that you have to plan around, but they do end up being very nice to look at.

Like with blank notebooks, consider the order you want to put things in. Jot down titles, content, and ideas for drawings or art pieces you’d like to include in the final product. Remember that because the book is bound, you may not be able to add things to sections that have already been filled in. Consider artistic ways to show what’s on a given page to make it easier to manage — color-coded page edges, for example, might be an idea.

Junk Journals

I genuinely wouldn’t recommend using a junk journal for a formal grimoire. By their nature, they’re messy, disorganized, and difficult to parse through for information. They’re fun to make, don’t get me wrong — I love a junk journal for regular journaling and inspiration. But they don’t lend themselves toward organizational systems. If you’re going to use a junk journal as your formal grimoire, you’ll either have to resign yourself to hunting through pages for what you’re looking for or do some extensive planning in advance.

The best way to make a practical, working-document-style junk journal would be to combine it with a binder, I think. Create those iconic, aesthetic pages. Punch holes in them and place them into a binder in the correct location. That way, you still get the pretty aesthetic of the junk with the practicality of what a grimoire should actually be.

(Personally, I would use the junk journal aesthetic for section title pages in a binder — give it some personality and decoration without sacrificing any of the practicality.)

Digital Documents

I say that binders are the best option, but honestly, digital grimoires are up there, too. If you need to keep your magical practice more secret, if you don’t have time or energy to put together a physical book, or if you would prefer to have a system you can reorganize at the drop of a hat, digital grimoires might be right for you.

There are a ton of programs out there you can use. I’ve used Word, Scrivener, and Obsidian for grimoires and/or witchcraft note-taking, personally. Of them all, Obsidian is the one I would recommend most strongly. Word is… well, it’s Word. Scrivener is wonderful as a writer’s tool, and I use it to write these posts! I had moderate success with it for grimoire work. By far, Obsidian has been the best. The back-linking capabilities alone revolutionized the way I set up my grimoire (and other reference documents, including TTRPG notes). I really can’t recommend it enough.

Another program I’ve seen recommended frequently is Notion. While I can’t speak about it myself, since I haven’t used it, it does get rave reviews — particularly from folks who like to have a nicer aesthetic for their craft. Obsidian is pretty bare-bones aesthetic-wise, so if that’s important to you, Notion may be an option to consider.

With digital grimoires as working documents, I would follow the same guidelines as with a binder. Review the contents regularly, archive anything outdated, and evaluate the organizational layout for practicality. My biggest suggestion is to date the individual entries. Include the date you first create the page, obviously, but I would also include the date of the most recent update. If you want to get really lab-notebooky and formal about it, you could include every date you update it. (That’s what I do, personally, but I come from a database management background.)

The main downside to a digital grimoire is accessibility. If you’re out in the middle of nowhere without a computer or cell service, you may not be able to access your grimoire. I’ve seen folks set up entire grimoires using the notes app on their phones to make it easy to carry around, which is fine… unless you find it difficult to type with a phone keyboard. Physical books can be transported via bags, and they don’t need to be charged like a phone or laptop.

I also find that digital grimoires often lack the charm of a physical one. Even pretty, aesthetic templates on Notion are missing that witchy feeling. You know the one I mean — cracking open a tome of secrets to access the magic within just can’t be done through a screen.

Turning Notes into Reference Materials

This is probably the toughest part. After you decide what you want to include in your grimoire, now you’ve got to actually go through your notes and put together your collection.

The tone of your grimoire doesn’t necessarily need to be overly formal. It also doesn’t have to be publisher-ready. You aren’t writing a book on magic. You’re putting together a collection of materials that you want to be able to reference quickly and easily. It doesn’t have to make sense to anyone else or be absolutely perfect. Remember — this is a working reference document for you. If you mess it up, you can fix it later. Don’t be afraid to cross stuff out or be a little messy. So long as it stays practical and reference-able, you’re fine.

Spells and rituals are probably the easiest things to copy into a grimoire. You might even be able to copy them over verbatim from your notes, depending on how you took the notes. Bring over any changes you made to the spell, clean up the language, and make it easy to read. If you’ve scribbled on your notes, bring over any annotations that make sense. I wouldn’t copy all commentary; just the things that impact the working itself. You can include a “notes” section after the spell itself if you want to make note of your personal thoughts regarding the spell, what to expect during or after, and other information that might be found in the margins of your raw notes. Trim the excess. You don’t need your “lol this ingredient looks like a dick” joke in your grimoire, but you might want the “this ingredient can cause eye irritation, so don’t touch your face after handling” note.

If you’ve ever written an essay for school, I usually recommend a similar process. Your notebook is the basic first draft. For your grimoire, clean up the draft, fact-check yourself, jot down your sources, and then make it look nice.

“Making it look nice” could mean drawings, stickers, washi tape, pictures, and the like… or, it could mean choosing a clean font and ordering your steps numerically. If you’re hand-writing your grimoire, do your best to keep your writing legible. Always remember that these pages are intended as a reference document. If you can’t go back and read it, it’s failing in its function! That applies to overly-decorative pages, too; if your aesthetic is obscuring the information inside the grimoire to the point where you can’t parse the instructions on the page, it isn’t a grimoire anymore. There’s nothing wrong with a pretty, aesthetic inspiration book, but that’s not what we’re going for here.

My biggest piece of advice when transferring notes into a grimoire is to be practical. Not everything you learn about and jot down in your journal or notebook can (or should) make into your grimoire. If you aren’t going to use a spell, don’t include it. If you don’t go by the Wheel of the Year, don’t put those holidays down in your grimoire. Learning about things and taking in information is what the notebooks are for. Grimoires are akin to manuals.

Only take what you need from your notes. Think about what you want to incorporate and what you already use in your actual practice. You wouldn’t want to take down all of your notes about that witchcraft book you just finished, but maybe there was a spell or a correspondence table that you keep going back to look at. That’s something to put in your grimoire.

My Grimoire

I’m of the opinion that you shouldn’t share your grimoire with just anybody. Frankly, not a single person in my life has ever seen mine. I’ve shown off examples, and I’ll share my note-taking journal(s) on occasion, but you’ll never see my actual grimoire. My grimoire is for me. It isn’t for the aesthetic, and it isn’t for show. It’s a reference document that details my entire practice, from spells adapted from various sources to spirits I’m allied with to traditions that have been passed down in my family.

To no one’s surprise, I actually keep two grimoires. I’ve got my digital grimoire in Obsidian, which also doubles as a note-taking repository. I have several physical notebooks scattered around that I use in the moment, but everything gets recorded digitally for posterity and easy perusal. My Obsidian files are divided into categories which are then sub-divided into specific subjects. Raw notes, experiments, and theory crafting are kept separate from the reference sections.

And I keep a physical grimoire. I used to struggle with keeping physical grimoires. I was always unsatisfied with them, or I forgot about them, or I changed my mind about how I wanted them to be organized mid-way through and ended up frustrated. It’s why I swapped over to exclusively using digital programs — and why I landed at Obsidian in the first place.

