#It feels good to be witnessing fandom history in real time for once
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New aftg book, new mdzs adaptation... life is good 😊
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FINALLY read heal thyself as per your recommendation (it's been in my marked for later for months yet somehow I kept forgetting?) and it's just as amazing and beautiful as everyone said, cant believe I haven't read it sooner. There's no real purpose for this ask I just feel the need to gush about it with someone who I know understands😭❤️ but her draco is perfect, his characterization, redemption arc, it's everything I never knew I needed. Reading about his struggle and determination to be good—and finally being able to celebrate the rewards of his hard work was so touching? to witness... I literally had to take breaks because of how much this fic made me feel. Going to spend the rest of the night drowning in astolats fics
Ahh anon your ask got me emo all over again, I love this fic so so much and I’m so pleased that you also felt transformed by it! Sharing this feeling of awe and mutual understanding about a fic with another reader is something really special. HT is hands down the best Draco arc I’ve read in years, which is not surprising if we consider not only Astolat’s talent but also the fact that this fic is 100% Draco-centric and for the most part of it there’s no Harry or romance to distract from his individual journey.
I love how you described his redemption path, the fact that for once he got to make a choice about his own life, then reaped the fruits of his hard work (and how brilliant is that he decides to pursue Healing out of pride and spite? So on brand 😂). I think you chose a perfect word to describe our experience “to witness…” that’s exactly how it felt, a privilege to watch him getting the nuance and character development he deserved. I appreciate that Astolat took the time to explore his arc over the span of a few years, it made his success and happy ending even more powerful and satisfying! I can’t think of a better way to spend the night than reading the rest of her catalogue, you’re in for a treat!
Lol okay you gave me an impossible mission there, I gotta say similar characterizations are very hard to find outside of Astolat’s work, her Draco is very peculiar after all. And I feel like HT is unparalleled way beyond his characterization. I’ve been in the fandom for two decades and have never read anything like it before or since. So leaving any comparison efforts aside I’ll suggest these, which have some of my favorite Draco arcs:
The Compact by astolat (E, 64k)
Hermione frowned. “The real question is why the magic of Britain would be failing now, in fact.”
A Young Radical's Guide to Love by blamebrampton (T, 66k)
Memories of the war are still fresh, which is all the excuse Decent People need to do appalling things. In this quietly waged conflict, Draco Malfoy is happy to be on the right side of things for once, and even happier to find he’s not alone.
Who we are in the shadows by quicksilvermaid (E, 100k)
What happens when you’re forced to become the very thing you despise? Ex-Auror Harry Potter, tossed out of the Ministry for something he had no control over, has been looking for a way back to his former life.
A Thousand Beautiful Things by geoviki (M, 104k)
Draco Malfoy struggles with changed fortunes, shifted alliances, an ugly war, and an unusual spell, with the help of a concerned professor, an insightful house-elf, and an unexpected Gryffindor friend.
What We Pretend We Can't See by gyzym (M, 131k)
Seven years out from the war, Harry learns the hard truth of old history: it’s never quite as far behind you as you thought.
By the Grace by lettered (T, 140k)
Harry is an Auror instructor. Malfoy wants to be an Auror.
And some short fics you might enjoy as well:
And Save Me From Bloody Men by blamebrampton (T, 10k)
Draco Malfoy once watched others fighting to stop the world falling apart. This time, he's not just watching.
Rebuilding Draco Malfoy by khasael (E, 11k)
Draco wants to do something to get his life back on track, but no-one seems to be taking him seriously – until he finds himself in an Auror training session led by Harry Potter.
The Loathly Worm by Selden (E, 12k)
When Draco Malfoy is forced to go undercover among the remaining Death Eaters in the aftermath of the war, the last person he expects to find there is Harry Potter.
Unfinished Business by cupiscent (E, 20k)
Ten years after the War ends, Harry and Draco still haven't got their act together. But maybe it's not too late.
Vortex by xanthippe74 (T, 20k)
Who would want a soulmate who was a schoolyard bully, a Death Eater, and a convicted felon? Certainly not Harry Potter. And Draco is determined to take this secret to the grave.
Slithering by astolat (E, 27k)
Draco found the nest down in the Manor’s cellars, while he was clearing them out.
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so Octopath 1 is still really good
After having played through (almost) all of both Octopath games somehow I'm feeling nostalgic about the first game already
Octopath Traveler 2 delivered on all its promises of more interaction between the travelers - down to the battle quotes they have, acknowledging each others' help and contributions. The stories especially are improved upon so much that it's actually kind of amazing to see just how seriously Square Enix took the criticism from the first game!
But I also still just like to look back on the first game and the stories that I loved and with that overly long intro it's time for me to rant about my top 4 picks for the stories from the first game lET'S GO
There's actually a LOT that I love about the first game's stories even as they're contrasted by the stories of the second but I only have real thoughts about these top 4 picks - SPOILERS! FULL STEAM AHEAD!
4) Cyrus Albright (or, when static characters fucking rock when their philosophies are given generous nuance)
Starting from the bottom of these top 4 is Cyrus's story - but honestly the gap between his story and the bottom half of all 8 stories is pretty damn huge
I'll admit right away that Cyrus's Chapter 4 has elevated his story in my eyes over the others, but as far as I'm aware his story's climax is one that most of the fandom can agree is one of the peak moments of the first game. His passion and philosophy for education had everything going for it in terms of set-up and atmosphere and - can we like? Talk about the Ruins of Eld???
A secret, ruined library filled with tomes lost to history. Tables and chairs scattered in rooms like it was meant to be some sort of school once. And here's Cyrus - a professor with a deep love of history and knowledge, walking among its walls and witnessing for himself just how much was hidden from the world. How must this man feel, walking into this beautiful Eden filled of Trees of Knowledge. With its walls decorated with warnings of death, doom, and destruction. Knowing that the end of his journey is at the heart of this paradise.
Cyrus's story in my opinion is fucking amazing at telling us who he is, and this final dungeon is the culmination of that - down to the atmosphere of his dungeons. It doesn't start at Chapter 4 though, I'd argue it starts all the way from Chapter 1 - which I have. A very intense love-hate relationship with solely because of Therese - but it's just actually really good? It just frustrates the shit out of me is all
But Chapter 1 tells us that Cyrus is a teacher. It tells us that he's a really GOOD teacher, who is passionate about his profession and is beloved by his students for both his patience and his good looks. He's incredibly dense to that second part, and his colleagues understand that but it doesn't stop them from holding a grudge against him. He loves books and the idea of knowledge being free to all and is, in his own words, 'philosophically opposed' to the ideals of his superiors. He is stupid with women and romance and people use this to their advantage. He is incredibly forgiving towards his student who literally tried to ruin his life by accusing him of pedophilia and doesn't understand that she did it because she wants to hop on his dick.
And Cyrus is like this for the entirety of his story - a sort of static character that's really just on a journey to return a library book. Even then, just because his character doesn't develop (or at least in ways that would be immediately obvious to us), there's something to be said about the steadfastness of his personality despite all the atrocities that he encounters. Chapter 2 shows us what kind of people he trusts. Chapter 3 shows us his fury as a teacher who cares intensely for his students. Chapter 4, then, gives us Cyrus - raw, unfiltered, and passionate as he tears into Lucia for her egocentric and dangerous elitist views on education with both his words and his magic.
His story ends gloriously in a way that's very distinctly Cyrus. He comes across the terrible secrets hidden within the tome that he's been searching for all this time, wondering if even something as evil like this deserves to be shared with the rest of the world. Cyrus, the Scholar, says yes - if only so he could protect the bright future he sees for mankind. At the end of his story, he's back at the Academy to start working towards said future, starting his lecture with a TRULY great excerpt from Susanna Grotoff's Knowlegde is Light.
oh hey speaking of Susanna Grotoff!
3) H'aanit (or, simple stories are great actually! especially when the characters actually fucking matter!)
See, I'm one of the people who honestly did not mind the weirdass ye Olde English speech that permeates the bulk of H'aanit's story. I think it's a weird design choice, but I can deal with it. I feel like that's one of the reasons people really don't like H'aanit, or her story.
One of the other reasons I think people don't like her story too much is because it comes across as too simple - almost Tressa-esque in its depth, because when you boil it down H'aanit's story literally is just to hunt a monster. It's a veritable eldritch horror of a monster sure, but the game also doesn't really tell you what the true significance of this act is until you beat try beating its postgame that's structured like ass. It's a woman with a weird accent and a snow leopard hunting down a quarry.
But I'm a firm believer in 'just because stories are simple, doesn't necessarily mean they're bad or without substance', and though it doesn't have the same level of philosophy that elevates Cyrus's story from just 'guy trying to return a library book' - it more than makes up for it with the way it handles its characters.
H'aanit's story has bar none the best, most organic, and heartwarming character interactions in the game and I am VERY prepared to try and fight people on this. You don't have to go very far into her tale to see this - from the way that she speaks with Z'aanta and Eliza alone, you can form a pretty solid image in your head about what kinds of people they are. H'aanit is the straight-laced, stoic, yet socially-awkward apprentice to Z'aanta's eccentric and cheerful trickster mentor persona. Eliza balances them both out, being a responsible friend to Z'aanta and a laidback friend to H'aanit. In Chapter 2, we meet Natalia - and I realize Chapter 2 NPCs don't get a lot to them, but honestly I found Natalia to be the refreshing earnest everyman character in H'aanit's fairly noble quest of legendary quarries and lost masters. Natalia is a good friend to Z'aanta and is very kind to H'aanit, and even feels guilty that she can't do more to help her.
Then we get Chapter 3 and we meet Susanna Grotoff - who is CRIMINALLY fucking underrated. Susanna is the elusive scholar who Cyrus quotes at the end of his story, and is also apparently a Seer - which she admits right away to H'aanit is a load of bullshit. But H'aanit trusts her implicilty because of this admission, and oh yeah Alaic's here too. I'll admit I didn't really warm up to Alaic right away, until postgame happened and we get to see him open up to our Travelers about how he and Susanna met. Honestly I could go on for hours just describing these two but we still have Chapter 4 and - oh my god the King shows H'aanit such immediate trust and respect and he's a decent ruler I like him a lot
I think that's the key ethos here though - everyone in this story treats H'aanit with no small amount of respect and gravitas. Her reputation as Z'aanta's apprentice might precede her, but come Chapter 3 where she's bested a dragon and she has become his equal, and then defeating Redeye to surpass him - and she is viewed by others who know her with awe for her abilities.
Despite this level of prestige though, H'aanit remains much of the same. H'aanit remains a stoic and steadfast huntress who is still socially awkward, being hesitant to show and receive familial affection. At the end of her story, she comes back home satisfied knowing that her master is saved, and she begins to tell stories of her own. It ends with her beautiful piano theme in the background, sounding as though she's just gotten done telling the end of her story to the local village children to lull them to sleep - and not to worry, because she will be happy to tell it again. It's a very quiet resolution to a fantastical journey, and I think its celebration of stories and interpersonal relationships elevates H'aanit's tale over Cyrus's in my book by JUST a bit.
2) Alfyn Greengrass (or, when the break the cutie trope takes the broken pieces and reforges them into something stronger)
Ok look I'll say it right away - I know how divisively people feel about Chapter 3. Chapter 3's very existence hangs on stupid decisions made by the characters, like, Ogen, maybe just TELL Alfyn that Miguel is a criminal - and MIGUEL, M A Y B E DON'T DO THE HORRIBLE THING WHILE ALFYN IS STILL IN TOWN HELLO??? YOU COULDN'T AT LEAST W A IT ANOTHER FEW DAYS???
even with those feelings I still think Alfyn's story is great.
There's a lot that I can say about Alfyn that I wanted to say about Cyrus and H'aanit - and it's that this truly feels like a story that's tailor-made for him, to tell us who this guy is and how he deals with the bullshit he encounters. Alfyn's story is written almost episodically and it does kind of make sense given his motivation. He's just a guy who wants to go around and help people - it doesn't particularly matter where, just that he gets to do good. And we do! See him do that! Kind, studious, and well-meaning Alfyn sacrifices a lot for his patients as we see in both Chapter 1 and 2, and he's very passionate about his craft and is softhearted to the point that he forgets to collect payment for his treatments. He believes so wholly in his apothecary's ideal (formed by his own memories of Graham saving his life for no charge at all) that honestly? His Chapter 3 almost falls over backwards trying to destroy this idealism.
Miguel Twinspears has been memed to death and Ogen is questionable. Just to get that out of the way. To get more stuff out of the way, I don't think the game really intends for its players to agree with Ogen and his cynical views about the weight of lives. This is the entire point of Ogen - to be a foil to Alfyn, who is naive, boundless, and indiscriminate in his generosity. Miguel, as cartoonishly evil as he is, is still VERY MUCH capable of existing in the real world. Alfyn hasn't yet fully matured, and both Miguel and Ogen were the story's solutions to making him croak. The best part about that gambit is that it worked - sending Alfyn into a depressive spiral until he finds a resolution in Chapter 4.
Miguel is unabashedly evil and takes Alfyn's kindness for granted - he is Alfyn's first taste of true malice. Ogen's cynicism forces Alfyn to question everything he knows about being an apothecary, and it's very important that these two concepts were introduced in parallel. This is the chapter that forces Alfyn to reconsider the implications of what it means to have the power to save lives - for god's sake a CHILD nearly died because Alfyn chose to help the wrong person despite the warnings around him. Here's the thing though - Miguel being a jackass isn't Alfyn's fault, and that's something that Ogen's philosophy neglects to account for. There's very real conversations to be had about accountability here but my god this post is getting way too long and I still have one more character to gush over
Chapter 4 picks up right where Chapter 3 left off, where we find Alfyn lost as to what he's meant to do. THEN we get Ogen on his deathbed and surprise it turns out he's not indiscriminate about his philosophy because he applies it to himself as well because yeah. murder is horrible. granted there's also conversations to be had here about horrible medical malpractice but that's WAY out of my expertise so -
now by all accounts, after the events of Chapter 3, would it have made sense for Alfyn to give in and let this man die for his sins? hell no. Because that's not who Alfyn Greengrass is - and as Alfyn asserts, it's also just not what apothecaries do. It's a powerful kind of acceptance that's fueled in part by Zeph's (homoerotically-charged) encouragement and the memories of the man who saved him - and this drives him to face down a creature of legend just to make a cure for a man with a broken soul.
can we also just take a minute to gush about how Alfyn's journey starts and ends with him trying to find a life-saving ingredient and how it has layers to it because Ogre Eagle feathers were the key ingredient to both his and Ogen's cures - lighting the spark in Alfyn and re-igniting Ogen's will to live - and apothecary is fighting a WALKING PANACAEA. THIS IS A COOL FIGHT GODDAMNIT.
i'll. gush more over Alfyn once I finish up my essay on Ophilia and Temenos. but for now we still have one more story.
