What really sucks is how, while many Greek Jews have been here for literally centuries, and even for the ones that came later on, still, our traditions are so heavily linked with the standard Greek traditions (Purim which is our Apokries, has been transferred for a long time, two weeks earlier and is celebrated during the Christian Apokries instead of the standard)and it sucks that people still claim that "jews are not truly Greeks" and how we don't belong here. Sadly I have been hearing that rhetoric even more lately to the point that I don't mention that I'm Jewish to people I don't know well, in case they are weirdos. And the way that the government is going (far right with the Spartans and everything) I don't see the situation getting better soon.

What's your opinion on this theitsa;

Hello! :) First of all, thank you for entrusting me with your thoughts! It means a lot!

It irks me when I hear "they don't belong here" about people who have been citizens of this country for a very long time! (it irks me regardless, but whatever) What the fuck "belong" even means?? And who the fuck decides that?? They are here, they are citizens, they are part of the Greek history, the end! Even more so if these people speak Greek, they have Greek education, they live the Greek reality every day, they fight for the same things as the rest of the Greeks, and so on.

It sucks that this country makes you feel like you have to hide, or explain yourself in case they learn you are Jewish. This shouldn't have to happen! And, to be fair, no one is 100% "pure" Greek (I hate the concept of purity but I mention it here for argument's sake). We all have at least ONE ancestor of Slavic (/Arvanite), German, Turk, Egyptian, Hebrew, Armenian, Persian etc descent. We don't live in a bubble! Markos Botsaris (+ his crew) and Laskarina Bouboulina were Arvanites!

For this reason, I think "How Greek" one is, shouldn't define how much respect they get as Greek citizens. We are all enclosed in the same borders under a common government and we will achieve shit if we give in to infighting about who is The Best.

At the same time, I don't mean to diminish your argument about Jewish Greeks having Greek cultural elements. It makes sense that Jews in Norway and Jews in Greece won't have the exact same culture, and that they will be affected by the culture around them. I imagine it's hurtful when this part of your identity is overlooked. I'm just saying that all people here are "allowed" to be here, since our law has allowed it.

I wish I could tell you "don't be afraid! go forth and be yourself!" but realistically you will be the judge of what's safer for you. At least from my perspective, most Greeks won't have an issue. They might be very interested, even. But one or two times there will be Greeks who will create an issue for you. And these bigoted Greeks might be even more than we think.

The "funny" thing about far-right parties like the Spartans is that, while they claim to be "for Greece", they seem to parrot USAmerican rhetoric (non-Greek rhetoric) which goes against how the locals historically viewed the Jews in Greece.

Correct me if I am wrong, anon, but I feel like the rise of antisemitism in our days is very connected to the US-Americanization of Greece? This type of antisemitism (the type of conspiracies) and the intensity is the exact same I see from people in the US who worry when Jews are in positions of power.

Now, it's a historical truth that certain Greeks worked with the Nazis for power, at the time Greece was under Nazi/Axis occupation. (The Greeks still hate these families that were Germanophille at the time, because these families also worked against the interests of the rest of Greeks) So antisemitic sentiments existed before. But the land of what is now Greece was under the Ottoman Empire for centuries and the Ottoman Empire was a haven for Jews who were heavily discriminated against and killed in West Europe.

Many Jews acquired power and influence in big Greek cities like Thessaloniki, owning factories, businesses, newspapers, and real estate. They were allowed to prosper and they were an important part of our societies. (The Byzantine Museum of Thessaloniki has an exhibition this year about the Thessalonian Jewish community. It's outside and left of the cafeteria, they have a new room)

At the same time, obviously, being Jewish didn't make you automatically rich and influential. Before the second world war, there were Greeks and Turks, and French who were very rich and influential, too. Traditionally the Greeks understood this was a Class thing, not an Ethnicity thing. (And, in any case, no people deserve a freaking genocide!!!) But my point is, in the Old Times I didn't see sentiments such as "oooo the Jews are here to control us!!" whereas I feel this is a big part of the Greek antisemitic rhetoric today.

The reason I think this sentiment is brought by the US is that in the US there are many Jewish communities and many have acquired wealth or they had generational wealth. But in Greece there as soooo few Jews and they don't hold the same amount of wealth. Like, the bigoted conspiracies of the far right don't even make sense in the Greek reality 😂

For those who don't know: Despite the efforts of Greek Jews to escape the holocaust and the efforts of many Greeks to help them escape in the Επαρχία (rest of the country, outside of Athens), like in Zakynthos, an extremely large number of Jews in Greece got killed by the Axis powers in the Second World War. Hence, the large Jewish population of Greece has dwindled, and the community is really small nowadays. The community (at least in Thessaloniki) is also cautious to open their culture to other Greeks because they fear antisemitic sentiments might hurt them again. (Which is understandable to me. Btw I heard this cause a friend writing her thesis needed access to the Hebrew records in Thessaloniki)

Sorry for the long response, anon! My thoughts were many, as you can see. I would be very happy if you could tell us more things about Greek Jewish culture, if you don't mind! (how it's similar or dissimilar to the more frequent version of Greek culture) I could not find many things online, or even in museums, about it and I am genuinely curious.

Feel free to correct me on historical stuff, if you have different info! I am sure we would all be better for learning it because so much culture and historical perspective was lost from the collective average Greek consciousness with the holocaust. I hate that this gap gave rise to the rhetoric of far-right parties. I would also like to be more equipped to speak against their antisemitism by knowing more facts.

I also wonder if it's any awkward celebrating Hanukkah as a Greek Jew? 😅 I think it's not awkward (because the Greek Seleucid Empire was a looong time ago), but I am really curious if the Greek Jews think some way about it.

Tagged by @jamietarttsnorthernattitude and @asteria-argo

1. How many works do you have on AO3?

8

2. What's your total AO3 word count?

191,977

3. What fandoms do you write for?

Ted Lasso is the main one right now

4. What are your top 5 fics by kudos?

A German, a Russian, and an American Walk into a Bar (The Man From U.N.C.L.E. (2015))

oh god, you're gonna get it (you have not been given love) (Ted Lasso (TV))

The Garrison Reserve (The Musketeers (2014))

The Dick String Incident (Ted Lasso (TV))

somebody's hands who felt like mine (Ted Lasso (TV))

5. Do you respond to comments? Why or why not?

Yes, though I am woefully behind

6. What's the fic you wrote with the angstiest ending?

It's a toss up between right next to the heart of me and somebody's hands who felt like mine. I think the first one is technically the sharper angst, but it at least has a sequel in the works to make things a little better. The second one is a softer whump, but open-ended and with no follow up planned.

7. What's the fic you wrote with the happiest ending?

In terms of fics that have actually ended, A German, a Russian, and an American Walk into a Bar wins by a mile

8. Do you get hate on fics?

Not yet???

9. Do you write smut? If so, what kind?

Yes. Whatever kind. If I am feeling inspired by a thought, I'm gonna write it.

10. Do you write crossovers? What's the craziest one you've written?

I've written AUs but no straight-up crossovers yet, though I've lazily batted a few around in a sort of 'what if x met y' sort of way

11. Have you ever had a fic stolen?

Not to my knowledge

12. Have you ever had a fic translated?

No

13. Have you ever co-written a fic before?

Yes, A German, a Russian, and an American Walk into a Bar and The Garrison Reserve were both co-written

14. What's your all-time favourite ship?

Right now it's Jamie/Whump

15. What's a WIP you want to finish, but doubt you ever will?

It's not that I won't finish The Garrison Reserve (literally the last chapter is half written), but finishing it is going to mean a rewatch because I have straight up forgotten half the side characters' names

16. What are your writing strengths?

Maybe descriptions? Also my willingness to try to tell a joke

17. What are your writing weaknesses?

This is one I try very very hard to edit out, but I am literally the worst at writing my thoughts down out-of-order or forgetting to finish a thought entirely. Oh, and dialogue. It either comes naturally or I am forging that garbage with a hammer.

18. Thoughts on writing dialogue in another language for a fic?

I think there is a time for using another language in-text and a time when simply implying the other language or leaning on the perspective of a character who doesn't speak the other language is the correct decision.

That said I am currently writing a story about Dani and Jamie which involves some Spanish dialogue, but I feel fairly good about it because 1) when in doubt, I can (and do) just quote my mom, 2) if it sounds too simplified / non-colloquial I can always make the excuse that Dani, like my mom, doesn't want to confuse Jamie while he's learning, 3) any mistake I make could easily be a mistake that Jamie would make anyways. Wins all around!

Somewhat related, there was an absolutely fantastic Sherlock (BBC) fic back in the day (which was sadly removed from AO3) told from John's point of view where Sherlock decided he would go about his day in Italian. It included Italian dialogue that you could hover over for the translation, but the thrust of the fic was John playing along with his best guess of what was being said. The result was a fic that concurrently told two entwined stories by emphasizing two different povs by giving the audience the choice to ignore one in favor of experiences the other one first with no subtitles. It was very cool.

19. First fandom you wrote for?

a two-page handwritten DBZ fanfic when I was 11.

20. Favourite fic you've ever written?

oh god, you're gonna get it (you have not been given love)

tagging: @sighonaraa and @altschmerzes because I've not seen either of you yet

Hello! I hope this ask isn’t annoying but Swiss person here with fam from the same region as Nico!

To elaborate on some things a prev ask said: Nico is from Brig which is still part of the (Swiss) German part of Wallis/Valais, but as soon as you go a bit further west (Sion + Sierre) they speak French, so Hisch’s two languages would be Swiss German + French! Technically speaking Swiss people also have to learn German because there’s not actually a standardized spelling for Swiss German because each canton has their own dialect, so we learn German + a second language (mostly French unless it’s like Graubünden that tends towards Italian) on top of Swiss German, kind of.

Walliser (Swiss) German IS! Notoriously difficult for non-wallis people to understand. It’s very melodic and borrows a lot from French, and just kind of pronounces things differently than anyone else? It’s kinda hard to explain, but I think it’s very nice to listen to, it’s very musical. Imo nino niederreiter is harder to understand than Nico because now that guy has one of the thickest Bünder dialects I’ve ever heard.

-> https://youtu.be/AyXXCPxq3r4 this is a fun if longer interview of baby hisch speaking a lot of Swiss German that I’m very fond of

-> https://youtu.be/Ch9occS-7ME also love this one of him touring the locker room in Swiss German to very confused teammates id imagine.

This is such a long ask but I love talking about our Swiss German guys. Hope this clears some things up??

Keep up the writing! 🥰

I cannot even express HOW happy I am that you are here!!!!! I have been hoping a Swiss person would come into my asks and share all their knowledge with us 🥰 Thank you so much! Also, apologies in advance that google translate only has High German to translate.. for Nico, Timo, AND Kevin... but I do what I can as an English only speaker 😘

You can always come and speak with me about our Swiss German babies. I love the insight into the different dialects and styles and the educational background. It's so different than my experiences here in the U.S.! I wish we were pushed to learn other languages, but the education system, where I am from at least, didn't. It isn't until your later teen years that they encourage you to dive into other languages, which we all know is entirely too late for it to stick.

OMG NINO!!!!! Ugh, still miss him with the Wild. Our precious baby that we were not ready to see go 😭 I'm very curious, what does Kevin Fiala sound like to you? Idk how his Czech and then later Swedish influence alter his dialect and language? So curious of your perspective!

Ah! Again, I'm just so thrilled you stopped by! Please continue to share your insights and I hope you don't mind, but you're being branded as a Lady Looch anon!

X-Men and Cultural Appropriation

I pretty much pointed out how the X-Men writers have indulged in cultural appropriation to varying degrees, in the sense that the mutants are stand-ins for ethnic minorities but most of them don’t speak minority languages. Mind you, minority languages are minority because they’re not commonly spoken due to being stigmatised and discouraged. People would get whacked if they spoke in such a language, whilst this never really happened in the X-Men stories as far as I remember. It doesn’t help when at least most X-Men writers either don’t speak any minority language or bother learning it, which would explain the ironically appropriative air X-Men stories give off.

Like they co-opt minority experiences but almost none of the writers are either into minority cultures nor are they minorities themselves, this is likely why both Sean and Theresa Cassidy fit Irish stereotypes but neither of them speak Irish. It wouldn’t hurt if Rahne Sinclair actually spoke Scots instead of weird butchered English she sometimes she’s slotted into, I don’t think there are any mutants who speak Venetian, Lombard/Milanese, Low German and Saterland Frisian either. Again this involves a greater admiration for something this marginalised as a minority language of any given country than is commonly shown and done in X-Men comics, honestly I got into Irish because of loving Irish foik music.

So there is a difference between cultural appreciation and cultural appropriation, the former involves actually loving and respecting the culture in question and the other makes a mockery out of it when borrowed though sometimes they are blurred together. (Trust me, it’s like that with me when it comes to China until recently.) The X-Men stories and their respective writers frequently fall into the latter, especially when it comes to non-American and/or nonwhite mutants. This is likely why as I said before, both Cassidys are Irish stereotypes who neither speak Irish to any degree.

It’s kind of tragic when you realise how there is a difference between reiterating ethnic stereotypes and having any real appreciation for/interest in certain cultures, this may not always be the case but it seems in my case my interest in Ireland stemmed from learning Irish from Irish folk music. I don’t think X-Men stories ever lead me to loving foreign cultures the way I did with Irish folk music, so it becomes really evident that X-Men writers have co-opted the experiences of minorities for their characters and stories but show no real interest in those people themselves.

It’s not just that Siryn and her father are Irish stereotypes (or at least started out as such), but how the other mutants don’t speak any minority language which would’ve furthered the minority comparison more. There aren’t any mutants who speak Lombard, Venetian, Breton, Welsh, Frisian, Low German, Sicilian, Sardinian, Scots, Scottish Gaelic, Kurdish and Nahuatl, maybe until recently, despite X-Men writers’ tendency to harp on mutants as the ultimate minority, the minority of all minorities within Marvel stories. You might say that they’re obscure and irrelevant, but they are important markers of social identity to some people.

If I were to compare X-Men to any one of the Milestone stories (Icon and Blood Syndicate), the latter two are written by members of actual minorities so there’s going to be an authenticity that most X-Men stories lack. If X-Men writers and stories alike reveal an insincerity in showing the (ethnic) minority perspective, this could partly explain why not a lot of mutants speak minority languages. This may not always be the case, but it is telling how this aspect of social identity gets missed out. If X-Men stories are inadequate and untrustworthy when it comes to the minority language, perhaps something else does.

One that even outdoes X-Men when it comes to portraying ethnic/linguistic minorities at all, especially when written by actual minorities and/or those who speak minority languages.

"The Robbers" by Friedrich Schiller

Selenio

"It is not flesh and blood, but the heart which makes us fathers and sons."

(⚜️ 9.2 / 10)

I have decided to pick something rather pivotal for my very first book review. (And also to preface this: have no fear, not all of them will be as verbose as this one…)

However, I think that one of Schiller’s most famous works, “The Robbers” might not be as well-known and established in the non-german-speaking world as it is here. In Austrian, Swiss, or German schools this short drama has been a staple of German class for a couple of centuries now and has been read - or at least been heard of - by thousands, if not millions of people.

Let’s start with something every German student seems to loathe: “Epochenzuteilung”, or epoch allocation. (Doesn’t make it sound an ounce more pleasant when you say it in English…)

The “Sturm and Drang” (or “storm and stress”, as a verbatim translation) period in German literature lasted from circa 1765 until 1785 and was heavily characterized by its radically opposing reaction to the ideals of the simultaneously ongoing enlightenment movement, led by philosophers such as Kant or Descartes. Writers like Goethe, Schiller, Lenz, and Klinger stood for a youthful, talented, rebellious, and - most of all - fresh ideology. Rather than focusing on society as a whole, they looked inside the soul, regarding the individual, his feelings, and his soul with a new kind of wonder and excitement.

They identified as “geniuses” - young, independent, untouchable, creative, unattached to whatever superiors there might have been, and most importantly: free. Free in their expression of art, love, and life. Together, they discussed literature, poetry, and philosophy, becoming one of the most enviable historical groups to be a part of from today’s perspective.

I mean… who wouldn't have loved to frolic in the fields with wine-drunk Goethe?

Schiller’s “The Robbers”, originally published anonymously in 1781, portrayed this longing for moral and existential freedom in the confines of a legacy drama. The play premiered one year after its initial publication in Mannheim and already then drew in huge success.

The two brothers, Karl and Franz Moor could not be any more different. Whereas the older - Karl - is noble and popular with the people (yet a tad reckless), the younger - Franz - feels ugly and unloved, and even curses nature for its unfair bias towards the firstborn.

To “make things right”, envious Franz concocts a scheme full of malevolent intrigue to gain access to the legacy of their aristocratic father and to conquer the heart of his brother’s bride-to-be: the beautiful and strong-willed Amalia, exiling his older brother in the process.

Karl, hurt and ashamed by the apparent rupture of the relationship with his father, becomes the leader of a group of robbers, who further lead him into a life of crime and morally questionable decisions. Thus, an adventure develops where nothing is truly how it seems.

⚜️ Characters (1.5/2)

I have always been drawn to this particular work of Schiller’s, simply because its vivid and strong characters differentiate it from other classics I have read. The two brothers correspond to their respective struggles in realistic and comprehensible, yet not always intelligent ways. Especially Amalia is different from many other female literary characters prior to “The Robbers” as she has her own voice and a preliminary stage of something one could call boundaries, which she isn’t afraid to voice. She is no true “damsel in distress”. In fact, she actively takes part in the story, rejecting Franz’s advances more than once, even though she is aware that this could endanger her. She is upright and respectable, however towards the end of the book… no, let’s disregard that tragedy for the moment.

The king on the other hand is one of the most frustrating characters I have ever encountered in literature. Not only is he unbelievably passive he also - although painfully aware of his youngest son’s scheming nature - never questions anything Franz tells him. This adds to the feeling of urgency with which the reader is overcome and appends the tension and suspense while also portraying a father who is unable to cope with his son’s psychopathy.

Lastly, the eponymous “Robbers” themselves, which loyally follow Karl as their leader. One cannot simply assign them one singular character trait or label them good or evil: all of the named criminals feel like their own, fleshed-out individuals with their respective flaws and strengths, constantly struggling between cruelty and mercy, loyalty and fanatism. Just watch out for the "nun scene" (as I have dubbed it) as it can be a bit overwhelming when not prepared for it.

⚜️ Plot (1.8/2)

The plot of this short drama is appealing even from the modern reader’s perspective. The scene changes are splendid and the whole setting being almost medieval-ish (but timeless at the same time) adds a lot to the overall tone and feel of the novel. Even though the progression of the storyline can be - as mentioned above - a bit frustrating at some points, as a whole it is captivating and suspenseful until the very end. Even in the 1780s, Schiller didn’t shy away from a good ol’ plot twist.

⚜️ Writing Style (2/2)

Contrary to popular belief, Schiller's novels are not as “inaccessible” or “unapproachable” for first-time-classics-readers as one might suspect (or is told by pompous ignorants). Of course, the language - when never having been in contact with it - does seem a tad archaic at times but in my humble opinion, it adds to the enjoyment rather than taking away from it. Schiller differentiates authentically between the different voices and tones of his characters, without making them feel like caricatures. It is also a very quotable book as I have discovered throughout my latest reread.