But now, having a very good digital system in place, I find myself wanting to travel with my grimoire. I want to take it with me so that I can perform spells on the go. I’d like to take it to the cemeteries and forests I frequent to discuss its contents with those spirits and to accurately perform rituals without having to look at a blurry picture on my phone. Recently, I decided to repurpose an old binder that I once used for character creation. It’s got a pencil pouch in the front, and it isn’t too large to carry around. Plus, to the untrained eye, it just looks like a very nice student’s school binder. I could easily take it to a coffee shop to work on it and raise precisely no eyebrows.

It’s been a work in progress to decide how I want to lay it out. Writing this post and the taking notes post have been really helpful, actually. I think I’ve finally got a solid idea of what I want to put in it and how. It isn’t ready to show off, but I do think that once I have the layout settled, I’ll share more specifics about it to illustrate some of my points made here. Depending on what I decide to share, it may end up a Ko-Fi exclusive. (Just the layout/title cards would be fine to be totally public; pictures or descriptions of the actual pages would be exclusive.)

Ko-Fi supporters saw this post a full week early! If you enjoyed this post, consider throwing a couple dollars in my tip jar to get early access to posts like this one, plus exclusive extras. One-time supporters get 30 days of access to my backlog of exclusive posts, and members get extra benefits like discounts and more content. All support helps me keep the lights on and this blog active. Thanks!

#aese speaks #witchcraft #witchblr #witch community #taking notes #grimoire #making a grimoire #witch tips #for beginner witches #practical witchcraft

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fuumiku · 30 days

Note

Chilcille huh... ngl I was a little suspicious. like why would you do that, huh... hope youre not mischaracterizing anyone in your weird and wacky ship. a little weird. but then you said they both had flat asses and you know what? I salute you and your perfect characterization

The fact you seem to think you managed to not make this ask insulting is baffling. What the hell. Fuck off.

If you actually care to be open minded about the ship, I talk about marchil on my sideblog 24/7. Funnily enough I’m currently 4k words deep into an analysis of their character arc together in canon, but that’ll take some more days to get done. Some notable posts:

Of course without counting the analyses of Chilchuck on his own I’ve made, like my masterpost on his family situation. Or better yet you could also read my fics for them, see how weird and wacky they are here.

Wanna talk about mischaracterisation? They’re literally a comedic duo who interacts 24/7. Marchil is crazy bc ppl are like "did those shipper read with their eyes CLOSED?? They have no chemistry!" Meanwhile canon is like: "She’s obsessed with knowing everything she can about him and she reads him like a book." In her eyes he’s like that extra rare and hard and shiny unlockable dating sim character, that brooding mysterious character trope that’s thrilling to crack open and typically is at the center of the plot. The wife roleplay???? "Hey, did you know his type is blondes. Hey did you know he likes his women pretty and blonde. Hey did you know he likes her hair. Hey did you know that he teases her 24/7 and it’s one of the few things that consistently gets him grinning because he finds her reactions cute." Like a schoolyard bully pulling on the pigtails of the girl he likes.

It’s not like they have any thematic narratives or relevance. It’s not like she’ll live to 1000 and has existential dread about it while he’s logically gonna be her next friend to die at 50 and wether it’s romantic or platonic it’ll terrify her to lose him. It’s not like it’s fear of death x fear of rejection so they’re both obsessed with the thought of loss looming, past and ongoing. It’s not like it’s half-elf x half-foot and there’s an inherent journey that was and still is to dispel prejudices and truly come to see each other. It’s not like he’s painfully real and raw and flawed but still a good man, that he’s not the figure of prince charming that she’s always dreamed of while still being virtuous and worth fighting for. Or you know, her hair being golden and it being the epitome of beauty to him, and his hair turning silver and it being Marcille’s worst nightmare.

Just a weird wacky ship who means nothing but shallow things to people who have weirdo reasons for liking it. Like can you not. If you’re not imaginative enough to think of reasons why this ship may have an appealing dynamic that’s not my issue. But yes, yes, they’re both flat asses to me, thanks.

#Dungeon meshi #Ask #Spoilers #dungeon meshi manga spoilers #Marcille donato #chilchuck tims #Marchil #You me the parking lot after i finish and post my arc analysis #Sobbing……… we’re 20 over here in the rarepair pit come on. Like do u not see how obsessed i am. Do u think they like. Mean nothing to me #Do u think it’s all incidental and i slipped and the 10 thousands of words I write for them had no thought or feelings behind them or #Their arc is so beautifuuuuul they come to see each other and her standards become more real while he allows hope and openness #Into his heart again 😭😭 not the way two of their scenes lowkey read as a proposal…#Anyways I hope this makes it clear I’ll fight to my dying breath for them.#I don’t want trouble and i imagine you don’t either so just don’t come shitting on my doorstep #In positive news my fic Grind Me Down Sweetly recently reached 100 likes and 1k hits <3 it can also be read as just platonic so if you like #Them as a duo even as friends give it a shot #Every time I see someone shitting on marchil I start making marchil content faster btw #Not art

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rabbit-surfboard · 7 months

Text

Fictional podcast recs

One of my friends got into audio drama and I just sent them a whole list of recommendations to go through, I thought someone who follows these tags might also appreciate it and perhaps have some more to throw in. I resisted the urge to throw in the little blurb about audio dramas as a weird little medium and their tropes that I wrote up. It was something to the effect of nodding at how the medium has rapidly been improving since Welcome to Nightvale started, also how a lot of the tropes that tie the medium together are products of the indie podcast scene being accessible and primarily based in audio. Also at how well horror works in the format. Those paragraphs went unsaved but writing first about the medium in general helped me to reflect on a lot of the things that make audiodramas appealing or repulsive to me for discussing each show in brief beyond just explaining what they're about.

All recommendations are tagged for the tldr.

Fiction podcast recommendations in no particular order:

The Magnus Archives

Horror

The biggest criticism I ever had of this podcast’s voice acting from episode 1 turned out to be a relevant plot point. This thing is probably the best of the best, but I would never recommend it to someone unfamiliar with podcasts because the listener only notices a plot hook somewhere between episodes 20-40 and that’s daunting in the face of a 200 episode show. Getting sucked in rewards you with 200 episodes of thoughtful content and a great explanation for most of the weird things this show chooses to incorporate.

Old Gods of Appalachia

Horror

Fantastic production quality on this ongoing show. Many seasons with interconnected lore and a hell of a narrator. It’s not my personal favorite but it’s quite excellent.

Red Valley

Found footage mystery

One of the newer shows I’ve gotten into, Red Valley is well-crafted. It becomes compelling very quickly with a rapid pace that slows down to land in a neat spot for a while so you can savor the cool parts. The production quality is excellent and the two main voice actors have excellent chemistry. The third and final season is currently being produced.

The Silt Verses

Horror

Often compared to American Gods, this newer podcast made by an experienced team is doing a lot of creative and fresh things at once. The magnificently fucked up religious system of The Silt Verses is both a neat plot vehicle and cleanly works as a criticism of late stage capitalism, where many podcasts like to jab at capitalism this one is much more pointed in its commentary. Episodes are long and very well produced. All the credits in the third season have been mostly diegetic and add flavor to the world.