1) Olberic Eisenberg (or, resolving a midlife crisis is worth it when I care so much about the sad old beefcake)
for those who know me, this might be mantit bias. And verily I say unto you, that's partially correct. for others, this might be Eisenbright bias. and you are also correct because I will admit that my appreciation of both Cyrus and Olberic's stories is elevated a considerable amount when I think about just how synchronized they are as role models when the future is concerned
(SERIOUSLY. PLAY THEIR CHAPTER 4s SIDE BY SIDE. THEY'RE IN PERFECT PARALLEL ABOUT THEIR OATHS TO THE FUTURE DESPITE BEING SO DIFFERENT AND BEING ON DIFFERENT SIDES OF THE HISTORY BEING WRITTEN - the person who writes the history and the person who lived it - AND THEIR DIFFERENT TALENTS AND ABILITIES AND-)
okay I'll be real and say I did not expect to care so much about the old guy so much going into this game, but I actually will. struggle to articulate how this story has made me feel, but I will say that Olberic's story is the only one from the first game to have given me any sort of extreme reaction that wasn't frustration over Cyrus's Chapter 1. I cried for other stories, but Olberic's had me genuinely at the edge of my seat and jumping for joy whenever I see Erhardt pop up in Riverford to aid him.
To be honest, I don't really know what it is about Olberic's story that I can call the edge that it has over the seven others. Cyrus's story had excellent presentation for both his philosophy and his character. H'aanit's was the perfection of simple storytelling. Alfyn's was thought-provoking and had me emotionally invested in his plight. Writing it out, I think I can say Olberic has all of the above - at least, in my opinion. I can't very well say he has much in the way of developing side-characters though -
- well okay. The blond elephant in the room is the glaring exception.
Erhardt is half of Olberic's story and is consequently his primary motivation throughout his journey. The introduction of Erhardt is through a recurring nightmare that Olberic has of the day Hornburg fell - culminating in the moment Erhardt fatally wounds King Alfred. Olberic's Chapter 1 does a very good job of telling us who he is, and where he stands in his story - he was once a renowned knight beloved by his Kingdom, until it fell due to the betrayal of his brother-in-arms. He is now in hiding at a humble farming village named Cobbleston, having kept his past and name a secret for 8 years. Olberic is brought low by loss, and is plagued by nightmares and grief that he doesn't share at all with the people he's now taking refuge with. It's also very clear at this point that Olberic considers himself as little more than a man with a blade - purposeless now that he has failed to protect what mattered most to him. It's not until a lead on Erhardt is revealed to him that he feels alive in any way, as Gaston notes.
As Olberic goes on his journey, he starts having doubts about his decision to avenge his homeland once he starts learning more about Erhardt. To Gustav, Erhardt was troubled, but warm to him and his fellow vagrants, as well as a trustworthy friend. To Wellspring, he is similar to Olberic - having found purpose in protecting the town from lizardman threats. These doubts culminate in what is - to my opinion- perhaps the single best scene in the fucking game.
Watch it in Japanese, by the way. It's only then that you'll get to experience the full brunt of the emotions and sheer burdens that both Olberic and Erhardt carry because Jesus CHRIST they went hard on the delivery for this scene.
After slaying the Lizardman Kings, Erhardt and Olberic meet back up again to have their long-overdue talk about why Erhardt decided he'd kill King Alfred. To most people his backstory isn't anything new, really - he lost his hometown to the fires of war, and King Alfred had failed in protecting it. Out of vengeance, Erhardt decided to join Werner's company and act as the mole in the ranks of the knights of Hornburg so he could bide his time until he could finally kill the King. The thing that sells this scene however, is the sheer agony and regret in Erhardt's voice as he tells Olberic everything - and tells him that he regretted living a lie, that all he could remember now was the times he spent with the knights and with Olberic as friends and brothers-in-arms.
Now what happens next is. Strange.
It's at this point in the story that the player feels TRULY disconnected from Olberic, where Olberic's own desperation comes to light as he demands to cross swords with Erhardt in the form of a Challenge prompt that you can't refuse. Olberic states very clearly that he finally understood why he wielded his blade, and you would think that was the end of it - that it wouldn't have needed to come to blows anymore. But Olberic is neither being a paragon nor a villain here - he's being human in the only way he knows how - in the throes of battle. Erhardt himself obliges, understanding that it's only through this that either of them could have closure from the events that changed their lives forever. They fight, all while Olberic's character theme plays in the background.
Now. This scene is interesting to me in a lot of ways. Erhardt had basically done to Olberic what he thinks the Kingdom of Hornburg had done to him - rob him of the only home he had ever known. He then assimilated himself into the ranks and despite his mission he came to see it as home too, soon enough. Despite that, it didn't stop him from killing the King - but seeing his revenge through only left him hollow. I could draw several comparisons here to both Primrose and Olberic regarding this stance on revenge, but right now just know that Olberic could have very well ended up like him if he were an angrier man. Olberic right now is simply a man consumed with grief and loss and left with no real way of dealing with it other than this. And by the end of the battle, Erhardt yields - and Olberic spares him, ending the duel and resolving instead to avenge his Kingdom through confronting the man behind Erhardt's machinations.
admittedly, I didn't think Werner was compelling enough as a villain - but I DID appreciate his horrifying pragmatism, clawing his way to the top by any means necessary and sacrificing an entire Kingdom in the process, and then going on to take over an entire district and host public burnings every month. charming guy. I do find it thematically interesting that Olberic's final opponent is a tyrant who just does not give a shit about the people he governs over though - you really couldn't get any more antithetical to King Alfred than this. Also fitting that he would be one of the key players of the revolution to free Riverford from Werner's reign and wOAH HOLY SHIT ERHARDT FUCK Y E AH
that. that was the scene I jumped out of my seat for, yeah.
by the way uh. so the line 'Your blade may be unbending, but did the man not break?' is extremely good. If there was any way to succinctly summarize Olberic Eisenberg before that climactic moment, that would be it.
this is gonna be the part where I gush about Olberic's resolve into looking forward to the future and - it means a lot more than just him vowing to continue using his sword to protect others. It means that he's finally starting to free himself from the hell he's been dealing with for the last 8 years. It's him finally accepting that he's MORE than the blade he wields. It's him accepting that he has somewhere to return to and protect and hold dear to his heart - and he realizes this while trying to help people take back their own homes with the support of the best friend who had lost his home twice -
i really like his story, and I really like Olberic. Him returning to Cobbleston for a while as he goes on a new journey and being embraced by Philip is incredibly satisfying. This man deserves his fucking rest and holy shit this post is 3800 words long
>>>
tl;dr go play Octopath Traveler 1
#octopath traveler#cyrus albright#h'aanit#alfyn greengrass#olberic eisenberg#octopath#octopath spoilers#literally just me ranting for almost 4k words#go play the first octopath it's still great#i should have just written an essay but#listen i totally could except i'm in the middle of finals submissions so rip#and i'm already writing an ophilia and temenos essay so
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Hi KBfriend <3
Excuse me marching in here unannounced. I decided to send some asks, and well, I thought that perhaps you might also like these questions. (Feel free to answer in your own time or ignore as your spoons allow. <3)
I know we love to talk about breaking the rules in writing and obviously, that not every piece of advice is one-size-fits all, but there is a lot to say about being able to speak with each other about what we have learned during our journey. I was wondering if you wouldn't share. (I also plan on poking some of the others to see what more we can shake out. The more the merrier, no?)
What is the most useful/helpful pieces of advice you ever received during your formal education in relation to writing?
Once you started to write, what was the most important thing that you learned about writing or its process?
Has your real life/job had any influence on your writing? If so, how?
What advice would you give to aspiring writers (be it fanfiction or original)?
Hi friend! Thank you for these asks. I will never turn down an opportunity to natter on about things, my inbox is always open!
It took me awhile to think of one, because the vast majority of my formal writing education was for nonfiction and the little bit of creative writing we were assigned was generally poetry and I HATED poetry as a kid. BUT.
I distinctly remember one of my middle school English teacher saying that the worst thing our writing could be wasn't being "bad" (whether technically or narratively) The worst thing our writing could be was boring. I remember her saying she'd rather read 100 bad stories that were interesting, or at least where the author's passion shone through, than one "good" story where nothing interesting happened or the author clearly was just checking boxes about what should happen in a narrative arc. She would forget a good-but-boring story immediately while every terrible-but-interesting-and-passionate story was very unique and memorable.
This leads into my answer for question 2...
When I started writing fanfic on FFN waaaaay back in 2002, I realized that some people were going to hate what I wrote no matter what - after all, I hated some perfectly fine fics for reasons that had nothing to do with their quality. The people who wanted to read the things I was writing would find me, and they did! I still have friends from way back then, even though we've all moved on to other fandoms and hobbies. So yeah, that was what I learned - fuck the haters, write EXACTLY what you want, your people will find you. It was heady stuff for someone who was always That Nerdy Weird Horse Girl in school.
Oh yeah. I was a paramedic for almost a decade. I'm now a biologist in a medical pathology department. I definitely use my knowledge of A&P and quite a bit of the trauma I witnessed and ended up being subjected to as part of the USian For Profit Healthcare system.
Also, it wasn't ever my actual job (unless you count the under the table farm labor I did for a goat dairy in college) but growing up in a rural farming community and around animals has given me a big interest in the history of agriculture, and I love writing about people doing subsistence farming.
My advice builds off of my answers to 1 & 2. Don't put things in your story or write stories out of a sense of duty. Don't censor yourself because you think it might be "too much" or "turn away readers." Write (and draw and create) what you want with your whole chest. I have devoured fics that were barely readable due to atrocious grammar and spelling about characters I didn't even really like with a premise I thought was stupid and pointless because the author made it interesting, and a big part of making it interesting despite the shortcomings was how much the passion they had poured into it came through, and that they were clearly having a blast the entire time they were writing/channeling their id.
This is related to something that kills me when I see it on fanfiction discussion communities especially about fics with explicit sexual content - people snickering about how obvious it is that "the author had their hands down their pants while writing this." MORE HANDS-DOWN-PANTS SMUT I SAY. NO SHAME.
So I guess that's my advice. NO SHAME. Want to write the filthiest, most ✨problematic✨ smut ever? NO SHAME, WRITE THAT PORN. Want to tenderly describe every step of the main villain disemboweling a unicorn? NO SHAME, SHOW ME THAT SPARKLE BLOOD. Want to write yourself as the Maryiest Sue who ever Mary Sue'd having fun in the fictional world of your choice? NO SHAME, YOU 👏GO👏GLEN👏COCO!
Life is short, and late stage capitalism robs us of joy every chance it gets. Don't rob yourself of joy.
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So, let's talk about cheating. That is the fandom's hot topic right now, isn't it? I'm going to address this once and then never again, so if you're going rant, or send hate, or bitch to me about how much you hate this storyline, do it now, because this is the first and only time I will be opening this topic as a point of discourse rather than a narrative development in Buck's story.
To begin: I am not without sympathy for the people who have been cheated on or have witnessed the damaging effects of cheating and have clung to/projected on Buck over the years, only to have him cheat on Taylor. I mean that genuinely. Having to reconcile your love for this character with the feelings of hurt/betrayal you carry from someone else's actions is a very shitty thing and I'm sorry you are in this position.
Having said that, some of you guys are letting real life cloud your perception of this fictional storyline to a dangerous and/or disconcerting degree, and I just... do not understand that at all. Since the clip dropped yesterday, I have seen so many bizarre, nonfactual, and interesting takes about Buck cheating (some of them dropped directly into my inbox!) so I'm going to bullet point them and be done with it:
1) Buck cheating is bad writing: No, it is not! Just the opposite, actually. Buck cheating on Taylor with Lucy is objectively brilliant writing in several different ways:
a) Buck cheating ties in Buck's past character traits with his present. This is a good thing. Often as time goes on, writers develop their characters so much that looking at the character from pilot to end feels like viewing two completely different characters. Character development is good, and is something every writer should strive for, but not when it transforms the character unrecognizably. Buck reverting to old tactics and mindsets calls back to previous behavior and coping mechanisms and demonstrates the writers' continued grasp on and understanding of this character.
b) Buck cheating demonstrates the non-linear nature of healing. Oftentimes, TV shows view healing as a conclusion rather than a point in someone's journey. They will shape a big storyline around this character finally finding some peace of mind after episodes of struggle and top it off with a nice, pretty, emotional finale, but true healing is not like that. Some days you heal 10%. Some days you heal 100%. Some days you think you have healed 90% when you haven't healed at all. Some months you cruise at a steady 100% before you drop like a rock and hit 0%. And that's just the way life is. Healing is painful and messy. Sometimes you do it right, and sometimes you do it very, very wrong, but none of it is wasted and all of it aids your personal journey. 9-1-1 views healing as points in Buck's personal journey rather than a finale; right now, his healing is at a 0% but it will not stay there. Which is, frankly, more than can be said for a lot of people who land at 0% and decide not to get back up again.
2) Buck cheating is lazy writing: No, it is not! Actually, Hen's cheating storyline was comparatively far lazier because there was no reason for it except than to create some drama between the happy lesbians. Hen cheating served no real narrative or character purpose, and though the storyline has since been revisited in the years since 9-1-1 has found their rhythm and given some sort of character purpose, the initial storyline was weak and flat, the writers basically saying, "we don't know what else to do with you so uhh let's have Hen kiss her ex-girlfriend!" What we are seeing with Buck is not that.
Buck's spiral is the culmination of months of self-editing, repression, and constant retriggering. Buck has a history of self-harm and suicidal ideation, and is untethered and adrift without any of his anchors in place (anchors being, not just Eddie and Maddie personally, but the feeling of "normalcy" he has built around their (and Chimney's) presence). Guys. He witnessed the man he loves get shot right in front of him. He had that man's blood in his mouth, and then had to clean it off of him in a hospital bathroom, so he could immediately comfort his son and pretend everything is normal. Buck is still pretending. We are not just witnessing Season 1 Buck; in fact, I would argue that this is Buck pre-Season 1, actually. This is Buck at the height of his self-destruction; the same Buck who would speed down the street on a motorcycle, or throw himself in harm's way just to get his parents to look at him. This is a version of Buck we have seen glimpses of but have never really seen. There is nothing lazy about this writing.
3) Buck wouldn't cheat/Buck cheating is character assassination: Yes, he would, while he is in the midst of a severe mental health crisis and no, it is not. Do you guys even stop and think about why people cheat? I know it's easier to believe that cheaters are irredeemably bad and don't deserve any kind of redemption, or that all cheaters cheat because they're terrible and broken inside, but life is rarely that clean-cut. Sometimes cheaters cheat because there is a breakdown in the relationship, either sexually or emotionally. People who are happy in their relationships do not cheat because they are being emotionally and sexually fulfilled. People who are committed to their relationships do not cheat because they are emotionally and sexually invested in that partnership. It is absolutely true that cheating is never the other person's fault, but it is also true that the joint relationship is the problem when people who do not usually cheat commit acts of infidelity. Buck's feelings of unfulfillment are the root cause of his cheating on Taylor, and while he could have gone about the situation differently (coming clean, rather than panicking and asking her to move in with him (another trauma response, by the way), neither his feelings nor the way he went about fulfilling himself make him an inherently bad person.
