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faeiri-tft · 6 months

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PLEASE do the toontown online rant i want it so badly

this post kinda got away from me, and by "got away from me" i mean this 3000 word toontown rant is Part One. there will be a Part Two to this later in which i actually talk about the fanservers i wanted to talk about. anyway let's go

toontown online (tto) was a children's mostly-turn-based subscription MMO released in 2003. after a few years of obviously being on life support, disney gave a one-month notice that tto (and several other games) would be closing on september 19th, 2013. on the same day the game closed, the fan-run server toontown rewritten (ttr) was announced (with multiple other fanservers/fangames/reimaginings being established since), and is a few months away from outliving the original game

see, one thing about tto that allowed fanservers to crop up so quickly and easily was that it had, um, interesting choices. very interesting choices. like, "kids could use a code injector to turn their backyards into giant mashed-together nightmarescapes"-level choices

youtube

(loose video description: a rabbit toon running around a chaotic mismash of rooms, obstacles, and npcs that Should Not Be There. audio caption: Evanescence's "Bring Me To Life".)

but ok let's talk about the actual game first.

toontown online (tto)

the game starts with you creating your player character - you can pick from eventually-9 species, a couple body types, and 2 dozen preset colors. the gender code is a spaghetti nightmare but you won't learn this until the fanservers come about so don't worry about it. you're then taken to the Toontorial, which explains maybe 20% of the game's mechanics before setting you loose into the main game

the toontorial also gives you the basic "plot", such as it is: Toontown is suddenly* under attack by a bunch of boring businessrobots called the Cogs. their goal is to turn toontown into a dreary gray featureless corporate hell; their business activities are so boring that they're physically painful to be around. luckily, they can't take a joke, so the toons have figured out how to defeat them: by playing pranks on them until they laugh so hard they Explode

*originally, the game installer had a little animation giving a backstory for the Cogs' creation. this was never referenced in game, removed pretty quickly, and i think even the devs kinda forgot it existed

that's...pretty much the whole story! in that context, your toon progresses through all of toontown, helping some mostly-pretty-interchangeable shopkeepers, reclaiming buildings from the cogs, eating ice cream, etc. occasionally, the cogs would Come Up With New Tricks (read: major content update) and the toons would Find A Way To Fight Back (read: same major content update). that was the closest thing to Plot, unless you count "the devs scheduled a bunch of invasions of high-tier cogs right before the game's closure". but...i doubt most the kids really expected a Plot. mickey mouse was there

the gameplay:

the Free Account

there were two...pretty different approaches to playing toontown online. when the game launched, there was a 3-day free trial to the entire game, after which you got kicked entirely until you subscribed. at some point, this was changed so that the first area, Toontown Central (TTC), was Always Free - you could do all of that area's quests/"taskline" and limited activities, indefinitely, and in theory this would make you beg your parents for the rest of the game

i have no idea if this actually got more subscriptions or not. from what i can tell it just spawned more warrior cats

(source)

there were. a Lot of warrior cats. there were some other social activities, too, such as Fashion Shows (with your limited range of clothes) and Begging Subscribed Players To Summon Cog Buildings To TTC and Getting Chat Banned. ...however, as one of the subscription kids i didn't really interact with this side of the game, so i'm not the best person to talk about it

2. the Paid Account

mmm look at those crisp clear graphics. hell yes

a subscription account gave you access to this whole map, along with all these areas' tasklines. to progress through the game, you must complete a variety of "ToonTasks" for the Toon Resistance (it's called that. their catchphrase is "Toons of the World, Unite!". you were giving disney money for this). these reward you by increasing your max health (your "Laff Points"), slowly unlocking more combat options, and sending you to different, higher-difficulty areas of toontown

some of these tasks were...longer than others. generally, though, they all boiled down to: "just go fight some cogs"

combat:

(source)

toontown battles are turn-based: the players use their attacks ("gags") first, and then any surviving cogs attack you with, usually, office equipment and puns thereof (unless the cog is e.g. a Loan Shark, in which case they can just fucking bite you). if you defeat a cog, it explodes; if the cog defeats you, you "go sad" and are sent back to the safety of the playground, lose your gag inventory, and can't leave until you heal.

early on, most your battles are 1v1, but later on almost everything is a multiplayer 4-ish-v-4.

an...interesting feature here in the game's early days was that you could only Type Your Own Words to someone who shared their "friend code" with you IRL. otherwise, you had to use this thing:

(source)

you had a set list of phrases you could string together, which generally covered most the things you wanted to say. but it could get frustrating when you wanted to have a real conversation with your toontown friends! so...as the source above mentions, people obviously found ways around the system. turns out that if you let players move objects around their houses, they will use that to Draw Letters and pass their friend code along regardless

eventually - before the warrior cats, of course - disney presumably realized this system was pretty goofy (🥁) , so the game got a real chat, albeit one that functioned on a very strict whitelist. my favorite is that it didn't let you type numbers, however you could just say won too tree for hive etc. like. disney i really don't know what to tell you. anyway

(isn't he charming)

cogs come in levels 1-12, with levels displayed above their heads, and as you'd expect their damage output and HP increase with their level. however, the game doesn't...actually show you cog HP? instead they have a little colored light on their chest that fades from green to red until they explode. you see numbers on all the damage you do, and you see your own HP/laff, but never the cogs'. also lategame cogs are Too Tall For You To See Their Level once they line up for battle (which isn't actually that bad but it's funny). there's a formula for HP per level, but it's never mentioned in-game. i guess someone can teach it to you but then you have to watch them type "a level tin cog has won tree too health" and is that really worth it

(as you can tell i just…don't get this. "my kid is practicing arithmetic with toontown!" - marketing angle expressly denied by god. the stealth edutainment was right there)

anyway! in theory, you have seven base combat options ("gag tracks"), which combine in a variety of ways:

toon-up, which restores your teammates' health;

trap, which does guaranteed high damage but only if someone uses lure;

lure, which stuns the cogs for a few turns and is the only way to make trap work

sound, which does low damage to every cog;

throw, which does medium-high-ish damage to one cog; multiple throws combined give percentage combo damage, and hitting a lured cog will also add percentage "knockback damage";

squirt, which is exactly like throw but less damage;

and drop, which does high damage but cannot hit lured cogs, and has low accuracy unless you hit the cog with something else first

each gag track has 6 levels, which you unlock by using that gag track a bunch. you can't carry as many of the high levels with you - i mean, putting one piano in your backpack makes perfect sense, but two is just silly, right

a few years into the game's lifespan, level 7s were added - these were huge AOE that you could regain with every 500 track EXP. there was also something called "organic gags" to promote the please-log-in-every-day gardening system

every player starts with throw and squirt, and throughout the game you slowly unlock four more gag tracks. your choices are permanent: once you have your six tracks, you're locked out of the seventh forever.

in theory, all of this opens up a huge variety of combat options!

in practice, the battle strategy looks something like this:

use sound

as mentioned, almost all of lategame will be 4v4 battles, which means sound will almost always outdamage everything on earth. you don't even need four foghorns (the highest normal sound gag) to break 200 AOE damage, and the highest health a cog EVER has is 200*. and two of the boss battles can reward you with gag restocks and heals that you can use mid-battle with no consequences (other than having to grind for those rewards a bunch). and failing THAT, you can just...ration your foghorns and take 2 turns to clear a set of cogs, interspersed with healing.