⚜️ Aesthetic (2/2)

Aesthetically, I think the book captivates this wild spirit of a dark and at first glance very lonely, almost sickly forest that turns out to be heavily populated by sprites and animals. It’s the incarnation of the feeling you get when walking alone through a forest at the dusk of a cold February evening. When all the sounds seem thunderous in comparison to the soft thumping of the heart and the soles of shoes rustling in the icy snow. The moment when one wrong step could lead into an inescapable labyrinth but freedom at the same time.

This image fits very well into the view of nature at the time of the “Sturm and Drang” era. Nature provided the “geniuses” with energy and inspiration. Pantheism was the word of the time: nature, man, and space, fused into a divine whole.

⚜️ Personal Amusement (1.9/2)

I thoroughly enjoyed this read as much as I was hoping (and probably expecting) to and was more than glad to not have been assigned this book for a school class - as is so very popular around here. This piece of literature very much lends itself to over-analyzation (although I must admit to being guilty of the same crime almost anytime I pick up a book…) and by dutifully sticking to a strict curriculum, a lot of conversations that should be held surrounding this book simply get lost in the current. Books are best discovered alone or with partners of your choosing. Also… no one ever really enjoys a thing he has to do.

I would unreservedly recommend “Die Räuber” to anyone looking to get into touch with older german literature (especially when delving into the “Sturm and Drang” period) but who maybe has a little too much respect for it at the moment. It’s a delilghtful entryway into the wonders of what is Schiller’s work.

I decided on this decorative little red edition for two main reasons:

I think with ist simplicity and vintage-flair it just beautifully fits the aesthetical theme and time of the book and

Isn't it just delightful? In my opinion, everybody needs a little pocket-size play to keep him company and help him look just the right amount of pretentious during long train rides.

Ich bin mein Himmel und meine Hölle.

I'm my heaven and my hell.

ISBN: 978-3-596-50911-9

“Yo  a ti, Cas” Or how mexican dubbing gripped us tight and raised us from Despair.

Ok. So I promised a big meta about the dubbing thing and so while I don’t have all the answers YET, here’s a bit of perspective on the differences between Despair and The Truth.

  First, a little background. I am a former professional dubbing translator. While I worked on anime series from Japanese to Spanish, rather than in live action ones from English to Spanish, the process is not that different. Also, I worked in Mexico, where Supernatural is dubbed, so that’s why I can make the assumptions I make. Finally, my specialization in college was translation from English to Spanish, so I guess I know what the hell I’m talking about.

  So let’s start on HOW you translate something for a dub. Back in the day, you got a ton of VHS tapes with the episodes on them with time codes, and, if you were lucky, a shooting script. This is to say, it was not a transcript of the actual words said in the episode, but the script BEFORE the actors, directors, and everyone else had a hand on what was said and changed. And thus, anything adlibbed? Is not going to be in that script which, at least for the anime side of things? Was a nightmare as the script was usually “And here X actor can say whatever they want” and I had to go and listen to the scene ten thousand times. Now a days, you get either a video file or a streaming link, and sometimes, the shooting script. If you get a script, btw, you can also not get a script in the original language. I know that the person who had to translate Sprited Away to Spanish was working off a German script, not the Japanese one. So yeah, some things can be lost in translation there.

  THEN you get to translate. BUT you can’t just translate word by word. You have to adapt it so that it will sound like something a person will say, and sometimes, literally is not the way to do it. And in particular, Mexican dubbing has a reputation to uphold as the “Neutral” dub that is send to most Spanish-speaking countries in Latin America, so we can’t use certain words (I don’t have the list at hand, but I remember that I couldn’t use “Llanta” for Tire, and so I had to use “Neumatico”. And no “sweaters” or “hotcakes” or stuff like that), AND we have to match the lips of the original video. Which is like, the worst nightmare ever because of what we call “labiales”, that is to say, the letters where lips close.

  I can’t tell you how much we all loved when a character gave a long winded speech with their back to the camera due to those damned closed lip letters.

  All this is to say that sometimes, the line could be “We are all in this together for good or bad”, and the translation become something more like “Estamos en esto, por las buenas o las malas” (We’re on this, the good way or the bad way) or “Estamos juntos en las buenas y en las malas” (We’re together in the good and the bad), depending on the translator, dub director, and voice actor.

  Depending on the client, that is, the original owner of the series, sometimes they will review the translation once it’s all dubbed and edited. I know that in the Avengers movie, a Disney rep was present on the cabin and forbade any changes from the script, which resulted on a couple of awkward lines in the end result. I don’t know if that’s the case for Supernatural, but I honestly doubt it. Still, translators can’t make huge changes for the dialogue. One couldn’t just ADD a relationship that wasn’t there, no matter what.

  (As an aside, due to the very conservative mindset of some tv stations, it’s more common that gay relationships become more ambiguous, by changing “I love you” to “Te quiero” which can be more of a filial love than a romantic one. And well, that one case in Sailor Moon where a gay character was changed into a woman because the dub director honestly thought the character was a woman. But that was in the nineties)

  Now, let’s go to how Castiel’s speech was translated.

  The original, according to Superwiki, went like this:

  Castiel:  You're the most caring man on Earth. You are the most selfless, loving human being I will ever know. You know, ever since we met, ever since I pulled you out of Hell, knowing you has changed me. Because you cared, I cared. I cared about you. I cared about Sam. I cared about Jack. I cared about the whole world because of you. You changed me, Dean.

Dean: Why does this sound like a goodbye? Castiel: Because it is. I love you. Dean: Don't do this, Cas. Cas.

  And the translation, as it was aired, went like this (And people, you have no idea the war flashbacks transcribing this gave me, so I hope you appreciate it):

  Castiel: Eres el hombre mas amoroso sobre la Tierra. Un hombre sin egoismo; el hombre mas generoso que haya visto, y que jamas vere. Sabes que desde que nos conocimos y desde que te saque del infierno, el conocerte me ha cambiado. Porque a ti te importa. Y a mi me importa. Me importas tu. Y me importa Sam, me importa Jack, me importa todo el mundo. Y fue por ti. Tu me cambiaste, Dean.

  Dean: Porque suena esto a despedida?

  Castiel: Porque asi fue. Te amo.

  Dean: Yo a ti, Cas. (The empty appears and Billie opens the door) Cas…

  Castiel: Adios Dean

  Dean: No!

  Ok. So… At first glance, they’re pretty much the same until we get to the I love you. BUT let’s dissect it a little bit.

  Cas begins with a “Eres el hombre mas amoroso sobre la Tierra” which is not how I would’ve translated “The most caring man on Earth” since “caring” is more like “Cariñoso” rather than “amoroso” which would be “loving”, and yes, there’s a difference. Plus, “el hombre mas amoroso” sounds a bit clunky, so Personally, I’d have gone with “Eres el hombre mas cariñoso en la Tierra”, that would’ve given us more time for the rest of the speech, but I wonder if the translator choice for Amoroso instead was more due to the fact that “amor” (love) is more clearly romantic than “care” (cariño, in a sense, more on this later) and so it foreshadows the end.

  Again, with the literal clunkyness we have “Un hombre sin egoismo” (A man without egoism) which sounds weird no matter what language you speak, and it should’ve been “Un hombre dadivoso” (A giving man) or “un hombre desinteresado” (a selfless man) although the second could be mis-construed as “a man without interests” so “dadivoso” would’ve better. But the more puzzling is that the Spanish separates the selfless man from the next, which is REALLY confusing as the English is “the most loving man”, which would be “el hombre mas amoroso” making it quite redundant, so the Spanish changes it to “the most generous man”, “el hombre mas generoso”. To add to this, Cas continues with “that I have seen and I will ever see” instead of “That I know”, because it’s far more poetic. And loving.

  So yeah, Mexican Cas is basically saying that Dean Winchester is made of love and puppies.

  Ahem.

  The next part “You know, ever since I pulled you out of hell, you’ve changed me” is more or less word for word, and the only thing that changes is that the English sounds more like a question and the Spanish one is an affirmation. YOU KNOW that ever since I pulled you out of hell, you changed me.” Little verb tense play, that doesn't change much except Cas’s resolution to say what he has to say.

  And then we get to the part that made me squeal out loud. Because we go from

  “Because you cared, I cared. I cared about you. I cared about Sam. I cared about Jack. I cared about the whole world because of you”

  To

  “Porque a ti te importa. Y a mi me importa. Me importas tu. Y me importa Sam, me importa Jack, me importa todo el mundo.” Which at first glance is the same, but NOPE.

  First change: The original is in past tense “I cared”. Spanish version is in present tense: “I care”.

Which is a little non important thing except when you remember that simple present means “immutable absolute truth that won’t change with time”

  Second, the choice of word for care.

  I mentioned before that Care can be Cariño, as in filial, non romantic love (Or romantic love pet name, as it can also be Darling. It’s one of THOSE words). Other translations for care include “cuidado” (as in attention, concern, keeping, and worry), and of course “interesarse” (Which also can be care), “preocuparse” (care, bother, trouble, mind, fuss), and yes, “importar” but “importar” ONLY translates to English as a verb as “import”, “matter” “amount to” and notice how none of those words include “love”.

  Mexican Cas is not saying “you love the world, and so I do”. Mexican Cas is saying “The world matters to you, and thus it matters to me, but my feelings for the World (and Sam, and Jack) are not in the same league as my feelings for you.”

  And then Dean asks “Why does this sound like a Goodbye”, just like in English, in present tense…

  And Mexican Cas replies in PAST tense. “Porque asi fue”. And THIS is important because it means that everything he said before WAS the goodbye, and not what comes next. All the rest? Is in the past. “Because it was”. Not “Because it IS”. And the next part? Is their future.

  I love you.

  Te amo.

  Simple present. No ambiguity like “te quiero”. Spanish Te amo is for romantic love. Not brotherly, not family, not bro-mantic. ROMANTIC.

  It’s like “I’m IN love with you” (Although that’d be “Estoy enamorado de ti” and I doubt that would’ve fit in the time Misha spoke)

  And of course, the answer. “Yo a ti, Cas”. Not “And I, you” as I’ve seen it before (And I also thought it was, until transcribing the scene) but a simple “I, you, Cas.” Which ok, pretty cave-speak, but the meaning is pretty clear. Dean Winchester loves his gay angel.

  It is also telling that the empty doesn’t appear until AFTER Dean confessed, so no, Mexican Cas is not “happy with the saying”, he had to get to the “happy with the having”.

  And when Billy appears, it does seem as if he wants to say something more, but Cas is a love-sick selfsacrificing dumbass and so we all get our hearts broken.

I did get in contact with Dean Winchester’s mexican voice actor, and am waiting for answers to a small interview I did with him which includes the question “did that And I you, Cas” was in the script, and am trying to contact Castiel’s mexican voice actor. So I will be updating you on that. But I hope this clears up some of the questions about how Mexican dubbing made Destiel Canon :D

The Fanfic Author's Guide to Metatext

(As Used on Ao3) by Eiiri

Also available as a PDF here. This thing is 13,000 words.  The PDF is recommended.

Intro: What is Metatext?

Metatext is everything we fanfic authors post along with our story that is not the story itself: title, tags, summary, author's notes, even the rating.

It is how we communicate to potential readers what they're signing themselves up for if they choose to read our story, how we let them make informed decisions regarding which fics they want to read, how we get their interest and, frequently, how they find our story in the first place. A lot of metatext acts as a consent mechanism for readers, it's the informed part of informed consent.

Since most of us who write fanfic also read it, we understand how important this is! But, for the most part, no one ever teaches us how to use metatext; we have to pick it up by osmosis. That makes it hard to learn how to use it well, we all suck at it when we first start out, and some of us may go years without learning particular conventions that seem obvious to others in our community. This creates frustration for everybody.

Enter this guide!

This is meant to be a sort of handbook for fic writers, particularly those of us who post on Archive of Our Own, laying out and explaining the established metatext conventions already in use in our community so we (and our readers!) are all on the same page. It will also provide some best-practices tips.

The point is to give all of us the tools to communicate with our audience as clearly and effectively as possible, so the people who want to read a story like ours can find it and recognize it as what they're looking for, those who don't want to read a story like ours can easily tell it's not their cup of tea and avoid it, nobody gets hurt, and everybody has fun—including us!

Now that we know what we're talking about, let's get on with the guide! The following content sections appear in the order one is expected to provide each kind of metatext when posting a fic on Ao3, but first….

Warning!

This is a guide for all authors on Ao3. As such, it mentions subject matter and kinds of fic that you personally might hate or find disgusting, but which are allowed under the Archive's terms of use. There are no graphic descriptions or harsh language in the guide itself, but it does acknowledge the existence of fic you may find distasteful and explains how to approach metatext for such fics.

Some sexual terminology is used in an academic context.

A note from the author:

This guide reflects the conventions of the English-language fanfiction community circa 2021. Conventions may differ in other language communities, and although many of our conventions have been in place for decades (praise be to our Star Trek loving foremothers) fanfiction now exists primarily in the realm of internet fandom where things tend to change rather quickly, so some conventions in this guide may die out while other new conventions, not covered in this guide, arise.

This is not official or in any way produced by the Archive of Our Own (Ao3), and though some actual site rules are mentioned, it is not a rulebook. Primarily, it is a descriptivist take on how the userbase uses metatext to communicate amongst ourselves, provided in the interest of making that communication easier and more transparent for everyone, especially newer users.

Contents

How To Use This Guide Ratings Archive Warnings Fandom Tags Category Relationship Tags Character Tags Additional Tags Titles Summaries Author's Notes Series and Chapters Parting Thoughts

How To Use This Guide

Well, read it.  Or have it read to you.

This isn't a glossary, it's a handbook, and it's structured more like an academic paper or report, but there's lots and lots of examples in it!

Many of these examples are titles of real media and the names of characters from published media, or tags quoted directly from Ao3 complete with punctuation and formatting.

Some examples are more generic and use the names Alex, Max, Sam, Chris, Jamie, and Tori for demonstration purposes. In other generic examples, part of an example tag or phrase may be sectioned off with square brackets to show where in that tag or phrase you would put the appropriate information to complete it.  This will look something like “Top [Character A]” where you would fill in a character's name.

This guide presumes that you know the basics of how to use Ao3, at least from the perspective of reading fic. If you don't, much of this guide may be difficult to understand and will be much less helpful to you, though not entirely useless.

Ratings

Most fanfic hosting sites provide ratings systems that work a lot like the ratings on movies and videogames.

Ao3's system has four ratings:

General

Teen

Mature

Explicit

These seem like they should be pretty self-explanatory, and the site's own official info pop-up (accessible by clicking the question mark next to the section prompt) gives brief, straightforward descriptions for each of them.

Even so, many writers have found ourselves staring at that dropdown list, thinking about what we've written, and wondering what's the right freaking rating for this?  How do I know if it's appropriate for “general audiences” or if it needs to be teen and up? What's the difference between Mature and Explicit?

The best way to figure it out is often to think about your fic in comparison to mainstream media.

General is your average Disney or Dreamworks movie, Cartoon Network or Nickelodeon shows, video games like Mario, Kirby, and Pokemon.

There may be romance, but no sexual content or discussion. Scary things might happen and people might get hurt, but violence is non-graphic and usually mild. Adults may be shown drinking alcohol or smoking tobacco, and some degree of intoxication may be shown (usually played for laughs and not focused on), but hard drug use is generally not shown or discussed.  There is little to no foul language written out and what language there may be is mild, though harsher swears may be implied by narration. There are no explicit F-bombs or slurs.

Teen is more like a Marvel movie, most network television shows (things like The Office, Supernatural, or Grey's Anatomy), video games like Final Fantasy, Five Nights at Freddie's, and The Sims.

There might be some sex and sexual discussion, but nothing explicit is shown—things usually fade to black or are leftimplied. More intense danger, more severe injuries described in greater detail, and a higher level of violence may be present.  Substance use may be discussed and intoxication shown, but main characters are unlikely to be shown doing hard drugs. Some swearing and other harsh language may be present, possibly including an F-bomb or two.  In longer works, that might mean an F-bomb every few chapters.

Mature is, in American terms, an R-rated movie* like Deadpool, Fifty Shades of Grey, The Exorcist, and Schindler's List; certain shows from premium cable networks or streaming services like Game of Thrones, Shameless, Breaking Bad, and Black Sails; videogames like Bioshock, Assassin's Creed, Grand Theft Auto, and The Witcher.

Sex may be shown and it might be fairly explicit, but it's not as detailed or graphic or as much the focus of the work as it would be if it were porn. Violence, danger, and bodily harm may be significant and fairly graphic. Most drug use is fair game. Swearing and harsh language may be extensive.

Explicit is, well, extremely explicit. This is full on porn, the hardcore horror movies, and snuff films.

Sex is highly detailed and graphic. Violence and injury is highly detailed and graphic. Drug use and its effects may be highly detailed and graphic. Swearing and harsh language may be extreme, including extensive use of violent slurs.

Please note that both Mature and Explicit fics are intended for adult audiences only, but that does not mean a teenaged writer isn't going to produce fics that should be rated M or E.  Ratings should reflect the content of the fic, not the age of the author.

Strictly speaking, you don't have to choose any of these ratings; Ao3 has a “Not Rated” option, but for purposes of search results and some other functions, Not Rated fics are treated by the site as Explicit, just in case, which means they end up hidden from a significant portion of potential readers. It really is in your best interest as a writer who presumably wants people to see their stories, to select a rating. It helps readers judge if yours is the kind of story they want right now, too.

Rating a fic is a subjective decision, there is some grey area in between each level. If you're not quite sure where your fic falls, best practice is to go with the more restrictive rating.

*(Equivalent to an Australian M15+ or R18+, Canadian 14A, 18A or 18+, UK 15 or 18, German FSK 16 or FSK 18.)

Warnings

Ao3 uses a set of standard site-wide Archive Warnings to indicate that a work contains subject matter that falls into one or more of a few categories that some readers are likely to want to avoid.  Even when posting elsewhere, it's courteous to include warnings of this sort.

These warnings are:

Graphic Depictions Of Violence

Major Character Death

Rape/Non-Con

Underage

Just like with the ratings, the site provides an info-pop up that explains what each warning is for. They're really exactly what it says on the tin: detailed descriptions of violence, injury, and gore; the death of a character central to canon or tothe story being told; non-consensual sex i.e. rape; and depictions of underage sex, which the site defines as under the age of 18 for humans—Ao3 doesn't care if your local age of consent or majority is lower than that.

In addition to the four standard warnings above, the warnings section has two other choices:

No Archive Warnings Apply

Choose Not To Use Archive Warnings

These do not mean the same thing and cannot be used interchangeably. “No Archive Warnings Apply” means that absolutely nothing in your fic falls into any of the four standard warning categories. “Choose Not To Use Archive Warnings” means that you the author are opting out of the warning system; your fic could potentially contain things that fall into any and all of the four standard warning categories.

There's nothing wrong with selecting Choose Not To Use Archive Warnings! It may mean that some readers will avoid your fic because they're not sure it's safe for them, and you might need to use more courtesy tags than you otherwise would (we'll talk about courtesy tags later), but that's okay! Opting out of the warning system can be a way to avoid spoilers,* and is also good for when you're just not sure if what you've written deserves one of the Archive warnings. In that case, the best practice is to select either the warning it might deserve or Choose Not To Use Archive Warnings, then provide additional information in other tags, the summary, or an initial author's note.

Unless you're opting out of using the warning system, select all the warnings that apply to your fic, if any of them do. So if a sixteen year old main character has consensual sex then gets killed in an accident that you've written out in excruciating detail, that fic gets three out of the four standard warnings: Underage, Major Character Death, and Graphic Depictions Of Violence.