4) Poor mental health isn't an "excuse" for cheating: Mmmm. Now, see, the problem with this one is that so many of you have gotten used to the idea of aesthetically pleasing mental illness. Even if you say you haven't, you have. Aesthetic mental health is smudgy eyeliner and drinking hard liquor straight from the bottle. It is messy rooms and spilled pillbottles with little white pills arranged artfully on a blank surface; it is ghosting your friends only to follow up with a cheeky little text months later and have everything go back to normal.
That is not mental illness. That is Euphoria.
Mental illness, especially when compounded with severe trauma (childhood or otherwise) is a transformation. You are not yourself when you are in a bad mental health space. And when you are in the throes of a severe downward spiral, sometimes you hurt people, physically and emotionally. Sometimes you even do it on purpose. Does that make it right? No! Should you still suffer the consequences for the things you do when you are not okay? Absolutely! But acknowledging that severe mental illness is a contributor to Buck's poor decision making is not making an "excuse" out of mental illness, holy fucking shit. It is recognizing the fact that mental illness transforms you into an alternate version of yourself that you would not be if you were mentally well.
Look. I get it, cheating is a sensitive topic and I've had my own experiences with it. But the moral high ground in this fandom that prevents people from recognizing anything other than "cheating = bad" is so disturbing and annoying. Truly, what does it say about the world when characters are more nuanced than the actual people who watch them on TV? I think it was @yramesoruniverse who said that 9-1-1 is an adult show that tells adult stories about growth, love, and healing, and that is exactly what we are witnessing here. Adulthood -- adult trauma, adult pain, adult growth -- is not clean-cut, feel good, or pretty. It just is, and you either persevere through the good and bad of it, or let it take you down.
And to be clear, since I think a lot of people could do with the reminder: this is all fictional. No matter how hard you project your pain, trauma, or consciousness onto a character, your projection does not suddenly make them real. Buck is not real. Lucy is not real. Taylor is not real, and no one is actually being hurt here. They are little stick figures that do a pre-orchestrated dance on our TV screens every week, and then go away once we turn the TV off. I know we all love, or are at least invested in this show, but if the line between fiction and reality is so distorted for you that you cannot see the reason behind the narrative choice, or are legitimately angry with a character, writer, or actor (especially to the point of effecting you mentally/emotionally), then perhaps some time away from the show would do you good.
#This is for all the anons I currently have and will receive.#tv: 911#911 spoilers#911: 05 x 11#buck x lucy#meta#one and done#600
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Hi! I'm new to the Hellsing fandom and want to start fanfics for Alucard! I really love the way you write him and you seem to have so much understanding of him so I was wondering if you could help please? So say his bride is a virgin and they are about to bed each other. Would he make sure to turn her into a vampire first? What would he be like and what would their lives possibly be after? If you have any hc's or opinions, I'd love to hear! It's probably very self explanatory but I'm new and he's difficult to write haha! It is okay if you don't want to answer!
WELCOME AND THANK YOUUU! i've been waiting for someone to ask me something like this for so long!! i've never posted them, but i have a bunch of notes written down regarding his lover being untouched. most are from years ago though and need to be edited lmao. i'll type up something new for you that hopefully helps you understand his character a bit more! if not, PLEASE tell my dumbass to redo it.
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just to set you in on some background! being a virgin had so much more meaning back during the times when he was human. the real, historical vlad drăculea literally used to demand that women who lost theirs before marriage suffer impalement, so it's pretty precise how significant one's virginity was to him! 😭 bram stoker of course based his dracula novel on some of the history of vlad iii, so this is probably why the whole 'vampires loving virgins' became a thing. hirano based his version of dracula on both the real vlad and the novel, so this also explains why maintaining your virginity in the hellsing universe is important, and why deflowered humans turn into ghouls. it's a very clever reference imo!
not to mention, it's all just a bunch of religious nature—like where the bible says that you can only participate in sex after marriage, and ancient christianity put virgins on such high pedestals because it was viewed as being pure. of course, vampires are seen as demonic beasts, so that is also where their obsession with virgins stem from—they want to taint their innocence; your typical demon vs. god / good vs. evil trope. but you'll find that alucard is quite far from demonic or evil despite the things he's done. you have to look deep, but there is a layer to him that doesn't make him so much the monster that he thinks he is. he cries, has nightmares, cares for people even if only a few and harbors regrets. monsters don't have, feel or do any of those things.
he'd want his partner's first time to be extremely beautiful and eventful. keep in mind that he was sexually assaulted once; he wouldn't wish what he went through on anyone, so he'd want them to also enjoy their first time because he himself did not get the chance to. if they want him to be gentle, he will. if they request he roughen it up, you bet he will. it's their virginity. he's not going to put himself first during a moment in one's life where he was taught had value. he adores them and wants to show them just how much he does. i have always viewed him as an 'actions speak louder than words' kind of man. perhaps it is rare that he'll say "i love you" but he will damn sure show it.
you also requested headcanons and questioned if he'd turn his lover, so i'll put a few examples below! god, writing them is probably gonna make me tear up lmao. i hope these end up helping you, and thank you for coming to me for the question!
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he'll give you a choice if you want to become a creature of the night or not before he begins, hovering his lips over your fluttering pulse. he'll leave a few kisses against it, just for you to know where his bite shall implant lest you desire vampirism. immortality, in his eyes, is only to be given to those who are deserving—and to him, you deserved his kingdom and more.
say yes, and he will ask if you are sure in your decision one final time. have confidence in your answer and look him in the eyes so he knows for certain that you're willing to place your hand in his for the rest of your life. for eternity. say yes again, and you will feel his hand gently craning your chin to the side for the exposure of your neck. "it's going to hurt at first, my queen, but you wouldn't have come this far if you were unfit of bearing the brunt of a little pain, now, would you?"
if you choose no and wish to remain within the womb of humanity, he will most definitely respect your decision; not only out of love, but because you chose to stay the same. that's something he didn't do in his past, so he admires that. he will be more protective of you, though, since you did not choose to be a vampire and are more vulnerable in comparison.
he appreciates humanity and it's ongoing cycle of ages, and would adore witnessing you grow as the years begin to mold your skin into wrinkles and your hair to grays. even when you become too old that you can barely stand, he will vow to be the reason that you continue to walk. of course, the most difficult part will be having to witness you in your deathbed, but he will always remember you as the light that casted upon his darkness, the one that gave motive for him wanting to walk the dreadful earth for a bit longer. your grave will remain the very first thing he visits every moonrise, a reminder that perhaps, for the first time in his existence, he isn't truly alone.
#hellsing#hellsing ultimate#hellsing alucard#alucard#alucard hellsing#hellsing ova#kouta hirano#hellsing anime#anime#ova#headcanon#hellsing headcanons#alucard x reader#vampire
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Writer Spotlight: Mikauzoran
The Miraculous Fanworks Discord server is introducing the creator spotlight! Each month, one artist and one writer will have their accounts and content promoted on our social media accounts.
This month's writer of the month is Mikauzoran! See the artist of the month post here!
Mikauzoran is a fantastic fanfiction writer! She has written for multiple server events, zines, and more. We've interviewed Mikau about her writing, history, advice, and thoughts about the show!
1. How long have you been writing in general?
I started writing short stories almost as soon as I learned how to write, and, before that, I told anyone who would listen the stories I came up with orally. I’ve been inventing stories for as long as I can remember, and my mum assures me that I was inventing stories even before that too.
I first started writing novels when I was around ten or twelve, and I completed my first one at fifteen. I’ve written several more (original fiction and fanfiction) since then, and I don’t plan on stopping any time soon.
2. How long have you been creating for the fandom, and what's your favorite part of the process?
I started writing The Rejects Club in December 2018, and I published the first chapter on January 11, 2019. This January will be my three-year anniversary of publishing content in this fandom. I’m considering holding a prompt giveaway event because three is one of my lucky numbers, and it seems like an appropriate milestone to celebrate.
I think my favourite part of the process is the ideas stage. I love when the new ideas start flooding in and all I have to do is take notes on whatever napkin or scrap of paper is at hand. Things get a little harder when I have to sit down and iron things out and make everything work as a cohesive whole. That part of the process in and of itself is very rewarding, but the initial stage of the project when I’m filled with enthusiasm and inspiration for a new idea is the most fun.
3. Has there been anything in particular that influences your style?
I would say that the biggest influence on my writing is what I read. My mum always read to me as a child, so I grew up on the classics. Consequently, I developed a love for and still read a lot of old books. My favourites are French and English novels from the eighteen hundreds and early nineteen hundreds.
Alexandre Dumas (Père), Sir Arthur Conan Doyle, Lewis Carroll, Charlotte Brontë, Gaston Leroux, Victor Hugo, Jane Austen, George Eliot, and Maurice Leblanc have all been big influences on me.
Shoutout to H.P. Lovecraft and Sir Terry Pratchett. I hope to one day write as beautifully as Lovecraft and with Pratchett’s wit. If I could trade my own style for anyone’s, it would be those two.
4. Do you have any advice you'd like to give to other creators?
Read voraciously. When you come across a new word, look it up. When you read a description or piece of dialogue and think, “Wow. That’s really good”, write it down in a little notebook and then use those notes later when you’re writing to get inspiration for how to phrase things. Don’t lift it word for word because then it won’t sound like you, but figure out how to say something similar in your own voice.
The filmmaker Kurosawa Akira once said that when you read, you should do it at a desk with a notebook at hand. Analyze what you read and see what you can learn from it.
My other piece of advice is to use everything. Everything bad that’s ever happened to you. Your greatest joys. Your failures. Your fears. Your regrets. Your victories. Your heartbreaks. That horrible meal you had at that greasy restaurant with abysmal service. That bright red leaf that drifted down and landed on your head. That time you played basketball in the pouring rain. That song that’s stuck in your head. That painting that moved you to tears. That terrible movie you saw the other day. Use everything from your life in your stories. It will make them feel more real…because it is real.
5. How do you think the identity reveal is going to go? Feel free to write something quick if you want to!
In canon, it will probably be a dumpster fire, honestly. I anticipate drama and multiple timelines and Marinette losing her memories at some point before the identity reveal finally sticks. I’m sure it will be a rollercoaster.
What I really want, though, is something calm and fluffy. I want Ladybug to realize that her partner is struggling and needs her support, and then I want her to say “forget the rules. I need to be there for him”. I’ve written several stories like that such as Everything, I’m Learning to Love (Walking Away from Things), Behind the Masks, and Depressing Christmas Carols with Chat Noir.
Mikau can be found here on Tumblr @mikauzoran and on AO3 under the name Mikauzoran. Some of her works include I'm Learning to Love (Walking Away from Things), Your Hands Hold Home, and Drunk Ladybug on My Balcony? Yeah. This is Fine. Go check them out!
Interested in being featured? Come join the server!
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I return from the dead with a fic that isn't even for the Naruto fandom and I don't really have an explanation for myself.
Pairing: SamBucky
Word count: 2317
Fandom: MCU
Summary: Visiting Steve was always strange now that the guy was old and retired. Still, of all the things Sam expected out of today, witnessing a prime example of gay panic from the co-worker that's been mysteriously avoiding him was not one of them.
Follow the link or read it under the cut!
KO-FI and commission info under the header!
Honestly, the fact that Steve's house smelled like prunes was probably one of the funniest things that Sam had ever heard in his life. More than anything he would have loved to go back in time, to the days of reading about glorified heroes in history textbooks, and tell his fifteen year old self that Captain America, Steve Rogers, retired in a house that smelled like prunes. God, his best friend just had to throw himself in to being old the way he threw himself in to everything else.
"Is there a special reason for you visiting?" Steve's voice was more tremulous these days, less steady but no less warm. Just hearing him again after the shameful amount of weeks it had been since his last visit made Sam grin.
"Nah, just thought I'd pop in and see if you'd expired yet. Your birthday's coming up. Gonna be, what, three hundred? A thousand?"
Steve narrowed his eyes but there was fondness in them so it wasn't very scary even if he could probably still tackle Sam across the room if he wanted to. At this point it would hurt him too but he could do it. "You, young man, are-"
He looked chagrined at himself when Sam cut him off with a laugh.
"You shitting me? Did you really just call me young man? See if I ever let you live that down."
His friend grumbled but accepted the teasing as his due. That was just what he got for going back in time and doubling down on being so much older than his own best friends.
Since it had indeed been a little too long after they last saw each other there was quite a bit of catching up for them to do. Over cool glasses of sweet tea and a plate of cookies the two of them spent a pleasant couple of hours shooting the shit until Sam could almost forget the years that stretched between them now. It was jarring, sometimes, looking away from those clear blue eyes to realize all over again just how many wrinkles they were set in. Sometimes he hated it. Other times he could only smile to know that at least one of their ragtag bunch had found the peace they were looking for.
Eventually all that sweet tea went right to his bladder and Sam excused himself to use the bathroom. When he returned he took in the sight of his friend all snug under one of the blankets his late wife had knit and sighed, feeling maudlin suddenly for no good reason.
"I should probably get out of your hair," he said. "Let you get in your afternoon nap or whatever. No, stay there man, I'll clean up." His smile was easy as he snagged the dishes from their grazing and hauled it all over to the kitchen.
"You sure?" Steve's voice floated after him. "Nothing else you want to get off your chest?"
"Huh?"
Sam frowned at the cups he'd just placed in the sink, running back through his mind. They'd talked about pretty much everything he could think of.
"You didn't mention Buck once, you know. I thought the two of you were friends now."
"Ah. Yeah. So did I." The corners of his mouth twisted with a little bitterness, a little confusion. After everything they'd been through and the number of times Bucky had accepted his invitations down to Delacroix he'd thought they were well past the point of calling themselves friends. Maybe he himself felt something a little more than that but he knew better than to push.
That was probably why Bucky's sudden radio silence hurt so much though.
"Trouble in paradise?" Steve called from the other room and Sam snorted.
“Shit, I don’t know. One minute we’re fine and the next he just up and disappears on me again. I may or may not have checked a bunch of obituaries for your name just in case because I have no idea what I might have done to piss him off.” Sam pursed his lips. He’s already gone over all this with Sarah a half dozen times and in all the recounts he’d done of their last couple missions he still couldn’t find any particularly bad moment between him and his best friend. Unfortunately the sweet tea he was glaring at didn’t have any answers either so he snatched the pitcher up and moved to put it in the fridge.
“Have you tried, oh I don’t know, asking him what’s wrong?”
“You think I didn’t try that?”
Steve’s hum drifted down the hallway with a distinct note of sass. “Neither one of you is very famous for your communication.”