(*okay there was something called "v2.0 cogs" but they were...strange, and we just used sound anyway)

sure, once level 7s were added you could use those occasionally. and you could fall back on lure+throw if you didn't want to use your sound restocks. but even then, for most of tto's existence there was something called the "knockback bug" which. well. just look at it

(link for transcript. it's tvtropes sorry)

if you are a target-audience eight-year-old this translates to "lure + throw will only do enough damage if the cogs Feel like it." like it's really just insult to injury at this point. this was the result of One misplaced variable and was not fixed until the game closed

in the tto era, if you didn't have sound, you were kinda doomed to be kicked out of every fight forever

(bonus fun fact: there were Four entire battle themes and they were 40-second midi loops. let me out)

the bosses:

each of the four cog departments has a Boss Cog. to face off against them, you have to assemble a cog disguise and collect enough merits/stock options/whatever to be allowed into the boss's office.

(pictured: your convincing disguise)

when you enter, your disguise pops off due to Reasons, and you have to fight through...a bunch of waves of normal cogs. it's basically a really long normal battle. once the minions are dealt with, you have to, inexplicably, do a live-action battle against the boss themself:

youtube

(loose video description: four toons defeating the CFO by using magnet cranes to hit him in the face with safes for 32 seconds.)

the live-action rounds aren't supposed to go this quickly, but it's still...kinda strange? certain reoccurring game areas require Parkour, but there are no battles like this outside of the Four bosses. the CFO's room is the only place you see these cranes and they have A Lot Going On. the other 3 bosses have their own unique weird mechanics. before the first boss was added we neither had nor needed the ability to Jump. it's just weird

once you've defeated the boss, you're given a reward of varying usefulness (the best/most unbalanced reward type is Unites, which are a free heal or gag restock you can do inside or outside of battle. essentially lategame toons can simply choose not to die. riv2u etc.)

and, um. then you get some more merits/stock options/whatever and do it again. and again. and again. and again. and agai

the grind:

so the thing is that tto was a subscription mmo. every addition to the game had to be measured, above all, in terms of "how can we best get kids to beg their parents to give us money." this especially shows in the suit grind:

(source/source)

you have to defeat each boss 78 times in order to get all their laff points - and as you proceed, you have to defeat an increasing amount of cogs to even be allowed into the boss (although once you max you get in for free).

by far the easiest way is to run through the designated HQ facilities - basically, cog fights interspersed with some platforming or minigames. you only collect your merits/whatever at the Very End of the facility. the only way to increase what a facility gives you is if your last battle ends during an "invasion" - a timed period where One Specific Cog replaces all street cogs, usually summoned with boss rewards.

the sellbot HQ grind isn't so bad. bossbot HQ - the endest-game HQ - frequently requires you to do an hour-long facility and on six separate occasions you have to do seven of them. if the invasion ends before your final battle, you have to sit around until someone summons another. if you lose your internet connection because it's 2008, or if your parents make you come to dinner, or if hacking or the game's general bugginess cause a server reset because you're probably in the busiest district for the invasion bonus, you have spent that Entire Hour On Nothing. the CEO (bossbot cog boss) probably also takes an hour because you and your fellow players are 10

this shit, combined with laff points locked behind gardening (time-gated), racing and golfing (multiplayer minigames with absurd requirements), and fishing (RNG-based with some fish being absurdly rare. i watched my mom fish for one every day for a month), meant that maxing a toon took Years, if you managed it ever.

it wasn't, um. it wasn't good

ok so what else is wrong with this game:

i had "aged out of the game" (lol) by the early '10s, so i'm not the best person to do a writeup of the hacking/scripting situation of those days. that said, what i'm going to do is give you a few examples, and i want you to just...look at them

(source)

(source). early '10s youtube was funny i'm trying to decide if i miss it

(source). fun thing to note here is that other players had collision, so a swarm of t-posing toons could just barricade the gag shop if they wanted to

youtube

(video description: toon who has Replaced His Head Model With An Anime Logo throwing thousands of jellybeans at everyone) (cw mild flashing just in case? and also the feather headband accessory)

i should note that the Bring Me To Life vid i started with was client-side, meaning only the player could see their technicolor hellscape. this guy's face was server-side. i do Not Think you should be able to do that

youtube

(video description: a player demonstrating use of a bot to get into the nutty river district, followed by other players using it to go to different game areas)

the above video was posted on august 17th, 2013. if you don't want to watch an Unregistered Hypercam 3 recording at about 5 frames per second, what's going on here is:

the player goes to a specific location and says a specific speedchat phrase.

a bot toon teleports to their location and provides some prompts on how to use it

the player tells the bot, via speedchat, to teleport to the (currently closed from the outside) busiest district so the player can follow

these "taxi toons" were server-sided, persisted across server resets, were made by a future fanserver dev, had younger kids referring to them as a "glitch" as if this were something that could Accidentally Happen, and stayed functional until the game closed

like...a lot of the "hacking" was just baby's first script download. this one - afaict also created by the laughing man head guy - is like...the fact that after years of no substantial game updates, someone effectively programmed their own "QOL feature" (note: not actually good for the poor mid-00s server being turned into a clown car) into a silly disney MMO and it just fucking sat there for a year is just. it's just.

i don't know what this is. this is not Playing The Game Toontown Online. this is nothing. this is everything. there are comments from 2013 on some of these videos saying stuff like "hackers killed toontown", but your game cannot have this happen if it is not already dying

and, like...it was. i'm not sure how many moderators there were by this point, but at the very end of tto, the number of active devs was One. the original devteam recently brought this up at the 20th anniversary celebration: devs just...slowly started getting pulled from the game, one at a time. there were a few updates after bossbot HQ - Field Offices, which i've basically never heard anything good about in their tto form ever; the Silly Meter, a yearly event...thing whose main function was to add unskippable dancing-inanimate-object cutscenes to your street battles; Parties, which...yknow parties were okay actually. i accept parties. but they weren't exactly a Major Game Update like the ones that had come before. in 2011 we gained the ability to Wear Hats. in 2012 the test server got some actual QOL updates that never made it to the main game; the final test server update was some maintenance in february, and then nothing for 18 months. disney was not providing enough resources to address the scripting because disney was not providing enough resources to address toontown. imagine being the last dev standing on an MMO that was older than some of its players, was losing its business model to mobile gaming, and spent most of its life falling apart at the seams. just imagine it, for a second

it couldn't have kept going, not like this.

on august 20, 2013, the closing announcement came: we had a month left of toontown online. the test server shut immediately; subscription refunds went out, and the game became actually F2P for the month; the part of the announcement that went like "we're shifting our focus to other games!" made a bunch of twelve-year-olds hate club penguin as if club penguin wouldn't also close in a few years; all the holiday events went off at once; and...

there wasn't a "thanks for playing!" popup. everyone online just got kicked, all at once. it was finally over

hey wait.

#toontown #toontown online #tto #tft talks #tft stuff #<- this goes in that tag i think #this was like. enrichment. thank you

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geoffrard · 2 years

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My Chemical Romance, Hardcore Sexual Repression, and the Lemon Stealing Whore

[Content warning for non-graphic references to pornography, sex, sexual violence, and negative attitudes towards sex work. There is no explicit nudity but you might not want to read this in front of your boss. All images have descriptions in alt text. See sources here. Read this essay on my Dreamwidth here.]

It’s the setup of a joke: Gerard Way, Mikey Way, Frank Iero, Matt Pelissier, and a porn actress huddle around a leather couch in a dingy room as a camera rolls. The actress, a young and bright-eyed Joanna Angel, asks each member of My Chemical Romance in the room, “Do you guys watch porn?”