*(Fandom etiquette generally favors thorough tagging and warning over avoiding spoilers. It doesn't ruin the experience of a story to have a general sense of what's going to happen. If it did, we wouldn't all keep reading so many “there was only one bed” fics.)

Fandom Tags

What fandom or fandoms is your fic for?  You definitely know what you wrote it for, but that doesn't mean it's obvious what to tag it as.

Sometimes, it is obvious! You watched a movie that isn't based on anything, isn't part of a series, and doesn't have any spinoffs, tie-ins or anything else based on it. You wrote a fic set entirely within the world of this movie. You put this movie as the fandom for your fic. Or maybe you read a book and wrote a fic for it, and there is a movie based on the book, but the movie is really different and you definitely didn't use anything that's only in the movie. You put the book as the fandom for your fic.

All too often, though, it's not that clear.

What if you wrote a fic for something where there's a movie based on a book, but the movie's really different, and you've used both things that are only in the movie and things that are only in the book?  In that case you either tag your fic as both the movie and the book, or see if the fandom has an “all media types” tag and use that instead of the separate tags.  If the fandom doesn't have an “all media types” tag yet, you can make one! Just type it in.

“All media types” fandom tags are also useful for cases where there are lots of inter-related series, like Star Wars; there are several tellings of the story in different media but they're interchangeable or overlap significantly, like The Witcher; or the fandom has about a zillion different versions so it's very hard, even impossible, to say which ones your fic does and doesn't fit, like Batman. Use your best judgement as to whether you need to include a more specific fandom tag such as “Batman (Movies 1989-1997)” alongside the “all media types” fandom tag, but try to avoid including very many. The point of the “all media types” tag is to let you leave off the specific tags for every version.

In a situation where one piece of media has a spinoff, maybe several spinoffs, and you wrote a fic that includes things from more than one of them, you might want use the central work's “& related fandoms” tag. For example, the “Doctor Who & Related Fandoms” tag gets used for fics that include things from a combination of any era of Doctor Who, Torchwood, and The Sarah Jane Adventures.

And don't worry, from the reader-side of the site the broadest fandom tags are prioritized. The results page for an “all media types” or “& related fandoms” search includes works tagged with the more specific sub-tags for that fandom, the browse-by-fandom pages show the broadest tag for each fandom included, and putting a fandom into the search bar presumes the broadest tag for that fandom.  A search for “Star Wars - All Media Types” will pull up work that only has a subtag for that fandom, like “The Mandalorian (TV).” You don't have to put every specific fandom subtag for people to find your fic.

If you wrote a fic for something that's an adaptation of an older work—especially an older work that's been adapted a lot, like Sherlock Holmes or The Three Musketeers—it can be hard to know how you should tag it. The best choice is to put the adaptation as the fandom, for instance “Sherlock (TV),” then, if you're also using aspects of the older source work that aren't in the adaptation, also put a broad fandom tag such as “Sherlock Holmes & Related Fandoms.” Do not tag it as being fic for the source work—in our Sherlock example that would be tagging it “Sherlock Holmes - Arthur Conan Doyle”—unless you are crossing over the source work and the adaptation. Otherwise, the specific fandom subtag for the source work ends up clogged with fic for the adaptation, which really is a different thing.

By the same token, fic for the source work shouldn't be tagged as being for the adaptation, or the adaptation's subtag will get clogged.

The same principle applies to fandoms that have been rebooted. Don't tag fic for the reboot as being for the original, or fic for the original as being for the reboot. Don't tag a fic as being for both unless the reboot and original are actually interacting. Use an “& related fandoms” tag for the original if your fic for the reboot includes some aspects of the original that weren't carried over but you haven't quite written a crossover between the two. Good examples of these situations can be seen with “Star Trek: Alternate Original Series (Movies)” vs. “Star Trek: The Original Series,” and “She-Ra and the Princesses of Power (2018)” vs. “She-Ra: Princess Of Power (1985).”

Usually, this kind of mistagging as a related fandom happens when someone writes a fic for something that is or has a reboot, spinoff, or adaptation, but they're only familiar with one of the related pieces of media, and they mistakenly presume the fandoms are the same or interchangeable because they just don't know the difference.  It's an honest mistake and it doesn't make you a bad or fake fan to not know, but it can be frustrating for readers who want fic for one thing and find the fandom tag full of fic for something else.

In order to avoid those kinds of issues, best practice is to assume fandoms are not interchangeable no matter how closely related they are, and to default to using a tag pair of the most-specific-possible sub-fandom tag + the broadest possible fandom tag when posting a fic you're not entirely sure about, for instance “Star Trek” and “Star Trek: Enterprise.”

The Marvel megafandom has its own particular tagging hell going on. Really digging into and trying to make sense of that entire situation would require its own guide, but we can go through some general tips.

There is a general “Marvel” fandom tag and tags for both “The Avengers - Ambiguous Fandom” and “The Avengers (Marvel) - All Media Types.” Most of us who write Marvel fic are working with a cherry picked combination of canons from the MCU, various comics runs, both timelines of X-Men movies, and possibly several decades worth of cartoons. That's what these tags are for.

If your cherry picked Marvel fic is more X-Men than Avengers, go for the “X-Men - All Media Types” tag.

If you are primarily working with MCU canon, use the MCU specific tags rather than “all media types” and add specific tags for individual comics runs—like Earth 616 or the Fraction Hawkeye comics—if you know you're lifting particular details from the comics.  If you're just filling in gaps in MCU canon with things that are nebulously “from the comics” don't worry about tagging for that, it's accepted standard practice in the fandom at this point, use a broader tag along with your MCU-specific tag if you want to.

Same general idea for primarily movie-verse X-Men fics. Use the movie-specific tags.

If your fic mostly draws from the comics, use the comics tags. If you're focusing on an individual run, show, or movie series rather than an ensemble or large swath of the megafranchise, tag for that and leave off the broader fandom tags.

Try your best to minimize the number of fandom tags on your Marvel work. Ideally, you can get it down to two or three. Even paring it down as much as you can you might still end up with about five.  If you're in the double digits, take another look to see if all the fandom tags you've included are really necessary, or if some of them are redundant or only there to represent characters who are in the fic but that the fic doesn't focus on. Many readers tend to search Marvel fics by character or pairing tags, it's more important that you're thorough there. For the fandom tags it's more important that you're clear.

If you write real person fiction, you need to tag it as an RPF fandom. Fic about actors who are in a show together does not belong on the fandom tag for that show. There are separate RPF fandom tags for most shows and film franchises. Much like the adaptation/source and reboot/original situations discussed earlier, a fic should really only be tagged with both a franchise's RPF tag and its main tag if something happens like the actors—or director or writer!—falling into the fictional world or meeting their characters.

Of course, not all RPF is about actors. Most sports have RPF tags, there are RPF tags for politics from around the world and for various historical settings, the fandom tags for bands are generally presumed to be RPF tags, and there is a general Real Person Fiction tag.

In order to simplify things for readers, it's best practice to use the general Real Person Fiction tag in addition to your fandom-specific tag. You may even want to put “RPF” as a courtesy tag in the Additional Tags section, too. This is because Ao3 isn't currently set up to recognize RPF as the special flavor of fic that it is in the same way that the site recognizes crossovers as special, so it can be very difficult to either seek out or avoid RPF since it's scattered across hundreds of different fandom tags.

On the subject of crossovers—they can make fandom tagging even more daunting. Even for a crossover with lots of fandoms involved, though, you just have to follow the same guidelines as to tag a single-fandom work for each fandom in the crossover. The tricky part is figuring out if what you wrote is really a crossover, or just an AU informed by another fandom—we'll talk about that later.

There are some cases where it's really hard to figure out what fandom something belongs to, like if you wrote a fanfic of someone else's fanfic, theirs is an AU and yours is about their OC, not any of the characters from canon. What do you do?! Well, you do not tag it as being a fanfic for the same thing theirs was. Put the title of their fic (or name of their series) as the fandom for your fic, attributed to their Ao3 handle just like any other fandom is attributed to its author. Explain the situation in either the summary or the initial author's note. Also, ask the author's permission before posting something like this.

What if you wrote a story about your totally original D&D character? The fandom is still D&D, you want the “Dungeons & Dragons (Roleplaying Game)” tag.

What if there's not a fandom tag on the Archive yet for what you wrote? Not a problem! You can type in a new one if you're the first person to post something for a particular fandom. Do make sure, though, that the fandom isn't just listed by a different name than you expect. Many works that aren't originally in English—including anime—are listed by their original language title or a direct translation first, and sometimes a franchise or series's official name might not be what you personally call it, for instance many people think of Phillip Pullman's His Dark Materials series as The Golden Compass series, so it's best to double check.

What if you wrote an entirely new original story that's not based on anything?  Excellent job, that takes a lot of work, but that probably doesn't belong on Ao3!  The Archive is primarily meant as a repository for fannish content, but in a few particular circumstances things we'd consider Original Work may be appropriate content for the Archive as well. Double check the Archive's Terms of Service FAQ and gauge if what you wrote falls under the scope of what is allowed. If what you wrote really doesn't fit here, post it somewhere else or try to get it published if you feel like giving it a shot.

Category

What Ao3 means by category is “does this fic focus on sex or romance, and if so what combination of genders are involved in that sex or romance?”

The category options are:

F/F

F/M

Gen

M/M

Multi

Other

The F/F, F/M, and M/M categories are for stories focused on pairings of two women, a woman and a man, and two men, respectively.  These refer to sexual and/or romantic pairings.

The Other category is for stories focused on (sexual and/or romantic) pairings where one or both partners are not strictly male or female, such as nonbinary individuals, people from cultures with gender systems that don't match to the Western man-woman system, and nonhuman characters for whom biological sex works differently or is nonexistent, including aliens, robots, and inanimate objects or abstract concepts. There are some problems with treating nonbinary humans, eldritch tentacle monsters, sexless androids, and wayward container ships as all the same category, but it's the system we currently have to work with. Use Additional Tags to clarify the situation.

Multi is for stories in which several (sexual and/or romantic) relationships are focused on or which focus on relationships with multiple partners, including cases of polyamory, serial monogamy, strings of hookups with different people, and orgies.  A fic will also show as “Multi” if you, the author, have selected more than one category for the fic, even if none of those are the Multi category. Realistically, the Archive needs separate “Multiple Categories” and “Poly” options, but for now we have to work with this system in which the two are combined.  Use Additional Tags to clarify the situation.

Gen is for stories that do not contain or are not focused on sex or romance. Romance may be present in a gen fic but it's going to be in the background.  While rare, there is such a thing as a sexually explicit gen fic—solo masturbation which does not feature fantasizing about another character is explicit gen fic; a doctor character seeing a series of patients with sex-related medical needs following an orgy may qualify if the orgy is not shown and the doctor is being strictly professional—but such fic needs to be rated, otherwise tagged, and explained carefully in the summary and/or author's note.

Much like the warnings section, category is a “select all that apply” situation. Use your best judgement. For a fic about a polyamorous relationship among a group of women, it's entirely appropriate to tag it as both F/F and Multi.  A poly fic with a combination of men and women in the relationship could be shown as both M/M and F/M, Multi, or all three. A fic that focuses equally on one brother and his husband and the other brother and his wife should be tagged both M/M and F/M, and could be tagged as Multi but you might decided not to just to be clear that there's no polyamory going on. If you wrote a fic about two characters who are both men in canon, but you wrote one of them as nonbinary, you could tag it M/M, Other, or both depending on what you feel is representative and respectful.

When dealing with trans characters, whether they're trans in canon or you're writing them as such, the category selection should match the character's gender.  If there's a character who is a cis woman in canon, but who you're writing as a trans man, you categorize the fic based on his being a man. If there's a character who is a cis man in canon, but whom you're writing as a trans man, he is still a man and the fic should be categorized accordingly. When dealing with nonbinary characters the fic should really be classed as Other though, by convention, fics about characters who are not nonbinary in canon may be classed based on the character's canon gender as well or instead. When dealing with gender swapped characters—i.e. a canonically cis male superhero who you're writing as a cis woman—class the fic using the gender you wrote her with, not the gender he is in canon.

Most of the time, gen fics should not be categorized jointly with anything else because a fic should only be categorized based on the ships it focuses on, and a gen fic should not be focusing on a ship in the first place.*

*(One of the few circumstances in which it might make sense to class a fic as both gen and something else is when writing about Queerplatonic Relationships, but that is a judgement call and depends on the fic.)

Relationship Tags

The thing about relationship tagging that people most frequently misunderstand or just don't know is the difference between “Character A/Character B” and “Character A & Character B.”

Use a “/” for romantic or sexual relationships, such as spouses, people who are dating, hookups, and friends with benefits. Use “&” for platonic or familial relationships, such as friends, siblings, parents with their kids, coworkers, and deeply connected mortal enemies who are not tragically in love.

This is where we get the phrase “slash fic.” Originally, that meant any fic focused on a romantic paring, but since so much of the romantic fic being produced was about pairs of men, “slash fic” came to mean same-sex pairings, especially male same-sex pairings. Back in earlier days of fandom, pre-Ao3 and even pre-internet, there was a convention that when writing out a different-sex pairing, you did so in man/woman order, while same-sex pairings were done top/bottom. Some authors, especially those who have been in the fic community a long time, may still do this, but the convention has not been in consistent, active use for many years, so you don't have to worry about putting the names in the “correct” order. Part of why that died out is we, as a community, have gotten less strict and more nuanced in our understandings of sex and relationships, we're writing non-penetrative sex more than we used to, and we're writing multi-partner relationships and sex more than we used to, so strictly delineating “tops” and “bottoms” has gotten less important and less useful.

The convention currently in use on Ao3 is that the names go in alphabetical order for both “/” and “&” relationships. In most cases, the Archive uses the character's full name instead of a nickname or just a given name, like James "Bucky" Barnes instead of just Bucky or James. We'll talk more about conventions for how to input character names in the Characters section. The Archive will give you suggestions as you type—if one of them fits what you mean but is slightly different from how you were typing it, for instance it's in a different order, please use the tag suggested! Consistency in tags across users helps the site work more smoothly for everybody.

This is really not the place for ship nicknames like Puckleberry, Wolfstar, or Ineffable Wives. Use the characters' names.

Now that you know how to format the relationship tag to say what you mean, you have to figure out what relationships in your fic to tag for.

The answer is you tag the relationships that are important to the story you're telling, the ones you spend time and attention following, building up, and maybe even breaking down. Tagging for a ship is not a promise of a happy ending for that pair; you don't have to limit yourself to tagging only the end-game ships if you're telling a story that's more complicated than “they get together and live happily ever after.” That said, you should generally list the main ship—the one you focus on the most—first on the list, and that will usually be the end-game ship. You should also use Additional Tags, the summary, and author's notes to make it clear to readers if your fic does not end happily for a ship you've tagged. Otherwise readers will assume that a fic tagged as being about a ship will end well for that ship, because that's what usually happens, and they'll end up disappointed and hurt, possibly feeling tricked or lied to, when your fic doesn't end well for that ship

You don't have to, and honestly shouldn't, tag for every single relationship that shows up in your fic at all. A character's brief side fling mentioned in passing, or a relationship between two background characters should not be listed under the Relationship tag section. You can list them in the format “minor Character A/Character C” or “Character C/Character D – mentions of” in the Additional Tags section if you want to, or just tag “Minor or Background Relationship(s)” under either the Relationship tag section or in the Additional Tags section.

There are two main reasons to not tag all those minor relationships. The first is to streamline your tags, which makes them clearer and more readable, and therefore more useful. The second reason is because certain ships are far more common as minor or background relationships than as the focus of a work, so tagging all your non-focus focus ships leads to the tags for these less popular ships getting clogged with stories they appear in, but that are not about them. That is, of course, very frustrating for readers who really want to read stories that focus on these ships.

If your fic contains a major relationship between a canon character and an OC, reader-insert, or self-insert, tag it as such. The archive already has /Original Character, /Reader, /You, and /Me tags for most characters in most fandoms. If such a relationship tag isn't already in use, type it in yourself. There are OC/OC tags, too, some of which specify gender, some of which do not.  All the relationship tags that include OCs stack the gender-specific versions of the tags under the nongendered ones. Use these tags as appropriate.

For group relationships, both polycules and multi-person friendships, you “/” or “&” all the names involved in alphabetical order, so Alex/Max/Sam are dating while Chris & Jamie & Tori are best friends. For a poly situation where not everyone is dating each other you should tag it something like “Alex/Max, Alex/Sam” because Alex is dating both Max and Sam, but Max and Sam are not romantically or sexually involved with each other. Use your judgement as to whether you still want to include the Alex/Max/Sam trio tag, and whether you should also use a “Sam & Max” friendship tag.

Generally, romantic “/” type relationships are emphasized over “&” type relationships in fic. It is more important that you tag your “/”s thoroughly and accurately than that you tag your “&”s at all. This is because readers are far more likely to either be looking for or be squicked by particular “/” relationships than they are “&” relationships. You can tag the same pair of characters as both / and & if both their romance and their friendship is important to the story, but a lot of people see this as redundant. If you're writing incest fic, use the / tag for the pair not the & tag and put a courtesy tag for “incest” in the Additional Tags section; this is how readers who do not want to see incestuous relationships avoid that material.

Queerplatonic Relationships, Ambiguous Relationships, Pre-Slash, and “Slash If You Squint” are all frequently listed with both the “/” and “&” forms of the pairing; use your best judgement as to whether one or the other or both is most appropriate for what you've written and clarify the nature of the relationship in your Additional Tags.

Overall, list your “/” tags first, then your “&” tags.

Character Tags

Tagging your characters is a lot like tagging your relationships. Who is your fic about? That's who you put in your character tags.

You don't have to and really should not tag every single background character who shows up for just a moment in the story, for pretty much the same reasons you shouldn't tag background relationships.  We don't want to clog less commonly focused on characters' tags with stories they don't feature prominently in.

You do need to tag the characters included in your Relationship tags.

A character study type of fic might only have one character you need to tag for. Romantic one shots frequently only have two. Longfics and fics with big ensemble casts can easily end up with a dozen characters or more who really do deserve to be tagged for.

Put them in order of importance. This doesn't have to be strict hierarchal ranking, you can just arrange them into groups of “main characters,” “major supporting characters,” and “minor supporting characters.” Nobody less than a minor supporting character should be tagged. Even minor supporting characters show up for more than one line.

If everyone in the fic is genuinely at the same level of importance (which does happen, especially with small cast fics), then order doesn't really matter. You can arrange them by order of appearance or alphabetically by name if you want to be particularly neat about it.

Do tag your OCs! Some people love reading about OCs and want to be able to find them; some people can't stand OCs and want to avoid them at all costs; most people are fine with OCs sometimes, but might have to be in the mood for an OC-centric story or only be comfortable with OCs in certain contexts. Regardless, though, Character tags are here to tell readers who the story is about, and that includes new faces. Original Characters are characters and if they're important to the story, they deserve to be tagged for just like canon characters do.

There are tags for “Original Character(s),” “Original Male Character(s),” and “Original Female Character(s).” Use these tags!  If you have OCs you're going to be using frequently in different stories, type up a character tag in the form “[OC's Name] – Original Character” and use that in addition to the generic OC tags.

Also tag “Reader,” “You,” or “Me” as a character if you've written a reader- or self-insert.

You can use the “Minor Characters” tag to wrap up everybody, both OC and canon, who doesn't warrant their own character tag. Remember, though, that this tag is also used to refer to minor canon characters who may not have their own official names.

Just like when tagging for relationships, the convention when tagging for characters is to use their full name. The suggestions the Archive gives you as you type will help you use the established way of referring to a given character.