“Excuse you, I was a counselor. A certified veteran’s counselor. Communicating with people was literally my job until your overly buff ass came running around all ‘on your left’ and ‘everyone I know is trying to kill me’.” Sam huffed as he snapped the fridge closed. “I damn well tried to talk to him but he’s not answering my texts or my calls. Short of breaking in to his apartment I don’t really know what else you want me to do.”
Without any other excuses to keep him in the kitchen Sam heaved a sigh, knowing he couldn’t dawdle any longer. He could only get to the door by going though the living room so his choices were either run away out the back, which he would never ever hear the end of, or go back in to the living room and face Steve with his stupidly wise and knowing eyes. Seriously, let a guy live to almost two hundred and suddenly he thought he knew everything. Annoying was what it was.
He was only halfway down the hall when he heard the front door open. Sam very carefully swallowed down the jibe he’d just been about to deliver and hoped that meant what he thought it meant. Maybe Steve had finally gone vague after all and bailed in the middle of their conversation; he’d rather chase a crazy old coot down the street than talk about his feelings regarding one James Buchanan Barnes. Actually if he looked at it from the right angle then chasing an old coot down the street was pretty much his job description whenever he and his partner teamed up on missions. Sam was just glad they hadn’t been called in to one since this whole silent treatment had started because he wasn’t sure he wanted to know whether or not Bucky would still have his back even when the guy was mad at him over reasons unknown.
Two more steps and Sam froze in his tracks, eyes wide with disbelief. Bucky’s shoulders were hunched in to himself with something bridling on panic as he fit himself through the front door and kicked it shut behind himself, eyes wild and fixed on the ground between his feet, nervous energy pouring out of him in a way Sam hadn’t seen before. From his spot on the couch Steve watched his childhood friend let himself in with serene indifference.
“Didn’t know you’d be over today,” was all he said. Then he smiled benignly when Bucky let out a soft whine.
“Help,” Bucky pleaded. “I’m dying.”
Then Bucky slid down to his knees and face planted in the carpet, arms and legs splaying out wide. Steve hummed.
“You know,” he murmured, “no one ever believes me when I tell them you’re this dramatic.”
“Steve! I’m having a crisis!”
“I tell everyone you’re a drama queen and they just shake their heads at me.”
“This is important! You have to kill me, Steve. Or I’m gonna just- just-!” Bucky’s voice petered out with another extended whine muffled by the carpet that probably didn’t smell any better from that close up.
Crossing one leg over the other, Steve folded his hands in his lap with a great lack of concern for the ridiculous scene playing out before him. Sam remained frozen in the hallway, wondering if Bucky even realized he was there, but he got an answer to that almost faster than if he’d bothered to ask himself.
“What’s wrong, pal?”
“It’s Sam!” Bucky cried. His arms lifted up like wings to flail briefly before falling back to the floor in a boneless sprawl. “Please just crush my head or something. I can’t take this.”
“Ah, yes, I hear you’ve been avoiding him.”
Whatever kind of noise Bucky was trying to make, it came out sounding more like he was choking on carpet fumes. “Of course I’m avoiding him!”
“Now why on earth would you do that?”
“I want to stick my tongue in the gap between his teeth!” Bucky said, entirely unaware of the sparks that were suddenly running up Sam’s spine in the hallway. “Help me, Steve! I want to press my thumb in the little dimple on his back. He has a dimple on his back! Why!? Steve I want to hold his hand! What the fuck!”
Steve had both eyebrows up near his hairline and the most shit eating grin any human on the planet had ever worn when he turned his head to look at Sam. Frozen with his eyes on the figure currently panicking in to the floor, Sam paid him no attention. He was busy processing. After getting to know Bucky, inviting him to stay in Delacroix time and time again, the dramatics weren’t actually that much of a surprise. Obviously as they grew closer he’d gotten a number of glimpses in to who the real Bucky Barnes was under the grouchy veneer he presented to the world. Watching him starfish on the ground and whine wasn’t too far from what he’d already seen.
Hearing him say anything about his tongue in conjecture with Sam’s teeth, on the other hand, now that was a bit unexpected. More than a bit.
“I think Shuri called this ‘gay panic’ and honestly I’m in agreement,” Bucky went on mindlessly. “If I have to watch him go through one more workout and not grab his ass with both hands then I’m just going to rip both of them off. Who needs hands if I cannot grab Sam Wilson’s ass with them!?”
“You may be slightly exaggerating the situation, I feel,” Steve told him.
Bucky snorted. “I am not. I absolutely am not. Why is he so hot? And nice? I hate that. Except I don’t. Steve why is he so nice to me?”
“That might be a question you should ask him.”
“Oh yeah, sure, I’ve got lots of questions for him! Hey Sam, why are you nice to me? Hey Sam, can I lick your cheekbones? Hey Sam, how big is your cock?”
“Well. Not that I’ve ever thought to ask that myself but, alright. Go on, Sam, how big is it?”
Sam had just enough time to cross his arms over his chest and assume a very casual pose leaning against the wall beside him before Bucky’s head shot up off the carpet. If possible, his eyes were even more wild than before when he fixed them on Steve, full of the deepest betrayal. Then he very slowly dragged them sideways to see the man he’d just been panicking over. Sam gave him a very friendly smile.
“Depends on your frame of reference,” he admitted. “I’d say sizeable.”
“Nnnggggg.”
“Hi Buck.”
“Ggnnn.”
While Steve very poorly disguised a laugh behind one hand, Sam pushed off from the wall and sauntered further in to the living room. Bucky slammed his face back in to the carpet.
“Leave me here to die,” he pleaded in a very small voice. Sam tutted, reaching for the front door, only looking over his shoulder once he was halfway through it.
“Come on, Buck, can’t lick my cheekbones if you don’t get off the floor. It was a nice visit, Steve, but don’t be looking out your front curtains for a bit. I think I’ll let Bucky decide for himself what sizeable means.” He thanked god for the mercy of Steve’s house being situated out here so far from any other homes, surrounded on all sides by enough trees that you couldn’t see it from the road. A gorgeous little island of privacy. Sam was fairly sure he wasn’t the only one grateful for this, judging by the mad scrambling noises he could hear going on behind him.
Bucky’s voice garbled out something that sounded like ‘fuck you, thank you, bye forever’ and then Sam was listening to the slam of the front door barely a second before strong hands were wrapping themselves around his hips. He laughed even as Bucky’s face came in to view.
“Greatest assassin of several generations and you didn't notice my truck in the driveway?” he said.
“I may have been a bit distracted.” That was definitely a pout on Bucky’s lips.
“By being so hot for all of this”-Sam gestured vaguely down his own body-“that you literally ceased being able to function.”
He didn’t expect such easy agreement as the sheepish nod that followed his words. “Pretty much.”
Sam blinked slowly once, twice. For one long moment he considered teasing the man. Then he decided that their time was much better spent doing things they’d both obviously been wanting to do while assuming they would never get the chance.
“I was promised a tongue in my teeth. Are you gonna get to that any time soon or am I gonna sit here and pine some more for something I apparently could have had all along?”
Bucky keened piteously. Then he surged forward to follow through on his own promises and Sam really hoped that Steve had taken his words to heart about the curtains. The man was way too old to be seeing all the ways they were about to defile the side of this truck.
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A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”
The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?
“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”
“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.
July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.
It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.
Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”
In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.
“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”
“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk
To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.
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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”
One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.
“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.
“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”
Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.
“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”
Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.
Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”
Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.
At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”
“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”
At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”
Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.
“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”
Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.
Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.
“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”
Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.
But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”
“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”
That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”
For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”
“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”
Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.
“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”
Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.
“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.
“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”
“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”
Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.
“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”
He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”
Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.
“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”
A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”
Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.
But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.
“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”
After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”
In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.
“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says
There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”
But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.
“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”
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I m just having these random thoughts. Like tae has always been very clingy and affectionate with other members like jhope or rm or jin or even jk. Whereas wgen it comes to vmin its mostly jimin being clingy. Like u can see even when vmin sit together its mostly jimin touching him or clinging to him whereas when they sit with others while jimin is equally touchy tae becomes clingier. Its so wierd and i dont know what to think.
Looking at the history of vmin from beginning until now (here’s an amazing timeline post by romanticdrift you should check out), in the first couple of years both of them were clingy and affectionate with each other, but also rough and lacking the experience that came with age of how to properly communicate with each other about their feelings and thoughts and in general. So, while in the beginning they just had fun with it, some of it being for show to entertain ARMY, some not, it’s true that things have evolved over the years and nowadays they are very different from how they used to be in like 2013, for example. That isn’t a bad thing though. It’s a natural progressing even.
Besides, Jimin and Hoseok are the two most physically affectionate members, that’s true, but just because that’s their love language (at least in primary free content, yet in paid content like ITS or BV, have you noticed how suddenly even they are way less physically affectionate, how the members don’t feel the need to constantly cling to each other, hug and touch each other, and rather just spend time together doing something or being in the same room doing their own things while enjoying each other company), we can’t expect everyone to have the same one. For instance, Yoongi is more about showing acts of service toward his members as a way of showing them how much he cares about them and loves them, it’s his love language. Does that make his affection for them any less valuable than when Jimin is clingy with another member?
If you look at how Tae’s behavior has fluctuated across 2020 due to obvious reasons in the first half while settling down and turning happier in the second half, you’ll notice that he’s in general “calmed down” with how affectionate in a physical way he is with the other members. He’s still silly and making jokes with them when he’s in a good mood, he still touches and shows physical affection toward Jimin, like in the RUN episode with Chef Baek and the rice cooker moment, yet there are also times when he simply doesn’t want to do that. It’s not a bad thing, and it also doesn’t have to say anything at all about the state that vmin’s bond is at. It runs so much deeper than some physical touch caught on camera during a 35-minute RUN episode, or lack thereof in some other content.
Jimin and Taehyung worked so hard and over a long period of time for the bond they have now, especially since they did it not as BTS Jimin and BTS V, but as Kim Taehyung and Park Jimin, the real-life people. They put in a lot, and I mean a LOT, of emotional and physical labor into creating and strengthening this bond they’ve always had (in some form or another) because they saw something in each other, saw that they’d found their person in each other and wanted to make it work despite their differences, despite hard times making not only their lives hard but also putting their bond to a grueling test, and at the end here we are today where their bond is literally one of the closest and strongest bonds I’ve ever seen.
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Now, imagine you put that much into a relationship (and for this argument the only viable reason for why they behave this way and guard this so fiercely is because there’s something romantic here since why else would they be so protective about their bond and “hide” it so much?) would you really want to showcase it so obviously to people, strangers who only wait for reasons (even if there aren’t any actual ones) to be vicious and nasty toward you? Just to see people drag your bond through the mud, to insult it, belittle it, and write it off as “fanservice” (even more than they already do) even though it’s something so precious to you, even though this person is your person, your soulmate, your special someone you want to keep at your side until you’re grandpas?
I highly doubt it.
And that’s where the difference lies. Yes, all the bonds in BTS are strong and special in their own rights, but what Jimin and Taehyung have, that is something so rare, so precious, so once in a lifetime, yet also something they worked so hard and long for and on, who would want to “sell” it to the public? Wouldn’t you, too, want to keep it safe and close to your heart? Think of Taehyung’s lyrics from the song he posted and then deleted off of twitter, of him wanting to protect his love from those with evil tongues, to save his love and save himself with an umbrella, think of the drawing from the Snow Flower cover of the boy protecting the flower with an umbrella from the snow. Wouldn’t you, too, want to protect someone who is this special to you, with whom you share such a special bond, from the horrendous opinions and words of others?
It’s easy to be affectionate with people who are your best friends, your found family, your brothers, and showing that to people, but showing the same with someone so important to you, with whom you share a different level and kind of connection, it’s a completely different story.
Besides, we still get glimpses of it from time to time, we see their affection for each other, and yes, it’s different, it might come across as weird to some, but that doesn’t make it any less meaningful and their bond any less real and deep than any other bond within BTS. Does the closeness of two members truly only depend on their on-camera affection, yet the moment it’s something we only hear about yet not see, therefore is something off camera and not for us to view, somehow not exist and not matter?
At the end of the day, we know so little about their private lives, and much of what you see and hear about from some is just speculations, some of which are f*cked up to say the least in regard to some other pairings within BTS, and yet the things we do hear about their private lives come from their own mouths, especially in connection to vmin, are immediately dismissed and ignored because…because some loud part of the fandom just decides that that’s how it is and everyone else is meant to just follow their opinion, I guess?
That’s not right, we know that and, in a way, I’m sure they do as well, but they follow their own agenda, one we don’t have to follow or agree with. What they do is their thing, but as vminnies, we know what we know, we see what we see, so instead of looking what everyone else is doing, why don’t we do as they do and stick to our opinions, our feelings, everything we know about Jimin and Taehyung, as individuals and as pair, and feel happy for them but also happy for ourselves because we got to witness them grow into the people they are today, in general but also with each other. Isn’t that much more valuable than some short touch of a thigh or a teasing joke?
I know it’s easy to fall into the pattern of comparing, especially when it comes to the amount of content you get etc, but just because others want to impose their bad shipper habits on us and take how supposedly real a pairing is solely based on “”moments”” and turn it into something akin to a di*k measuring contest, who’s to say we have to participate? Besides, regardless of which shipper camp wins, it has no effect on the actual idols, says nothing about their actual real-life bonds. They are the only ones who know the true nature of their bonds and their depths, so looking at everything we know about vmin, things they’ve shared with us through visuals and words, do we really have any reason to feel insecure about our opinions? What reason do we have to think of how much or how little affection and clinginess they show toward each other in on-camera moments as the be all, end all evidence and standard of their bond? When we know how much they’ve worked for this, how much they matter to each other, enough so to cry and laugh together, to sing a song about it co-written and co-produced by Jimin, for Tae to write 4 O’Clock and many more, and for them to decide to want to stay together forever? In the face of all that, is it really that imperative for us to see them share affection on camera, for them to be clingy?
Isn’t everything else we have, these more than eight years’ worth of friendship and more, isn’t that enough for us to see and know their worth to each other?
And sure, there are moments where they are clingy, where they are affectionate with each other, so isn’t that enough? Do we really need more, or some kind of elaborate explanation for why it is that way or not a different one? Besides, they aren’t eighteen-year-old boys and rookies anymore, they are grown men who want to be seen and treated as musicians, Grammy nominated ones at that, who have learned how to communicate their love for each other in a way they are most comfortable and happy with, so do they really need to cling to each other on camera? No. They don’t owe us visual proof of their bond, don’t owe us visual reminders of their bond either.
The fact that we still get glimpses of their bond is a wonderful thing and I’m grateful for it. Generally, the fact that we get to see and witness so much of the members lives is something we should treat as special and not as a requirement, like a quota they need to fulfill. They could only ever show up during comebacks and promotions, but instead we get so much, just yesterday we had Jimin spend time on weverse replying to so many posts and even coming back a second time a little while later into the night, also replying twice to posts about Tae.