Most of us have seen the interview. If not, stop and watch it now, because nothing else I say will make sense otherwise. (And here, just for you, I’ve reuploaded the video with at least 10% more pixels. Watch below, or read a transcript here.)

youtube

The fact that My Chemical Romance, whose faces have decorated shirts at Hot Topic for over fifteen years, whose songs have saved lives and inspired memes, who all have wives and children, would end up associated with an alt porn website like Burning Angel often baffles fans watching the interview for the first time.

For example, see these comments left on the original video uploaded to YouTube:

These comments, though more than a few years old, generally represent how a lot fans understand the interview. Other people think it’s funny and perhaps a little out of left field, but don’t question how four members wound up on a porn site like Burning Angel. Both attitudes are a pretty typical example of the MCR fandom’s ignorance about the New Jersey hardcore scene, as well reflecting general weirdness about sex work.

Since I cannot turn my historian brain off, I wanted to provide some of the extremely interesting historical context behind the video. The post I had originally planned to make very, very briefly outlined how MCR ended up being interviewed by Joanna Angel, founder and longtime CEO of Burning Angel. But the more I looked into it, the more I fell down a rabbit hole. This eventually turned into something of a mammoth manifesto about women and sexuality in the late 90s hardcore scene that gave My Chemical Romance and Joanna Angel careers. I will warn you: this is long. But it’s also important historical background information that rarely gets discussed at all—especially by MCR fans.

(So, with all that said, please feel free to ask any questions about anything I say here! Sources for will be posted on a different post which I will link at the end, and I have been quite thorough, though not as thorough as I could have been.)

Tl;dr: Joanna Angel came up in the exact same scene as My Chemical Romance, Thursday, and Midtown, a scene which stigmatized open sexual expression, at the expense of women and queer people—especially those involved in sex work. When she started her porn site, Burning Angel, she applied the same DIY values that her peers did to their own bands, but faced violence and ostracization from a subculture much too repressed to embrace such blatant expression of female sexuality. In this context, the My Chemical Romance interview with Burning Angel in 2004 was not only a group of guys doing a favor for someone they had probably known for years at that point; it can also be read as a somewhat controversial act that pushed back against this aversion to sexuality, and that helped legitimize and popularize both the site and Joanna Angel’s career.

Burning Angel: the Movie (2005)

Say you’re a diehard My Chemical Romance fan in 2005—if you really want to watch your favorite band discuss their porn-viewing habits, you’ll have to travel to either your local adult entertainment store or go to the hardcore porn site BurningAngel.com and order their first DVD, appropriately titled Burning Angel: The Movie. Once you have the disc, you’ll have to fast forward through several sex scenes and interviews with other bands before you arrive at what you wanted: the actress who you’ve just seen in hardcore sex scenes asking Gerard, Frank, Mikey and Otter questions about their preferences in adult entertainment.

The DVD was Burning Angel’s first attempt at more professional pornography, and Joanna’s first foray into full participation in filmed, live-action sex. Joanna Angel would later go on to be one of the most well-known porn stars of our time—in Virgin Territory (2006), for example, she played a lemon stealing whore; you might have seen the video—and Burning Angel would be credited with the popularization of the “alt” porn genre, which broke from the exploitative mainstream porn model and typically featured models representative of subcultures.

But in 2005 her alt porn empire was still in its infancy, and Joanna was still struggling to rectify her recent full expulsion from the local New Jersey hardcore social scene with her enduring devotion to DIY values—and the fact that members of the sexually repressed subculture that had ostracized Joanna were her site’s target audience.

Joanna Angel on the Scene

Any thoughts of a future career in adult entertainment and the last name Angel were far from her mind when Joanna Mostov enrolled in Rutgers University in 1998.

Though she often pushed back against the wishes of her religious orthodox Jewish family, the extent of her adolescent rebellion had ended at sneaking out to punk shows and getting piercings her mother wouldn’t approve of. At Rutgers, Joanna quickly became enmeshed in the New Brunswick hardcore scene, putting her in the same circles as a host of people whose names you might recognize: Geoff Rickly of Thursday (who ran hundreds of shows out of his basement), Gabe Saporta of Midtown and Cobra Starship, and Alex Saavedra of Eyeball Records.

Geoff Rickly: Well, you know, the funny thing is that, at the time, Joanna, who would later go on to form Burning Angel and become a famous porn star in her own right, was playing in her goth bands with chelsea haircuts and the basement shows. Like, her local goth band would play. And they’d bring out people and stuff, and I’d put touring bands on that show, and so it’s funny to me how, weirdly, DIY punk hardcore scenes and porn had weird associations then. [source: Going Off Track: Geoff Rickly, 2012]

The NJ hardcore scene was close-knit enough that while she only has documented friendships with some of these people, she had to have crossed paths with most of them multiple times (for example, Joanna was at the show on December 31, 1998 where Thursday and Midtown played their first real sets). She went to every show she could and hosted some in her own basement.

While we don’t necessarily have a written record of her friendship with Frank Iero and Mikey Way of My Chemical Romance, the fact that Joanna attended plenty of shows in the North Jersey area and also spent a lot of time at the Eyeball House (Alex was a close friend; and Pencey Prep was on his label) suggests that, at the the very least, Joanna, Frank, and Mikey were aware of each other’s presence in these early years. They were peers in the same scene, just as they were with everyone else who frequented the same venues or played in the same basements.

For years, the hardcore scene mattered to her more than anything else; it was her social life and what she based her values upon.

Those hardcore values and a growing curiosity about her own sexuality lead Joanna to sex-positive feminist activism and a writing internship with Nerve.com, an online magazine which explored topics related to sex and romantic relationships. From there, her interest in expressing her own sexuality continued to develop.

[Suicidegirls in 2001]

So, in 2002, when her roommate and friend asked her if she wanted to start a porn site that offered more explicit content than sites like SuicideGirls, which featured punk aesthetics and band interviews but stayed away from anything more than simple nudity, Joanna agreed.

BurningAngel.com went live in April 2002. It wanted to do things differently than other porn sites. While not necessarily pushing the boundaries of beauty standards, the site used models who were beautiful but in a more approachable, average sense. Joanna has said that since she had little experience even watching porn prior to starting the site, she wanted the site to mimic the kind of sex she was having with actors who looked like the people she was having sex with.

Joanna: When we started the website, it was a reflection of ourselves. It still is to this day. There's band interviews on the website, the style of girl that we use is not your average typical porn star and the personality on the website is a little bit different. All the members interact with each other, all of the girls have blogs and profiles, and people become friends with each other. It's more of a community and a reflection of a subculture rather than just being a website with content to jerk-off to and never think about again. [source: Complex: Interview: Joanna Angel Talks Alt Porn, Piracy, And Her Blow-Up Doll, 2011]

[Burning Angel’s homepage in June 2002]

Hardcore Punk Reacts to Hardcore Porn

Her longtime involvement in the scene and her application of DIY ethics to her porn business did not mean that the hardcore culture actively nurtured Joanna Angel’s career in porn. In reality, many parts of the scene were actively hostile towards Joanna and the site once Burning Angel went live.

This backlash isn’t incredibly surprising within the context of late 90s hardcore, a subculture that by and large refused to acknowledge sexuality of any kind.

The sexual repression in hardcore reflected several different aspects of its culture: a negative perception of women active in the scene; a reaction against the violence of tristate hardcore in the early 90s; and, more than anything else, the general privilege of those involved in the underground.

Like Joanna, Geoff Rickly, and Frank Iero, most people involved in New Brunswick hardcore were enrolled at Rutgers, and white, middle-class male college students dominated the scene. For many of them, applying DIY values to their own lives meant distancing themselves from their socioeconomic upper-hand. Consequently, the scene as a whole developed an attitude of asceticism, rejecting anything that served no purpose beyond pleasure or personal enjoyment. (Of course, it was easy for them to reject their social privileges, especially when they could just as easily cast off their aesthetic of poverty and self-denial for an adulthood of relative comfort.)