Characters who go by more than one name usually have their two most used names listed together as one tag with the two names separated by a vertical bar like “Andy | Andromache of Scythia.” This also gets used sometimes for characters who have different names in an adaptation than in the source text, or a different name in the English-language localization of a work than in the original language. For character names from both real-world and fictional languages and cultures that put family or surname before the given name—like the real Japanese name Takeuchi Naoko or the made up Bajoran name Kira Nerys—that order is used when tagging, even if you wrote your fic putting the given name first.

Some characters' tags include the fandom they're from in parentheses after their name like “Connor (Detroit: Become Human).” This is mostly characters with ordinary given names like Connor and no canon surname, characters who have the same full name as a character in another fandom, such as Billy Flynn the lawyer from the musical Chicago and Billy Flynn the serial killer played by Tim Curry in Criminal Minds, and characters based on mythological, religious, or historical figures or named for common concepts such as Lucifer, Loki, Amethyst, Death, and Zero that make appearances in multiple fandoms.

Additional Tags

Additional Tags is one of the most complicated, and often the longest, section of metatext we find ourselves providing when we post fic. It's also the one that gives our readers the greatest volume of information.

That, of course, is what makes it so hard for us to do well.

It can help to break down Additional Tags into three main functions of tag: courtesy tags, descriptive tags, and personal tags.

Courtesy tags serve as extensions of the rating and warning systems. They can help clarify the rating, provide more information about the Archive Warnings you've used or chosen not to use, and give additional warnings to tell readers there are things in this fic that may be distasteful, upsetting, or triggering but that the Archive doesn't have a standard warning for.

Descriptive tags give the reader information about who's in this fic, what kind of things happen, what tropes are in play, and what the vibe is, as well as practical information about things like format and tense.

Personal tags tell the readers things about us, the author, our process, our relationship to our fic, and our thoughts at the time of posting.

It doesn't really matter what order you put these tags in, but it is best practice to try to clump them: courtesy tags all together so it's harder for a reader to miss an important one, ship-related info tags together, character-related info tags together, etc.

There are tons and tons of established tags on Ao3, and while it's totally fine, fun, and often necessary to make up your own tags, it's also important to use established tags that fit your fic.  For one thing, using established tags makes life easier for the tag wranglers behind the scenes. Using a new tag you just made up that means the same thing as an established tag makes more work for the tag wranglers. We like the tag wranglers, they're all volunteers, and they're largely responsible for the search and sorting features being functional. Be kind to the tag wranglers.

For basically the same reasons, using established tags makes it easier for readers to find your fic. If a reader either searches by a tag or uses filters on another search to “Include” that tag, and you didn't use that tag, your fic will not show up for them even if what you wrote is exactly what they're looking for.  Established tags can be searched by exactly the same way as you search by fandom or pairing, your off the cuff tags cannot.

Let's talk about some well-known established tags and common tag types, divvied up by main function.

Courtesy

A lot of courtesy tags are specific warnings like “Dubious Consent,” “Incest,” “Drug Use,” “Extremely Underage,” “Toxic Relationship,” and “Abuse.” Many of these have even more specific versions such as “Recreational Drug Use” and “Nonconsensual Drug Use,” or “Mildly Dubious Consent” and “Extremely Dubious Consent.”

Giving details about what, if any, drugs are used or mentioned, specifying what kinds of violence or bodily harm are discussed or depicted, details about age differences or power-imbalanced relationships between characters who date or have sex, discussion or depictions of suicide, severe or terminal illness, or mental health struggles is useful. It helps give readers a clear sense of what they'll encounter in your fic and decide if they're up for it.

One the most useful courtesy warning tags is “Dead Dove: Do Not Eat” which basically means “there are things in this fic which are really screwed up and may be disturbing, read at your own risk, steer clear if you're not sure.” This tag—like all courtesy warnings, really—is a show of good faith, by using it you are being a responsible, and thoughtful member of the fanfic community by giving readers the power and necessary information to make their own informed decisions about what they are and are not comfortable reading.

Saying to “Heed the tags” is quite self-explanatory and, if used, should be the last or second to last tag so it's easy to spot.  Remember, though, that “Heed the tags” isn't useful if your tags aren't thorough and clear.

“Additional Warnings In Author's Note” is one of only things that should ever go after “Heed the tags.”  If you use this, your additional warnings need to go in the author's note at the very beginning of the fic, not the one at the end of the first chapter.  If your additional warnings write up is going to be very long because it's highly detailed, then it can go at the bottom of the chapter with a note at the beginning indicating that the warnings are at the bottom. Some authors give an abbreviated or vague set of warnings in the initial note, then longer, highly detailed, spoilery warnings in the end note. It's best to make it as simple and straightforward as possible for readers to access warnings.

Tagging with “Dead Dove: Do Not Eat,” “Heed the tags,” or “Additional Warnings In Author's Note” is not a substitute for thorough and appropriate courtesy tagging. These are extra reminders to readers to look closely at the other warnings you've given.

While most courtesy tags are warnings, some are assurances like “No Lesbians Die” or “It's Not As Bad As It Sounds.”  A fic tagged for rape or dub-con may get a tag assuring that the consent issues are not between the characters in the main ship; or a fic with a premise that sounds likely to involve lack of consent but actually doesn't may get a tag that it's “NOT rape/non-con.” A tag like “Animal Death” may be immediately followed by a freeform tag assuring that the animal that dies is not the protagonist's beloved horse.

Descriptive

There are a few general kinds of descriptive tags including character-related, ship-related, temporal, relation-to-canon, trope-related, smut details, and technical specifications.

Many character- and ship-related tags simply expand on the Character and Relationship tags we've already talked about.  This is usually the place to specify details about OCs and inserts, such as how a reader-insert is gendered.

When it comes to character-related tags, one of the most common types in use on Ao3 and in fandom at large is the bang-path. This is things like werewolf!Alex, trans!Max, top!Sam, kid!Jamie, and captain!Tori. Basically, a bang-path is a way of specifying a version of a character. We've been using this format for decades; it comes from the very first email systems used by universities in the earliest days of internet before the World Wide Web existed. It's especially useful for quickly and concisely explaining the roles of characters in an AU. Nowadays this is also one of the primary conventions for indicating who's top and who's bottom in a ship if that's information you feel the need to establish.  The other current convention for indicating top/bottom is as non-bang-path character-related tags in the form “Top [Character A], Bottom [Character B].”

Other common sorts of character tags are things like “[Character A] Needs a Hug,” “Emotionally Constipated [Character B],” and “[Character C] is a Good Dad.”

Some character-related tags don't refer to a particular character by name, but tell readers something about what kinds of characters are in the fic. Usually, this indicates the minority status of characters and may indicate whether or not that minority status is canon, as in “Nonbinary Character,” “Canon Muslim Character,” “Deaf Character,” and “Canon Disabled Character.”

Down here in the tags is the place to put ship nicknames!  This is also where to say things like “They're idiots your honor” or indicate that they're “Idiots in Love,” maybe both since “Idiots in Love” is an established searchable tag but “They're idiots your honor” isn't yet. If your fandom has catchphrases related to your ship, put that here if you want to.

If relevant, specify some things about the nature of relationships in your fic such as “Ambiguous Relationship,” “Queerplatonic Relationships,” “Polyamory,” “Friends With Benefits,” “Teacher-Student Relationship,” and so on. Not all fics need tags like these. Use your best judgement whether your current fic does.

Temporal tags indicate when your fic takes place. That can be things like “Pre-Canon” and “Post-Canon,” “Pre-War,” “Post-Captain America: The Winter Soldier,” “1996-1997 NHL season,” “Future Fic,” and so on.  These tags may be in reference to temporal landmarks in canon, in the real world, or both depending on what's appropriate.

Some temporal tags do double duty by also being tags about the fic's relationship to canon. The Pre- and Post-Canon tags are like that.

Other relation-to-canon type tags are “Canon Compliant” for fics that fit completely inside the framework of canon without changing or contradicting anything, “Alternate Universe - Canon Divergence” for fics that are compliant up to a certain point in canon, then veer off (maybe because you started writing the fic when the show was on season two but now it's at season four and you're not incorporating everything from the newer seasons, maybe a character died and you refuse to acknowledge that, maybe you just want to explore what might have happened if a particular scene had gone differently), and the various other Alternate Universe tags for everything from coffee shop AUs and updates to modern settings, to realities where everyone is a dragon or no one has their canon superpowers.

The established format for these tags is “Alternate Universe – [type],” but a few have irregular names as well, such as “Wingfic” for AUs in which characters who don't ordinarily have wings are written as having wings.

If you have written an AU, please tag clearly what it is! Make things easy on both the readers who are in the mood to read twenty royalty AUs in a row, the readers who are in the middle of finals week and the thought of their favorite characters suffering through exams in a college AU would destroy the last shred of their sanity but would enjoy watching those characters teach high school, and the readers who really just want to stick to the world of canon right now.

Admittedly, it can get a little confusing what AU tag or tags you need to describe what you've written since most of us have never had a fandom elder sit us down and explain what the AU tags mean. One common mix up is tagging things “Alternate Universe - Modern Setting” when what's meant is “Alternate Universe - Canon Divergence.”  The misunderstanding here is usually reading “Alternate Universe - Modern Setting” and thinking it means an alternate version of the canon universe that is set at the same time as the canon universe, but is different in some way. That's not how the tag is meant to be used, though.

The Modern Setting AU tag is specifically for fic set now (at approximately the same time period it was written), for media that's canonically set somewhere that is very much not the present of the real world. This can mean things set in the past (like Jane Austen), the future (like Star Trek), or a fantasy world entirely different from our own (like Lord of the Rings or Avatar: the Last Airbender). Fic for a canon that's set more or less “now” doesn't need the Modern Setting AU tag, even if the world of canon is different from our own. If you're removing those differences by putting fantasy or superhero characters in a world without magic or supersoldier serum, you might want the “Alternate Universe - No Powers” tag instead.

Some of the most fun descriptive tags are trope tags. This includes things like “Mutual Pining,” “Bed Sharing” for when your OTP gets to their hotel room to find There Was Only One Bed, “Fake Dating,” “Angst,” Fluff,” “Hurt/Comfort” and all its variants.  Readers love tropes at least as much as we love writing them and want to be able to find their favorites. Everyone also has tropes they don't like and would rather avoid. Tagging them allows your fic to be filtered in and out by what major tropes you've used.

Explicit fics, and sometimes fics with less restrictive ratings, that contain sex usually have tags indicating details about the nature of the sexual encounter(s) portrayed and what sex acts are depicted. These are descriptive tags, but they also do double duty as courtesy tags. This is very much a situation in which tags are a consent mechanism; by thoroughly and clearly tagging your smut you are giving readers the chance to knowingly opt in or out of the experience you've written.

Most of the time, it's pretty easy to do basic tagging for sex acts—you know whether what you wrote shows Vaginal Sex, Anal Sex, or Non-penetrative Sex.  You probably know the names for different kinds of Oral Sex you may have included. You might not know what to call Frottage or Intercrural Sex, though, even if you understand the concept and included the act in your fic. Sometimes there are tags with rectangle-square type relationships (all Blow Jobs are Oral Sex, but not all Oral Sex is a Blow Job) and you're not sure if you should tag for both—you probably should. Sometimes there are tags for overlapping, closely related, or very similar acts or kinks and you're not sure which to tag—that one's more of judgement call; do your best to use the tags that most closely describe what you wrote.

Tag for the kinks at play, if any, so readers can find what they're into and avoid what they're not. Tag for what genitalia characters have if it's nonobvious, including if there's Non-Human Genitalia involved. Tag your A/B/O, your Pon Farr, and your Tentacles, including whether it's Consentacles or Tentacle Rape.

Technical specification tags give information about aspects of the fic other than its narrative content.  Most things on Ao3 are prose fiction so that's assumed to be the default, so anything else needs to be specified in tags. That includes Poetry, Podfics, things in Script Format, and Art. If it is a podfic, you should tag with the approximate length in minutes (or hours). If a fic is Illustrated (it has both words and visual art) tag for that.

Tag if your fic is a crossover or fusion.  The difference, if you're not sure, is that in a crossover, two (or more) entire worlds from different media meet, whereas in a fusion, some aspects of one world, like the cast of characters, are combined with aspects of another, like the setting or magic system.

If the team of paranormal investigators from one show get in contact with the cast of aliens from another show, that's a crossover and you need to have all the media you're drawing from up in the Fandom tags. If you've given the cast of Hamlet physical manifestations of their souls in the form of animal companions like the daemons from His Dark Materials but nothing else from His Dark Materials shows up, that's a fusion, the Fandom tag should be “Hamlet - Shakespeare,” and you need the “Alternate Universe - Daemons” tag. If you've given the members of a boy band elemental magic powers like in Avatar: the Last Airbender, that can be more of a judgement call depending how much from Avatar you've incorporated into your story. If absolutely no characters or specific settings from Avatar show up, it's probably a fusion.  Either way, if the boyband exists in real life, it needs to be tagged as RPF.

Tag if your fic is a Reader-Insert or Self-Insert.

You might want to tag for whether your fic is written with POV First, Second, or Third Person, and if it's Past Tense or Present Tense (or Future Tense, though that's extremely uncommon).  For POV First Person fics that are not self-inserts, or POV Third Person fics that are written in third person limited, you may want to tag which character's POV is being shown. Almost all POV Second Person fics are reader-insert, so if you've written one that isn't, you should tag for who the “you” is.

A fic is “POV Outsider” if the character through whom the story is being conveyed is outside the situation or not familiar with the characters and context a reader would generally know from canon. The waitress who doesn't know the guy who just sat down in her diner is a monster hunter, and the guy stuck in spaceport because some hotshot captain accidentally locked down the entire space station, are both potential narrators for POV Outsider stories.

Other technical specifications can be tags for things like OCtober and Kinktober or fic bingo games.  Tagging something as a Ficlet, One Shot, or Drabble is a technical specification (we're not going to argue right now over what counts as a drabble). Tagging for genre, like Horror or Fantasy, is too.

It's also good to tag accessibility considerations like “Sreenreader Friendly,” but make sure your fic definitely meets the needs of a given kind of accessibility before tagging it.

Personal

Even among personal tags there are established tags!  Things like “I'm Sorry,” “The Author Regrets Nothing,” “The Author Regrets Everything,” and “I Wrote This Instead of Sleeping” are common ones.  Tags about us and our relationship to the fic, such as “My First Work In This Fandom,” “Author is Not Religious,” and “Trans Porn By A Trans Author,” can help readers gauge what to expect from our fic. Of course, you are not at all obligated to disclose any personal information for any reason when posting your fic.

The “I'm Bad At Tagging” tag is common, but probably overused. Tagging is hard; very few of us have a natural feel for it even with lots of practice.  It's not a completely useless tag because it can indicate to readers that you've probably missed some things you should have tagged for, so they should be extra careful; but it can also turn into a crutch, an excuse to not try, and therefore a sign to readers they can't trust your tagging job. Just do your best, and leave off the self depreciation. If you're really concerned about the quality of your tagging, consider putting in an author's note asking readers to let you know if there are any tags you should add.

You might want to let readers know your fic is “Not Beta Read” or, if you're feeling a little cheekier than that, say “No Beta We Die Like Men” or its many fandom-specific variants like the “No Beta We Die Like Robins” frequently found among Batman fics and “No beta we die like Sunset Curve” among Julie and The Phantoms fic. Don't worry, the Archive recognizes all of these as meaning “Not Beta Read.”

The Archive can be inconsistent about whether it stacks specific variants of Additional Tags under the broadest version of the tag like it does with Fandom tags, so best practice is usually to use both.  You can double check by trying to search by a variant tag (or clicking on someone else's use of the variant); if the results page says the broader or more common form of the tag, those stack.

There's no such thing as the right number of tags. Some people prefer more tags and more detail, while other people prefer fewer more streamlined tags, and different fics have different things that need to be tagged for.  There is, however, such a thing as too many tags.  A tagblock that takes up the entire screen, or more, can be unreadable, at which point they are no longer useful. Focus on the main points and don't try to tag for absolutely everything.  Use the “Additional Warnings In Author's Note” strategy if your courtesy tags are what's getting out of hand.

Tag for as much as you feel is necessary for readers to find your fic and understand what they're getting into if they decide to open it up.

A little bit of redundancy in tags is not a sin.  In fact, slight redundancy is usually preferable to vagueness. Clear communication in tags is a cardinal virtue. Remember that tags serve a purpose, they're primarily a tool for sorting and filtering, and (unlike on some other sites like tumblr) they work, so it's best to keep them informative and try to limit rambling in the tags. Ramble at length in your author's notes instead!

Titles

Picking a title can be one of the most daunting and frustrating parts of posting a fic. Sometimes we just know what to call our fics and it's a beautiful moment. Other times we stare at that little input box for what feels like an eternity.

The good news is there's really no wrong way to select a title. Titles can be long or short, poetic or straight to the point. Song lyrics, idioms, quotes from literature or from the fic itself can be good ways to go.

Single words or phrases with meanings that are representative of the fic can be great. A lot of times these are well known terms or are easy enough to figure out like Midnight or Morning Glow, but if you find yourself using something that not a lot of people know what it means, like Chiaroscuro (an art style that uses heavy shadow and strong contrast between light and dark), Kintsukuroi (the Japanese art of repairing broken pottery with gold), or Clusivity (the grammatical term for differences in who is or isn't included in a group pronoun), you should define the term in either a subtitle, i.e. “Chiaroscuro: A Study In Contrast,” or at the beginning of the summary.

As a courtesy to other writers, especially in small fandoms, you may want to check to make sure there's not already another fic with the same title in the same fandom, but this is not required. In large fandoms, there's no point in even trying. After all, there are only so many puns to be made about the full moon and only so many verses to Hallelujah.

It may be common practice on other platforms to include information such as fandom or ship in the title of a fic, but on Ao3 nothing that is specified by tags belongs in the title unless your title happens to be the same as a tag because, for instance, you've straightforwardly titled your character study of Dean Winchester “Dean Winchester Character Study” and also responsibly tagged it as such.

Summaries

Yes, you really do need to put something down for the summary. It might only need to be a single sentence, but give the readers something to go off of.

The summary is there to serve two purposes: one, to catch the interest of potential readers, give them a taste of what's inside, and make them want to know more; and two, to give you a space to provide information or make comments that don't really fit in the tags but that you want readers to see before they open the fic.

We've already talked some about that second function. When you put an explanation of the title or clarification about tags in the summary, that's the purpose it's serving. You can also put notes to “Heed the tags” or instruct readers that there are additional warnings in the author's note here in the summary, rather than doing so in the tags.

The first function, the actual summarizing, can be very hard for some of us.  It's basically the movie trailer for your fic, butwhat are you even supposed to say?

There are two main strategies as to how to approach this: the blurb, and the excerpt. Blurbs are like the synopses you at least used to see on the backs of published books, or the “Storyline” section on an IMDb page. Writing one is a matter of telling your readers who does what, under what circumstances.

Depending on the fic, one sentence can capture the whole thing: “Sam and Alex have sex on a train.” “Tori tries to rob a bank.” “If anybody had mentioned Max's new house was haunted, Jamie wouldn't have agreed to help with the move.”

Sometimes a blurb can be a question! “What happens when you lock a nuclear engineer in a closet with a sewing kit, a tennis ball, and half a bottle of Sprite?”