From anon: I think that, especially Taehyung, has succumbed to restrictions and fan service and the falsification of everything. This is the problem with the entire Makne lineage. Maybe they are all very real with each other in their personal lives, but in front of the camera they all seem very scripted. Because of that, I think Vmin does not present himself in front of the camera and does not want any fan service. What do you two think about it? Thanks for great posts!
This is another ask we got a while ago that I think fits thematically. Even more so when you consider that many consider anything vmin do together just fanservice, thus belittling and cheapening their bond in such a blatant and awful way despite having no right to do so. I’m sure vmin know about all of this, have seen the comments since they are everywhere, so it can’t possibly be fun or pleasant at all. You could argue that they could just not care about what people say, could just not care about how their interactions are viewed as fanservice, but that is way easier said than done when there is practically no escaping those comments at this point.
There’s a shipping rule, so to speak, especially when it comes to real people ships, that you are to keep your shipping away from them and keep it somewhere where they don’t see it. That rule has long been broken, burned and turned into micro particles that can never be put together again. And we know that’s a fact because we literally had Tae tell a shipper off on Weverse, something that usually never happens. But it did. Not that it changed anything or had any kind of effect, but it’s more about the gesture itself.
As for the scripted part, of course much is scripted but not because they are fake, their personas are fake, and the whole BTS are family thing is fake, but because their words have weight. Their actions have weight. Everything they say and do is put on a scale, measured and accounted for, analyzed, theorized and twisted one way or another. While they could be wild during rookie years, now that they’ve reached this unprecedented level of fame for Korean artists, that’s not possible anymore. They have to be careful, have to be on guard during certain content, have to put their very best foot forward at all times. It’s hard. Incredibly hard. We’ve seen them struggle with it, but that’s how it is. And when you struggle, it’s easier to have a script, even just a loose one, you can follow to make it easier, to make you less unsure or keep yourself from overthinking everything you say or do.
One thing that is incredibly important to remember is that when they are on camera, they are at work, they are BTS Jimin and BTS V, BTS RM and BTS JIN, and while parts of their real personalities are also part of their BTS personas, it’s still work, not free time. Especially during interviews or performances, while backstage getting ready to go on stage, or while going from schedule to schedule. Think about it this way, vmin are affectionate and clingy and loud about their bond in places where we see them, so now think about how loud they must be in places where we don’t see them, in their private lives?
Enough so for none of the members to laugh or react or comment on how casually Tae spoke about wanting Jimin to come sleep next to him. And enough so that Hoseok said that the person Jimin shows aegyo toward the most is Tae (though I’ve seen at least three different translations for this moment, the one I mentioned, another one that translates it as Jimin being spoiled the most by Tae, and yet another as Jimin treating Tae as big baby) in one of the Japanese interviews (NTV Buzz Rhythm) in July 2020, Yoongi nodding in agreement, the mention of that making Tae flustered (?) and want to downplay it a little by acting ‘surprised’ and asking “(To) me?”. This, too, is something we don’t see that often (anymore) yet it obviously must be there if Hoseok mentioned it and the others agreed with him. And at the end of the day, the members truly do know them, far better than any of us ever will. Or that time at the airport where Jimin waited for Tae and they only started to hold hands when they must’ve thought no one would be able to see it. Do things like this not sufficiently show that there are simply things they don’t want to show us? And thus, shouldn’t we simply respect their choices?
And even if they are calmer now, less clingy, less ‘showy’, we still got a bed selca they took while hidden behind their legs and blankets creating as though a wall so the ITS cameras didn’t see them, with a caption that…well, opens up some interesting implications (positive ones, of course).
Let me end this post on this: if vmin were just friends, or even if they weren’t friends anymore like some so vehemently insist is the case, surely there would be no issue for them to show their just friendship the way they show it with the other members, be clingy and affectionate in physical ways, possibly even just play a role of bestest buddies like some idols supposedly do, and yet they don’t do that. So, since they don’t do it, the only plausible reason I can see for it is that they simply have something between them that they want to hide and that it’s valuable enough to them that they want to guard and protect it, that makes their bond different from the bonds they have with the other members.
#answered ask#vmin#Jimin#Taehyung#somehow this wasn't supposed to be this long and yet it still turned out this way#discussion
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# What has happened to JK Rowling?
Growing up in the early 2000s immediately made Harry Potter a huge part of your childhood. Even if you never read the books or watched the films, you can probably name the three main characters. Even if you weren’t interested in Harry Potter in the slightest, you probably know your Hogwarts house. It’s incredible what Harry Potter did for our generation all over the world. Children would stay up on their eleventh birthdays anxiously awaiting a Hogwarts acceptance letter, knowing full well that owl was never going to come. Our imagination kept the dream of going to Hogwarts and learning magic alive anyway. Even now at the age of 23, I can for the most part keep a conversation flowing with anyone who has read the books or even just watched the films. You could even go as far as to say it was our generation’s Lord of the Rings.
JK Rowling came from very humble beginnings. She suffered with depression in her childhood and early teens, and lost her mother to multiple sclerosis in 1990. These struggles inspired her a lot when writing Harry Potter. She channeled her grief and pain into her writing. In 1992, she married a man she had met whilst living in Portugal, but Rowling suffered domestic abuse at his hands and the couple separated a year later. She lost her job and moved to Edinburgh in Scotland, where she had to sign up for welfare benefits, which left her a poor and depressed single mother spending her time writing in coffee shops. When she finished writing Harry Potter and the Philosopher’s Stone, twelve publishers rejected the opportunity to publish the book. Once someone finally agreed to publish the book, it became the best selling children’s book of the year.
We all know how the story goes from there. Rowling wrote six more Harry Potter books, eight films were made, and Rowling went from a poor vulnerable single mother to a multi millionaire in the space of a few short years. Harry Potter is now a global brand estimated to be worth about $15 billion. The last four books have each consecutively set the record for the fastest selling book in history. Rowling is now the richest author in the world, with a net worth of $92 million. But as well as money, JK Rowling has over 14 million followers on Twitter. This gives her massive influence as well as money. Rowling seemed to initially use this influence for good, spreading mental health awareness, LGBT inclusivity, interacting with fans and creating a website for all us Harry Potter fans to determine our houses and let our wands choose us.
I remember being 8 years old when Harry Potter and the Half Blood Prince was released, and I was attending a religious school where some parents complained and called to ban Harry Potter over the controversial decision JK Rowling made regarding Dumbledore’s sexuality. Rowling had made the claim that Dumbledore was gay. Looking back, the controversy was ridiculous and I can only imagine how embarrassed some of those parents must be. I also remember as I got older, re-reading Harry Potter and the Deathly Hallows I noticed more that the emotion behind Dumbledore’s relationship with Grindelwald was one he held with a romantic love. So years later, when several members of the LGBT community attacked Rowling for only deciding Dumbledore’s sexuality after the books were written, I publicly defended her with my knowledge that that simply wasn’t true. I had this image of Rowling in my mind, that she had always been on the right side of this debate. She had always been inclusive and supportive of LGBT people as far as I could see, and I just didn’t understand the issue. Rowling had always expressed a centre-left political perspective, and although I didn’t agree with all her views, they seemed relatively uncontroversial.
When Harry Potter and the Cursed Child was released, I hated it. It was a literary disaster, completely disrespectful of the original book series, the characters were a shell of the characters we had grown up with, the plot was almost deliberately ridiculous and overly elaborate and I immediately dismissed it as not canon. I have never forgiven JK Rowling for publicly stating the book was canon. She almost destroyed a whole two decades of her own hard work and the franchise that she’d built that had been like a home for a whole generation. All because she wanted to grab a few extra quid for a terrible book she didn’t even write. To this day I can’t help but wonder if she has even read the book. If I had written the masterpiece that is Harry Potter, I would view the Cursed Child as an insult. Perhaps I’ll even write a review one day, just for fun. Rowling also annoyed me by going back on her story, regretting pairing Ron and Hermione together and not pairing Hermione with Harry. Ron and Hermione are my favourite couple from the story, and their relationship had so much meaning. I couldn’t believe that the author who wrote such a clever and consistent relationship between two beloved characters could ever regret it. At this point in my life, I was beginning to wonder if perhaps Rowling was losing her mind. It was almost like she was trying to destroy her legacy.
As more years passed, the Fantastic Beasts films were released. The first film looked promising, but the second film was yet another disaster. Again, it was inconsistent with the franchise as we knew it, for some reason Hogwarts was full of people wearing 3 piece suits instead of the robes they wore in the Harry Potter series and Minerva McGonigall appeared as a teacher despite the fact that canonically there is no way she could have been old enough. The film was a disaster with both fans and critics hating it. Amongst this mess came controversy in December 2019. Rowling lost all respect she had once held amongst the transgender community when she made a public statement supporting Maya Forstater, a British woman who lost her employment tribunal case against her employer who fired her over transphobic comments. Six months later on June 6 2020, Rowling criticised the term “people who menstruate” and stated: "If sex isn’t real, the lived reality of women globally is erased. I know and love trans people, but erasing the concept of sex removes the ability of many to meaningfully discuss their lives." Rowling’s views on these issues were heavily criticised by GLAAD and even by the actors from the Harry Potter movies including lead actors Daniel Radcliffe, Rupert Grint and Emma Watson.
Rowling published a 3,600 word essay in response to the mass criticism of her views four days later. The essay did her no favours, as she wrote: “When you throw open the doors of bathrooms and changing rooms to any man who believes or feels he’s a woman then you open the door to any and all men who wish to come inside.” She seemed to be suggesting that trans women are often just men disguised as women in order to trick or even harm other women. This obviously angered the transgender community even more, and women’s refuge shelters that allow trans women were reporting no rise in violence as a result, children’s charities that support gender non conforming children were criticising Rowling, she was being made to give back awards and ultimately Rowling was labelled a Trans exclusionary radical feminist, a term often abbreviated to TERF.
JK Rowling is the perfect example of how money and influence can make someone forget their roots so easily. For someone who survived poverty, domestic abuse and sexual assault, she is so lacking in self awareness and how the things she has said and done can be harmful to transgender people. It is widely reported that transgender women are at more risk of harm in female restrooms than cisgender women. With acceptance becoming the norm, transgender people are feeling more safe to come out now than ever before, and so the rise in numbers of the community is huge, especially amongst our generation who grew up with Harry Potter. For a young transgender teenager to grow up wondering how Hogwarts would accommodate them, only to hear the author who gave us Hogwarts in the first place disapprove of equal rights for transgender people, must be very disheartening. However, JK Rowling has proven that she has no idea how powerful the legacy her books created really is. She was tasked with following up the Harry Potter series, and what she gave us was inconsistent and very poorly written screenplays. I have read better sequels on tumblr. Lots of them. Hogwarts doesn’t belong to JK Rowling, it belongs to the fandom. And I’ll be willing to bet my last penny that if Professor McGonigall witnessed any bullying of transgender students in her classroom (or indeed the girls bathroom!) she’d absolutely defend the victim without a moment’s hesitation. Hermione would decorate the Gryffindor common room with little blue, pink and white flags in support of a transgender first year who’d just been sorted into Gryffindor. Luna Lovegood would sit and befriend any trans student who looked lonely, and Ginny would dish out a bat bogey hex to anyone who dared pick on them. No matter what JK Rowling thinks, Hogwarts is not hers to ruin. It is ours. Regardless of what makes us different, Hogwarts is our home.
#jk rowling#harry potter#hogwarts#gryffindor#hufflepuff#ravenclaw#slytherin#gay dumbledore#trans rights#edinburgh#professor umbridge#fuck rowling#cursed child is not canon#ron and hermione#lgbtq#lgbt representation#writing
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About the Interview
Since I posted the interview with J - a woman who has described herself to me as one of Queen’s first “groupies” - there has naturally been a lot of discussion about the veracity of the interview, the source, and my own motivations in posting it. I fully expected that, and I will say once more that nobody (apart from a small handful of anonymous trolls) has behaved inappropriately in these discussions. I have not received any “hate” because of this. There is no “drama”. Nobody is wrong, or a party-pooper, or attacking me by expressing their doubts. I have seen some awful bile spat at people anonymously recently, and that kind of behaviour has got to stop.
Now, if you don't think I am genuine, there is obviously nothing I can do about that.
However, what I am hoping to do here is add as much transparency as I can in regard to how and why the interview happened, and also share my own full thoughts on it with you.
First things first. No unverified, anonymous source can be seen as definitive proof of anything, ever. That is my stance. I have myself been criticised for so much as suggesting that other anonymous sources tied in with Freddie’s history are not 100% proof of one thing or another. But for me, an anonymous source can never mean more than at best: this seems very likely, but we can’t be 100% certain.
Perhaps I was naive to think that what I considered to be enough of a disclaimer at the beginning of the interview, was enough. My intention was to express that while I, personally, believe J to be a) the person she says she is and b) genuine about what she remembers, that does not mean I believe everything she has told me is fact or happened in that exact way. I thought this was obvious. Perhaps I was unclear, and I apologise for that.
So let me be clear. There is nobody in the world who has perfect, factual recollections of what happened to them almost 50 years ago. Not even J herself claims for one moment that this is the case. She mentions several times that these are old memories from when she was very young, that she indulged in recreational drugs at the time, and that her views - of course - carry a personal bias. All this, I thought, would be enough for readers to know not to take everything they read at face value.
All of the above is why I kept my own thoughts and notes to a minimum within the interview, why I didn’t correct or point out obvious mistakes. I simply assumed that everybody would go away and read the interview against all the sources and information they already have, as I have done myself.
But maybe that was somewhat irresponsible of me, and I should have been the first person to dig into how J’s memories fit in (or don’t) with the information which is already out there, and how to put the two together. While I refrained from sharing all my thoughts alongside the interview (although I have fragmentally done so in response to other people since), others like @quirkysubject (here), @iwilltrytobereasonable (here), @emmaandorlando (here), @sarinataylor and @talkingismylifewrites (here) all had some very good things to say. All of them make excellent points. DO NOT UNDER ANY CIRCUMSTANCES SEND THEM NASTY MESSAGES. I frankly can’t believe I have to say this at all.
I found myself in a difficult position, because as the person who had spoken to J and asked her all these questions, I did not feel as though I could dissect her words as freely as anybody else. She has put a lot of trust in me, and I do not want her to think that I question her honesty and intentions. Because I don’t. If I hadn’t felt as sure as I reasonably can be that she is the person she says she is, and that her story is genuine from her perspective, if I had been in any doubt about that, I would not have made it public.
Here's the thing:
Even if you don't believe J knew the boys, her recollections of the time period alone are still valuable and incredibly interesting, giving us a glimpse of early 1970s London.
But I do believe J. Why?
Before I answer that, let me just say: I fully realise that of course the fact that it was my story J happened across, and me she decided to speak to because of it, makes me more inclined to want to believe her. However, other authors I'm friends with, as well as myself, have received messages from older people several times before. It does trigger nostalgia when a story is very strongly rooted in a time somebody has lived through. There are older people in the fandom. (I recently ran a poll and all age groups were represented even here on Tumblr.)