Archive 81

Found footage horror

Slow to start but by season 2 the production quality and plot are among the best in the game. Unfortunately, on an extended hiatus.

Ars Paradoxica

Science fiction, historical

Very well produced considering its age, this is a highly regarded show among people who follow the medium. Excellent time travel mechanics here. The plot drags a bit by the end because time travel stories must violently contort themselves into a conclusion, but the first season or two are fantastic and it’s always nice to have an ending instead of interminable hiatus.

Caravan

Gay demons n stuff

Showed up, did magic and gay shit, disappeared and went on hiatus probably with some kinda unsatisfying cliffhanger seeing as I don’t remember the plot. Could I recommend it in good faith? Not until they at least cough up season 2. I don’t remember it being bad and that alone is notable for the medium.

Mabel

Gothic horror

This is the deepest cut on the list except for maybe Caravan. Lesbians pine at each other for increasingly complicated reasons, eventually devolving into them doing datura and then spewing cryptic poetry together for the rest of their days. The production quality is fair. The slow windup and creepy house are American-gothic af. This show has had a few hiatuses, but each time it comes back significantly more intriguing.

Welcome to Nightvale

Goofy spooky news broadcast

Old and iconic, not very consistent. Sometimes explores emotional, tense, spooky, or funny scenes well, but the show is really focused on being local news for an ooky spooky desert town because Cecil is damn good at his job. Don’t come here looking for plot, it’s a fun vibe and I don’t know that anybody’s ripped it off and notably improved on this classic. Above average production quality for its time which improved through the years.

Alice isn’t Dead

USA road trip, horror

Made by at least one of the Nightvale writers, totally different show with a lesbian trucker making wry observations of some magnificently twisted shit seen around the United States. The producers know how to run a show, so the production is pretty good.

Tanis

Found footage horror

Tanis is not good. However, it was the first fiction podcast to make me ask “Is this real?” and hesitantly believe it for a frankly embarrassing number of episodes. The stories in the first season were interesting and the lore is just some big-tent conspiracy style of cramming a bunch of fun Wikipedia research into what turns out to be an increasingly nonsensical plot. Every season after the second, I return to hate-listen and am gaslit into thinking the show might low-key rock a few episodes before the finale, which is routinely frustrating and makes sure to throw out any good plot points Terry Miles comes up with. The acting is routinely terrible, and the frame narrative allows lazy and frequent retcons, ruining what I think is a good premise. Also it’s incomplete.

The Black Tapes

Horror

Terry Miles started this show before Tanis began releasing about 5 months later. I think of it as one of his earlier works because it behaves like Tanis with an added layer of cringe from a time waster of an awkward romance(?) between the two main characters. I couldn’t finish this show. You won’t see this recommended as often as it used to be online because there’s many better shows now, but this used to be a big deal. There’s a bunch of memes making fun of the annoying cadence of the characters’ speech and iconic sponsorship reads in both this and Tanis. If you’re interested in some cringe atop your creepypasta podcast, the two are interchangeable.

Rabbits

ARG investigation

Not as horror focused as Terry Miles’ other shows, the cringe is dialed down and the show is better for it. Tanis and The Black Tapes are more well known, I think the only reason more people don’t think about this one is because the first two don’t inspire trust in the production or narrative quality of this show, but I remember it being fine for a season. I have not gone back to catch up now that more is out.

Malevolent

Horror

Inspired by The King in Yellow, one man performs two voices and verbally abuses himself with aplomb. Having a blind main character with an extra voice in his head is a frame story I haven’t heard yet (unless it came up in the magnus archives and I don’t remember), the concept works out great for the frame of a podcast to deploy the environmental imagery that foley cannot communicate. It also prevents the podcast trope of lengthy exposition about visual surroundings from sounding awkward or potentially impacting someone’s character development to show setting.

Wolf 359

Comedy, science fiction

A crew of whacky characters is stuck in deep space, hanging out and researching a star. Since that’s not actually very interesting they crack jokes and fuck around for a slow burn until interesting stuff happens. Good but not great, this one is long and satisfying and a bit less heavy than all the horror this medium often focuses on. Decent production quality.

The White Vault

Found footage horror

I lost patience with this podcast even though the overarching story seemed very cool – it progresses very slowly yet appears to grow bigger and more confusing instead of deigning to answer basic questions for a frustratingly long drag through the first four seasons. I worry that this frustration may be the point and the Patreon gated stories are the drivers for this tendency towards the confusing patchwork of ideas this show communicates. The production quality is good though.

The Left Right Game

Found footage horror

Genuinely great reddit creepypasta got turned into an overproduced podcast – I say “over” in comparison to the voice acting quality because it’s kind of impossible to sell some of the lines, which makes sense considering the source. Brief, complete, punchy, interesting, and just a little odd to hear such a clean production but a creepypasta this fun deserves the effort.

Wooden Overcoats

Comedy

Surprisingly good production quality for its age, and also a refresher from the usual tropes of the medium. Just a chill sitcom about a funeral parlor in a small town. I haven’t finished this 4 season show yet but its good.

The Black List Table Reads

Movie script readings

Some movie scripts just short of making the cut to be turned into a full Hollywood production were well liked enough by a group of film nerds that sat down to act them out as a podcast. Half of the episodes are interviews with screenwriters, and the other half see a script read all the way through by actors. They’re all rejected for different reasons so there’s a pretty broad spread of genres. My favorites were Blood From a Stone and Balls Out.

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utilitycaster · 10 days

Text

@rowzeoli replied to your post “Do you think part of the D20 journalistic bias...”:

I rarely go on tumblr so sorry if you see me spamming your posts tonight, but I really enjoy your perspective and thoughts! I think I'm the journalist you're referencing in regards to the Fantasy High Junior Year article and unfortunately 1) journalists only get access to interview subjects at very specific junctions (usually press day before the series goes out or halfway through) 2) most publications are honestly Going Through It and cutting freelance rates and just not paying to cover AP

So I'll be totally honest - I post on Tumblr because I assume it is far more unlikely to be seen and so I can vent freely (hence the fairly harsh tone of the criticism in the original post), but I guess this is a chance to clarify. I don't expect anything to change, nor do I expect you to respond; indeed, I wouldn't blame you if you block me after this. But if readership is down (and who knows? maybe it's not and I'm the outlier), this may be illuminating.

The issue with your specific article - which I brought up relatively tangential to the larger point of "at this point I think Polygon's AP/TTRPG coverage is a waste of time to read" isn't really that it's only an early look at the series; and because Fantasy High Junior Year is at this time ongoing, it's honestly entirely valid that there hasn't been a follow-up. It's, well, the "surface-level and factually wrong" issue.