Of course, plenty of blurbs are more than one sentence. Their length can vary pretty significantly depending on the type and length of fic you're working with and how much detail you're trying to convey, but it shouldn't get to be more than a few short paragraphs. You're not retelling the entire fic here.

An excerpt is a portion of the fic copied out to serve as the summary. This, too, can vary in length from a line or two to several paragraphs, but shouldn't get too long. It should not be an entire scene unless that scene happens to be uncommonly short. It's important to select a portion of the fic that both indicates the who, what, and under what circumstances of the fic and is representative of the overall tone. Excerpts that are nothing but dialogue with no indication of who's talking are almost never a good choice. Portions that are sexually explicit or extremely violent are never ever a good choice—if it deserves content warnings, it belongs inside the fic, not on the results page.

Counterintuitively, some of the best excerpts won't even look like an excerpt to the reader if they don't contain dialogue. They seem like particularly literary blurbs until the reader reaches that part in the fic and realizes they recognize a section of narration.

Some of us have very strong preferences as to whether we write blurbs or use excerpts for our summaries. Some readers have very strong preferences as to which they find useful. Ultimately, there's no accounting for taste, but there are things we can do to limit the frustration for readers who prefer summaries of the opposite kind than we prefer to write, without increasing our own frustration or work load very much. Part of that is understanding what readers dislike about each type so we know what to mitigate.

Blurbs can seem dry, academic, and overly simplified. They don't automatically give the reader a sense of your writing style the way an excerpt does. They can also seem redundant, like they're just rehashing information already given in the tags, so the reader feels like they're being denied any more information without opening the fic.

Excerpts can seem lazy, like you, the author, don't care enough to bother writing a blurb, or pushy like you're telling the reader “just read the fic; I'm not going to give you the information you need to decide if you want to read or not, I'm shoving it in front of you and you just have to read it.” That effect gets worse if your tags aren't very informative or clear about what the plot is, if the excerpt is obviously just the first few lines or paragraphs of the fic, if the except is particularly long, or, worst of all, if all three are true at once.

A lot of the potential problems with blurbs can be minimized by having fun writing them! Make it punchy, give it some character, treat it like part of the story, not just a book report. A fic for a serialized show or podcast, for instance, could have a blurb written in the style of the show's “previously on” or the podcast's intro.  Make sure the blurb gives the reader something they can't just get from the tags—like the personality of your writing, important context or characterization, or a sense of the shape of the story—but don't try to skimp on the tags to do it!

Really, the only way to minimize the potential problems with excerpts is to be very mindful in selecting them. Make sure the portion you've chosen conveys the who, what, and under what circumstances and isn't too long.  You know the story; what seems clear and obvious from the excerpt to you might not be apparent to someone who doesn't already know what happens, so you might need to ask a friend to double check you.

The absolute best way to provide a summary that works for everybody is to combine both methods. It really isn't that hard to stick a brief excerpt before your blurb, or tack a couple lines of blurb after your excerpt, but it can make a world of difference for how useful and inviting your summary is to a particular reader. The convention for summaries that use both is excerpt first, then blurb.

If you're struggling to figure out a summary, or have been in the habit of not providing one, try not to stress over it. Anything is better than nothing.  As long as you've written something for a summary, you've given the reader a little more to help them make their decision. What really isn't helpful, though, is saying “I'm bad at summaries” in your summary. It's a lot like the “I'm Bad At Tagging” tag in that it's unnecessarily self depreciating, frequently comes across as an excuse not to try, and sometimes really is just an excuse. Unlike the “I'm Bad At Tagging” tag, which has the tiny saving grace of warning readers you've probably missed something, saying you're bad at summaries has no utility at all, and may drive away a reader who thought your summary was quite good, but is uncomfortable with the negative attitude reflected by that statement. Summaries are hard. It's okay if you don't like your summary, but it's important for it to be there, and it's important to be kind to yourself about it. You're trying, that's what matters.

Author's Notes

Author's notes are the one place where we, the writers, directly address and initiate contact with our readers. We may also talk to them in the comments section, but that's different because they initiate that interaction while we reply, and comments are mostly one-on-one while in author's notes we're addressing everyone who ever reads our fic.

The very first note on a fic should contain any information, such as warnings or explanations, that a reader needs to see before they get to the body of the story, as well as anything like thanks to your beta, birthday wishes to a character, or general hellos and announcements you want readers to see before they get to the body of the story. On multi-chapter fics, notes at the beginning of chapters serve the same function for that chapter as the initial note on the fic does for the whole story, so you can do things like warn for Self-Harm on the two chapters out of thirty where it comes up, let everyone know your update schedule will be changing, or wish your readers a merry Christmas, if they celebrate it, on the chapter you posted on December 23rd but is set in mid-March.

Notes at the end of a fic or chapter are for things that don't need to be said or are not useful to a reader until after they've read the preceding content, such as translations for that handful of dialogue that's in Vulcan or Portuguese, or any parting greetings or announcements you want to give, like a thanks for reading or a reminder school is starting back so you won't be able to write as much. End notes are the best place to plug your social media to readers if you're inclined to do so, but remember that cannot include payment platforms like Patreon or Ko-fi.

As previously mentioned, warnings can go in end notes but that really should only be done when the warnings are particularly long, such that the length might cause a problem for readers who are already confident in their comfort level and would just want to scroll past the warning description. In that case, the additional warnings need to go in the note at the end of the first chapter, rather than at the end of the fic, if it's a multi-chapter fic; and you need to include an initial note telling readers that warnings/explanations of tags are at the bottom so they know to follow where the Archive tells them to see the end of the chapter/work for “more notes.”

When posting a new work, where the Preface section gives you the option to add notes “at the beginning” or “at the end” or both, if you check both boxes, it means notes at the beginning and end of the entire fic, not the beginning and end of the first chapter. For single-chapter fics this difference doesn't really matter, but for multi-chapter fics it matters a lot. In order to add notes to the beginning or end of the first chapter of a multi-chapter fic you have to first go through the entire process to post the new fic, then go in to Edit, Edit Chapter, and add the notes there.

Series and Chapters

Dealing with Series and Chapters is actually two different issues, but they're closely related and cause some of us mixups, especially when we're new to the site and its systems, so we're going to cover them together.

Series on Ao3 are for collecting up different stories that you've written that are associated with each other in some way. Chapters are for dividing up one story into parts, usually for pacing and to give yourself and your readers a chance to take breaks and breathe, rather than trying to get through the entire thing in a single marathon sitting (not that we won't still do that voluntarily, but it's nice to have rest points built in if we need them).

If your story would be one book if it was officially published, then it should be posted as a single fic—with multiple chapters if it's long or has more than one distinct part, like separate vignettes that all go together. If you later write a sequel to that fic, post it as a new fic and put them together in a series. It's exactly like chapters in a book and books in a series. Another way to think of this structure is like a TV show: different fics in the series are like different seasons of the show, with individual chapters being like episodes.

If you have several fics that all take place in the same AU but really aren't the same story those should go together as a series.  If you wrote a story about a superhero team re-cast as school teachers, then wrote another story about different characters in the same school, that's this situation.

Series are also the best way to handle things like prompt games, bingos, or Kinktober, or collect up one shots and drabbles especially if your various fills, entries, and drabbles are for more than one fandom. If you put everything for a prompt game or bingo, or all your drabbles, together as one fic with a different chapter for each story, what ends up happening is that fic gets recognized by the Archive as a crossover when it isn't, so it gets excluded from the results pages for everyone who told the filters to Exclude Crossovers even though one of the stories you wrote is exactly what they're looking for; and that fic ends up with tons and tons of wildly varying and self-contradictory tags because it's actually carrying the tags for several entirely different, possibly unrelated stories, which also means it ends up getting excluded from results pages because, for instance, one out of your thirty-one Kinktober entries is about someone's NoTP.

Dividing these kinds of things up into multiple fic in a series makes it so much easier for readers to find what of your work they actually want to read.

If you've previously posted such things as a single fic, don't worry, it's a really common misunderstanding and there is absolutely nothing stopping you from reposting them separately. You may see traffic on them go up if you do!

Parting Thoughts

Metatext is ultimately all about communication, and in this context effective communication is a matter of responsibility and balance.

Ao3 is our archive. It's designed for us, the writers, to have the freedom to write and share whatever stories we want without having to worry that we'll wake up one day and find our writing has been deleted overnight without warning.  That has happened too many times to so many in our community as other fanfic sites have died, been shut down, or caved to threats of legal action. Ao3 is dedicated to defending our legal right to create and share our stories. Part of the deal is that, in exchange for that freedom and protection, we take up the responsibility to communicate to readers what we're writing and who it's appropriate for.

We are each other's readers, and readers who don't write are still part of our community. We have a responsibility as members of this community to be respectful of others in our shared spaces.  Ao3 is a shared space. The best way we have to show each other respect is to give one another the information needed to decide if a given fic is something we want to engage with or not, and then, in turn, to not engage with fic that isn't our cup of tea. As long as our fellow writer has been clear about what their fic is, they've done their part of the job. If we decided to look at the fic despite the information given and didn't like what we found, then that's on us.

Because metatext is how we put that vital information about our fics out in the community, it's important that our metatext is clear and easy to parse. The key to that is balance. Striking the balance between putting enough tags to give a complete picture and not putting too many tags that become an unreadable wall; the balance between the urge to be thorough and tag every character and the need to be restrained so those looking for fics actually about a certain character can find them; the balance between using established tags for clarity and ease and making up our own tags for specificity and fun.

Do your best, act in good faith, remember you're communicating with other people behind those usernames and kudos, and, most importantly, have fun with your writing!

OMG WISH ME AWAY IS PERFECT

Is there any way we could get just a smidge more? I loved it so much!!!

I feel like I should just start writing it XD huh?

But more headcanons are requested and so that is what I shall give!

• Cass is in love with Marietta from the moment she first meets her. She teaches her sign language right away too because she knows she's a smart baby and for the future when Cass may have a non-verbal day. The first time Mari signs Hi Sister, Cass may or may not have cried a little.

• If you haven't guessed it, Marietta grows to be a polygot (person who speaks at least 6 languages or more) Languages under her belt so to say: French, English, Mandarin, Arabic, American Sign Language, Italian, Korean, Japanese, a little Russian, a little German, and a little Greek.

She also speaks the Old Tongue, the language of the Kwami and the Order.

• Marietta's favorite movie hands down is the Lego Batman Movie. Yes it's a movie in this universe, the writers wanted to make the movie but they needed to give Batman an identity and they asked Bruce if they could write him as the man behind the cowl. Bruce didn't want to but Jason and Tim agreed for him. i.e Jason distracted him while Tim forged his signature.

• The family learned the hard way when Mari was 5 and in her glitter-stage, if you leave clothing out, and this includes costumes, you will have glittered and bedazzled clothes. This was another Joker fainted because of laughing incident because Batman showed up to a fight with a bedazzled and glittery black bat on his chest that had a bedazzled yellow smiley face on it.

• Jason learned he had to place his Red Hood helmets somewhere high and secure because he got his whole hood bedazzled red and had a little smile bedazzled onto the hood as well. Artemis and Roy didn't let him forget it for months.

• Dick was ESTATIC to find his Nightwing suit Bedazzled and proudly went out and kicked ass, even took some pictures for his BichIMightwing Instagram & Twitter accounts.

• When Duke met Mari he just looked at Bruce and shook his head, "You got issues." But that didn't mean he wasn't honored when she invited him to her tea party.

• Gordon was HORRIFIED when he met tiny superhero Mari, he met her as tiny Ladybug and he just looked at Batman and held baby Mari with his jaw practically on the floor. Batman held out his arms for the child but Gordon kept holding her out of reach which Mari thought was the funniest thing so she kept laughing.

"I TURNED AN EYE WHEN IT WAS THE FIRST ONE BATMAN, HE WAS EIGHT!! THIS ONE IS A BABY! A LITERAL BABY! NO!"

It took awhile for Batman to explain that she had "powers" and while they left her at home she found her way to them. Gordon was not happy about it what so ever but he didn't really know what he could do about it. And Bruce didn't really know how he could explain the fact that his daughter was the Guardian of tiny gods and they were overprotective of her and if he even suggested they get another Guardian, Plagg would probably create another...incident...

• Dinners with Jagged and Penny are always awaited with high anticipation, especially from Mari and Damian because Jagged always being Fang and he let's them play with him. Jagged spoils little Mari since he is her "Uncle." No don't look at him like that Bruce, she absolutely needed that all pink electric toy Barbie Jeep to ride in.

• The first time Marietta saw someone come home with injuries after a fight she cried and refused to leave their side. If someone tried to take her to sleep in her room she would wake up and start crying again. When they asked Tikki why she kept putting her hands on the wounds and humming and crying after Tikki explained that Mari used to be able to heal the wounds of others. Her child mind wasn't understanding why it wasn't working most likely.

• Sometimes they forgot that Mari had the memories of her past life, they tried to understand the best they could though. As she grew it became easier for her to work out what was memories, and for her to tell them about them from her perspective.

• Marietta absolutely adores Halloween and everyone has to dress up. Jason and Damian begrudgingly do so. (They won't admit they have fun doing so)

When she was 3, Mari went as Robin and went up to Damian and did a twirl and said, "Look shaqiq (brother)! I'm you!" Damian had to hold a tear in but he smiled and placed a hand over his heart because his little sister was too precious. Also the looks on his brothers faces was priceless.

• Cass teaches little Mari ballet when she gets old enough and Mari loves it. She admires Cass a lot and wants to be like her big sister.

• Buzzfeed made an article about little Marietta Wayne and why you will never be as fashionable as the little toddler.

• Riddler and Mari have a weird thing going on, it's not quiet a rivalry but it's close. She calls him Hook Man, "You know they're question marks! You know you little gremlin!"

"Hey! That's my sister Jackass." Red Hood said, he tried to sound angry but really he was trying not to laugh.

"Jackass?"

"Shit! No! No! That's a bad word! Don't say that! Fuuuuudge, B is going to kill me."

A friend told me that when a native Japanese comments on your Nihongo speaking by saying きれいな言葉 (kirei na kotoba), it's not really a compliment and is contrary to what the phrase literally means. If this phrase is directed to someone, what's the most polite reaction/action that the person should have/do next?

Hmm. This is a very interesting ask. I wonder if your friend is a Japanese person or a non-native speaker, because it’s not a compliment I’ve heard much. To be honest, receiving praise about my Japanese is a huge pet peeve of mine, so I’d like to delve into this topic a little bit. Let me talk about why they praise us even when all we say is a simple “arigatou,” and then how you can respond to that praise.

Note: You will see me refer to “foreigners” (a.k.a. “Non-Japanese people) as “gaijin” in this article. “Gaijin” （外人） is a truncated version of “gaikokujin” 外国人 (a person from outside of Japan). By removing the middle “koku” (country), we are left with the word gaijin, which literally translates to “outsider.”

Some people see this as an offensive term, and I am one of them. So when I use the word “gaijin,” I do it order to highlight how foreigners are truly viewed as “outsiders” in certain circumstances by certain Japanese people. 

Note 2: You are WAY more likely to receive praise if you clearly do not look Japanese. This post is told from my perspective, a girl so white she freaking glows in the dark.

Stereotypes of Gaijin Held by Japanese People

If you go to Japan and try to use Japanese, no matter how fluent or non-fluent you are, you will be complimented on your Nihongo by Japanese strangers. Japanese people are very quick to give compliments even if all you say is a simple “arigatou gozaimasu.” As a people they are polite and complimentary, and they appreciate even small gestures like you taking the time to learn “arigatou” even though you’re a tourist, for example. Some of these compliments are sincere, and other times they say it because even if your Japanese isn’t good, at least you’re trying, and they appreciate the effort. 

There are quite a few TV shows in Japan that capitalize on gaijin in Japan, such as “YOU wa nani shi ni Nippon he?” (Why did YOU come to Japan?) in which they scavenge for interesting gaijin at airports and follow them on their trips. (I was once picked up for this show, but when I was like, “Yo I’m just going back home to Hokkaido and starting up work tomorrow,” they were like, “oh, you are not the gaijin image that we want to show Japan” and ditched me lol.)

Basically, most of these shows like to capitalize on a very particular image of gaijin:

They cannot speak Japanese, or at most can only speak broken Japanese, and they certainly can’t read Japanese

They cannot use chopsticks well

They do not like/fully appreciate Japanese food, like raw fish, meat, or eggs

They generally do not understand Japanese customs. (I watched one episode about a hippie dude who was walking around Japan BAREFOOT. BAREFOOT. ENTERING SHOPS AND PLACES WITHOUT SHOES ON, FEET FILTHY. He said, “Japanese people are so nice--no one minds if I come in barefoot.” THEY DO MIND, YOU INGRATE. THEY’RE JUST TOO POLITE TO TELL YOU TO GET THE EFF OUT. Who knows how many Japanese people think that Americans think it’s okay to walk around barefoot now, even though we have “No shoes no shirt no service” signs everywhere for this very purpose!)

Only 3% of the Japanese population is non-Japanese. This means that many, many Japanese people have never met a gaijin in person and base their assumptions of us entirely off the media and the stereotypes proliferated there. 

One of the things Japanese people (and most other people in the world, for that matter) mistakenly believe is that Japanese is the hardest language in the world to learn. 

Real talk: from an unbiased, purely linguistic standpoint, there is no such thing as a “hard” or “easy” language. There is such a thing as “linguistic distance,” which measures how much one language and another differs. For example, Italian and Spanish share so much grammar and similar vocabulary that their distance is short. Conversely, there is a substantial linguistic distance between Spanish and Korean.

However, a short linguistic distance does not equal “easy to learn.” 

Japanese is quite distant from all languages other than Korean. And yeah, kanji’s a bitch. I won’t argue with you there. But from personal experience, as a native English speaker, I found German harder to learn than Japanese, despite German being much linguistically closer to my native language. It all varies from person to person. 

But many Japanese people will tell you, “Japanese is so hard, isn’t it? It’s so impressive that you can speak it. It’s the hardest language.” And then their eyeballs drop out of their sockets when you tell them that you can read tHe KaNjI as well. 

Many Japanese people are convinced that not only is Japanese the hardest language in the world, but also almost no foreigners are able to speak it. This, coupled with their culture of politeness, leads them to be quick to praise our use of Japanese, no matter how good or bad it is. 

And therein lies my pet peeve with quick praise. Just a simple “arigatou gozaimasu” and some Japanese people will fawn over how sugoi your nihongo is, and in my eyes it sort of diminishes the actual level of sugoi my nihongo is. If that makes sense lol. I guess I just wish that people would treat me like a fellow Japanese person instead of a gaijin.

Common Praise

Here are some common phrases you might hear if someone is impressed with your Japanese, listed roughly from most common to least:

日本語がとてもお上手ですね！ Nihongo ga totemo ojouzu desu ne! You are very good at Japanese!

日本語ペラペラですね！ Nihongo perapera desu ne! You’re fluent in Japanese!

日本人みたいに喋れるじゃん！ Nihonjin mitai ni shabereru jan! You can speak just like a Japanese person!

日本人より日本語喋れるじゃん！ Nihonjin yori nihongo shabereru jan! You speak Japanese better than Japanese people do!

ナマリがまったくない！ Namari ga mattaku nai! You don’t have an accent at all!

発音がきれいです！ Hatsuon ga kirei desu! Your pronunciation is beautiful!

綺麗なお言葉です。 Kireina okotoba desu. You speak beautifully.