To do anything just because you enjoyed it, or because it brought you happiness in the moment, was seen to be a betrayal of hardcore’s higher intellectual goals—and that included sex. You can see this trend, for example, in lyrics from NJ hardcore bands, which focused on things like political issues or childhood traumas instead of the common themes of sexual and romantic desire found in mainstream music.

Joanna spoke about finding comfort in the general sexual repression of the scene because of her own adolescent insecurities:

Joanna: Me being very sexually not advanced and insecure, [90s hardcore] was the perfect place for me, because I could ignore [sexuality]. I was getting older, I don’t know, I wanted to explore myself more. So I began to write these graphic sex stories. My roommate, Mitch, knew about it, and I remember him getting a kick out of it. [source: Turned Out A Punk #127: Joanna Angel (Burning Angel)]

For another salient example, Geoff Rickly of Thursday has spoken about his own struggles with the hardcore scene’s repression, especially in regards to the shame he felt about writing sexually explicit stories for pay:

Geoff Rickly: You have to think, this is the 90s punk scene. It's not now. Nobody would openly talk about sex in DIY punk. It was such a repressed PC time, where — I mean, a lot of that stuff is my heart, like the political activism that was still such a part of punk, and actually just giving a shit about things that matter, and modes of how you're doing what you're doing. Those things seemed to matter back then, and I appreciated that side, but it was also so uptight. So repressed. [source: Going Off Track: Geoff Rickly, 2012]

While its general aversion to sexuality might have been born out of an initial desire to reform the violent misogyny of other hardcore cultures, it created the conditions for certain social problems to go completely unaddressed. After all, how can you address the rampant misogyny, homophobia, and sexual violence in your community if any acknowledgement of sexuality is taboo?

(For a brief but interesting perspective on the impact of hardcore sexual repression upon queer people in the scene, check out Episode #4 of Geoff Rickly’s podcast Dark Blue, in which Steve Pedulla and Norman Brannon discuss their experiences as gay musicians in the scene.)

Of course, these issues aren’t confined to the New Jersey hardcore, nor were they unique to the late 1990s. This particular brand of sex-averse misogyny reflects important threads within the feminism of the time which villainized open female sexuality—especially when it concerned sex work. Left-leaning spaces like music undergrounds adopted this sex-negative, misogynistic attitude as a part of their feminism—not in opposition to it.

In particular, the Riot Grrrl movement of the late 80s/early 90s pushed back against a culture (and a subculture) that shamed women for publicly expressing their sexuality. Following that, early fanzines and performance practices addressed the mistreatment of sex workers in hardcore as one way that female bodily autonomy was limited and women’s bodies were policed. Bikini Kill frontwoman and Riot Grrrl pioneer Kathleen Hanna has spoken about her past in sex work, the hostility she endured for openly discussing it, and the importance of that experience in shaping the form of Riot Grrrl’s protest.

Kathleen Hanna: “Whenever we were written about in the press, I wanted my sex-work history to be part of the description, because I wanted other women whom I danced at clubs with (and who never knew my real name) to see themselves reflected in some way. A lot of women who are doing music now have been sex-trade workers, prostitutes, dancers; I thought it was really important that I didn’t hide that. But I also didn’t want to glamorize that experience in being a super-cool thing in itself. I just wanted other women who work in the sex industry to remember that we can be sex-trade workers and be philosophers, writers, musicians, artists, or whatever. [Andrea Juno, Angry Women in Rock (1996)]

Riot Grrrl gained significant traction and nation-wide attention. In the decade or so after Kathleen Hanna and her peers catalyzed the movement, bands like Bikini Kill and Bratmobile remained incredibly popular, and likely contributed a lot to shifting attitudes towards sexuality in music subcultures.

Still, these sex-negative attitudes prevailed among enough people involved in local underground scenes that, when Burning Angel launched in 2002 and Joanna started marketing it in local hardcore spaces, the site received a lot of attention—both good and bad. The positive attention fueled the site and allowed it to expand beyond just photographs, text interviews, and low-budget personal sex tapes that characterized its early content.

However, the negative attention Joanna and her site received was vocal, targeted, and occasionally involved literal physical violence. As Kathleen Hanna had faced moral condemnation for her time in sex work, Joanna Angel faced criticism from fellow members of her subculture who thought sex work to be completely antithetical to their social justice goals. She has spoken about how difficult it was to see a community she had cared about for years turn her back on her completely for engaging in a type of work that she found enjoyable, and that she thought could be done with moral integrity.

Joanna Angel: People were calling me ugly, calling me all sorts of mean shit, how [Burning Angel was] making a profit, [we were] exploiting women, blah blah blah. And I was so bummed. I was like, you know, this isn’t fair! I always support every fucking band in the punk scene. Even if I don’t like the band, I support them—I go to their shows, I would hand out fliers for their shows. I thought it was like a code, in the punk scene, that it doesn’t matter whether you like it or not. If this is part of the scene, you accept it, and you help it, and you love it—and I thought that’s what you were supposed to do. I remember being very hurt, you know? I was like, dude, I didn’t violate any punk laws by starting this. My friend from my computer class is the one who put it online. All the other girls on the site—all three of them— were punk chicks and part of the scene. And I felt really bad; people were insulting the other girls, and I really thought I was starting this cool thing where girls could just explore their sexuality. And mind you, at the time, the beginning of Burning Angel was just photos, not even videos. People were getting all up in this upheaval because of a handful of naked photos on the internet. It’s crazy to think about now. [source: Turned Out A Punk #127: Joanna Angel (Burning Angel)]

Amidst the mounting antagonism and after an incident at Hellfest 2004, Joanna officially decided to leave the hardcore scene that she’d been involved with for over five years.

Joanna Angel: I remember going to Hellfest one year. Maybe it was like 2004?…these girls were throwing water balloons at us because we had a booth there. Because we used to get booths at some of these shows and sell tshirts. We didn’t even have any DVDs—we’d literally get in a booth and sell tshirts and hand out fliers and stickers. And these other girls were throwing water balloons at us and calling us sluts. I was like, “Hey, that sucks, can you stop doing that?” And one of my friends—he owned a record label. He owned Eyeball Records, Alex…he saw the girls picking on us, and he went over to the girls, and said, “Hey, can you cool it? They have a booth here—let them do their thing. They’re not gonna get in your way.” And then those girls and their boyfriends beat him up, and he wound up in the hospital. He almost died. It was terrible. And I was like, we have to get out here. Let’s just stay away. If we’re a porn site, let’s just be a porn site. Let’s promote ourselves with other porn companies; let’s step away for a little while. Everyone in the punk scene knows who we are. They’ve made their decision about if they like us or not. I’m still gonna interview bands, still gonna do that thing—but I’m done. [source: Turned Out A Punk #127: Joanna Angel (Burning Angel)]

Joanna and Burning Angel’s separation from the NJ hardcore scene in 2004 finally brings me to Burning Angel: The Movie, My Chemical Romance, and that interview.

So, 2004: after over two years spent largely behind the camera and slowly expanding her porn site, Joanna finally decided to get in front of the camera and produce a more intentionally crafted alt porn video that retained the feel of the website. Thus Burning Angel: the Movie was born.