Dimension 20 was by no means the pioneer of remote recording as you claim in your article; that had long been the default of smaller recorded AP shows well before pandemic lockdown for the simple reason that if you're not a media company the overhead is very low - no need to have a dedicated space or even cameras beyond decent laptops. Burrow's End's puppetry? Critical Role's Call of Cthulhu: Shadow of the Crystal Palace did shadow puppets in 2019. They had diagetic audio on the main campaign as early as 2016. I don't even like Kollok, but that's had complex set design since 2019. Meanwhile premise of the article is yet another rehash of Polygon's "Dimension 20 is CHANGING THE GAME" constant drumbeat, while your actual pull quotes from Brennan Lee Mulligan are him musing that this is simply an entry in an ancient tradition of storytelling and isn't, in fact, terribly novel. The interview fails utterly to back up your point and indeed contradicts it; I get that the timeline was probably tight but this is outright incorrect in multiple places and your argument isn't just unsupported; it's outright dismissed by the very person you claim is proving it. If the premise came before the interview, it needed to be reworked afterwards, and if it came after the interview…I'm not sure what to say, really.

This isn't your article, and I'm putting it here to illustrate that this has been a pattern for Polygon's AP coverage specifically. This article about Worlds Beyond Number is perhaps my favorite example of "this is not serious journalism:" Rusty Quill Gaming, The Adventure Zone, Friends at the Table, and NADDPod are all theater of the mind long-running podcasts (RQG's campaign lasted a whopping 7 years of real time) and that's just off the top of my head; the idea of a long-running edited audio podcast being novel is laughable. RQG and TAZ both started at level 1; I'm not personally familiar with Friends at the Table. I don't actually think starting at level 1 vs. 2 is terribly important in storytelling in the first place other than that a few D&D classes pick their subclass at L2 and that choice can be narratively relevant, which it was in TAZ; however, some classes pick a subclass at L3 so you can still achieve this with a level 2 start (as Critical Role's second campaign does). Both Emily Axford of NADDPod and Griffin McElroy of TAZ have long been composing their own music and RQG is heavily sound designed. These are not obscure pulls, either; these are some of the more well-known names in the space.

At this point, Polygon AP/TTRPG articles - by multiple different writers - simply feel like madlibs: "(actual play show) is groundbreaking in its (thing that other shows have been doing for 5+ years); I especially liked (visual effect) and (incorrect understanding of TTRPG mechanics)."

The people I allude to in the post you responded to as having egregiously uncharitable and sanctimonious takes on Daggerheart (within, again, hours of its publication) are a frequent Polygon contributor and a Rascal editor and they further my mistrust of those publications: There is this constant insistence that everything they like be "groundbreaking" and "innovating" and they will claim this even when it's demonstrably not the case, as the above examples note. As Mulligan says in your article "it’s important to keep new artists with new experiences and backgrounds flowing in," and yet by focusing intensely on high production values (difficult for smaller indie upstarts to have) and by incorrectly claiming that a well-established media company within the space like D20 invented a number of things it flat out did not, this journalism is actively, if unintentionally, working against that goal. As I put it elsewhere, Polygon's bizarre pedestaling of Dimension 20 and simultaneous putdowns of Critical Role (which turn into wild contortions when D20 mainstays like Mulligan or Aabria Iyengar collaborate with CR; for that matter others besides me have observed that Polygon acts like Spenser Starke is two different people, the genius who created Alice is Missing and the knuckle-dragging moron who put out Candela Obscura and Daggerheart) coupled with the obsession with production values over story has the whiff of claiming they're the champion of the little guy for sticking it to the 700 lb gorilla in the space and then focusing on 500 lb gorillas while making it impossible for smaller monkeys to compete because most brand new shows without the name recognition of someone like Mulligan involved can't exactly hire Rick Perry to do their models or Taylor Moore to do sound design.

I suppose a good way to put this, since I've run into this in many spaces, not just AP/TTRPG or even journalism, is that bias on its own in a subjective medium isn't inherently bad; but if something is so nakedly biased against something I love, I will, naturally, turn to it with a far more critical eye, and if its arguments are not ironclad I'm going to start noticing every structural issue in every argument and every tiny mistake. Sure, as a fan of Critical Role, and as someone who feels that Kollok was nigh-unwatchable and that Burrow's End was promising in parts but deeply flawed, I disagreed with Polygon's nonstop mud-slinging towards the former and glowing, verging on fawning reviews of the latter two. But that's not entirely damning on its own; I do get that not everyone will like Critical Role and that some people will love Kollok or Burrow's End for valid reasons. What's damning is the journalism itself is riddled with factual errors and the analysis is so weak that to call the arguments a flimsy house of cards would be generous. The opposite is also true; if Polygon's lead editor were out here repeatedly misspelling the name of one of the main characters in Worlds Beyond Number (note: this has since been corrected) but the articles had compelling arguments, even ones I disagreed with, I'd be far more forgiving, but as is? It's offering me absolutely nothing: it's poorly researched, it's poorly structured, it's poorly written, it's poorly copy-edited, and it shits on things I like seemingly just for clicks. I'm done giving clicks.

I am deeply sympathetic to the pressures facing digital journalism and media and the arts in general; as someone who is fortunate enough not to personally face those pressures and has the income to be a patron, I would love to help in my small way (and I do, at least, financially support a number of the AP shows I love). But the quality of some of this journalism is truly so bad that I can't bring myself to support the institutions putting it out; it's "dead dove do not eat" until such time as someone whose analysis and opinions I do trust cites them (or, perhaps, until there is a sea change of lead editorship). I know that this won't help the crunch, and may make it worse, but I just can't because the quality is so poor. I don't have a good solution to how to write about something that takes a lot of time to watch and process and about which the articles pay very little in return, but the current strategy of bouncing between uninformed provocateur and utter sycophant depending on the show and creators; of drooling over such surface features as shiny production and falsely claiming everything is "groundbreaking" while getting the most basic facts wrong has driven me away.

#rowzeoli #i'm leaving this rebloggable but other people...try to be respectful i will turn off reblogs if need be.#long post

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kustas · 6 months

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I'd love to hear your hashtag wha critical thoughts about recent developments if you feel like sharing them :)

I'll preface this with saying that for this answer I will not be making a distinction between my personal tastes and what is "objectively worst". The TLDR is I have felt like WHA's been dipping in quality since book 8 approximately.

One of WHA's strong points is its ongoing theme of accessibility, via its premise of how magic is purposefully restricted from people, and via its characters, mostly the kids, who showcase various life issues and allow the story to talk about how to solve them. Disability is an important one and was at the center of book 8, which is one of my favorites. You get to see Tartah and Coco work together for a goal (=making their friend a better mobility aid), and by doing so they brainstorm the why and then how which allows for complex notions to be carried out and explained to the reader. Cute story with touching implications that flows well. This quote in particular sums up so well what WHA is "about"

After this we transition rather brutally to the latest ongoing arc of the Silver Eve. This arc has been ongoing for years now, and three volumes, making it the longest so far, I'll come back to that, putting a star on it [*]. It delves further into aspects of accessibility the series had talked about before - access to magic, access to healthcare, and poverty. This is where this blog's namesake gets relevant. Custas is a kid who was already poor, who got badly wounded ending up disabled, and who because of that was stuck in a situation with no good endings: he can't make money in his state and needs money to get out of his state. On top of this gets added magic, and comes back the question at the center of WHA: Is it wrong to restrict the use of magic, and how?