Now, on to the reasons why my communication with J has felt nothing but authentic to me.
1. She was never in any rush to get in touch with me or relate information to me. It took her a few days to email me after she first spoke to me in the comment section, where I begged her to please get in touch. She then sent me the same email five times, over two days, because she couldn’t quite work my email address out at first.
I ended up asking several questions more than once to get an answer because they were overlooked. The conversation went off on tangents, and we chatted about her weekend at her friend’s house (and I was presented with a beautiful snapshot of the beach), the memory box her daughter made for her, her work and other things. There were stretches of days at a time when J simply didn’t find the time to get back to me. And I may have badgered her with a few too many emails asking her to please remember to answer my questions when she has a moment. In short, it was the opposite of somebody rushing to share their story. I was doing all the rushing. (I realise that I am asking you to take my word for this, but this did not all happen in a vacuum. @plainxte, @quirkysubject, @fingersfallingupwards, @onegoldenglance and @freddieofhearts witnessed the process first-hand, as well as my excitement and some of J’s original emails.)
2. J was very trusting. I know her full name, where she lives and her place of work. She sent me current pictures of herself and her husband unprompted. At no point did she ask me not to reveal her identity, that is a call I made because I did not want to expose her to any possible harassment.
3. There were a few things in her account of what she remembered which were so obviously at odds with what we know to be true - it’s well-known John is a bit taller than Roger, for example, but J remembered him shorter, Queen went to Sydney in ‘85, J remember it as ‘84 - that I couldn’t help but think, if I was somebody who was trying to convince others of a made up story, the first thing I would surely do is make absolutely certain to get the facts which are easily findable right. Instead, J always lead with: this was all a long time ago, I’m sorry, I’m doing my best trying to remember.
I realise that a very clever hoaxer could do all this and convince me. But here the question has to be, to what end? This would be quite an act for someone to arrange, to make it seem quite so naturalistic. Nobody would go through the trouble of doing that for nothing. There’s no monetary gain. Scandal? There is nothing scandalous in the interview. Attention? J is barely an active member of the fandom. She has managed to create a Tumblr though: @since72. There is one post currently.
It also took her a couple of days to get back to me after I posted the interview.
In brief, I have no logical explanation for why somebody would go to these lengths and fool me so cleverly, with such attention to detail, when there seems to be nothing in it for them. Why then did J bother to talk to me at all? What was her motivation? Well, after I thanked her profusely for doing this, she simply said that she felt she owed me as reading my story had brought back so many memories for her.
All of the above is why I strongly feel that J is very much real and genuine. But I completely understand that it all hinges on the fact that in order to believe everything I say is true, you would have to trust me. And I know that as I am just another person on the internet, you have no reason to do that. But I’ll get to me in a moment.
Here are a few more doubts which I have seen come up with regard to J.
Why would she be reading fanfiction about people she knew? That’s weird.
To be perfectly honest, exactly that was my first reaction, too. But then I thought about it and talked to friends about it.
Firstly, J says herself that she was never a close friend. I agree that it would be far weirder to read fanfiction about somebody you knew very well. Having said that, John Deacon’s son has been known to read Queen fanfic about his father (and read it out on his YouTube channel). But I think given that it’s been half a century and J has been watching Queen in the public eye ever since, it isn’t really all that strange to read about fictional versions of them.
Secondly, a friend of mine noticed that it seems as though older people in the fandom find J overall more credible than younger people. I’m 35, and it is true that the older we get, the more we look for the things which remind us of our younger years. There is an urge to remember and re-live. You can trust me on this, or you can ask anyone over the age of 30 or 40. Nostalgia is real, and it only comes to you with age. Why would somebody who had briefly brushed shoulders with people who later became celebrities not take an interest in them later? It seems natural that she would. As J says, she never stopped being a fan of Queen’s music and came across fanfic when she looked up Adam Lambert. Is it really so strange that she would find fanfic about them entertaining? Having given it all this thought, I really don’t think so.
It’s unrealistic that she was so young.
This is something I have to disagree with. Times were different. Pete Townshend entered Ealing Art School at age 16, according to Wikipedia. My mother (currently 62) moved 600km away from home at the age of 15 to study piano at music college. I myself moved out from home at 17 (no tragic reasons whatsoever), but that’s beside the point. I have seen it framed in a way where it was said that “It isn’t realistic that a 16-year-old was hanging out with Queen who were all in their 20s”. I agree, it would be a little strange if the story was that one 16-year-old girl was hanging out with Queen by herself as their good buddy. But that is not the story. (Even though it is well-known that during the 60s and 70s, young teenaged groupies did in fact hang out with rock groups very frequently. Of course, J was not that kind of groupie.) She was simply part of a large circle of friends, by her own admission not a close friend of the band. Personally, I struggle to see how this is unrealistic in any way.
It seems super suspicious that she lost her photos in a flood.
Yes, it does. I agree. J realises that, too.
Like @quirkysubject said in her post, I don’t blame anyone who is too sceptical at this point. But there actually was a pretty bad flood in Australia in 1988.
There are mistakes in J’s story!
Yes, there are! Let me point them out to you. I already mentioned John’s height and Queen being in Australia in ‘85, not ‘84. I also think that her perception that Freddie was taller than Roger in ‘72, but no longer in the 80s, had everything to do with platform shoes. I have to say that I did ask J some questions which I knew were things which are almost impossible to remember about people you weren’t particularly close to. I knew there was no way she would be able to accurately recall their heights, but I still wanted to know what the impression was which she had come away with. I don’t for one moment think she could possibly know why and if Freddie’s nickname was really ‘Freddie Baby’ at EAS well before she went there. But I still wanted to hear what she thought of that. This is why I stated specifically that this entire interview consists of one woman’s subjective opinions and memories. That alone means you can absolutely not take any of it as definitive fact. That just isn’t how memory works.
Kensington Market and the stall:
J’s answers on this one thoroughly confused me. Not only did she say that while she saw Freddie at the market a lot, Roger was hardly ever there, but there was also some Indian man working at the stall during the week (who I don’t think could have been Freddie’s father). She saw Freddie at multiple stalls, a girl named Jill also worked at the stall… and J was under the impression that Roger and Freddie hadn’t even started the stall. None of this made a whole lot of sense to me, until somebody pointed out that the original stall owned by Roger and Freddie must have closed in the second half of 1971. (Sources: Queen in Cornwall & Queen: As it Began)
It is confirmed (same sources as above) that Freddie worked at the market until as late as 1974. I think it is therefore entirely possible that J would have seen him working at Alan’s stall, or helping out at other stalls, and the likelihood that Roger would have come to hang out with him on a weekend is fairly high, in my opinion. Later, reading about Freddie and Roger running a stall, J would have had no reason to think that this wasn’t the same stall she had seen them at. And yes, this is of course only a theory.
The gay pride march:
@rushingheadlong, who has recently done a lot of fantastic research about Tim, confirms that there’s no chance (as far as we know) that Tim could have been at the march. Did any of them really go? Is J misremembering entirely? Could it be that one of them or two of them went, and looking back, J remembers it as all of them (minus John, however) because she was used to mostly seeing them all together? Does she remember them from another protest march and got it mixed up with the gay rights march? I can’t say. The march and who exactly went is a big question mark. Even J herself is only “pretty sure” that they were all there, and I have to say, I can’t tell you who was where exactly when I think back to when I was 16. Certainly not when there was a big group of people around. And that was only 20 years ago for me.
Lastly, I’m going to try and use the guide our awesome local historian @emmaandorlando provided on how to analyse new sources. Of course, I’m not a historian (and I’m also partly the source by being the interviewer, so I can perhaps only do this impertectly), but let’s give it a go.
1. Who wrote this document?
‘Written historical records were created by individuals in a specific historical setting for a particular purpose. Until you know who created the document you have read, you cannot know why it was created or what meanings its author intended to impart by creating it’.
In this case, the answer is two-fold because essentially I wrote the interview, in as far as that I asked the questions, I gave it shape and presented it in the form in which it came, but the answers are J’s. I completely understand that this is already a big stumbling block for many, because not only am I presenting her as an anonymous source, but many of you don’t know anything about me. If you follow me on Tumblr, you will know that I have shared more with the internet than is probably wise. But still, I am somebody you know little about, presenting to you a person you know even less about. Whether you trust me or not is entirely down to your own judgement and instinct, and that will be different for everybody.
(I’ve seen it said that I’m plugging my own work through this interview. If that was my plan, I’m afraid it’s failed miserably. I looked, and DoA has gained a whopping 2 or 3 kudos.)
2. Who is the intended audience?
‘The relationship between author and audience is one of the most basic elements of communication and one that will tell you much about the purpose of the document. Think of the difference between the audience for a novel and that for a diary, or for a law and for a secret treaty. Knowing the audience allows you to begin to ask important questions, such as; “Should I believe what I am being told?”’
The intended audience is the Queen fandom on Tumblr and AO3. I have no interest in sharing this anywhere else because I’m not familiar with the other fan communities (Facebook? Instagram?) and wouldn’t know how to go about it. For J, the intended audience was mostly me, an author she likes who was very interested in her memories.
3. Why was this document written?
‘Everything is written for a reason. Understanding the purpose of a historical document is critical to analysing the strategies that the author employs within it. A document intended to convince will employ logic; a document intended to entertain will employ fancy; a document attempting to motivate will employ emotional appeals. In order to find these strategies, you must know what purpose the document was intended to serve.’
I got really, really excited. That is the reason. When J got in touch with me, I had a decision to make. I could ask her all the questions I wanted privately and share her answers only with my "inner circle” of fandom friends, or I could share everything with the fandom spaces where I’ve been very active in the last two years. I wanted to share the excitement and decided to do the latter.
I also wanted to present the interview in a way where it would be an engaging, well-structured read and not simply all of her emails to me dumped here with a quick ‘there you go’. So I tried to wrap it in a beautiful “package”, which is why I asked her for her art, for example.
4. What type of document is this?
‘The form of a document is vital to its purpose. The form or genre in which a document appears is always carefully chosen. Genre contains its own conventions, which fulfil the expectations of author and audience.’
An interview, written by somebody who has never interviewed anyone before.
5. Can I believe this document?
‘To be successful, a document designed to persuade, to recount events, or to motivate people to action must be believable to its audience. For the critical historical reader, it is that very believability that must be examined. Every author has a point of view, and exposing the assumptions of the document is an essential task for the reader.
You must treat all claims sceptically (even while admiring audacity, rhetorical tricks, and clever comparisons). One question you certainly want to ask is, “is this a likely story?” Testing the credibility of a document means looking at it from the other side.’
This is for all of you to decide for yourselves, and that was always the case. Far be it from me to be upset with anyone who straight up doesn’t believe a word I say, doesn’t believe J is real or any other scepticism. I’ll say it again, DO NOT harass anyone for expressing their opinions on this! It is NOT WRONG to discuss a new source! It’s wonderful that people are doing it!
And so, we come to that last question: Is this a likely story?
Personally, I can firmly answer that with: Yes. In my personal opinion, it is. I find J’s story very likely and there is close to nothing that makes me question that these are indeed her real memories. But given the nature of human memory, they are just as imperfect as anybody else’s and do not, and should not, supersede any factual, verified information we already have.
With that, I hope to have provided a bit more clarity and transparency, and leave you - as before - to make up your own minds.
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A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”
The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?
“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”
“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.
July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.
It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.
Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”
In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.
“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”
“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk
To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.
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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”
One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.
“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.
“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”
Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.
“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”
Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.
Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”
Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.
At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”
“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”
At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”
Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.
“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”
Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.
Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.
“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”
Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.
But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”
“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”
That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”
For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”
“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”
Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.
“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”
Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.
“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.
“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”
“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”
Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.
“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”
He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”
Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.
“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”
A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”
Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.
But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.
“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”
After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”
In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.
“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says
There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”
But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.
“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”
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Perhaps a little coaxing is needed...
Good evening my literary friends,
I am hoping to find a suitable partner for specific cravings and ideas I have in mind.
My introduction will be brief and a bit more to the point than usual. I am quite thorough and detail-oriented when it comes to being a writer, including some of my rules and preferences. However, since I believe it to be quite a hassle to go through every point I’m making, my ad will be a bit more compact.
A brief recap: You can call me Imp; I am in my twenties and a student, striving to become a part-time freelancer as well. My main hobbies are photography, traveling, drawing and of course, the art of writing. Currently, I reside in Europe, so my timezone could differ from yours, unless you are also from a similar region.
Be sure to read through my ad to see if we’re compatible. Too many times I’ve encountered cases where the inquirers skimmed through all of the info and upon messaging me, were surprised to learn that we weren’t a match from the beginning. So if you haven’t properly read my ad, I’ll know. I’d like to urge everyone to stick with it so there won't be any misunderstandings and not waste everyone’s time.
————————
Me, myself and I
(art by: Ayami Kojima)
♦ Nickname: Imp
♦ Experience: 12 years and counting
♦ Style: 1:1 with the inclusion of doubling
♦ Rating: Mature
♦ Roleplaying Platform: Email and Google Docs
♦ Chatting Platform: Email, Google Hangouts or Discord
♦ Pet peeves: Slice of Life
After finishing the game of Resident Evil 8 Village, I was struck by yet another muse.
I am currently looking for either a pre-existing canon inspired roleplay, or, something completely original. Be sure you are above the age of eighteen, preferably 21 and upwards. I will not accept any inquires from minors - this is not negotiable.
What to expect
♢ Content: Mature. I am more interested in darker things like horror, occultism, the supernatural, you can maybe guess where I am going with this. My limits are few, safe for a couple of minor pet peeves that I have, I am pretty much open to some experimentation; such as violence, gore and sexual themes. When it comes to heavy scenes, I will not fade to black, unless it serves no purpose to the story. Not a huge fan of censorship. However, I will not force or push my partner into something they are not comfortable with. If you want to know the extent to how far I am willing to go, what sort of content, or how graphic my writing will be, you can ask me directly.
♢ Rating: I have little to no issues with delving into more sensitive topics. Since reality is often stranger than fiction, it is very interesting to explore all sides of human nature, including the less comfortable subjects such as psychology, crime, etc. But I also like to remind that this is a world of fiction and no one in their right mind would condone such things in real life. The world of adults is not easy to handle, but it sure is interesting to explore. So if you are a gentle soul and can’t take the heat of more serious moments within the roleplay, be it a character going through trying times, etc; this might not be ideal for you.
♢ Writing: My texts are considerably lengthy, detailed, and elaborate. Third-person is usually my preferred way of playing my character unless there’s a special case where an exception can be made. Word count usually fluctuates, though I have a standard form of 400-500+ words per reply. It also highly depends on the given situation.