As Joanna explains in the interview, the general idea of the DVD was that different self-contained pornographic scenes would be interspersed with band interviews. One of the key features of Burning Angel, like Suicide Girls before it, was the band interviews subscribers could access alongside the porn, so it made sense to preserve this aspect of the site on the DVD experience. Joanna interviewed five bands in early 2005: Killswitch Engage, Eighteen Visions, Shadows Fall, The Dillinger Escape Plan, and, of course, My Chemical Romance—all bands that Joanna admired, and who had been involved in the same scene that she had recently left because of very real threats to her emotional and physical well-being.

Within this context, My Chemical Romance’s decision to participate in the Burning Angel interview was a statement, as they put their support behind an enterprise that was highly controversial within the social circle most immediately relevant to them.

Fresh off the 2004 Warped Tour and promoted Three Cheers for Sweet Revenge, My Chemical Romance might have appeared to be largely divorced from their scene of origin, but they still acted in response to those politics—politics that impacted American culture at large more than you’d think—in both intentional and incidental ways.

That is not to say that MCR was being overtly political; they’ve made a clear effort to distance themselves from the clear-cut political imagery and goals of some of their peers in hardcore. Still, the band (Gerard especially) very obviously cared a lot about using their music and stage presence to express shades of sexuality that they perceived to be lacking from some forms of music.

Gerard: I also wanted, at the same time, [for] the record to be a testament to self-expression, and putting stuff in there like that, while not being a homosexual myself, but expressing myself in a homosexual way, is either going to push your buttons in a negative way or you’re going to identify with it. [AP: Well, this whole scene wants you to be sensitive, but not too sensitive.] It is extremely homoerotic, especially the whole emo-sensitive thing. Everyone’s wearing women’s pants; everyone’s got women’s haircuts; everyone’s wearing youth-medium shirts. I don’t want to come out and say it. It’s blatantly obvious. Wearing a leather jacket is an extremely masculine thing to do in this scene. Even the hardcore bands, the really hard ones, you see them in makeup and stuff. I like that. I think it keeps it dangerous. It keeps it exciting. In a way, sex has really been missing from rock, especially because of all the sensitivity. That’s what I really wanted to convey on the record, too. I wanted the record to be very dangerous and sexy at the same time. There’s such a lack of sex in music. It’s been more about getting in touch with your feelings and being there for each other, which is great, but it’s definitely lacking this sexual duality. [Source: Alternative Press #193, Aug 2004; emphasis mine]

Additionally, many of their moments of explicit sexuality on stage were designed to be somewhat incendiary and polarizing.

But it’s important to remember that, just as late 90s New Jersey hardcore was not the first subculture with issues of sexual repression, My Chemical Romance does not represent the first attempt to push back at this asexual culture and definitely weren’t leading that particular conversation. Gerard took inspiration from artists already pushing those boundaries and incorporating sexual expression into their art. He has spoken, for example, about the impact of Riot Grrrl acts upon his music and stage presence (Joanna Angel has similarly pointed to bands like Bikini Kill as significant influences). These bands had already incorporated resistance against harmful sexual repression, values which Gerard and his band mates took on when they adopted their styles into My Chemical Romance.

(I also want to mention briefly that other significant people in the hardcore world have spoken out against pornography, such as Ian MacKaye of the formative post-hardcore band Fugazi. MacKaye owned Dischord Records, the definitive underground music label, to which a young Frank Iero unsuccessfully attempted to get his band Sector 12 signed. The matter of pornography and its role within the hardcore world was not one upon which you could maintain a neutral stance after, say, appearing on a porn DVD.)

As shitty as it was that they needed approval from the men in the scene, My Chemical Romance, along with other bands, supported Burning Angel, a new kind of porn, and helped legitimize Joanna Angel’s claim that what she was doing was not backwards or exploitative but had integrity.

Have you had an issue with people you grew up with when they find out you're in the adult industry? Joanna: At first people had problem[s], but not anymore. Once the cool kids in bands said, "I think what she's doing is cool" all the others turned around. Everyone I ever respected didn't have an issue with it and all the stupid, annoying hardcore kids had a problem. For as much shit as I got, I also got a lot of support. [Source: Hustlerworld Interview: Joanna Angel]

I don’t mean to glamorize the porn industry or to depict Joanna Angel as some savior of female sexuality in the early 2000s. But, as Kathleen Hanna points out, sex work is legitimate work, and sex workers deserve to have workplaces that treat them with dignity and communities that recognize their humanity. The reality was that NJ hardcore as a community did not support sex workers. Fundamentally, these were the barriers that caused Joanna and Burning Angel to make an exodus from the local hardcore scene—and they are the attitudes we risk reproducing when we express discomfort that a band we admire has interacted with a sex worker.

My intentions with this post (which turned out longer than I had ever anticipated, so Jesus, thank you for reading) were to shed light on the historical context of one moment in My Chemical Romance’s history. I’ve found that the average MCR fan, even those with a specific fondness for their early years, doesn’t actually know much at all about it—so I hope this has given some clarity.

I’ll end on this note: Without bands supporting Burning Angel, who knows—we might have never seen the lemon stealing whore. At the very least, the culture surrounding porn would look a lot different. That might not mean it would look better or worse—though you can’t deny the role that Joanna Angel played, nor the role that bands from the New Jersey Hardcore scene like My Chemical Romance played in shaping the American culture of pornography.

Find sources for this post here.

[acknowledgements: thank you so much for reading! my forever thanks, as always, to nic @raytorosaurus, sophia @sendmyresignation, vyn @bringmoreknives, and maddy @8thnotes for their continued cheerleading as i spent over a month writing this long, long post. additional thanks to wes @killrockstar for very kindly offering some incredibly helpful guidance about riot grrrl and sending me resources about kathleen hanna. and much gratitude to merlin @void-flesh and @transmascfrankiero for their feedback on the final draft of this essay.]

#mcr #my chemical romance #joanna angel #mcr meta #my post

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fernsnailz · 1 year

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i love reading your sonic loreposts i was wondering if you could please explain archie charmy to me, i have heard stuff and i am so curious but i am not a comics in general kinda person. the lsd poisoned friend or the brain damage literally just anything that happens to him your pick

hi anon i’m just going to go over everything that happens to archie charmy pre-reboot so i hopefully never have to talk about it after this. i'm sorry i'm so so sorry

Archie Charmy is subject to a lot of controversy and discussion because despite his limited role in the comics, he goes through some of the most batshit insane character and plot beats in the whole series (and that you’ve already mentioned). I’ll be skimming over some of the more boring parts, but the wild stuff I'll go pretty in-depth with.

I’ll also be attempting to explain WHY all of this happens to Charmy Bee of all characters, taking into account the context of the story, what was happening behind the scenes in the writer’s room, and even comic trends in general. I want to try and keep away from the very reactionary “wow archie sonic is sooooo crazy” discussion that happens around this stuff and hopefully provide a little more useful analysis. i talk about comic PSAs for a while so be warned

There are some very, very important content warnings that are coming with Archie Charmy lore: warning for non-consensual drug use and overdose (specifically LSD), child death, genocide, implied ableism, memory loss, implied age regression, breif homophobia mention (not related to charmy)

this is going to be a very long one. charmy lore under the cut

INTRODUCTION - CHAOTIX

Charmy Bee’s first appearance in Archie Sonic is in the Knuckles’ Chaotix special, which adapts the first game he appeared in. This issue introduces the entire Chaotix cast (six new characters) in a mere four pages, so Charmy doesn’t make much of an impression other than “bee who likes to explore and adventure.” He lacks that annoying little brother personality that he has in most Sonic media, and he’ll often speak with language that feels extremely out of character for the Charmy that most people know.