After the arc is kickstarted by Custas getting his share of spilled beans of magical secrets revealed, enter immediatly strong players via ch.48's introduction of the Wise Ones and the king himself. The political aspect of how the world works was not mentioned before. Great chapter, interesting stuff all around, personally answered much of my questions. Immediatly after this chapter the focus in 49 fully switches to the Knights and their job, and the rest of the chapter is dedicated to a story of a sexual assault survivor and how she made it. It's a surprising topic to see pop up and it's handled with the respect it deserves. Chapter 50 goes back to Coco and her troubles. This concludes book 9 and...it makes for a Lot of stuff to deal with. Put a Second star on that. [**]

Addressing those stars before we move on:

[*] This arc is taking forever. WHA's arcs in earlier volumes only took a few chapters. This arc has taken three books thus far and I doubt we have reach its climax yet. I personally don't like it and it raises an issue the series did not have before: Will the payoff be worth it? Where it is worrying for the future of the series is that manga serialized regularly tend to up the stakes progressively until the end and it might...not work out.

[**] Too many things at once unresolved. This has already had consequences with the progressive vanishing of something WHA was once excellent at: sneakily introducing elements that get used a few arcs later in important ways. The manga has been, for a while now, accumulating unfinished plot threads via not answering the questions it opens and instead adding more and more characters. Jumping from a group of characters to another was not an issue beforehand because unlike this arc's, chapters took place at different times and/or in totally different places. The Silver Eve is both set in time AND place, making it hard to follow because all sideplot happen at once.

Book 10 continues to accumulate ongoing unresolved plots with: the royal family being shady, Agott's struggles irt. her mother, Dagda running around confused and tracked by the Knights, Custas and Ininia jumping Tartah and Coco, and Galga's accident + relationship.

Book 11 does the same adding Agott's crush on Coco, the actual festival, Jujy's inner troubles...Funnily enough, this page is a good summary of the ongoing mess.

Instead of solving all of this stuff we instead get stakes ramped up to 100 with the introduction of what I can only describe as a kaiju attack. As much as I love the horror and drama element, given what was already going on, this does NOT strike me as a good decision.

Now, we go back to the three latest chapters. These follow the same subplot: Custas' faction change and Coco's attempts to save him. This subplot has, to me, a whole lot of issues. Way earlier on in the story, even before Dagda's ambush, I had issues with how Custas was portrayed in relation to his anger, being drawn weirdly spooky for...a frustrated poor kid? Others have also pointed out it wasn't great to have one of your only dark skinned characters be a slum kid. Obviously given my handle on here, I am still a huge fan of the character. After chapter 45 (included), I already found it a bit tasteless to have so much horrors piled on him. WHA is a rather unsubtle series at time which I really, really dislike. Sure, makes it hard to miss the point, but when you're dealing with sensitive topics it can fall into touchy territory fast...

In the latest chapters, Coco appears to save Custas, the "how" part of her plan still being a mystery. Meanwhile, a timelooped and very confused Dagda looks for him, accompanied by Lulucy, who knows them both and is unaware of their ties with forbidden magic. She ends up telling him to abandon the faction he sided with by literally ripping off the brim of his hat with her magic. Meanwhile, Lulucy starts attacking him on sight. I have so, so so many issues with all of this.

Coco's story is about knowing the system in place sucks. Custas' story is about being screwed over by the same system. The story explicitly points those two out as mirrors: Custas is what would have happened to Coco without the right support. Coco's unique POV on the pointed hat witches shows us many prior times they are not the good guys. Hell, Custas himself talks about how the pointed hat's magical gatekeeping prevented him from living a better life.

To me, the point was supposed to be: the system in place doesn't work, which results in people in need not getting help. We loop back to the accessibility I started off mentioning. Yes, before the current system, bad things happened - but the current system is still allowing other bad things to happen now. So...why is Coco pushing Custas to join the pointed hats and abandon the faction he sided with? If a character who was upholding the status quo was doing so it would make sense (like Beldaruit) but Coco as a main character exists partially to point out why the pointed hats are not good. She demonstrates it to the reader via what happens to her AND knows it as a character. It comes off as inconsistent and frankly makes little sense.

Speaking of inconsistencies...why does Lulucy not recognize Custas, a child she's known for a while? Why does the young prince, introduced as a suspicious character on behalf of his family's unknown goals, become a helpful selfless little guy? Why are the Knights, originally introduced as an antagonistic faction because they are a milita enforcing the status quo, suddenly portrayed as fighting for good as a bunch of remarkable individuals?

Ah yes, the cops. I'm going to address something really fast about them. It makes me frankly uncomfortable the author chose their faction to evoke the two very sensitive topics of sexual assault and homophobia. I think the way those topics themselves were handled without greater context was surprisingly good, and it's touching in the first place to see an author who not only cares, but uses her series, destined partially for younger readers, to explain why she cares. However, Witch Hat is a very black and white series: the bad guys are bad and ugly and you should dislike them, the good guys are good and you should like them. There are some exceptions but who have been losing steam as of late. While originally introduced as a group of individuals who act in problematic ways for their day job, the Knights have slowly lost that bad guy flavor to become a fun band of colleagues/friends. They are law enforcers who enforce unjust laws, but it seems that the author's not on board with people hating them because this is the second time she gave a Knight a tragic backstory that makes them more sympathetic to the reader. First of: I do not see what's to redeem about them if the story's about changing an unjust system, so I don't get the necessity to make them nicer. Secondly: at least in my country (which has legal gay marriage and notably less sexist than Japan) law enforcement is renowned to not help sexual assault victims or gay people. The Knights Moralis are fantasy cops and cops, in real life, tend to abandon people who need their help regarding those two issues - if not worsen them, and count a majority of sexists/homophobes among their ranks. Making your unsubtly cop stand-in faction have both characters with those issues comes off as at least a poor decision if not bad taste.

(big words from the guys introduced in the story by arresting a bunch of children who were on a rescue mission for a misunderstanding they would not have cared about. Die idgaf)

Some more surface level things:

The art. The first books of WHA are noticeably more complex in their style featuring more reaslistic proportions for the characters. Latest arc has seen art lose some of the decorative "classic" flair in the linework and characters looking simpler and stylized to look way...Younger? In a way I do not like. Yes, it's expected for manga series to see their style evolve. I also want to make this clear: I consider the pace imposed on manga artists to be inhumane and if Shirahama had decided to draw her manga as stick figures to work less I'd be down for it.

The dialog. While WHA is very in your face (you may call it preachy) the dialog in the latest chapters especially Coco's feels off. A 12yo wouldn't give off speeches about the world in the heat of battle. When it's a calm scene between two characters discussing a deep thing, sure. When it's an epic public adult figure (see: Dean), sure. I'd prefer having the kids talk like kids.