Y’know, I don’t think I’ve ever heard that last compliment before. To me, it sounds a little...stiff. Like maybe something an employee at a store would say to the customer who is trying to talk to them, and the employee is trying to be polite, but may not be 100% sincere. Sometimes that stiff, formal Japanese hides a person’s true warmth, though, so it’s a bit hard to tell. 

How to Respond to Praise

In America, if you are praised, it is common to reply with a “Thank you,” and then you can follow that up with a sign of humility or pride, like “Thank you, but I still have a lot to learn,” or “Thank you, I’ve been studying for a few years now!”

However, in Japan, you do not thank them. Instead, you contradict them. If someone says, “You are very good at Japanese!” you are meant to say “No, I’m not at all.”

This is not only limited to praise regarding Japanese. If someone says your outfit looks cute, you should say something like, “Really? This shirt is so old it’s about to get holes in it.” If someone says you are good at sports you should say, “Oh no, I’m terribly clumsy. Today must be a lucky day.” For example.

If they continue to praise you a second time, deny it again. 

If they praise you a third time, then you can say something like, “It’s thanks to you,” or “I’ve had a lot of help to get to this point.” Basically, you make sure that you are not prideful, and you give credit to those around you.

Japanese culture appreciates humility over pride, and puts others before oneself. These two facets of culture greatly shape nearly every social interaction.

Here are some things you can say if someone praises your Japanese:

いえいえ、まだ勉強中です！ Ie ie, mada benkyou-chuu desu! No no, I’m still learning!

いえいえ、まだまだです。 Ie ie, mada-mada desu. No no, I still have a long way to go.

いえいえ、そんなことないです。 Ie ie, sonna koto nai desu. No no, not at all.

My favorite is the “benkyou-chuu” one, because I’ll be studying Japanese until the day I die. 

As an extra little thing to make you even more natural, when you say the “ie ie,” do this hand motion (and not the facial expression lol):

This little hand wave in front of the face, with the tip of your middle finger at the same height as the tip of your nose, is a Japanese hand gesture that means...man, how do I put this into words?

“No no, you are thinking too highly of me” or “No no, don’t go to such trouble for me” or “No no, I’m fine, thank you.” It’s a super handy gesture!

HAH, “handy”

Anyways. You can use this gesture when you are declining praise, but you can also use it at a restaurant, for example. Maybe a waitress asks, “Do you want another beer?” And you can give the little hand wave and a smile to mean, “I’m good, thanks.” You can also say “Kekkou desu” as you do the motion.

Hope this post was of use to you!

Is the popular headcanon that Nicky was illiterate, stupid and barbaric fitting in the stereotypes about Southern Europeans / Mediterraneans ? I’m guessing it’s from the American part of the fandom that’s choosing to not respectfully write Nicky since he is white while being virulent towards anybody that doesn’t perfected and accurately write Joe because he is MENA.

Hello!

Mind you, I am neither a psychologist, a sociologist nor a historian, so of course be aware these are my own views on the whole drama.

But to answer your question, yes, I personally think so. It definitely comes from the American side, but I have seen Northern Europeans do that too, often just parroting the same type of discourse that Anglos whip out every other day.

There is an abysmal ignorance of Medieval history – even more so when it concerns countries that are not England: there is this common misconception that Europe in the Middle Ages was this cultural backwater full of semi-barbaric people that stems unfortunately not only from trying to (correctly) reframe colonialist approaches to the historiographies of non-European populations (that is, showing the Golden Age of Islamic culture, for instance, as opposed to what were indeed less culturally advanced neighbours), but also from distortions operated by European themselves from the Renaissance onwards, culminating in the 18th century Enlightenment philosophes categorising the Middle Ages as the Dark Ages.

Now this approach has been time and time again proven to be a made-up myth. I will not go into detail to disprove each and every single one misconception about the Medieval era because entire books have been written, but just to give you an example: there was no such a thing as a ius primae noctis/droit du seigneur; people were aware that the Earth was not flat (emperors, kings, saints, etc, they were depicted holding a globe in their hands); people were taking care of their hygiene, either through the Roman baths, or natural springs, or private tubs that the wealthier strata of the population (and especially the aristocracy) owned. The Church was not super happy about them not because it wanted people to remain dirty, but because often these baths were for both men and women, and it was not that in favour of them showing off their bodies to one another. Which, you know, we also don’t do now unless you go to nudist spas. It was only during the Black Death in the 14th century that baths were slowly abandoned because they became a place of contagion, and they went into disuse (or better, they changed purpose and became something like bordellos). And, lastly, there was certainly a big chunk of the population that was illiterate, but certainly it was not the clergy, which was THE erudite class of the time. It was in monasteries and abbeys that knowledge was passed and preserved (as well as lost unfortunately often, such as the case for the largest part of classical literature).

So what does this mean? According to canon, Nicolò was an ex priest who fought in the First Crusade. This arguably means that at the very least he was a cadet son of a minor noble family (or a wealthy merchant one) who was part of the clergy. As such, historically he could have been neither illiterate nor a dirty garbage cat in his daily life.

Let’s then talk geography. Southern Europe (and France) was far, far more advanced than the North at the time and Italy remained the cultural powerhouse of the continent until the mid-17th century. Al Andalus in the Iberian Peninsula, the Italian States,  the Byzantine Empire (which called itself simply Roman Empire, whose population defined itself as Roman and cultural heirs of the Latin and Greek civilisations): these places have nothing to do with popular depictions of Medieval Europe that you mainly see from the Anglos. Like @lucyclairedelune rightfully pointed out: not everyone was England during the plague.

Also the Middle Ages lasted one thousand years. As a historical age, it’s way longer than anything we had after that. So of course habits varied, there was a clear collapse right after the fall of the Western Roman Empire, but then things develop, you know?

Anyway, back to the point in question. Everything I whipped up is not arcane knowledge: it’s simply having studied history at school and spending a few hours reading scientific articles on the internet which are not “random post written by random Anglo on Tumblr who can hardly find Genoa on a map”.

Nicolò stems from that culture. The most advanced area in Europe, possibly a high social class, certainly educated, from Genoa, THE maritime superpower of the age (with…Venice). It makes absolutely no sense that he would not be able to speak anything past Ligurian: certainly Latin (the ecclesiastical one), maybe the koine Greek spoken in Constantinople, or Sabir, or even the several Arabic languages from the Med basin stretching from al Andalus to the Levant. Because Genoa was a port, and people travel, bring languages with them, use languages to barter.

And now I am back to your question. Does this obstinacy in writing him as an illiterate beast (basically) feed into stereotypes of Mediterranean people (either from the northern or the southern shore)? It does.

It is a typically Anglo-Germanic perspective that of describing Southern (Catholic) Europeans are hot-headed, illiterate bumpinks mindlessly driven by blind anger, lusts and passions, as opposed to the rational, law-abiding smart Northern Protestants. You see it on media. I see it in my own personal life, as a Southern Italian living in Northern Europe for 10 years.

Does it sound familiar? Yes, it’s the same harmful stereotype of Yusuf as the Angry Brown Man. But done to Nicolò as the Angry Italian Man (not to mention the fact that, depending on the time of day and the daily agenda of the Anglo SJW Tumblrite, Italians can be considered either white or non-white).

Now, the times where Nicolò is shown as feral are basically when he is fighting (either in a bloody war or against Merrick’s men) or when Yusuf is in danger. Because, guess what, the man he loves is being hurt. What a fucking surprise.

Nicolò is simply being reduced to a one dimensional stereotype of the dirty dumb angry Italian, and people are simply doing this because they do not seem to accept the fact that both he and Yusuf are two wonderfully complex, flawed, fully-fledged multidimensional characters.

So I am mainly concentrating on Nicolò here because as an Italian I feel more entitled to speak about the way I see the Anglo fandom treating him and using stereotypes on him that have been consistently applied to us by the Protestant Northerners. I keep adding the religious aspect because, although I am an atheist who got debaptised from the Catholic Church, a big part of the historical treatment towards Southern has to do with religion and the contempt towards Catholic rituals and traditions (considered, once again, a sign of cultural backwardness by the enlightened North).

I do not want to impose my view of Yusuf because there are wonderful Tumblr users from MENA countries who have already written wonderful metas of the way Yusuf is being depicted by non-MENA people (in particular Americans), especially (again) @lucyclairedelune and @nizarnizarblr.

However, I just want to underline that, by only ever writing Yusuf as essentially a monodimensional character without a single flaw, this takes away Yusuf’s canon multidimensionality, the right he has to feel both positive but also negative feelings (he was hurt and angry at Booker’s betrayal, allegedly his best friend, AND HE HAD EVERY RIGHT TO BE – and I say this as a Booker fan as well).

I have not been the first to say these things, it is nothing revolutionary, and it exactly complements what the MENA tumblr users in the TOG fandom have also been trying to say. Both of us as own voices people who finally have the chance to have two characters that are fully formed and honest representations of our own cultures, without stereotypes or Anglogermanic distortions.

And the frustration mounting among all of us comes from the fact that the Anglos are, once again, not listening to us, even telling us we are wrong about our own cultures (see what has happened to Lucy and Nazir).

What is even more frustrating is that everything in this cursed fandom – unless it was in the film or comics – is just a bloody headcanon. But these people are imposing their HCs as if it were the Word of God, and attacking others – including own voices MENA and Italians – for daring to think otherwise.

I honestly don’t expect this post will make any difference because this is just a small reflection of what Americans do in real life on grander scale, which is thinking they are the centre of the world and ignoring that the rest of the world even exists regardless of their own opinions on it.

But still, sorry for the length, hope I answered your question.

So now, at the tender age of very-nearly-51, I'm a student again. Well, auditor.

A really nice friend (hi Doris *waves*) who's audited university classes for some years now and has had a lot of fun in the process decided to pay my auditor's tuition fee for this semester because she figured I'd have a lot of fun too (and she also figured that I wouldn't come up with the idea myself because where I live now the nearest university is a bit... not so easy to reach, and even if it were nearby I'd still be too broke).

So now I've signed up for four classes and one of them started today.

Turns out the professor (German guy in Germany) actually knows where my little Finnish town is located and he's even been here before! That was a nice surprise.

This class is a lecture series about the history of the Latin language and I still have to wrap my head around the fact that classical philologists have internet now. I'm ancient; in "my day" (early 1990s) only the computer scientists and us computational linguists and some of the engineering departments had internet access. (Well, there wasn't that much you could do on the internet back then anyway, at least compared to nowadays. But near-instantaneous communication with colleagues overseas through text-based forms of communication (e-mail or chat) and the possibility to upload your own research and download others' using protocols like FTP or Gopher would have certainly been of use to people from other departments than ours too! – Yes, I'm that old. I was on the 'net before HTML even existed outside CERN. But I digress.)

I'm attending this class through Teams; two of the others will be through Teams too, and the fourth one will apparently take place entirely through Moodle.

(If someone had told me back then (early 1990s) that this sort of thing would at all be possible... at a time when "amazing bandwidth" meant whatever you could squeeze out of copper wiring... I have hazy memories of kilobytes per second. In any case, not nearly enough for video conferencing and barely enough for downloading (or uploading) static images of what we'd call "decent size and resolution" today. Audio conferencing was possible, of course (said copper wires were telephone wires, after all). It was called a "conference call" and you had to submit an application for a conference circuit, stating your desired date and time, to the phone company in advance. (Not "your" phone company. There was only the one.) But video? Nope. But I digress again.)

(Gods, I feel old.)

And now I can video chat with classical philologists in Germany and the mind boggles.

Of course, right at the beginning of the lecture there was the usual linguistic fun that you always get when you have first- or second-year students of Latin in a linguistics (as opposed to philology) class. (Well, fun for people like me, who are slightly more advanced than first- or second-year students and also approach the whole thing from a general-linguistics perspective, meaning that I know fancy terms such as "split ergativity" or "in pausa". Neither of which have much application when discussing Latin, but still.)

(OK, on second thought, it wouldn't surprise me if pausa did come up at some point. *ponders*)

Prof: As we all know, Latin morphology is a lot more complicated than German morphology. Everyone: *groans* Me: ??? Me: *giggles* Prof: ... yeah, you speak Finnish, your nouns have 15 cases. Me: Have you ever looked at the Georgian language? Prof: *groans* Me: Yeah, me too.

🤣

(For non-linguists: Georgian morphology is notoriously complex. The nouns are pretty straightforward, but the verbs are... words fail me. Also, all those Consonant Clusters From Hell.)

Of course, he's in historical linguistics, and this is a class on historical linguistics, so he told us that when we look at all those inflectional irregularities in Latin from a historical perspective (all the way back to Proto-Indo-European if we must) they suddenly become a lot less irregular. I'm looking forward to that. (I already know that lots of irregularities suddenly become regular if you look back far enough, but my memories of PIE and of the historical phonology and morphology of the Italic languages is quite shaky (I can barely say "Manios med fhefhaked Numasioi") and I'm really looking forward to looking at the details again.)

Two of the other classes start next week. The fourth one is a summer class.

*fidgets*

Things I Wish I Had Known About Being A Celticist (Before Becoming One):

1. If you’re North American, you’re going to have to work twice as hard to get the same level of respect as your peers from Europe. Get used to that now, because it won’t get any easier as time goes on. You’re also going to very likely be in classes with people who, while not FLUENT in Gaeilge, have at least some background in it. This can be a blessing and a curse - The curse is that you have less of an idea of what’s going on, the blessing is that the professors will focus a lot of the tougher questions on them, at least at first. 

2. “So, do you have any Irish family?” You will be asked that question. All the time. If you’re North American or English. Unless you have, say, a grandma from Tipperary, the safest answer is always “No, not at all! I just love the literature/history/language/etc.” 

3. Love languages? You’re going to! On average, depending on your program, it’s likely that you’ll at least be learning two languages. At enough of a level where you can get pretty in-depth when it comes to the grammar. Most Old Irish experts are expected to know Old Irish, Middle Welsh (at least enough for comparative purposes), and German, with Latin often being brought in. You’ll also be expected to be able to comment on the development of Old Irish, Middle Irish, Early Modern Irish, and Gaeilge - It’s essential if you’re going to date texts. There are also multiple other Celtic languages (Breton, Manx, Cornish, Scottish) that, while they might not be ESSENTIAL for whatever you’re doing, are still going to be cropping up at different times for comparison purposes - I’d be lying if I said I knew them WELL, and most people tend to stick fairly firmly to their area, BUT you will probably be learning at least a little of them. (Personally, no one asked me, but I honestly think that I couldn’t call myself a Celticist if I just knew one Celtic language, it’s why a longterm goal of mine is to build up as much knowledge of the others as I can.)  I’ve seen quite a few scholars go in thinking that the linguistics part won’t be important, only to be slammed by the program early on. Even if you just want to do literary analysis, you’re going to have to explain the meaning and development of individual words, as well as situating it in the broader scope of the development of your language of choice. (IE “This is a ninth century text, and we know that because it has intact deponent verbs, the neuter article’s dying out, and no independent object pronoun. Also everything’s on fire because Vikings.”)

4. You’re very likely going to have to move. This applies mainly for North Americans who want to do it (unless you happen to live directly in, say, Toronto or Boston, in which case ignore what I said and, Bostonians, polish off your GREs and prepare to listen to Legally Blonde the Musical on repeat because you’re going to be applying for Harvard). There are very few Celtic Studies programs in the world and, in general, most of the major programs, sensibly, are in Celtic-speaking countries - So, if you want to study Scottish, you go to Scotland, you want Irish, you go to Ireland, Welsh in Wales, etc. If you already wanted to move to Europe for a year or two while you’re doing your MA, then great (and for EU students this doesn’t apply, since they can relocate much easier...unless they were planning on going to the UK in which case.....my condolences), but if you didn’t have any sudden plans to move, keep it in mind. From an American perspective, it was literally cheaper to move to Ireland and do my MA there than to deal with the school system here, but that doesn’t mean there aren’t other inconveniences associated with moving to another country. Even if you’re European, the field is fickle - An Irish scholar might find themselves moving to Scotland, an English scholar might find themselves moving to Ireland, etc. etc. These things happen when you have to take what you can get. 

5. You don’t need Old Irish to go for your MA in Celtic Studies. You do not need Old Irish to go for your MA in Celtic Studies. When I first applied for my MA, I thought I didn’t have a chance because I had a general Humanities degree and didn’t have any formal experience with a Celtic language, least of all Old Irish. As it turns out, most programs do not expect you to have a background in this sort of thing beforehand, and quite a few have different programs for those who have a background in this stuff VS those who don’t, so don’t feel, if this is what you REALLY want to do, like you can’t just because of that. Show your passion for the field in your application, talk a little about the texts you’ve studied, angles you’re interested in, etc., make it the best application you can, and you still have a shot even without Old Irish (or, for non-Irish potential Celticists, whatever your target is.)  

6. It’s competitive - Just because you get your MA, PhD programs are fewer and farer between. Academia in general isn’t known for its phenomenal job security, but Celtic Studies in particular is very fragile, since we generally are seen as low priority even among the Humanities programs (which, in general, are the first to be axed anyway.) If you focus on medieval languages as opposed to modern ones, you might very well find your program ranked lower in priority than your colleagues in the modern departments. Especially since COVID has gutted many universities’ income. I found that getting into a MA program was significantly easier than planning on what to do afterwards, since, for a PhD, you generally have to go someplace that can pay you at least some amount of money. Going into your PhD without any departmental funding is a recipe for burnout and bankruptcy, and there are very few Celtic Studies programs that can pay. Doesn’t mean you can’t try, and, when paid PhDs become available, they tend to be quite well publicized on Celtic Studies Twitter/Facebook, but keep in mind that you’ll be in a very competitive market. Networking is key - Your MA is your time to shine and get those treasured letters of rec so that you can get that sweet, sweet institutional funding for your PhD. 

7. You’re very likely not actually going to teach Celtic Studies. Because there are so few teaching positions available worldwide, it’s much more likely that you’ll be teaching general Humanities/Composition/etc. This doesn’t mean that you’ll be giving up Celtic Studies (conferences are always going to be open, you don’t have to stay in one department for your entire life and can snag a position when it becomes available, and, even if you go outside of academia, the tourism industry...well, it was looking for Celticists, before The Plague), it just means that if teaching it is what you REALLY want to do with your life, it might be good to check your expectations. A few programs even have an option where you can essentially double major for the sake of job security. (So, if you always wanted to be the world’s first French Revolution historian/Celticist/Gothic Literature triple threat......................the amount of reading you’d have to do would likely drive you insane but................)

8. Make nice with your department. Make nice with your department. Celtic Studies departments tend to be small and concentrated, so you’re going to be knowing everyone quite well by the end of your first grad degree, at least. You don’t have to like everyone in it, but they aren’t just your classmates, they’re your colleagues. You will be seeing at least some of their faces for the rest of your life. I can say that my MA department remembered students who left the program a decade ago. Your department is supposed to have your back, and they can be an invaluable source of support when you need it the most, since they understand the program and what it entails better than anyone else can. You’ll need them for everything from moral support to getting you pdfs of That One Article From A Long Discontinued Journal From The 1970s. I’ve seen students who made an ass of themselves to the department - Their classmates remembered them five years later. Don’t be that guy. Have fun, go to the holiday dinners, get to know people, ask about their work, attend the “voluntary” seminars and lectures, and do not make an ass of yourself. That is how you find yourself jumping from PhD program to PhD program because your old professors “forgot” your letter of rec until the day after the deadline. Also, since your departments are small and concentrated, it’s a good idea to prepare to separate your social media for your personal stuff vs your academics as much as you can, since it won’t be too hard to track you down if people just know that you do Celtic Studies. 