♢ Romancing: I admit to being a hopeless romantic. There’s nothing more enjoyable than witnessing good and powerful chemistry between two characters. Preferably I go for the usual MxF pairing dynamic but I am also open to FxF and MxM, should it feel more fitting. While doubling, I can write the character/love interest to my partner’s desire, but I always aim to stay true to their personality and character. I hate nothing more than forcing characters into a relationship, especially if there’s no spark, so I won’t respond well to being pressured into letting characters act out of their personality. It’s just not realistic. As for smut, or what have you, I have no issues with adding a few spicy scenes, sometimes even drawing them out of our pleasure. When there is, however, a running theme where sexual themes are taking the focal point of the plot, it can become quite boring. It is never the center of any of my roleplays, so be warned.
♢ Plotting: I am fairly quick when it comes to building new characters, concepts, premises, storylines, backstories, etc. It allows me a certain latitude. Feel free to communicate your ideas and thoughts with me. I am happy to chat, even when it doesn’t involve the roleplay directly. Though this is a hobby, I am still extremely passionate about good storytelling and interesting character arcs. I hope to meet someone who is just as enthusiastic and willing to put in the same amount of effort. If it’s only me who’s pulling all the weight, I will lose interest and feel forced to end the correspondence.
No gos
♦ Won’t do: Pedophilia, Necrophilia, Bestiality, Scat, Vore, Toilet Play, etc. I am sure you can also think of many other strange fetishes that have developed over the years spent on the internet.
♦ Won’t write: The idea of supernatural beings trying to fit into human society. The typical bully x victim storyline. The run-of-the-mill vampires vs werewolf plot. BDSM centred stories. Slice of life. Flawless or excessively flawed characters.
What I expect
♢ Literacy: You should at least have a decent grasp of basic grammar and coherency in your spelling.
♢ Flexibility: Since we all have lives outside of the roleplay, we both need to be flexible. Sometimes our schedules may differ, and if life is currently intervening, we can take things a bit easier. Plus, I can’t always respond every second of every day, either. This should be considered a hobby and not a job. If a hiatus is on the rise, there is no problem with putting things on ice until things clear up.
♢ Experience: And by that, I don’t mean how many years you’ve roleplayed, rather the experience that comes with age and emotional maturity. Especially if you want to write stories with grit.
♢ Open to doubling: Quick explanation. Doubling is when we play two main characters each. The dynamic is as follows; I write your chosen love interest against your main character while you do the same for me.
♢ Long term: Only long-term partnerships.
♢ Sharing the spotlight: Don’t forget, this is all about you too! Let me know all your specific cravings, interests, or wants that you want to be included into the roleplay.
Cravings
♦ Urban fantasy: Supernaturals, demons, spirits, vampires, you name it. I’d be more interested in something original and unique, especially when it comes to vampirism and demonic entities.
♦ Dark Sci-Fi: So this is a bit inspired by Resident Evil. A world where monsters become a vicious reality, generating fear among the people they come in contact with. But as it turns out, these monsters are not supernatural, but rather infected or mutated by a virus that cannot be explained.
♦ History, mythology, and folklore: An interesting take on the historical timeline, where legends and myths were once a reality. However, their existence was greatly misrepresented in the storybooks, sometimes even completely distorted. Our characters could be accidental time travelers who have been sent from the future to see it with their own eyes. Inspirations are mostly Slavic, European, and ancient folklore from all over the world.
♦ Crime with a dark twist: Mafias, organized crime, and corrupted politicians run this town. All of them have one thing in common. A particular drug that grants humans superhuman abilities; but at a cost. The drug will turn force the users to reject their humanity to instead embrace their monstrosity.
Canon & Fandoms
♢ Castlevania: Rather the original games than the Netflix series. But I am also not opposed to tackling the Netflix universe.
♢ Devil May Cry: Every game is game. Except for the reboot. Never played that one.
♢ Invincible: Not so invincible.
♢ Resident Evil: Village is one of the best games I’ve ever played. Periodt.
♢ Harry Potter: Next gen anyone?
————————
If you made it this far, I am glad you managed to hold on, lol. If you found what I wrote, agreeable and have a similar interests to mine, feel free to message me on this email adress.
You can also contact me via DM on my Tumblr blog, though preferably, I would rather be more receptive on Email since I am more active there. And it’s a lot more personal as well.
Email: [email protected]
Hope to see you there.
I wish you all a lovely day my fellow readers!
-Imp
#roleplay partner wanted#roleplay partner needed#fantasy#writing#creative writing#mature rp#gothic#supernatural#castlevania#devilmaycry#resident evil#invincible#harry potter#original#original story#roleplay#paragraph#horror#dark fantasy#oc x canon#oc x oc rp#drama#adventure#plot
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leave c!phil out of bullshit 2k21 -- a not so tiny post by a new enthusiast
As someone who finds both common fanon and actual canon to be quite fun, I really think the general DSMP fandom would benefit greatly from a few things in general: the greatest, in my opinion, is learning to accept that popular fanon won’t usually be the canon you receive. Another, of course, is that POVs are golden, but with these two things being flimsy in being accepted, they are the major flaws that cause about 90% of the absolute messy takes that gain traction, oftentimes poisoning a canon character's ability to exist in the story.
My biggest beef regarding this comes from how y’all treat c!Phil, so here I am, being annoying on main side!
TL;DR... Just because someone acted like like a guidance to others, doesn’t always mean that they'll want to be the father figure role for everyone that breathes. Similarly, pinning down a character on a single trope is wack, so don't be surprised if they grow away from it.
Baby’s first little dsmp rambling below!
(Warning: it's long as hell)
The Dream SMP plotline is not written out like most popular media. With so many moving parts in the form of daily streams and the wonderful tool of live improvisation, it makes perfect sense that such a giant cast would not always be on the same page. Adding onto that, it also makes more sense that a vast majority of the cast will be placed into supporting roles, as the story needs to have characters that serve as narrative anchors and others that function as the links in a chain, all weathering the storm that is the plot.
Screentime, of course, plays a major factor into canon exposure -- in terms of the Dream SMP, POV matters equally, if not more, too.
It’s a pretty neat way of showing things, but in the end, the fanbase has a lovely (read: godawful /lh) way of analysing characters, particularly when it relates to how they interact with others from their fave character’s POV. The tendency to analyse things from a single character's POV is fine, but not when attempting to critique the greater whole of a conflict. Both sides, no matter how wrong they may seem to be, matter.
Adding onto the fact that everything is live, there are things that will spiral out of control, casual words being skewed and thus having the potential of a single line seemingly contradicting the entire ‘story’ that the fanbase has made. If it directly affects a fave's POV in particular, one is more likely to take offense, as bias immediately bars one from trying to see the other person's side of things.
POV is important.
Which brings me to c!Phil, and how critics tend to ignore his perspective to prop up another character, or justify the tearing down of another.
Improvisation is both a blessing and a curse; the fanbase, however, loves to test out the latter. With it, the fanbase starts crafting tales to justify it...And so begins the mess that is c!Phil discourse.
Say it with me, folks: c!Phil is not supposed to be your fave’s fluffy father figure... unless you’re c!Wilbur!!!
😃☝🏾Dadza is good...👉🏾😎👉🏾 But fandom wants the excessive, idealized version.
-- birb 2k21
Family dynamics are generally loved for their potential for comfort, particularly those of a found family nature. Fandom in general tends to lean into them wholeheartedly, with most major bases having at least one prominent group present; SBI, of course, is no different. From fanart to popular fanfiction, it's arguably the biggest group dynamic alongside the Dream Team, and for that, a precedence was set.
c!Phil, if he ever joined, would fix everything! All of the ‘kids’ would turn to their new mentor and everything would turn out fine! This all knowing, morally just character will chuckle at their antics and wacky hijinks will follow! Fun times, right? /s
The hope for it, however, has long since been shattered, and frankly, good for him!
To go a little ooc, cc!Phil has stated multiple times that, while he was friendly with a lot of the cast as c!Phil, his only paternal link (at least biologically) lies with c!Wilbur. Simple, right? It should be -- there are multiple clips of him saying this -- but fans choose to ignore it in their critiques, generally citing favouritism or downright neglect for the character’s flaws. From 'favoring' Techno (who, in canon, holds the highest link in friendship outside of c!Wilbur's familal link) to 'neglecting' to visit Tommy (who he barely knew, and also assumed, like many others, that he was fine), these critiques weigh heavily on the scale that judges Phil’s so called father figure trope.
The story, however, has only leaned into (and persisted with) that for c!Wilbur alone, and adding onto it, there is an established acknowledgement from both ccs. That confirmation should hold the most weight, especially since both Phil and Wilbur seem alright with it. Even so, that familial has yet to be explored much for both characters, particularly regarding c!Phil, who has his debut (at least narratively) in a scene that feels opposite to the classic fatherly role.
c!Wilbur denounced accepting that helping hand to fall entirely into his explosive end, setting a precedence unlike most fatherly types arriving to save their kid. Usually, fandom narrative would love a close save, father and son uniting to heal and build up what was broken, but c!Phil’s entrance inks his story in failure. Angsty, right? We love angst!
And yet, as the story ticks on, the bad takes pile up.
Why? Well, I’l used to think that it is a “funny haha” type thing; a way to grieve for a character that was lost, as Alivebur was genuinely a great character. However, with the plot slowly progressing c!Phil’s story to evolve away from the ‘mentor the kids’ trope , I should have seen a storm on the horizon.
It should have been seen from the moment he stabbed c!Wilbur in the chest, but optimism is one hell of a smokescreen.
Built up fanon, however, is probably the greatest fog to ever exist.
There are lines before the button room confrontation that paint a picture of Wilbur seeking out the approval of his father (who seemed distant, at least from his POV), as well as hints to the SBI dynamic, but with the countless dismissals/retcons from CCs involved, as well as little to no consistent canon acknowledgement of this team dad role...Why base an entire hate piece of c!Phil just because popular fanon isn’t real?
Why, for the sake of building up a well rounded character, would one place the title of a communal parental figure on a grieving father who has little attachment to the community involved, especially when most of them are too busy delving into their own issues?
Furthermore, why go for Mr. Philza Minecraft: Angel of Death, CEO of KEKW, Functioning Immortal????
It’s madness, luv, and frankly, antis cannot let c!Phil process any of his grief (or flesh out his character) without his contributions being fatherly. His role has been idealized to the point where he is not a character on his own, but an accessory to the happiness of other characters. That is not how the world works, and in a conflict riddled server like the dsmp, arguing that it should be like that is counterproductive.
c!Phil had his own shit to deal with, and as he slowly uncovers how fucked up the server actually was, he merely adapts to it. He learns to play the game by his own rules, and people become mad that he’s succeeding in his own way. It's as simple as that, particularly when referencing his initial exposure to the world he now inhabits.
c!Phil is a man who used to hear of his son’s success from the letters he received, words spinning tales of won revolutions and newfound friendships. To a father, those letters are more than enough to assume that all is well, and with it, he had no reason to check on his son, who was already old enough to be carving his path alone. For him to arrive and see just how broken his son actually was, and then, in front of faces he only vaguely knows, kill said son... There's a lot to take in.
He shouldn't have had to care about L'Manberg in those moments, not when he had his son in his arms, dead by his own goddamn weapon; his son who, to his knowledge, was doing pretty well up until he caught wind of his plot. Yet, he does.
He gives them the benefIt of the doubt, even ignoring the one person he has shown to have deep history with (c!Techno) to assist the nation in defeating the withers and rebuilding what was lost.
c!Phil stays in a nation that has seemingly brought his son right into his demise, holding in that grief to help people who he assumes have the chance to rebuild, to reform. For a moment, he trusts that the system can turn into something positive, offering to hunker down and do what he can to help. That’s the start of a fatherly type role for most -- with many expectations rising from fans to ‘fix’ all these traumatized characters.
In another plot, perhaps critics could have gotten the tropes they want from c!Phil, but to blame the character for reacting negatively to a world he barely knew, right after seeing it ruin his son and target a friend...Maybe the need for a "father figure" only stems from making their faves happy.
Characters that don't directly support your fave are not inherently awful characters. Critique based on that alone is...flimsy, really, but honestly, you can use to to show how they process things.
Which brings me to the events leading up to Doomsday, and with it, the steady rise of c!Phil’s defining traits.
Say it with me, folks: c!Phil is one of the most loyal members on the server, but loyalty doesn’t mean he's blindly following along!
😃☝🏾Butcher Army take this L👉🏾😎👉🏾 Found it in the L’Mancrater
-- birb 2k21
The butcher army arc, while nestled among the mainline story of Tommy’s exile (which I will not even mention, because those dadza takes about visiting may deserve a post on their own), allows for c!Phil to see into the minds of those who had once been with (or even against) his son’s plans. Sure, he may be witnessing them after the eve of their newfound traumas, but this is an important observation to make when comparing how easy it was to denounce his affiliation to them and side with c!Technoblade.
Unlike the new Administration, slowly dipping deeper and deeper into their own form of power hunger, c!Technoblade’s base desires had never wavered. His trust in others, however, had, still nursing the sting of a betrayal, but with no conflict in sight. He is reforming, finding comfort in his solitude, and still maintaining contact with those he trusts.
Techno's Compass, for one, is a major example of their mutual trust. Despite being on opposing territories, they are civil enough to trust each other, just like old friends.
Thus, when you take two old friends who are more than used to conflict -- one grieving and one betrayed, but both seeking neutrality -- it shouldn’t have surprised the antis that c!Phil would place c!Techno’s whereabouts (and life, mind you) over some government he barely knew.
And yet, above all else, c!Phil starts off as a neutral party for everyone's sake, forgoing potential conquest for peace.
To c!Phil and c!Techno, it’s like fighting back to back, knowing that one can always trust the other to fend off those just waiting to take advantage of your blindspot, while also quelling the need to imagine your partner turning around and doing the same. That sort of friendship is forged through many, many hardships.
They betray what little trust he had built in them. That’s on them.
c!Phil is aware how untrusting c!Techno is, and while c!Techno feels safe enough to give his all for c!Phil, he never exploits it to get ahead, which is something L'Manbergians felt okay with doing.
They take a book out of the playbook used on c!Techno, for c!Techno.
They went after yet another person who was close to him, using their power and influence to hold an execution under the guise of seeking justice. If c!Wilbur, at least pre-corruption arc, sent letters to his father, one would at least expect some of his old ideals of freedom and fairness to leak through into his friends, right? To see those c!Phil assumed would hold similar ideals immediately skew towards a darker, brutal side, particularly in threatening others to get what they wanted...Well, shit hit the fan.
c!Phil does not have that strong relationship with any former L’Manbergians, and despite there being potential for such, it didn't work out that way; instead, however, those characters manage to mistake his kindness for weakness. They take his preferred neutrality as a way to exploit him, to gain in such a way that he lost agency...
No more Mister Nice Dadza, and honestly, he’s justified in that notion.