This is because this version of Charmy is based off of his character description from the Knuckles’ Chaotix game manual. Despite the series being based off of the video game franchise, the Archie Sonic writers were often given very little information about upcoming game releases from SEGA when they were asked to adapt them into the comics. Often they had to go digging for the canonical materials themselves - for example, the only way they were able to adapt Sonic Adventure into the comics is because Patrick Spaziante (one of the comic’s artists) had a Japanese version of the game that he bought himself. They had no English translation and zero guidance from SEGA, so they had to attempt to piece the story together without SEGA's help. This was the case with most of the game adaptations, and it was honestly a miracle that they had access to the manual for Knuckles’ Chaotix at all.

There’s just one problem: the manual for Knuckles’ Chaotix describes a version of Charmy that is very, very different from the one we know of today. It describes a 16-year old that is… sophisticated?

(sorry for the low quality, there aren't many images of the manual. also fun fact, there was no age for Charmy listed in the original Japanese manual)

Charmy's differing age and personality will lead to many, many problems, as the writers decided to give the “sophisticated” Charmy darker stories. This brings us to the Knuckles the Echidna mini-series.

The Knuckles mini-series is. Bad. Charmy Bee is certainly there for the first few issues (as are most of the Chaotix), but he doesn’t get much focus until issue 13.

I don’t know how to put this in a way that doesn’t sound extremely blunt: This is the issue where Charmy’s best friend overdoses on LSD and dies.

PART 1 - MELLO

Charmy's best friend is named Mello Bee. This is his first and last appearance in the series.

Mello started feeling strange on their return trip from Happyland, a sketchy theme park that recently reopened under new management. Charmy isn't sure why Mello died, but Constable Reminton (essentially the sheriff of Echidnopolis) reveals that there have been a series of cases similar to Mello's - cases where people were suffering from… Lemon Sundrop Dandelion poisoning.

The Chaotix go to Happyland to see if they can find the source of the poisoning, but what they don't know is that it's actually laced into the food. The manager of Happyland, Renfield T. Rodent, has been lacing the park's chili dogs with LSD in hopes of making everyone addicted to them. However, the amount of LSD he's been putting into the food is too much for most people to handle. This is probably the most insane paragraph I've had to write for one of these loreposts

Unknown to the Chaotix, they all start eating the chili dogs during their investigation (except for Julie-Su and Knuckles, who is absent) and start tripping balls.

Continuing the story into issue 14, Charmy’s LSD trip reveals that he’s actually the prince of a bee colony and has been running away from his responsibilities as a member of the royal family.

Charmy is knocked out for the rest of this arc as he goes through his trip - they have to operate on him and some other stuff happens I guess (Julie-Su gets thrown off of a roof, Knuckles fights some guys in a desert, Vector is a misogynist, stuff like that). At the end of issue 15, Charmy learns from his trip and returns to his family, temporarily leaving the Chaotix to return to his royal duties. Mello's family and his all mourn Mello's death and bury him back at their home.

So. What was the fucking point of all that

In the long-term, Charmy returning home to his family essentially writes him out of the story for a while. Knuckles the Echidna issue 15 released in 1998, and Charmy doesn't really return until 2001. While I'm not entirely sure what the reason for this was, there were so many members of the Chaotix that I honestly think this was an okay decision.

However, there's one very important question left to answer: Why was LSD and a drug overdose included in this arc at all?

When I first read this arc, I had a burning thought that I couldn't get out of my mind:

PART 1.5 - wait is this an anti-drug PSA?

(if you want to avoid me talking in-depth about the abilities of LSD and my ramble about comic PSAs for a while, you can skip to PART 2 where I continue the Charmy lore)

Comic PSAs (Public Service Announcements) and propaganda are a fundamental part of the medium’s history, whether it be to aid their country’s war efforts, give health information to their readers, or warn kids about the dangers of drug abuse. While a comic being used as a PSA isn’t inherently a bad thing, it’s usually VERY obvious. One of the most interesting ones I've found is a PSA that features Green Lantern debunking misinformation about the AIDS crisis. The image quality isn’t great, but the comic doesn’t hold back when talking about how the AIDS crisis is spreading homophobic ideology - if you read this, you know it’s a PSA and you know what message it’s trying to send. Sometimes propaganda can be subtle, but PSAs are usually loud.

(cw: homophobia)

This is why anti-drug PSAs are so common and so remembered - they’re over the top, they’re blunt (lol), and they have a very specific message they’re trying to send. For example, there’s an issue of New Teen Titans from 1983 that introduce a character called the Protector to teach kids about drug awareness where the issue literally starts with the Teen Titans in an auditorium telling kids about a dangerous drug. This issue also includes some bad trip imagery, and it’s uh… honestly i kinda love this

Anti-drug PSAs usually don’t work for this very reason - showing how a drug affects fictional characters can increase interest in the substance, and a single superhero telling someone to stop smoking is not going to break someone’s addiction.

So. Is Knuckles the Echidna issues 13-15 an anti-drug PSA?

Probably not, but if it is it’s doing a fucking terrible job of it

Some of the main factors of a PSA are the information it's presenting, the opinion it wants the consumer to develop, and the bluntness of its presentation. While this part of the Knuckles series is certainly over the top, the rest of these factors are really muddy. First, anti-drug PSAs usually don’t create a fake drug to replace the one they’re advising against. An anti-weed campaign will just tell you that weed is bad because that’s the opinion it wants you to walk away with. So when Knuckles issue 13 introduces a substance called “Lemon Sundrop Dandelion” and never actually refers to it as LSD, it’s less of a message about “drug bad” and more just a sly nudge and wink that goes “hey you see that? yeah, that’s drug.”

Then there’s the problem that there isn’t really much of a lesson to be had from these issues regarding drug use. Yes, Mello dies horrifically of an overdose, but most of the cast is able to walk off the trip like it’s nothing. Charmy needs to be operated on, but the doctors literally treat it like it’s fucking NOTHING

he's literally talking about how he told a patient that couldn't afford surgery to go to the butcher like HUH?????

In fact, Charmy’s trip seems to help him in the long run - he’s forced to face his past, and eventually returns to his family because of the literal guilt trip he has. It’s a fundamental part of his character arc.

This isn’t to say that I wish these issues were explicitly drug PSAs - I bring all of this up because these issues were released in 1998, in an era where the anti-drug movement was arguably at its peak. The people working on these comics would KNOW its content is similar to and even promotes the anti-drug movement. While I don't consider these issues to be an anti-drug PSA, they can definitely serve as anti-drug propaganda.

With this in mind, considering Knuckles the Echidna as a form of propaganda really opens up how utterly terrible these issues are. These comics can be genuinely harmful pieces of anti-drug propaganda because the way they use LSD to advance they plot is untrue to how the drug actually works and relies entirely on fear mongering. While LSD can be laced into other substances like drinks, it probably wouldn't last long in cooked meat - LSD usually degrades at higher temperatures, and telling comic readers that they need to be afraid of LSD-laced fair food is fucking stupid and likely based on false urban legends. Not only that, but Renfield T. Rodent’s plot to addict everyone to his LSD chili dogs is also fucking stupid because LSD is not considered an addictive substance. It can be extremely dangerous at high or multiple doses, but LSD does not normally lead to compulsive use.

I don’t talk about all of this to be a cinemasins guy or to nitpick a comic from 1998, and I also don't want to imply that PSAs can't spread lies and misinformation (anti-drug PSAs famously over-exaggerate things). I bring all of this up to show an ineffective and possibly dangerous use of something that could be considered anti-drug propaganda. Spreading blatantly untrue information and placing false fears into a reader’s mind is truly incompetent on the writer’s behalf, especially considering that this comic was targeted at kids. And that’s not even mentioning that there’s barely any moral to all of this. There’s no lesson and they never talk about this again.