Goddamn the story has become less nuanced and subtle over the time. Scenes like Qifrey getting confronted by Tartah post mindwiping his grandpa owned. The story's current "morally grey" moments just don't do it for me anymore. No, I don't want the witch politicians of the faction you established as a mistake beforehand to continue. I don't care if the fantasy cops are offended by a grieving husband pointing out they suck. I kinda wish he'd thrown hands actually

So...yeah, that's about it. While WHA's plot beats has always been impossible for me to predict, I don't know if I can trust where the story is going anymore. The fans eating it up confuse me and I might even get hate for posting this. Truth is, while some aspects have always been more or less present in the series since the start, I've felt like the really good bits that balanced it out have been going extinct. I don't know why and it's none of my business to. Some friends have pointed out we might be reaching a point where the author ran out of pre-written story and is now improvising. What's a bit concerning to me is I've also noticed she's way less active on social media, where she used to post regular bonus material for the series, this has stopped and I hope it's not because she lost her interest for the series or way worst, is overworked. Given the conditions for mangaka it wouldn't be impossible and like previously stated, I am of the opinion that no comic book series is worth putting their author's life, health and free time down. It's more important than me disliking the comic.

And regarding Custas - him joining the atelier to study with Qifrey would not be a good ending, no matter what the fandom says. It won't be cute found family. Custas has a family who's unique member wouldn't be able to follow him as a witch. That ending would separate a very traumatized child from the only adult he has in his life that gives him unconditional love and support. Custas needs to not be seen as a criminal so the rest of his life won't be over, and also a whole bunch of cash.

I'm not excited for the anime.

#ask #witch hat atelier #this took me like DAYS to type sorry

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kathaynesart · 1 year

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My biggest fear about Mutant Mayhem isn’t the movie itself, but the fan reaction leading up to it. I don’t want to see people give this a cold shoulder cause they’re bitter Rise got cancelled. I love Rise as much as the next fan, but this movie looks way too great to be even mildly annoyed. I want it to succeed, and for it to be appreciated as another take on the TMNT for its unique identity, animation, personality, and dumb teen energy that’s so infectiously lovable from the trailer already. Your thoughts?

Totally understandable and I think you make some good points. I do think the new version looks really fun. I doubt it will become a new hyper-fixation for me (Rise is the first one to capture my interest in such a way in over 8 years and it does not happen often), but I definitely think it deserves some love and attention.

To Rise fans who are still (understandably) bummed I would suggest this: if you can, go support Mutant Mayhem. If only because the TMNT franchise, like all long running intellectual properties, needs fuel and ongoing proof of its relevance. Give it money and it will give back. TMNT has a proven track record of bringing back old series via crossover movies at the very least. So I would expect nothing less than for the same to happen for Rise. But they need money to do that. Not just from a “greedy capitalistic” angle, but to be able to support all the hard working creators that pour over it.

In the end, animation is one of the most expressive and transparent forms of cinema and I feel like you can really tell when love is put into something, even if the style/theme might not be your specific jam. Just like Rise, this movie seems to have a lot of the same love infused within it and I appreciate that and will show my support for that reason.

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delusinaldreamer19 · 23 days

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Sebaciel vs. Dadbastian, an analytical essay (not really)

Oh boy am I excited and terrified to start this discussion.

I’m just going to say right off the bat that I am absolutely biased towards one interpretation of Sebastian and Ciel’s relationship over the other, that being Dadbastian. However, my goal is not to criticize, but to analyze and point out the differences and, yes, correlations between the two versions of their relationship.

I’m going to start off by making a disgustingly blatant assumption about the reason why I believe both of these pairings exist in the form of a theory...Both the idea of Sebaciel and Dadbastian are coping mechanisms taken on by fans of the series to grapple with how dark the character’s canonical relationship truly is.

Now, I can’t speak for how much this really applies to Sebaciel shippers, as I am not one. But it certainly applies to me as someone who enjoys the idea of Dadbastian.

Let's start with the correlations that support this theory. Both of these concepts are versions of Sebastian and Ciel’s relationship that is more positive than it actually is. The plot of black Butler revolves around the fact that Ciel sold his soul to the demon he named Sebastian, and that upon their contract's completion Sebastian will kill Ciel and consume his soul as compensation. It’s a relationship that is predatory, manipulative, and just simply toxic for a plethora of reasons. While the manga is still ongoing so we have no definitive way of knowing exactly how their story will end, I don’t think it's controversial to say that it's very unlikely to have a happy ending.

Even so, black butler is a comfort series for many, including myself. But how is that possible?

By looking at the series as a whole and the characters through different lenses. A pro and con of black butler is that it’s very easy to interpret in many different ways, and the same applies to the relationship between Sebastian and Ciel.

I’d say there's 2 to 3 main ways that people have interpreted their relationship. In no particular order… - As it is in the series, where it’s strictly based on business and mutual benefit. They work together so that Ciel can get his revenge and Sebastian gets his soul. - Them being friends / frenemies - A ship, where they have romantic feelings for each other. (I’m not going to be discussing how people ship them for sexual reasons, as that's a topic for a different day.) - And Parental, where Sebastian serves as a father/mother (no I'm not specifying which) figure towards Ciel. I'm focusing on the latter two, obviously.

There’s one commonality between these two interpretations; Sebastian caring about Ciel (and vice-versa, but you'll see in a moment why that's not as relevant). There is loving nature to both, but romantic and parental love are not the same thing. So why, baseline, do both these versions exist?

My thought is that they both remove the main cause of distress in their canon relationship. Which is, you guessed it, Sebastian. More specifically his feelings/intentions towards Ciel. By creating scenarios where something changes his intentions of ultimately killing Ciel, it creates the illusion that there's a possibility that the series could have a happier outcome in the end, and a happy ending for Ciel.

Which brings in a new idea. Ciel, being the main character that we follow, despite having his own complex character, serves as the…how should I put this…automatic ‘self-insert’ for people. He goes through/has gone through trauma & struggles that people can relate to and see themselves in. That's why there is a strong desire to see him have a positive outcome through these two different relationships with Sebastian, because as a reader/viewer it will feel like we ourselves are experiencing that positive outcome.

See? Coping mechanism : )

Now here's where things get tricky…Discussing the differences between these two types of relationships. Ok, I could probably find a way to say this that's long and fancy, but I’m just going to be super straight forward. This is as an absolute read, I apologize :’) People ship Sebaciel because they want someone to love them, where they picture themselves as Ciel with Sebastian as the one loving him romantically. People like the idea of Dadbastian because they long for a parent's affection, where they picture themselves as Ciel being cared for by Sebastian.

Now, this is definitely just a theory, and absolutely not the only reasons why people come up with and enjoy each of these interpretations. But the Dadbastian one most definitely applies to me.