9. Some areas of the field are more respected than others. If you want to do work on the legal or ecclesiastical aspects, excellent. If you want to focus on the linguistic elements, excellent. If you’re here for literature.....there’s a place, though you’re going to have to make damned sure to back it up with linguistic and historical evidence. (There’s less theory for theory’s sake, though theoretical approaches are slowly gaining more acceptance.) But if you’re here for mythography or comparative approaches...there is a PLACE for you, but it’s a little dustier than the others. There are fewer programs willing to outright teach mythology, mainly because it’s seen as outdated and unorthodox, especially since the term itself in a Celtic context is controversial. Pursue it, God knows we need the support, but just...be prepared to mute a lot of your academic social media. And, really, your social media in general. And have a defense prepared ahead of time. With citations. Frankly, I think my Bitch Levels have gone up a solid 50% since getting into this area, because consistently seeing the blue checkmarks on Twitter acting like you’re not doing real work while you’re knees deep in a five volume genealogical tract tends to do that to you. If it ever seems like I go overboard with the citations when it comes to talking about the Mythological Cycle, this is why - I have to. It’s how I maintain what legitimacy I have. I’d still do it if I’d have known, but I would have appreciated the heads up. (On the plus side - It means that, in those few programs that DO teach mythology, you’re golden, because they want all the serious students they can get.) 

10. If you really, really love it, it’s worth it. After all this, you’re probably wondering why anyone would sign on for this. The work’s grueling and often unrewarding, you might or might not get respect for what you do based off of where you were born and what your interests are, and you’re subject to an incredibly unpredictable job market so you might never see any material compensation for all of it. But, if you can check your expectations of becoming rich off of it, if all you REALLY want to do is chase it as far as it can go, then it’s worth it. There’s a lot of work to be done, so you don’t have to worry too much about trotting over the same thing that a dozen scholars have already done. You might get the chance to be the very first person, for example, to crack into a text that no one’s read for over a thousand years, or you might totally re-analyze something because the last person to look at it did it in the 19th century, or you might get to be the first person to look at an angle for a text or figure that no one’s considered. If finding a reference to your favorite person in a single annal from the 17th century makes you walk on air for the entire day, then you might very well be the sort of person the field needs. 

Headcanons on Russia’s and Prussia’s relationship with France.

Russia:

I think that in the XVIII century a large chunk of Europe had a crush on France. French culture was widespread among European courts and the language was being used to communicate in a similar manner English is used today. Frenchness was just very IN at that time.

Those countries included Russia. At that time Peter the Great was westernizing his country, and injecting French-ness into Russian lives was a part of this process - Versailles and the French court impressed Peter immensely when he went to visit France and when he came back home, he began emulating many things he observed in the western country. Language, customs, widespread mirrors everywhere, architecture, gardens. You name it.

High-born Russians would talk to each other in French and give themselves French names. Lets note that French wasn’t the only foreign language that was widespread in Russia, so were others, like German and Latin [mostly used by the academia.

“(...) of  all  the  languages  which  began  to  have  currency  in  eighteenth-century Russia, it was French that acquired the greatest social, cultural, and political significance,even if it was not always so widely spoken as German“.

The two next generations of Russians grew up within this Francophile culture and viewed it as something natural, from their perspective it was no longer an exotic fashion, just the way thing always were. Therefore, this was something more than just a fleeting fascination that lasted as long as Peter ruled - and had lingering influence on Russian culture.

“The most important stimulus for the development of French-speaking in Russia, though, was the use of French as a court language from around the middle of the reign of Peter’s daughter Elizabeth (1741–61), who had learnt it in childhood from a French lady at her father’s court.“

And so it went on from there: “At the beginning of the nineteenth century, the Russian nobility still preferred French to Russian for everyday use, and were familiar with French authors such as Jean de la Fontaine, George Sand (etc.). The influence of France was equally strong in the area of social and political ideas. Catherine II's interest in the writings of the (french) philosophers of the Enlightenment (...) contributed to the spread of their ideas in Russia during the eighteenth century.” and “ During the nineteenth century, travel in France was considered a form of cultural and intellectual apprenticeship. “.

(source) So the interest in French ideas and culture was strong in the second half of the XVIII century and in the XIX century.

So in other words, Russia had a crush on France - it was a total puppy love mostly based on superficial things, like aesthetic, nice smells and pretty, elegant European opulence but most of all: France was the ideal of what Russia was trying to become, the epicenter of European-ness, the “civilization” and Ivan was in the middle of this lowkey cultural revolution in which he was trying to re-invent himself as a modern, “European” country. So I think this crush was very much one of those "I wanna BE YOU" types of crushes, he was head over heels for what France represented - that’s why this hit so hard.

There was some more personal stuff there too, like France's eloquence, his literature and philosophy. Enter a lot of perfumed love letters! Even when the crush slowly withered away Russia still felt - and feels - strong admiration for France and honestly enjoys his culture a lot.

France himself enjoyed the crush but wasn't really that interested in  reciprocating - as mentioned above, large chunk of Europe was also crushing on him due to his culture just being in fashion, so it's not like Russia himself was standing out. But they did become friends and still have good personal relations with each other. They have a lot of passions in common, such as ballet, art, music, opera, Romanticism etc, so they still enjoy talking about this stuff together. It’s not a Deep friendship where they trust each other, don’t be fooled, they don’t trust one another at all! But they do like hanging out.

I also HC that the way both French and German were important in XVIII century Russia (as cited above: French with greater cultural significance and German more widespread) is representative of him catching feelings for both France and Prussia at this time, tho one of those wasn't just a crush.

Prussia:

My non-canon-approved hot take here is that I don't think him and France were ever friends. The exact opposite of that even.

It's true that Frederick the Great also had this hard-on for the French, and in effect Prussia speaks and writes excellent French. But after Frederick William II took over the throne, he took back all those Francophile preferences and began promoting German literature and language instead - something the educated classes of Prussia were thankful for. So because Russia shared his ruler's fascination with France his interest outlasted Peter the Great and became a more prevalent part of Russian culture for a long time, while Prussia never shared Fredrick’s fascination and therefore it got overturned as soon as the new king sat on the throne.

And that makes sense, bc in general Germans and French weren't very friendly with each other during their history. German- French enmity, also called the hereditary enmity, is an idea introduced in the XIX century, and it states that those two forces are natural enemies due to their inherently different goals and incompatible interests. Due tho this they keep bumping against each other throughout the ages. You can see echos of this sentiment it in the Napoleonic Wars, Franco-Prussian War, WW1, the Treaty of Versailles, WW2 etc. France was also the country that stood in the strongest opposition to the German Empire being created, so a big issue for Prussia.

It’s important to mention that this German-French enmity was often used as a  propaganda tool for wars and simplified the complex relations between those two groups. Of course it did, even Austrian/Prussian relations weren’t ALWAYS bad, even tho they were called ‘the biggest enemies’ by historians.

It is believed that the enmity ended after WW2 and no longer is a thing. To me that is a pretty great example of Germany taking over the reign and replacing Prussia. Prussian/France relations were bad, but German/France relations are pretty darn good. And it makes sense, because Prussia had different goals than Germany has, and they are very different individuals. I see France and Germany as friends due to their shared work in UE, tho I’m not sure if they would be something more than just work friends.

Anyway, this is Hetalia and not a historical-political deep dive - to me what counts in Hedcanon context is the general feel throughout history: were they generally allies or enemies? Were their interests clashing with one another or were they compatible, most of the time at least? The whole idea behind this “inherited” enmity is that French and German interests were incompatible, so it had to end with a conflict. And they did, many times over. I feel like the importance of the Napoleonic wars especially is often undervalued here - it was a HUGE conflict that would have a lasting impact on their relations, way bigger than the Wars for Austrian Succession, which are often cited as proof of their friendship. But they were an outlier in general Prussian/French relations.

That’s why I think Prussia and France are not, nor ever were friends, they view each other as enemies and dislike each other. Tho during the reign of Old Fritz their relationship was warmer and more amicable than during other periods, considering they actually had similar goals and fought together for a change - mostly because that was convenient for then, not due to some preexisting friendship. But I do like the idea that during this time they had some kind of difficult comradery going for a brief while and there was this fleeting “maybe in another reality we could be friends” vibe.

Due to the bad history, Prussia's dislikes of France can be seen in many small things that irritate him, like he just detests Francis' need to show opulence, his over-the-top rococo aesthetic and cuture-esque fashion sense, hight emotionality drives him bonkers and even the pastel flowery color palettes he often wears irk him. And don’t even get his started on the Revolutions! He’ll talk your ear off.

Tl’Dr: So Prussia and France don't like each other and are generally bitchy and passive-aggressive with one another. Russia and France are friendly and good acquaintances, while not exactly close. Russia just likes him - he still admires a lot of things about French culture, enjoys the language, cuisine, architecture, fashion etc, and used to have a crush on him.

Rusprus take:

Prussia in a confident, self-assured person, but when it comes to France, he can be surprisingly self-conscious. He still remembers that crush Russia used to have on him and WHY he had it -  because of many characteristics that France possesses, but Prussia doesn't. Like being romantic and sentimental, sensitive, emotionaly open, appreciative of beauty, artsy etc. Sometimes Russia finds that cute and endearing, bc it makes him feel wanted, but sometimes it's just... ridiculous.

APH Prussia: What do you wanna watch tonight, Vanka?

APH Russia: Hm... maybe that movie, Marie Antoinette?

APH Prussia: Ugh OF COURSE you wanna ogle HIM!

APH Russia: W... what.

APH Prussia: France! You wanna ogle that cheese-smelling frog-eater!

APH Russia: What... no! Gilya, Gilyushka, Gilynechka! That's absurd, I just want to watch a pretty period drama!

APH Prussia: Don’t you “Gilynechka“ me! And as if that's not enough...

APH Prussia: She was AUSTRIAN

APH Russia: Omg. Kill me now. When you have almost 1000 years of history together then even picking a Netflix show can be a minefield!

Anyway, they end up watching the movie but Prussia roasts everything in frame :D

Magical person in history, on not intervening on human rights issues

I am writing a dating sim/visual novel set in the present day. A major (non-romanceable) character is an ancient sorceress who moved from France to the Pacific Northwest in the 1850s. She is white. She is shown to have powerful magic. She also works closely with the main characters and develops personal relationships with them as she teaches them magic, giving each character comfort and advice during their respective stories.

Considering the events in America around her move-in date, there’s no way she could have missed the horrible human rights abuses going on, and there’s no way she was too powerless to help, even when most of the fighting and slavery was so far away. So I’m having trouble balancing “don’t make her a white savior by having her personally fireball Robert E. Lee” against “Hogwarts University is cancelled because Dumbledorette didn’t care about slavery.” I had the idea that the magical regulating body back home in France didn’t want her to intervene due to political reasons, so she helped out in small ways that could safely fly under the radar. She later realized that she prioritized her social standing over the suffering of countless others, so she began making a point of reducing human suffering as much as she could.

I can’t imagine this will show up in more than one small scene, but doing it wrong could really sour the whole thing. Is this backstory still icky? Should I just not mention it and let readers headcanon what they please?

I’m wondering what you think was happening in the PNW at the time for the fighting and slavery to be “far away.” Washington State had the Cayuse War at exactly this time period, Oregon didn’t ratify treaties and was calling for the extermination of “the I*dian race” in roughly this time period, and California’s Gold Rush created the California Genocide starting heavily in the 1840s, picking up steam in the 1850s, which included slavery of California Natives thanks to a law enacted in 1850 that lasted for 13 years. 

This is all from the top five results of googling “pacific northwest genocide 1850”, for the record. It’s not exactly hidden history.

So suddenly your character’s lack of movement in healing the poisoned populations as disease ravaged the area, in attempting to stop or at least buy and free the enslaved Natives being auctioned on their doorstep, or in attempting to get treaties ratified and honoured looks a lot more damning.

This is not counting any of the future events that happened at the turn of the century, including the Chinese Exclusion Act, the Hawai’i monarchy being overthrown, and Federal Order 9066, which is the WWII concentration camps (that included Japanese, German, and Italian individuals). This is just to name a handful of coastal issues in the next 100 years, completely ignoring Jim Crow, residential schools, the San Francisco Earthquake (which nearly had Chinese people relocated to the worst land imaginable for gentrification purposes, had the Empress of China not stepped in), and many others.

In short: she would have had hundreds of opportunities to end suffering, and focusing on a single event as a small scene feels disproportionate to how much she could have done.

And honestly? The French were no angels. 

The Second French Colonial Empire was one of the largest empires in history, and it began in 1830, covering roughly a third of Africa. The First French Colonial Empire began in the 1600s, and had both India and North America, primarily Canada.

She was white. French. You don’t specify her birth year other than “ancient”, but considering the sheer amount of territory-grabbing France has been doing since Normandy invaded England in the eleventh century AD, I’m going to assume her birth year is somewhere more recent than that. Therefore, I’m going to assume she has been around the Catholic Missionary Attitude that France had; one could call that attitude the bedrock of its existence for at least a millennia (and is still visible in modern day).

So tell me: when did she break out of it? What made her even care about human atrocities, when she has likely grown up watching France commit them her entire life? 

Because let me just say, she has had plenty of opportunities to realize she did nothing in the face of her neighbours’ hatred of people not like them, and she has never taken them before. 

Did she (or her parents, if she was born around this time) decry Napoleon re-introducing slavery in France in 1802? Side with Haiti when it declared independence in 1804, and hate that the government forced Haiti to pay for the “theft” of slaves and land (that was only paid off in 1947)? Is she presently championing for France to pay Haiti the money it wrongfully took from the country? Did she hate the delays in stopping the French slave trade, which took 11 years to actually stop after it was banned on paper? 

Unconditional emancipation was only reached in 1848, after all. I don’t care if she was born in 1830, there was some sort of major racial event happening in France all throughout the late 1700s to mid-1800s. Where did she side then?

Abolitionism was not an unknown concept in France, so it is possible she had already been working towards it quietly, but that would mean she would have felt guilt at inaction much earlier, depending on when she began decrying slavery—if she was even delayed in decrying it, which I will admit is possible. 

And if she was an abolitionist, would she have even listened to the French government in not at least easing the genocide around her? Because she would have watched nearly 100 years of the French dragging their feet on stopping slavery in their empire, and known how BS it all was… if she saw it that way.

That’s just abolitionism, and is not even counting the French relationship with the Native population in Quebec and the Great Lakes region, which is a giant tangle of proxy wars, colonialism, missionary work, and very, very, very complex relationships that started off good and ended terribly.

So I ask again: why did she only start caring then?

Speaking of proxy wars, the Napoleon Empire wanted a Confederate victory, because the Confederacy was its source of cotton and the American Civil War created a “cotton famine” in France that basically forced the textile industry into a massive downsizing. The Confederacy also tolerated Napoleon’s plans for expanding the empire in Mexico, which actually had begun in December of 1861.

So when it comes to how a magical board would rule—even though France was officially neutral in the war, the court of public opinion (among politicians and capitalists) was more on the Confederate side than the Union side. Many politicians secretly worked with the Confederacy, until they abandoned them when the Union showed signs of winning. The only reason France officially remained neutral is because a war with the British was inevitable if they acknowledged the Confederacy, and Napoleon didn’t want that.

I shall work under the assumption that because it was rather literally on her doorstep when she moved to America, she lost insulation to it (if she hadn’t thought about it before), but I will say how iffy that makes her look in the long term if she had so many opportunities beforehand (at the very least, seeing slaves in France).

My other option is the word “ancient” is liberally applied and she was only in her 20s or 30s when 1850 hit, and therefore had not had many opportunities to see otherwise (but she still would have seen slaves in France, likely).

Onto the white guilt and white saviour aspects

Strictly from a writing perspective, you have to determine if she changed the course of history, or not. This would not necessarily be within the realm of white saviour, seeing as white people were the only ones listened to at the time. You can see people who changed the course of history in this period by looking up the pastor who insisted Lincoln hold fair trials for the Dakota, which brought the execution count from over 200 down to 38. You can also look at Alice Fletcher, who made quite a few laws designed to protect Native people, but whether or not they were successful is up for debate (and she regretted some of the laws she helped enact).

If not, then you have the current tangle you’re dealing with.

Option 1

She was unestablished in America and relied on the magical regulations board to protect her, and she figured working small and under the radar would mean she could do more good long-term by not being killed, so long as you establish that such a threat is viable.

This option only works if she’s an active advocate for the slew of other racist acts that pass once she’s settled in America, of which I gave many examples above.

Option 2

She actually did change the course of history in perhaps a mixed way, or perhaps a positive way. She could have relied completely on being a white, well-to-do voice in the community, which would have granted her some privilege without using a drop of magic. 

This can apply to any point in history, seeing as there were a lot of others to pick from. It would be particularly useful once suffrage was achieved, and if she was part of suffrage, did she call out Susan B. Anthony’s racism? Did she encourage allowing non-whites to vote?

Option 3 

She was slow to care, and did not actually understand what a big deal it was that such atrocities were happening until it was too late. This leads to her dedication to atonement the strongest, but you have to be careful about white guilt. This option can go along with option 1.

This allows her to be a passive player in future racist events, but makes her an even more privileged white character who PoC will have a hard time seeing as kindly, and you should go out of your way to show white players how unkind and privileged she was, and perhaps still is.

Option 4 

she doesn’t actually care much, because she has a president of not caring about atrocities happening in France, and her bigotry shows up in other ways in modern day and she’s just a kindly-but-bigoted character. She’s your wonderful grandma who you have beautiful memories with… she just doesn’t care about anyone not white.

This can go along with option 3, as she was so slow to realize that she is still bigoted and hasn’t done any work, but her racism is going to be more covert and you’ll have to do research on microaggressions and how to frame them.

Based off the way her lack of action is framed in-story and how little a plot role it plays, I would say that option 4 with a dash of option 3 appears to be the most likely interpretation of her character by PoC. She’s lip-service to progress, at present, but seems to have made no strides in losing her social standing to be an ally.

Now here’s why I don’t think you should let readers headcanon her however they want:

White players in particular are going to minimize her culpability in what happened, and think that she did all that she could, and she is a Totally Redeemed Character now. In fact, they’ll probably wonder why she’s even an Atoner, because she did something, right? She helped, right? And now she’s helping and that’s plenty. She’s good to the players, so she is a Good Person.

Meanwhile PoC players are going to see yet another white author ignore the fact that colonialism was happening en masse at the time, and that white people deeply benefited from it, and are going to see the “it happened in the past why do you keep bringing up racism?” defence continued.

Let her be flawed. Let her be on stolen land and acknowledge it every time she teaches them something, and let her sit and exist in the guilt that happens when she realizes she could have stopped the theft but didn’t. Let her not wallow in self hate, but acknowledge her mistake with every lesson the main characters receive, and let her work on righting that wrong by championing “land back” causes that centre Indigenous voices.

Let her dialogue options show every trace of how the past is not over because the past’s actions are still being felt and reparations have not been made. The settler state is still controlling the land she has made home and she knows exactly what they did to get it, and she passes that knowledge on.

Let players be uncomfortable with the knowledge that, if they sit by and “only do small things when they can, to not lose anything”, they are complicit. Let white people see they must well and truly denounce what has been given to them by their racist, colonial ancestors in order for PoC to “stop talking about racism.”

Make her use whatever income she makes be paid in part to Native causes, as rent for the land she occupies unfairly. Make her refuse to teach bigoted students who want “mystic secrets” that aren’t hers to give, that were appropriated centuries ago. Make part of her life’s work be hiding away Black and Indigenous spiritual leaders to minimize the loss.

