Literally fucking love it when i search [name of a random book] pdf and find so many free copies on libgen, zlibrary, random shadyass sites that actually work, sites that donot take your credit card info, pdfdrivefiles, random blogs that have just uploaded a free copy, google drive libraries full of classics, researchers who have cited from the book willing to lend their copy to you... brings fucking tears to my eyes share the resources FUCK JSTOR

To every fan who ever made song playlists that matched perfectly with the character in my head and introduced me to new songs, I love you.

Hanging out with Fluttermop

please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!

gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.

SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:

diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.

non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.

the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.

now, on to how I apply this to bdsm in fiction.

if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.

if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.

this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.

it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.

but yeah, spontaneous writer plug aside, that's what I mean.

Somebody ate a hole in the flour.

Any idea who it could be?

do u guys wanna see the mspaint art i was making when i was 11 because its really. special

this is possibly the funniest terf take i’ve ever seen. trans people, hate to tell you this but buying clothes is actually capitalist and you should stop /j.

Everytime I see posts like this I get filled with such profound sadness

Cause you know who has the same brainrot as you? The same unhinged feelings as you after you've read the fic? The person who always wants to scream about the fic with you?

THE PERSON WHO WROTE IT

I never used to leave comments but since I got into the habit of commenting on everything i enjoy it's been incredible. Especially when the author gets back to me about it and we get to have a discussion of what other ideas they had. One writer replied to my comment with a 5 paragraph essay detailing the Floorplan of the building the characters lived in and it was incredible

Anyways this is all to say that if you find a fic that just makes you want to scream from the rooftops, leave a comment saying that to the author and maybe they will join you and you can scream incoherently together

percy when someone asks who's the head councilor of the poseidon cabin

pokemon theory i just thought of: new pokemon appear in the pokemon universe when they're designed in this one. they're created ex nilho but they have retroactive realness; they weren't here yesterday, but today they've always existed.

pokemon researchers have had to suss this out on their own over decades, and it's a really unpopular theory, made worse by the fact that no one can come up with a better one. from their perspective pokemon generate spontaneously but in both chronological directions, and the similarities of many pokemon seem to be detived from a conscious and creative understanding of the world--their world, though? what other world could there be?. there are ice cream pokemon and pokeball pokemon and sword pokemon and trash bag pokemon.

there are so many pokemon with both wings and a beak. is this like swords? is there an ur-flying type that this class evokes? there are so many canine pokemon. but what is a canine? is there such a thing? there's only one set of sword pokemon, right. one tea-set line. is *feline* a coherent category? would the ur-feline have two legs or four? why do so many pokemon have humanlike bodyplans-- but then again, why so few?

pichu has always been the prior form of pikachu. why didn't it get counted in order? why do we call it that instead of saying pikachu is the middle evolution of the pichu line? why can so many trainers remember finding this out well into their journeys? why didn't ash start with one?

this is why pokemon researchers do a lot of labwork, drink heavily, and use ten year olds for field research. you can't have an existential crisis if you don't even know what time is yet.

You guys are commenting on the fics you read right? You’re at least leaving kudos on the Astarion smut and the pairs that have less than 20 fics for them too? You’re bookmarking stories you really like that are still being updated and ones that haven’t been touched in over a year right?

You know that even the smallest interactions are like cocaine to fic writers right? You understand how important a string of emoji hearts left behind on chapter at three am is right?? Right????

You’re treating AO3 like a community and not a content factory….right?

a comic/zine about coyotes

loversneverdie.com