Here’s where my own opinion comes into play. Only one of these relationships is really ‘positive’ in nature. Both of these relationships when applied to the canon would be problematic in their own ways, but when looking at it outside of the context of the series and its plot, a parental relationship between Sebastian and Ciel, a thirteen year old boy and an adult figure, is more healthy than a romantic relationship between a thirteen year old boy and an adult figure. Please don’t make me explain why :’)

I’m really hoping this reaches the right audience. I’m not trying to start a war or offend anyone, just share my thoughts and an outlook that I haven’t really seen from the black butler fanbase before.

#black butler #kuroshitsuji #sebastian michaelis #ciel phantomhive #I don't really want to tag this as Sebaciel or antiSebaciel #I'm trying to pretend I'm neutral on the topic #but I'm not so #antisebaciel #please don't tear me to shred's #I have enough anxiety #analyses #“essays”

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visenyaism · 11 months

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Top 5 asoiaf historical characters or top 5 povs to read from ?

my favorite chapter of all time still goes to the tyrion boat school chapter in adwd but in terms of favorite POVs to read?

6. joncon- giving myself a bonus one to talk about how reading his chapters made me feel like i was dissolving like a powerpoint transition. there’s just so much grief and love and bitterness and doom packed into there it is unreal.

5. sam- gender. he is just so special i’ve never read a fantasy protag quite like samwell tarly and his quest to realize his compassion, empathy, and courage are his greatest strengths despite being discouraged by hypermasculine violent feudal society. he is the real protagonist of asoiaf to me.

4. jonsnow- i liked his pov’s in all the books, but ADWD where he is just trying as hard as possible not to be the protagonist after going though like 4 different genres (can u BELIEVE he started off as a boarding school protagonist) even though he literally has super strengthis so beloved to me. His ongoing crisis where he has to realize that despite everything everyone tries to impose on him he has only ever been just himself is so so real (just as real as him being king beyond the wall. btw) though getting immediately killed for it has to be a downer. MY son was turncloak of the month at castle black👍

3. Jaime- he’s funny. he’s cringe. he stares a lot for someone who can’t fight. he’s delusional. he can’t fit a whole knight in his head. he hasn’t emotionally matured past the age of seventeen. everything he says is insane and also heartbreaking. i love jaime POVs so much y’all don’t get it.

2. Cersei- reading cersei i for the first time last year rewired my brain and i was loud about it. Unlike cersei i was not raised by a fascist nightmare but as a nonbinary girltwin i can say that getting raised alongside a direct example of what your life would’ve been like without misogyny can be very hard, especially when you hit puberty and the “your brother is a person and you are the girl one” starts to get even louder. I was fucking alarmed how personally compelling her weird gender thoughts were given EVERYTHING else the Lannister twins have going on that is NOT personally relevant to me. Don’t know how george rr martin old cishet man that he is knew about any of that.

She’s completely delusional, and at times her mental gymnastics are so so fucking funny, but the like roiling layer of unspeakable (literally unspeakable she refuses to speak or acknowledge it) pain and fear underneath is what got me really. Watching her scheme out of arrogance and mortal terror really just to gain respect and bodily autonomy (though in the Tywin way where freedom from abuse and the “right” to abuse others are the same thing) and then just losing everything incredibly fucking hard was really compelling. i hope you win.

1. Melisandre- wait i said another chapter was my favorite of all time in this post? no i didn’t not when melisandre i is in the room. i have talked about this one extensively and probably will do so again. Finding out that r’hllor is literally her enslaved and her entire black and white apocalyptic worldview is her attempt to feel safe within that truth because she is still just a scared little girl at heart who needs what she’s saying to be true because if it’s not none of her suffering was worth it was the revelation of all time. That and the revelation that she actually does have a human attachment to Davos to the point that she’s watching over his son to spare him the grief. We WILL get melisandre ii in this lifetime and it will break my heart all over again because she is going to outlive stannis and have to survive the worldview shattering.

#i am a PROUD cognitive dissonance unreliable narrator enjoyer. and AFFC’s strongest soldier #asoiaf #valyrianscrolls #listen i love all the regulars. there’s just so many heavy hitters in affc and adwd #WAIT THEON. NOOOOOOO

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suzukiblu · 2 months

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As someone who's super into Superboy, do you have any reccs for curious beginners about what to watch/read to check that out?

( GOD I'M SO SORRY HOW LONG I TOOK TO ANSWER THIS, I LEFT IT HALF-FINISHED IN MY DRAFTS BECAUSE I MEANT TO LOOK UP SOME FIC RECS LATER AND THEN TOTALLY FORGOT ABOUT IT, hahasob. Dangit, self! I don't know if this is even still a relevant question for you but screw it, forget both that concern and the recs-research, I am ANSWERING IT NOW. )

So as far as actual canon goes, in the comics I mostly read his original solo title from issue fifty to cancellation, which was about another fifty issues, and also all of Young Justice's original run and both the World Without Grownups and Sins of Youth events, as well as a few other YJ-related one-shots and specifically Young Justice: The Secret, which is I beeelieve only one issue and was the comic that first got me interested in YJ as a team to begin with. I went back and read some earlier issues later, but issue fifty of Superboy's first solo is actually a really good jumping-on point for him imo, it's the start of an arc about him being stranded on an island of beast-men with amnesia and repressed powers and it sets up a new status-quo for him after. There's also a later arc in the series about interdimensional travel through Hypertime where he meets a lot of other versions of himself, including the grown-adult version who's trying to invade half the multiverse, which I thought was especially good too. And like, just it was a real good run in general, I thought, I really dug it.

Also, he was originally introduced as a character after (or during?) the Death of Superman arc and featured reasonably heavily in the Reign of the Supermen event as one of the four replacements trying to become the new Superman, though I haven't personally read much of those. If I started anywhere as a newcomer, I'd probably start with either his original solo run or the original Young Justice. Or both! Both is good! Young Justice is especially choice, though, and also tells a full and pretty well-developed story over the run of the comic without anything in particular getting cut off prematurely. Like, I remember it wrapping up really well, especially for an ongoing American comic from the Big Two.

Other comics I know Kon's been prominent/important in but either haven't read or haven't read much of: Superboy and the Ravers, Titans/Young Justice: Graduation Day, Teen Titans (2003), another solo Superboy title set in Smallville, Young Justice (2019), Dark Crisis: Young Justice, and Superboy: Man of Tomorrow.

There's also the Young Justice cartoon, which has a VERY different take on his personality, though I still really liked what I saw of the character and have written fic about that version of him, and then there's the animated Reign of the Supermen movie, which I still haven't seen but looks real good and seems to be more comics-accurate, personality-wise. And like, I absolutely LOVE his design in it, haha. He's just a lil' brat, it's great! In live-action there's both Titans and later seasons of Smallville, but I wasn't very interested in either of those myself and don't know much about them.

There's . . . there's a lot out there, haha, the character is like a good thirty years old now. And honestly I kinda play fast and loose with some of the canon, this is VERY much the kind of fandom where I just go for what I think works best for the story I wanna tell. It's comics, okay, canon is BARELY EVEN GUIDELINES AT THIS POINT, hahaha.