They’ve lost his trust, time too short to have gained that strong link like c!Techno’s or c!Wilbur’s, and with it, came the inevitable association with Doomsday.
c!Phil knew c!Techno’s intentions from the beginning -- which had only wavered into dormancy because he had grown tired of fighting, understanding that the cycle he wishes to break is not worth his efforts -- so the agreement in participating is effortless.
c!Dream was there too, of course, but in their mutual quest for eradication, it’s made canon that c!Techno and c!Phil hid away most of their arsenal, despite seeming overprepared. They have no loyalty to c!Dream; they’re smart enough to play along, however. He was a means to an end.
There’s no lies present in their relationship; c!Phil needed someone who didn’t try and pull wool over his eyes, and c!Techno let him see.
c!Techno needed someone who wouldn't stab him in the back, and c!Phil stayed true as his hidden sword.
Which is why, as the two joined forces, ideals aligning and power synergized, they didn’t think twice about nuking the nation to bedrock. Mutually agreeing that the system needs to die, they did what they could, and they succeeded.
How cool of them, tbh LMAO.
New L’Manberg tugged too hard at the sleeping tiger’s tail; they shouldn’t have expected it to roll over.
Their openness to each other was known.
There was no need for underhanded plays, for hidden betrayals, for undisclosed words.
Their loyalties were strong.
They were in sync.
In conclusion (maybe, maybe not...this shit is long holy heck)
😃☝🏾 I may hate this analysis in 30 minutes👉🏾😎👉🏾 Or I may make a part 2. Fuck it!
-- birb 2k21
And that’s what makes c!Phil an interesting character: He tends to be critiqued in reference to chatacters who have very well wronged him, have no affiliation to him or get associated to him through popular fanon. There's a lot to cover that I haven't (from Ghostbur to the whole Tommy 'dilemna') but overall I'm digging what I have now and if I ever get more energy, I'll continue!
c!Phil enthusiasts, I hope I did you proud LMAO. It's my first forray into this side of tumblr 👉🏾👈🏾 I'm a lurker.
c!Phil antis, you can either act respectful or go argue with a wall. I got experience dealing with antis on Tumblr; I am immune to BS.
Anyway, I hope you all enjoyed. Signing off!
- BIRB.
#dream smp#dsmp#philza#ph1lza#this one's for the c!phil enthusiasts hello hi ily all#I have spent the entire afternoon writing this while the power is out lmaoo#fandom leave my mans philza minecraft alone challenge#god i don't even know how long this is I'm so sorry#i let a little bit of my c!techno enthusiasm shine through too
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Fanfic recommendations part six: 100% Alternate Universe stories.
Hey! It took me a while to post this and I’m sorry, got too caught up with, well, you know, life (ew). But I’m back!
All the stories listed in this are stories are 100% AU (yes, I’m including the Soulmate AU’s in this category). I’ve read and enjoyed them all.
Accidentally In Love by the bohemian flow.
Rachel Hyde was a witness to a strange romance that blossomed between her twin brother, Steven, and Jackie Burkhart, of all people. Her and Steven weren't the biggest fans of Jackie, but now, he loves her. How could Rachel possibly put up with her brother's girlfriend?
AU where Hyde has a sister. Not 100% focused on J/H, since it’s from Hyde’s sister POV, but it’s still pretty good.
This story is a WIP and it’s being updated constantly.
109k words, 28 chapters so far.
Rated T.
Pairings: Jackie/Hyde, OC/Kelso, OC/Eric, Eric/Donna.
A Different Start Could Lead to a Better End by SoftBubbles
Instead of Hyde meeting her as Kelso's annoying girlfriend, what if he met her as his annoying English partner, whom he quickly learns is more than she seems.
This story is not complete, it was last updated on July of 2020, and I pray for the author to come back to it one day, it’s a really good story.
Trigger warning for child abuse.
13k words, 14 chapters.
Rated T.
Pairings: Jackie/Hyde
Bad Moon on the Rise by Badfanfic
Set around season 2. Jackie starts to develop feelings for Hyde, even though its the last thing she wants. Hyde is just trying to survive but is having difficulty controlling himself, especially around a certain cheerleader.
Hyde is a werewolf in this story. And THIS IS GOOD Y’ALL, I’ve read this like 10 times already.
Unfortunally, I think this story is abandoned, the last time the author updated was in June of 2020, but I still have hope, it’s really good and I’m DYING to read more. I absolutely adore stories with supernatural elements, and it’s so hard to find good ones in this fandom. Please read this.
13k words, 9 chapters.
Rated T.
Pairings: Jackie/Hyde
Focus by Jenny7
After a metaphysical awakening, Hyde develops the ability to telepathically connect with a single stranger. What he doesn't expect is that the girl that he shares the connection with, a rich cheerleader with a complicated past, will forever alter his views on life and love.
SO GOOD. It’s complete and it has a sequel (that’s not complete but still worth the read), called Darlin, Walk Awhile With Me.
2k words, 19 chapters.
Rated T.
Pairings: Jackie/Hyde.
History Rewritten by kezztip
What if Hyde got his Season 1 wish and stole Donna away from Eric? And then what if Eric had turned to a certain tiny cheerleader instead?
This story is complete, and if you have a soft spot for Eric/Jackie, than you might like this a lot.
81k words, 25 chapters.
Rated T.
Pairings: Jackie/Hyde, Jackie/Eric, Hyde/Donna, Eric/Donna.
(I absolutely hate the Hyde and Donna pairing but it’s temporary so it’s okay).
Playing Pretend by isnotme
Caught up in her teenager concerns – and some wounds to heal, Jackie didn’t realize that her parents' marriage was crashing down for real, causing a major turnaround in her world.
.
In the edge of seventeen, Hyde had too much on his mind. With graduation coming so soon, he knew too well he was about to be kicked out of the Forman's home. But when Bud’s illegal activities came to knock on his door, Hyde saw his plans falling apart once again.
Or
An AU where Jackie and Hyde get themselves in one of those fake relationship situation and somewhere along the way, they find somethings in commun. Highly inspired in every cliché Rom Com ever made, including Netflix's most recents TATBILB and Isi and Ossi.
This story is a WIP and it’s being updated often.
33k words, 13 chapters.
Rated T.
Pairings: Jackie/Hyde, background Eric/Donna
Pretty in Wisconsin by BelleBae
Jackie Burkhart has a lot to deal with. Her dad is in prison, her mum can't get it together and one of her best friends is in love with her. Will she be able to sort everything out by Prom? Inspired by Pretty In Pink.
Cute and complete.
20k words, 23 chapters.
Rated T.
Pairings: Jackie/Hyde
Rock You Like a Hurricane by zeppelinandunicorns (yours truly)
Alternative universe where Donna met Jackie before meeting Eric and the rest of basement gang.
Jackie and Donna are 16 and 17 when they finally met the four basement misfits after a Fleetwood Mac concert.
This story is a WIP, and I do not plan on abandoning it, I love it too much to do that.
77k words, 15 chapters so far.
Rated M.
Pairings: Jackie/Hyde, Eric/Donna, background Red/Kitty and eventual Fez/Laurie and Kelso/Brooke.
Also Available on AO3
She Belongs to me series by QueenBookBuff
A universe where Kelso cared a lot more about Jackie and Hyde getting together and implications of a deeper background for both Jackie and Hyde and Kelso and Jackie.
This got me hooked, it’s really good, please read it.
It’s complete and there are sequels! They are called All Our Tomorrows
and The Scarlet and SJ Chronicles.
27k words, 7 works in total.
Rated M.
Pairings: Jackie/Hyde
Summer Music Series by Wickedfetch
What if Hyde and Jackie didn't meet until 1985?
Complete.
7k words, 3 chapters.
Rated T.
Pairings: Jackie/Hyde
Also Available on AO3
That 70s show by Zenmaster21
What if Jackie had dated Hyde from the beginning instead of Kelso? This is simply a re-write of the episodes had Jackie and Hyde always been together.
One of my favorites stories from the entire fandom.
Not complete, but please read it, it’s worth it.
Trigger warning for child abuse.
152k words, 37 chapters.
Rated M.
Pairings: Jackie/Hyde, Eric/Donna
The Fifth Forman by BlueZeppelin
What if it wasn't just Eric and Laurie? What if they had another sibling? Like...Jackie? What would happen with Hyde? Would Eric be happy with his sister dating his best friend? Would Red like his daughter to be with one of the basement dumbasses?
This story is complete!!
52k words, 18 chapters.
Rated T.
Pairings: Jackie/Hyde
The One Where Jackie Moves In by Floweerchild96
Jackie has been living in New-York with her family but after her father goes to jail and her mother abandons her, she is forced to return to a town she thought she was done with for good. How will Jackie's reemergence in the basement effect the gangs lives?
A really good story, but unfortunally, it’s not complete. Still worth the read.
103k words, 20 chapters.
Rated T.
Pairings: Jackie/Hyde, background Eric/Donna.
Wall Around Your Heart by ourinvisibleink
Jackie Burkhart-Forman was adopted at almost ten years old by Red and Kitty, after her parents flee the country for drug trafficking crimes. Laurie grapples with addiction, Eric is messed up because of Red’s verbal abuse, Steven’s arrival is brought on by Jackie, Kelso is neglected, Fez is victim to racism, and Jackie befriends Jason, the new kid who happens to be gay.
This story is really good, but it deals with some serious stuff. I still love it.
Complete and it has a sequel called Plastar and Mortar.
52k words, 26 chapters.
Rated M.
Pairings: Jackie/Hyde, Eric/Donna, Fez/Laurie, Red/Kitty.
One-shots:
A Little Less 70s, A Little More Modern AU by fairytalesandfolklore
A modern AU where the characters from That 70’s Show grew up in the 90’s x early 2000’s instead.
Cute as hell!!! Worth the read!
1k words.
Rated T.
Pairings: Jackie/Hyde
found a wife and a home (and a family that matters) by blackorchids
Hyde’s been part of the Forman family for years before they make him move in.
I placed this in the AU category because apparently Jackie and Hyde always dated, it doesn’t specify much.
1k words.
Rated G.
Pairings: background Jackie/Hyde and background Red/Kitty. This is not focused on the couples, but on Hyde’s relationship with the Forman’s.
Lady and The Tramp by soobeans
'See, I, myself, don't like you. I find you abrasive. But if I didn't know you, and I'd never talked to you, I'd think you were totally hot.'
In Point Place, Wisconsin, there are only three distinct areas. The Western area consists of the burnouts, thugs, outcasts, hopeless dreamers, poor people, and overall, tramps. The Eastern area holds the classy, rich, and more fortunate ladies and gentlemen. In between is where the two are forced to intermingle, but of course, they found a few ways to separate themselves.
8k words.
Rated T.
Pairings: Jackie/Hyde, some minor background Eric/Donna moments.
That Disco Episode: Zenmasters Style by springsteenicious
What if Hyde had learned how to dance to impress Jackie instead of Donna? And what if Jackie hadn’t been dating Kelso?
That Disco Episode, rewritten for Jackie and Hyde.
2k words.
Rated T.
Pairings: Jackie/Hyde
Bonus: Soulmate AU’S:
I am so in love with Soulmate AU’s that I’m currently writing one, I wanted to make a special post just for this category but it would be too small so I just included it in here.
Finders Keepers by nannygirl
It's said that before you find your soulmate you will find one of their lost items first, so what happens when Hyde finds a gold bracelet in The Formans' backyard? Will it lead him to his soulmate, someone who he's sure probably doesn't even exist?
This story is not complete, but worth the read.
5k words, 2 chapters.
Rated K+.
Pairings: Jackie/Hyde, some background Red/Kitty
It Takes Time to Fall in Love by yabookreader96
Jackie can't wait to meet her soulmate, but a dire mistake on her part leads her to mistakenly identify him as Michael, while Hyde watches his soulmate clock hit zero and immediately knows that it's Jackie. Years pass, Jackie with Michael, Hyde saying nothing as he knowingly watches from the side. Will this dynamic be permanent or will destiny bring the true soulmates together?
This story is complete.
18k words, 12 chapters.
Rated T.
Pairings: Jackie/Hyde, temporary Jackie/Kelso.
Mistaken Messages by MistyMountainHop
Jackie longs for her soulmate to accept her, and Hyde hopes his will leave him alone because he's in love with someone else. A stack of mystical index cards lets them communicate with their as-yet unidentified soulmates. But the more their soulmates write, the less control Jackie and Hyde seem to have over their fate.
This story is complete.
23k words, 5 chapters.
Rated M.
Pairings: Jackie/Hyde, background Eric/Donna
Also Available on AO3
Until We Get There by poetdameron
Running away from their own wedding is the craziest thing Hyde and Jackie have ever done together. But the tug he feels at his heart when realizing she doesn't want to marry him? The worst.
This story is complete.
39k words, 8 chapters.
Rated M.
Pairings: Jackie/Hyde
Also Available on AO3
Voodooized by mc_1
Eric’s been noticing something weird going on between Jackie and Hyde. At a party one night, all of Eric’s suspicions are confirmed when the two become love-marked- an event that occurs when soulmates are ready to be together, resulting in a mark on the skin that bonds them together for life. The unlikely couple puzzle over how they could possibly be paired together as they struggle to understand each other.
This story is a WIP.
14k words, 4 chapters.
Rated M.
Pairings: Jackie/Hyde. Eric/Donna
Where It Wasn’t Supposed To Be by moved-ao3
Jackie thinks it's a blessing, Hyde a curse. Set in an alternate universe where characters receive a list with their soulmate's worst qualities, Jackie and Hyde struggle to navigate their feelings for each other when everything else seems pitted against them.
Not complete, and it makes me want to cry, but it’s really good.
15k words, 5 chapters.
Rated T.
Pairings: Jackie/Hyde
Also Available on AO3
One-shots:
all i need by orphan_account
"When he is six years old, the words 'Pudding Pop' appear on his wrist in the curliest, loopiest handwriting he's ever seen. There's even a little heart dotting the 'i'."
1k words.
The author didn’t rate this one, I would rate it as T.
Pairings: Jackie/Hyde
Blush by springsteenicious
On a person's eighteenth birthday, they swap bodies with their soulmate. Hyde doesn't have high hopes for his soulmate, but when he wakes up in a very pink room with posters and painted nails, his life is changed for the better.
4k words.
Rated T.
Pairings: Jackie/Hyde
Also Available on AO3
I believe this is all!
I’ll repeat this at the end of every single post (seriously, I literally copy and paste this every single time): Speaking as someone who writes, it would be really cool if you guys decide to leave a review (or a comment, if the story is on AO3) in the stories you read, especially the unfinished ones. It really motivates the authors, and receiving a compliment is always a mood lifter. I’ve seen some authors updating stories after years because of nice reviews, so… yeah, this is just an idea.
Feel free to reply to this post if you think I left out a good story!
Next category: Christmas fics!
#jackie x hyde#jackie and hyde#zenmasters#fanfic#fanfic rec#that '70s show#that 70s show#alternate timeline#soulmate AU#fanfic recommendations
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