Do I think this was all intentional on the behalf of the writers? I have no idea. I have no goddamn idea what they were thinking with this one, and I honestly don't think much thought was put into this arc at all. Maybe this was a strange attempt to make a Sonic-themed anti-drug PSA, maybe they were just inspired by the drug PSAs of their time when writing this, or maybe they just did not care. I don't know man. Anti-drug propaganda is stupid and it doesn't work and these comics drive me crazy

alright enough of that. let's talk about genocide

PART 2 - SAFFRON

don’t worry this part will be shorter (cheering and clapping)

Like I mentioned a while back, Charmy is essentially written out of the story for a while after the Mello incident. While living in the Golden Hive Colony, he reunites with another friend, Saffron Bee. Saffron becomes Charmy’s girlfriend, and they’re together for basically the rest of the comic. Usually if Charmy shows up, Saffron is there too.

(image of Charmy and Saffron I stole from... the Shipping Wiki??)

They eventually return to help Chaos Knuckles, a green version of Knuckles who is uh. Kinda going through it. Not much important Charmy lore needs to be discussed here, but some of his actions do eventually lead to him creating a genocidal villain that will cause many problems later. Don’t worry about it.

Things are quiet for a while for Charmy and Saffron. That is, until Eggman attacks their colony and wipes out most of its population.

Charmy and Saffron are the only survivors we see from the Golden Hive Colony. Eggman transforms the colony into a new base and traps its residents in an invention of his called the Egg Grapes - basically, he puts Mobians in these little pods that sap all of their life force, powering his empire. Most people do not survive the Egg Grapes.

The two bees return to join the Chaotix for a little while, and the rest of the Chaotix confirm that the Golden Hive Colony and its residents are truly gone. Espio destroys what’s left of the colony so Eggman can’t use it as a base, and no other survivors from the colony are found.

So. yeah what the fuck

Archie Sonic is known to have a LOT of characters - I’ve talked about the sheer number of echidnas the series has before, but there are a lot of characters that have massive extended families. The arc where Mello died introduced like eight new bee characters, but most of them were background characters that didn’t need to stick around.

Most people cite writer Ian Flynn’s debut to the series as when a lot of these unneeded/background characters were written out or killed off, and I agree since one of his objectives as a writer was to tighten up the story. However, the trend of “Archie background characters getting killed off or written out” started a little bit before he joined the team. There’s the destruction of the Golden Hive, and many echidnas in this arc suffer from the horrors of war - a number die off after Charmy and Saffron rejoin the Chaotix. yeah it's kinda fucked up

This is the second major arc where Charmy has lost people close to him - first Mello, and now his entire family and kingdom. The same goes for Saffron - they only have each other left. I mean the Chaotix are also there but still, trauma is trauma

How could it get any worse?

PART 3 - CHARMY

Remember how Archie Charmy is based off of the Knuckles’ Chaotix manual? The one that said he was sophisticated and 16?

This is about to cause a few problems.

At this point, it’s around 2007. The Knuckles’ Chaotix manual is terribly outdated, and most versions of Charmy within canon are 6 year-old kids. Charmy is known to be the annoying comedic relief, which is the exact opposite from how he’s portrayed in Archie Sonic.

So when SEGA asked writer Ian Flynn to change Archie Sonic to be like his video game counterpart, the solution was uh. well. it could have been handled better

Like how he obliterated the Golden Hive Colony, Eggman’s next target to destroy is Knothole, the city where Sonic and the Freedom Fighters all live. It’s a surprise to all of the residents, and he manages to teleport most of the population into his Egg Grapes. Before Sonic can save them, Eggman singles out Charmy to be used as an example of how the Egg Grapes work.

Sonic and friends manage to get Charmy out, but not before the damage is already done. In the limited amount of time the Grape sapped his life force, Charmy’s memory was partially wiped and personality changed forever. After this, Charmy has very little memory of the Golden Hive Colony at all, only seeming to remember Saffron and his friends. His becomes much more child-like, similar to his game counterpart.

the fucking sigh i just sighed

For clarification, Charmy is still 16. The only thing that was altered was his mind, with the intention to make his personality more in-line with his goofy video game counterpart. The problem is that giving a character brain damage to turn them into a comedic relief character is fucked up and unintentionally ableist.

This is something that writer Ian Flynn identified pretty early and openly regrets (I’m not sure what the source of that statement is, I’m assuming an episode of Bumblekast but I’m don’t know which one. I’ll edit this if I find it). Because of this, he mostly kept Charmy out of any comedic situations for the rest of the series. Charmy has a very limited role in the series after this until the reboot, only appearing sporadically and in one Sonic Universe arc. When he does show up, his childish demeanor is usually met with the patience of the Chaotix and their sad expressions.

Although the intention was to make Archie Charmy more like his game counterpart, in practice I honestly think this action only made Archie Charmy even MORE distant from his game character. From the Egg Grape incident to the reboot, Archie Charmy’s trauma never leaves my mind and leaves me feeling strangely hollow.

CONCLUSION - WHAT THE FUCK

I find the Archie Sonic series unfathomably fascinating. While I love the series, I can’t deny that most of the events I went over are poorly handled by the writing team and leave the series with such a strange legacy. With Archie Sonic, it’s often incredibly easy to see the biases of the writers and how they affect the characters and stories, leading to some genuinely fucked up moments that could have easily been avoided in my opinion.

Archie Charmy was really one of the characters that got it the worst, but it's honestly so strange that all of this happened to him specifically. The fact that all of this shit happens to a silly little bee is so, so Archie Sonic to me. Charmy is such a simple character to understand - he's a funny kid who's kinda annoying and hard to handle. So when I look back and see the 3,000+ words I just wrote about Archie Charmy... fucking hell why did i do that

In conclusion. I am sorry and do not become a comics person

thanks for reading if you got this far. as always let me know if i need to tag any other content warnings or if there was anything i got wrong! alright good night tristate area

#PLEASE read all of the content warnings before opening the pandora's box of charmy lore #this one's a hell of a read i am so sorry #sonic loreposting #cw drug use #cw overdose #cw child death #cw genocide #cw ableism #cw memory loss #cw age regression #i actually really enjoyed talking about comic psas and propaganda its very interesting to me #long post

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stoopid-turtle · 8 months

Text

Timeline of GGDD Love

Hi yall. This is the index post for the BTS in Order posts. This is the post to bookmark if you want to refer to it later! (The first chunk is just copypasta from the April intro. Read More to get to the links)

I've looked for timelines of the bts before, but what I've found relies heavily on video clips, many of which I don't have access to. So I decided to make a text-focused timeline in English for the bts because I'm all up in my hyperfocus.

I mainly used this playlist on billibilli, though I also looked at a few other playlists (I didn't keep links, I suck). If I came across a video/reference w another date listed for the clip, I added the alternate date in parenthesis at the end. I chose to primarily follow this playlist bc it has a LOT of clips, has clips for every day, and doesn't have anything that immediately jumps out at me as wrong. I also cross-referenced with accio-victuuri's BJYX Timeline bc it's the most complete English timeline I've seen, and I respect the effort involved. And I ultimately I triple-checked against this weibo timeline. Again, alternate dates noted in parenthesis. Not all sources always agreed.