Let her past be imperfect. And do not force redemption on her, but instead let her own the fact she made catastrophic mistakes that will not be redeemed until land has been returned to the Native population. Until all forms of slavery are abolished. Until colonial powers give back all the resources and finances they stole from their colonized regions. Until the privilege that white people spilled so much blood to secure is no more.

Because if you want her to truly be a good character who does not support racism? That is the level you have to step towards.

Everything else is simply whiteness trying to make itself feel better.

~Mod Lesya

Shaw & Skadi for the kid meme!

Name: Sigvid Skadisson Shaw. I know it should be Shawson BUT FUCK THE RULES. “Sig” is a pretty standard prefix for a lot of Norse names from the word “sigr” meaning “victory” and “vid” from the Old Germanic “widu” for forest. Gender: Masc and male-presenting but beyond that I’m not sure? Trans man? AMAB non-binary? Look, he uses he/him (maybe they too) and people THINK ‘man’ when they look at him, that’s all I know General Appearance: Tall and beefy, he couldn’t NOT be. Medium pale skin that gets even paler in winter but tans easily in summer. Black hair, or so dark brown it might as well be black, and very dark eyes. His hair, unlike both parents and most of his Asgardian brethren, is actually kept short, and while he has a beard, it’s not the big one. The reason for this is functional; short hair is better if you’re spending a lot of time in the wild. Stuff gets stuck in long hair, it can get tangled in branches at the worst times, it’s hot in the summer, and it can literally freeze in the winter if it gets wet. His attire is very much out of a Viking fantasy, but less on the “heavy armor” end of things and more on the “wearing lots of furs and skins” side. He doesn’t look like someone you want to fuck with, but he also doesn’t look like he’s going to war. He carefully avoids any kind of dangling amulets, charms, or other jewelry that could get caught on anything, but he’s got a sort of leather toolbelt containing various survival tools made from wood, bone, etc. Personality: Sigvid, as you might guess from his attire and the reasons for it, is an outdoorsman. Not as a hobby, not as a lifestyle, but an EXISTENCE. He thrives in the natural world as Sebastian does in the business world, finding ways to survive in even the most adverse of situation. Whatever Mother Nature is doing around him, he can not only make it through it, he can work it to his advantage. His closeness to the natural world, his close observation of it, means that he sees both the facts and errors in his father’s mentality. He sees that the strongest predators will pick off the weakest prey, that the winter will take those who do not prepare, that mother animals will neglect and even devour their young if they’re sick or runty. He also sees that prey are more aggressive than predators, how some creatures will adopt and nourish infants that are not their own or even their own species, how some will share their kill with no benefit to themselves, and how even the smallest and most humble animals can make it through things that the larger, so-called stronger ones did not. Sigvid is very pragmatic, like his father, very practical, very self-preservationist. He has to be. But he’s also very spiritual, not in a way that connects to some distant god, but the world around him, to earth and nature. Not some idealized hippie-dippie conception of nature as a loving mother that is always in balance, but an acceptance that it is a greater power that he cannot control, he can only hope to survive at best. It keeps him humble. It also gives him a much wider, more relative perspective on things that is not human-centric, or Asgardian-centric for that matter. My Shaw often says that he admires human accomplishments above all else, that no other animal has built cities, computers, cars, and so on. And he is correct in this. But Sigvid always points out, how many termite mounds has man built? How many times do humans migrate thousands of miles using an innate sense of the Earth’s magnetic fields? How many fish have we hunted by literally sensing the electricity in their bodies? Yes, humans are “the best” if we judge them by standards HUMANS MADE. Judge us by the base standard of any other species, and we flop. Same for judging any species by the standards of any other. Nothing is “more” or “less” evolved than anything else, more complex does not mean better, and nor does being bigger, stronger, meaner, or even smarter mean a species is “better” or “more evolved” either. Survival of the fittest is not about that, nor about individuals; it’s about how well a species fits its environment and niche. A slime mold is just as evolved as a person. Sigvid is very passionate about this, though he’s not the type to speak up most of the time; he’s stoic and saturnine, used to keeping his mouth closed and his thoughts to himself, because most of the time there’s no one to talk to. And that also means he’s learned to exist without the validation and approval of others---ironically, something that is much like his father, learned in a completely different environment.

A lot of this, obviously, comes from Skadi. He was at side her since infancy learning to hunt and track, learning the difference between wood sorrel and white clover, how to tell when a moose is about to charge, and what it means when the woods go quiet. This connects deeply to Skadi’s Jotunn side in particular, which in Norse lore are thought to have symbolized the inherently chaotic and uncontrollable nature of, well, nature! Though Sigvid would not, nature it’s chaotic, it’s actually very ordered, people just don’t bother to understand what’s inconvenient to them. But where he differs from Skadi is that he’s not a Disney princess. Animals don’t hang out with him. He doesn’t nurse injured creatures back to health. He doesn’t keep pets. He does not see them as friends. They are not less than him, but they are not allies, they are beings he co-exists with, avoids, or eats. At least, until a thylacine started hanging out with him. Yeah, a thylacine. The extinct Tasmanian tiger. Who knows where it came from or why he’s attached itself to him, but he’s very adamant she’s not a pet and he hasn’t named her, but she is THERE. Sometimes. She isn't at his side like a dog, it's more she's following him from a distance and she pokes her head out from the trees somewhere. She's not a pet. She's more a parasite. But unlike Shaw, Sigvid doesn't use that term in a bad way, and he's fine with her presence. He's just curious where the hell an extinct Australian animal came from? Obviously, Sigvid is not interacting with people a lot, but when he does, he’s far less awkward or boisterous than people expect. He doesn’t have the overt weirdness people expect from a hermit, nor the bombastic warrior cliché of an Asgardian, or the vicious stereotype of a Jotunn. He has a quiet but overwhelming elegance, not like an aristocrat but like a great stag emerging from the forest. He chooses his words carefully, and can say much with just a few. He walks the middle ground between judging by individuals and judging by species; he does a little of both. He has preconceptions and generalities that he believes in about each group, but also believes in room for exception. After all, he’s not what a lot of people expect, is he? Despite this, he’s frequently misread as disliking people, but he doesn’t. He is utterly neutral on them, he just prefers his own way of life. Likewise, he tends to be very neutral towards individuals, and this also is often misread as dislike. One thing he does dislike though, is when people try to endear themselves to him by talking about how they agree animals are better than people, or say stuff like you know only man kills for pleasure. . . .this actually just annoys him. Firstly, a lot of animals do kill for pleasure. Secondly, when people say animals/nature is better than people. . . .they’re forgetting that people---humans, Asgardians, Jotunn---are animals too. This is just another way people, of any sort, try to insist they’re something special and different, whether in a negative or positive way. It doesn’t impress him. What impresses him tends to be how well people work within their niche, whatever niche that is. Like Shaw, he doesn’t really judge in terms of conventional morality, but a person’s success----Sigvid’s definition of success is just much wider. Like, maybe you dive for a living---are you a good diver? A great cafeteria worker? The best toilet cleaner in the tri-state area? He admires that and he commends you. When he is angered, he stays quiet, and his response is swift and physical; he either leaves or strikes physically and then leaves. When he feels sufficiently bonded with someone. . . he is still quiet. He appreciates a person who doesn't need to be filling the silences between them to feel comfortable and kinship. And kinship for him is rare, but he's not lonely----just also not adverse to it, as many assume he is. People assume a lot about Sigvid, and most of it is wrong, but he's also very chill with it. Sigvid is a very chill guy.

Special Talents: Besides the obviously mentioned talents for hunting, tracking, foraging, survivalism, and nature knowledge? Many people think he’s some kind of seer because he’s good at predicting storms and such, but actually he’s just very good at reading the signs most people aren’t attuned to. He also presumably has the attributes of Asgardians and Jotuns (super strength, etc) but if he has a mutant power, it has yet to manifest. Also cannot assume a Frost Giant form. Who they like better: Skadi, though eventually he does respect his father for performing so well at what he does

Who they take after more: I think both equally in different ways Personal Head canon: -He really likes amethyst geodes. -He finds a lot of manufactured foods, like chips or snack cakes, to be WAAAAY too strongly salty or sweet for him to stomach, is allergic to Red Dye #40, and he finds the taste of domesticated animals to be weird. - Not much of a dairy person, but ghee is good -Dislikes when people stereotype hillbillies as stupid; as in like, people who are genuinely living in the hills and mountains of the American Southeast, they're an interesting people with their own unique culture like any other group that lives off the land in isolation---which he respects---and not interchangeable with typical rednecks. -He doesn't typically carry anything with him that's not a necessity, if he knows he's going to be seeing people soon, he will pick up knick-knacks he finds in abandoned places and distribute them like a weird Santa Claus. Who, he's met, by the way, and according to him, Father Christmas is something of a badass. - He will always buy your homemade soaps, and I have no idea what he's doing with them. Yes, maybe he's using them in the normal intended way but IM NOT SURE?? - Pops up in art museums. People never expect him to be here, in these cathedrals dedicated to human creation, but he is. I think he views art a bit differently than the average person, but he's there all the same. - He's an Aquarius but there is a LOT of Saturn in his chart - The first Midgard movie he saw was Forrest Gump. He was expecting it to be about something else because of the title, but he enjoyed it and LEARNED THIS DANCE Face Claim: n/a

Survey #403

“ashes to ashes, watch me disappear”

If given the opportunity, would you like to star in a musical? Definitely not. I don't like musicals. Name one person you’d take a bullet for: There's honestly a lot, but Mom immediately came to mind. Any posters of a band on your bedroom wall? Yeah: Metallica and Marilyn Manson currently. I want lots more, especially an Ozzy one. Do you think you’ve already met your soulmate? I don't believe in soulmates. Do you share your bedroom with anyone? No, unless you include my cat and snake. Is your favorite color yellow? No, it's actually one of my least favorites. Were you born in a hospital? I was. Do you know the name of the person that delivered you? No, but Mom does. I think he delivered me and my two sisters, and I know Mom has seen him since for other reasons. Was your birth recorded? God no. Good call, Mom. Did you eat a peach this week? Would you believe me if I told you I had a small bit of peach pie for my sister's birthday? For some reason, I just really wanted to try some. It was okay, but the aftertaste sucked. Are you leaving the house tomorrow? Yes, for TMS therapy. Every weekday. Do you enjoy romantic movies, even when they’re cliche? I honestly do. If you could get free vocal lessons would you take them? Probably not. I don't like singing in front of anyone, and it's not like I wanna get anywhere with my singing, so. Is your mother diabetic? She is. Are you? No. Ever sang someone to sleep? No. Who do you stalk the most through Facebook? Nobody. Have you ever deleted your Facebook, then brought it back? No. What is your main responsibility each day? Be sure to take my medications. Do you feel like you fulfill those responsibilities? Yeah. There are rare mornings where I forget, but I almost always remember. I don't fw skipping out on meds that keep my mental health stable. When was the last time you used spray paint? Good question. Do you know the middle name of the last person you kissed? Yep. Who is the friendliest person you know? My mom, probably. Something that annoys you about summer: THE HEAT. THE HUMIDITY. UGH. Something that annoys you about winter: Hm. That's hard to say, given I love winter. I guess the fact it doesn't snow enough here. Are the doors of your fridge side by side or on top of one another? Side-by-side. If you’ve moved out of the house you were born in, do you know the people who live in that house now? Nope. Have you ever cried in a movie theater? Not sobbed or anything, but I've definitely teared up and gotten the sniffles because of multiple movies. Do you read comic books? No. Do you force your way into conversations in which you are not involved? No. Have you ever seriously pretended to be clinically insane? I didn't need to pretend; I'm pretty damn sure I was for a while. Might I add that it's EXTREMELY inconsiderate to pretend you're insane, btw. Insanity is not "cool." It's not "funny." It's not "edgy." It's a serious, confusing, heart-wrenching issue that can ruin lives. Do you know anyone with a stutter? Yes, myself included when I'm even mildly nervous. And sometimes just randomly. With a lisp? I don't believe so. What was the last board game you played? The Disney version of "Pretty Pretty Princess" w/ my niece and even my nephew, even though his sexist-ass dad didn't want him to. Like let your kid have some fun with his sister and aunt, goddamn. They had a blast. It was Aubree's birthday present from me, so I am SO glad she loved it. Did you win? Ha ha, no, I always let Aubree or Ryder win. I came super close once, but I let the kids bend the rules a bit. They don't like losing, and even though they definitely need to understand that just happens and is totally fine for it to, I wasn't about to be the one to make them sad about it. When was the last time you tried to speak with an accent? OH MY LAAAAAWWWWWWD. Also at Aubree's b-day party, at one point, I spoke in a snobbish British accent while I was winning at the aforementioned game. Ryder asked, "Why are you speaking Spanish?", and I fuckin DIED. Have you ever made up a word before? Yeah, I know at least a few instances for fantasy animals in writing. When was the last time you went to a museum? A couple summers ago when my brother and his son visited, we went to a science museum. My nephew was sooooo into it. Do you have a nice yard? If so, do you spend a lot of time outside in it? If not, where do you go when you want to relax outdoors on nice days? Our front and back yards are both small and honestly very boring. The grass is a pretty green, but that's the only nice thing about it. I don't go to sit outside here on any day. Do your parents enjoy any of the things that you enjoy? Do you bond over these things? My parents and I have very similar music tastes, so there's that. I also didn't know for the longest time that Mom likes to write, which I sure as hell do, too! She doesn't really write anymore though, and she's self-conscious of it anyway, like I am. She and I also love a lot of the same shows. What is the movie that you have waited the longest for/which film do you remember anticipating the most/are still anticipating? I think The Incredibles 2. I aaaalways wanted to know what happened after the end of the first film. Do you have any ideas for a story or movie you’re planning to write or you’d write if you had the time/had the talent? Please share a synopsis! I genuinely think some RP I've written is series-worthy, but I don't feel like re-writing the YEARS of RP into a book format, and I sincerely worry that the ridiculously dark parts could inspire people like serial killers and cause A LOT of controversy, crime-blaming, and just general hate. I don't want to be involved in that. What is something that an interested guy/girl could comment about you, that would make you instantly open to them (e.g., “That book you’re reading is from my favorite author”)? Compliment my Markiplier tattoo, obviously knowing it's a tribute to him, and we're essentially besties. Is there a person in your life (maybe barely) that you feel in constant competition with (even just in your imagination)? Maybe you feel they are consistently outshining you? Ugh... there's a local photographer that's much more successful than I am that I admittedly am very envious of. I swear to whatever god you may believe in that I mean it from a modest perspective, I really, really do, but I genuinely think my skills surpasses hers, and she's only more prevalent because photography REALLY is about who you know. She's talented, yes, but like... come on. If you are single, even if you are normally happily single, are there certain specific things you witness that make you wish you were in a relationship (e.g., people getting engaged)? I mean yeah. I miss cuddling, holding hands, kissing, just being cute together, and especially people getting engaged or having kids. It's such a trigger to me. Once upon a time, that's all I wanted with Jason. I wanted to be that beautiful couple that got married and had two or three loved-beyond-words children, but then he left so abruptly, and I feel like it was so brutally robbed from me. I don't want kids anymore like at all, but the point still stands that I felt like my dreams were just ripped away. Out of all your usernames for websites, which one is your favorite? Do you use it for more than one site? I use "Ozzkat" just about everywhere. Have you ever spent the whole day (or multiple days) just looking up one thing on the internet (e.g., videos of your favorite band, how-to videos, quizzes, etc.)? OHHHHHHHHHH YEAH. There have been a couple days or so where I was totally glued to looking up various tattoo designs, bingeing let's plays or conspiracy theory videos, etc. etc. If you ever think about getting married, what are some aspects of the wedding that you would like to see in a non-traditional manner (e.g., a different color dress or “partners” over “husband” and “wife”)? I WILL NOT get married in a church, first of all. I'm also not having the traditional vows, and I probably won't wear a white dress, but instead black. Salt & vinegar, barbecue, sour cream & onion, or cheddar? Ohhhh, I like all those options but barbecue. I think I've gotta go with sour cream & onion, though. Bow ties on guys, dorky or adorable? A D O R A B L E ! ! ! I think they're ordinarily geeky, but I mean, geeky is cute in my world. :^) Do you believe in demonic possession? How about ghosts? Angels? Angels, no. Spirits/ghosts, 100%. I don't exactly believe in demons, per se, but I do question if evil spirits can possess someone. What is one romantic movie that you enjoy enough to watch more than once? I've seen The Notebook numerous times. Name three countries you want to visit; why those three? South Africa to interact with meerkats at the KMP, somewhere up in Canada to see the Northern Lights, and Germany just because, really. I took German for four semesters, and the culture and all just interests me. Do you have a good luck charm? No, considering I don't believe they do jack. Do you use Skype to talk to your friends? Only Sara. Now that I have Discord semi-figured out now though, we'll probably use that for voice chatting. Are you allergic to any animals? I might be allergic to dogs. Do you usually spend your weekends out, or at home? I'm like... always at home. Do you think it’s wrong for people to say "retard/retarded" as an insult? Absofuckinglutely. Don't pull that shit when I'm around. Have you ever had to go to the police department? No. Have you ever lived through a hurricane? Plenty. Have you ever had a home-grown tomato? Yes, from my old friend's garden. We'd have delicious tomato, mayo, and bacon sandwiches. The only instance where I've enjoyed tomatoes. Have you ever held a real gun? The former friend I mentioned just before, her husband always carried a gun, and he just needed me to hold it for a sec for some reason I don't recall. I hated the feeling. Would you rather wear Converse or Vans? I like both, but I think I prefer Converse. Have you ever been called bipolar? Yes, because I clinically am. Have you ever made fun of a handicapped person? FUCK no. And like the "retarded" thing, don't you fucking DARE to do this in front of me. I WILL deck the shit out of you. Do you think it’s okay to have sex before marriage? Sure, as long as you're being safe and are very thorough in communication. Do you like to watch old sitcoms? I don't really watch TV as I say in like every survey it seems, but I do enjoy some old sitcoms I grew up watching with my mom, like The Nanny, The Golden Girls, The Munsters, etc. If asked, could you run a mile nonstop right now? Being completely serious, I don't even know if I CAN physically run right now. My legs are so incredibly weak, and I'm humiliatingly close to what my heaviest weight was back in 2016, so I can almost guarantee my knees would crumple if I tried. Do you wear those rubber wristbands? I used to. I don't really like bracelets nowadays. If a necklace/ring gives you green marks, do you still wear it? Nope. Have you ever driven an electric car? No. When was the last time you saw someone you went to high school with? Uhhhh idk. What breed was the last dog you saw? A fucking GOLIATH of a lab. I shit you not when I say my sister's roommate's dog Hudson is the size of a goddamn bear. How long have your parents been together (or how long were they together, if they no longer are): I wanna say they were together at the very least 20 years. What has been your most epic cooking failure? I once accidentally put something (I don't remember what) in the microwave for around 45 minutes I believe, and I walked away and completely forgot about it. I remembered a long while later, and safe to say, it wasn't edible, whatever it was, lmao. Have you ever been to Mexico? No. Have you ever had a parrot sit on your shoulder? No, but that'd be cool. Has anyone in your life ever treated you abusively? No. How long has it been since your last breakup? Somewhere around two years ago? My memory is so garbage nowadays. Can you concentrate well while listening to music, or do you find it distracting? It's distracting, usually. What’s something you’ve been struggling with lately? I've been pretty bad about drinking too much soda lately. :/