#superboy #kon el #conner kent #primtheamazing

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islib · 4 months

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I've slept, I've eaten, I've touched grass. My thoughts are a little more ordered. Let's do this:

On Railroading, Roleplay, the Social Contract and the QSMP

aka I Need To Get This Off My Chest Even Though I Want All Of Us To Move On As Quickly As Possible

So. Let's establish the narrative events as a baseline.

Since the first Purgatory event, Quesadilla Island has been plagued by visits of "Eye Workers/Eye Soldiers" - at first investigative, more recently aggressive ones.

(Side note - it appears that most characters have forgotten about this, but this is an ongoing war. As seen in Philza's [20.12.2023 - Hardcore Boi & QSMP - Xmas Event & a New threat?]:

Idk about you, this looks like a declaration of war to me. They don't care about retrieving Luffy at this point, they're just being destructive.)

This has lead to character actions. We have seen the rise of new safe rooms, fight metas, inventory prep. There's been serious parent-child talks about what to do when a fight breaks out. The characters have reacted to the threat accordingly - as a threat.

The fights have been getting harder. From the start, the Eye's minions were framed as dangerous, and perceived as such, but as time went on, they began to return with outrageously strong weapons, potion effects and health amounts that were essentially unbeatable, and unreasonable fight stamina. Still, thanks to the characters' preparations and the characters' relationships, no one lost a permanent life.

Yesterday (morning crew streams of 11.1.2023), Empanada lost a life.

The fight broke out in the Favela. The Eye Soldiers were using enchanted sticks, enchanted axes, potions, explosives and lassos. (In contrast to previous fights, which were generally only conducted with melee weapons.)

As soon as the players notice the attackers, they shout at the Eggs to get out of there. At first, the Eggs seem to ignore the shouts, wanting to help their parents. Understandable, if frustrating - both Empanada and Ramon have been on a "I need to protect everyone" kick lately, so it makes some sense.

It stops making sense very soon, though. Both the Eggs get downed multiple times, while their parents scream and plead with them to leave. Empanada gets lassoed by the workers, making her escape next to impossible - but we have proof that she got away at some point: you can see her teleporting away at 0:29:43-45 of Fit's stream and later we see her signs in Ramon's room at the bunker:

(slightly meta, forgive, it's still narratively relevant to have the proof)

The fight moves from the Favela to Spawn, Em returns to it, and dies (when she does, btw, there's no time between her getting downed and her dying. a fraction of a second at most.). The fight dies down with some curious events irrelevant to this post, scene ends.

Now that we've established narrative context, here's for a touch of the meta-narrative stuff.

The attacks haven't been ramping up linearly - they started very strong, and then alternated in strength with repeated attacks on a single day wildly varying in power levels. This attack was clearly the strongest yet - Fit's VOD shows some attacks doing minimum of 3 hearts of damage through a decent slime/diamond+high prot armor set.

The use of lassos is new - potentially a narrative show of how the Eye Soldiers are learning Player tactics? It's the main reason for why Em's death was mechanically possible.

There's been narrative in the past arcs of the server where egg death was the point of a fight encounter. It has always been possible to prevent the death in those scenarios.

There have been narrative fights that were unwinnable in the server past.

Ramon wasn't supposed to be on - his admin is sick (or otherwise indisposed and using sickness as a narrative reason for not playing) and had left a message that he wouldn't be on, only to later join anyway, likely due to the event needing Eggs to be present.

As far as I'm aware, this is the first time a player has hard-pulled themselves out of RP. (more on this in a bit)

All on the same page? Let's get to my criticism.

In roleplay, players and game facilitators enter a social contract. Very often it's an implicit one, just "don't be an idiot" and stuff, but sometimes it's more hard coded: what are the rules, what are the expectations, what are the lines we don't cross.

Now, as an audience of the QSMP, we don't know what the details of this contract are - only the players and the admins do. We can implicitly understand that parts of it contain expectations of activity on both player and admin sides, expectations of medium (i.e. Minecraft), expectations of who's participating, etc.

We've rarely seen anyone employ any sort of safety tools, although I expect at least some of the creators have some amongst themselves (think safewords mostly). The extreme safety tool that all of the streamers have access to is logging off, but I don't think we've seen that mid-encounter, ever.

Fit employed a softer safety tool yesterday, when he decided to stick with Ramon in the bunker. At 0:33:30, Fit notices footsteps outside the reinforced door. We don't get to figure out who it is, but he says: "Oh I hear you! If you're an admin, I'm fucking done. [...] We are not fucking moving." Now, some of you will argue this is in character - I disagree. It's semi-in character, simply thanks to the word "admin". Fit keeps some semblance of his roleplay, for any number of reasons, but addresses the admin, taking himself out of roleplay in order to declare he didn't wish to continue in the encounter.

The fact that he partially stays in character makes it easier for both him and the audience to rejoin the character later.

What's really important here is that the admin - whoever it was (I think at that point it may have been Em - backs off. Fit declares he's not playing, and the admin hears that and leaves. Even if it was Em, and whatever was going to happen wasn't going to be in the same tome as the fight encounter, they backed off. That is very good.

Now to the more narrative points.

These Eye Soldier attacks have been clear in their motives: hurt everyone on Quesadilla. Narratively, the characters responded appropriately, by gearing up and protecting the fragile Eggs.

How did the server lore respond? Well, it didn't.

The attacks continue on some invisible timeline, getting superpowered out of nowhere when the players preparations pay off, and the Eggs, despite their general agreements and character motivations, keep running head first into danger.

The only reason I'm not trying to push into a riot over Em's death is the lassos, because those make it mechanically difficult for her to stay away.

In conclusion, the main issue I have with yesterday is the consequences. If the only way to protect your child is to literally pull yourself out of the encounter - because clearly the narrative implication of yesterday is not only will the Eye Soldiers keep going until an Egg is dead, but also that Eggs will be coming back to fight unless they're actually restrained - then who's going to be playing in this arc? Why would anyone, when temporary victory only means more Soldiers with more power, and Eggs that are less likely to leave the fight?

If there was a clear narrative indication that these attacks can be stopped - a clue towards Luffy, or a conversation with the Federation on defences, or a clear sense of what can protect someone against the Eyes - I would be fine with what happened yesterday.

But there isn't. Nothing that's been done has had ANY effect on the events.

I've seen people going "well we've seen this coming" and to them I say: how does that make anything better? That just means there's been time to notice that the narrative line ignored player agency!

I've seen people going "well the players don't take anything seriously until an Egg dies" and to them I say: Morning Crew went out to look for Luffy literally yesterday, trying to move the story along. People have been building safe rooms and preparing fight supplies and player metas so they could defend themselves and their families, they've been taking this very seriously.

I've seen people going "even interactive stories have scripted beats" and to them I say: not at the expense of player agency, not in something as freeform as QSMP. This is not a Telltale game.

I don't think my criticisms are unreasonable - all I want is for the narrative to be actually interactive. To even a little bit allow for players to play, rather than act out someone's unwritten script.

That's what movies are for.

#qsmp crit #qsmp neg #cw child death

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