(the note on the primary playlist has this as its explanation of its dating: 广告以官宣日期为整体依据,若跨年度拍摄,则以最新发布日期为依据整理。Which Google translates to "The advertisement is based on the official announcement date as a whole and, if shot across the year, on the latest release date." I can't parse that so *shrug*)

I've listed out the bts scenes by date. I try to describe the known scenes, though I don't list out in detail EVERYTHING that happens (if I say "Xuanwu cave, bondage conversation", I assume you all know everything else that happens around that moment)(Though sometimes I get hype and fangirlish in the descriptions). A lot of scenes were unknown to me, so I tried to describe the setting, costumes, and vaguely what's happening. Most of the scenes I did recognize had more to the clip than the ones I've seen translated.

As none of what I watched had translations, I can't provide much context with that, I'm afraid. I also do not think these are in order within a day. I don't have any way to tell, so the timeline within the day, itself, is probably wonky.

I only included bts for the most part, not stuff the boys were doing outside the production. Everything's color coded. Scenes with only gg are in red. Scenes with only dd are in green. Scenes with both are orange (yellow just isn't readable, sorry). (If there's text with no color, just assume it's the same as the last colored text)

I wrote this literally by going back and forth between billibilli and Google Keep, so the notes are a little off the cuff. Let me know if you have questions or if you don't understand something. Or if you can't identify a particular bts scene you're curious about.

People are also completely free to take this and flesh it out if they want by adding the non-bts stuff. Any mistakes are mine. People are free to correct it as well. Basically, consider this public property for other turtles. So take it, make it your own, create a comprehensive google sheet that details everything in pretty color-coded order with media links that are cross-referenced, filterable, and sortable or whatever (PLEASE SOMEBODY DO THIS).

No need to credit. If you feel you have to, just say a stoopid turtle did it.

The timeline of ggdd love yue tag

April BTS In Order

April Summary + Takeaways

May BTS In Order Pt 1

May BTS in Order Pt 2

May Summary + Takeaways

June BTS In Order Pt 1

June BTS in Order Pt 2

June Summary + Takeaways

July BTS In Order Pt 1

July BTS in Order Pt 2

July Summary + Takeaways

Aug BTS In Order Pt 1

Aug BTS in Order Pt 2

Aug Summary + Takeaways

Overall Summary + Takeaways

Addendum 1

Addendum 2

#bjyx #yizhan #the timeline of ggdd love yue #prezzie for turtles #free resource #my brain just does this stuff #turtle service #adhd+autism is a helluva drug

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fragilecapric0rnn · 2 years

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It’s Fanfic Writer Appreciation Day and there happen to be some writers that I appreciate and want to show my love to them for sharing their talents with us!

(Steddie Edition bc they are on the mind 24/7)

The Steddie brainrot has led me to reading a TON of fic. So, I am finally making a rec list of all of the fics that have not been able to leave my brain since they walked into my life.

As I was compiling this list I noticed a running theme and that is that these are all future fics and what can I say? I’m just a simple girl who’s a sucker for Steve/Eddie in the 90s/early 2000s. I think it has something to do with my love for romcoms from this era and thinking of them as older just makes me want to fall to the floor.

So here they are, in no particular order:

1. the most remarkable thing about you standing in the doorway is that it’s you by @greatunironic;

Sixteen years after the world didn't end for the last time, Max Mayfield showed up on Steve’s doorstep and said, “You gonna walk me down the aisle in May or what?”

Or, it’s 2002 and Steve Harrington attends a wedding, a funeral, and a birth. (Word Count: 34,990)

The way that this fic bore into my soul, I seriously can’t think about it for too long without getting emotional. This one feels like a given considering the fact that I am now getting TikToks my fyp of people out of context referring to this fic, which is how I stumbled upon a recommendation of it. If you haven’t read it yet, PLEASE DO. It’s a national treasure at this point.

2. Let us Dwell in Fair Ithilien and There Make a Garden series by @sparklyslug and @greenlikethesea (Word Count: 61,151) (Description from Three Weddings and a Funeral)

Steve Harrington falls in love and gets married. Not in that order. Some other stuff happens along the way too. But those are the two big things. That first one especially.

(Or: celebrations of life)

This series, much like aforementioned most remarkable thing, is set mostly in the future with the gang as adults, and Steve and Eddie dancing around their feelings for each other for nearly 15 years. That is a gross oversimplification in my opinion because it is honestly so much more than that! Like, it’s set in the future, but there is time jumping, and references to previous parts of the series, its just it’s own universe within the ST universe! Ugh, I got flustered trying to put coherent thoughts to how much I fucking love this series and the way that these two have crafted am entirely new canon for me to latch onto. Go read this. Like right now. I also suggest reading it in the writers’ suggested hard mode!

3. Keep It for Me by @stereobone;

It's 1993, and Steve is attending Lucas and Max's wedding. It's 1993, and no one has seen Eddie Munson in seven years. (Word Count: 9,741)

For one thing, the little NorCal girl in me was foaming at the mouth at the thought of a chunk of the party living in The Bay Area as adults. This one has the meeting again years later element, which is just so good! This also has writer!Eddie which made my heart burst, and the pining and reunification of it all. Again, I have a hard time putting words to how much this fic has nestled its way into my heart! Repeat: GO READ IT!!!

4. alone again, or by @pizzaqueen;

It’s 1991 and Steve is still in Hawkins, still living with his mother, still single, and still working at Family Video. At least he’s the manager now, for whatever that’s worth. But he’s stuck here while Robin and Dustin and everyone else have moved away. Moved on.

Well, everyone except for Eddie.

They're best friends, spend most of their time together, and it's nice to have a friend like that. But Steve is still looking for love with a capital "L". At least, he thinks he is. (Word Count: 20,765)

This one is definitely different than the ones I talked about above. But, this one is still fucking fantastic! More of a coming-of-age vibe in a we’re twenty somethings and life looks a lot different than we thought it would and I think thats okay kind of way. Which spoke to me in a way that I also kind of need right now as a twenty something who feels just like that :’) Also love the character of Steve’s mom, which is something we don’t see a lot of, Steve having a supportive parent, and it is very sweetly written. This fic felt like a popsicle on a warm day. READ! IT!

Again, happy Fanfic Writer Appreciation Day! Let’s keep showing our favorite writers love every day of the year!

#was there a coherent thought here? maybe. maybe not #steddie #steddie fic rec #steddie fic #stranger things fanfiction #fanfic writer appreciation #love an excuse to ramble about fics that live in my head rent free #i just love the idea of the party as adults together #and the idea of steddie finding each other when they're a little older #steve x eddie #steve harrington #eddie munson #fic rec

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rayshippouuchiha · 2 years

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Okay, let me preface this by stating that a) this got away from me. And b) I read up on how JKR revealed herself to be a human garbage fire, and I understand the problem. This isn’t a defense, this is just my perspective, limited as it is.

Maybe it’s because bby!me was a dumbass but I always read the whole “House elves like being slaves” thing as “This is a pureblood wizard telling us this, they grew up on stupid propaganda including this bullshit” and the whole “house elves don’t want to be freed” as a whole ass trauma response. Like, they were so afraid of things getting worse, they couldn’t fathom things being better and changing the status quo would therefore automatically mean making it worse. Similar with the goblins, where their descriptions should have raised red flags, I’ll admit. For context, I’m from Germany, and I read those books in elementary school, right around when kids learn about Nazi-Germany and Hitler for the first time in school. So I saw Wizard Hitler and I saw several marginalised groups and read it all as a giant metaphor for Germany’s slide into dictatorship. (Please note that I was like 8-ish at the time, so I wasn’t exactly aware that history is taught differently everywhere, and for all that Germany is very honest about their history, they also wait to teach about the particulars of the propaganda that was used during the Nazi-Regime, so I didn’t necessarily have the context, as my parents sure as hell wouldn’t have taught me that (they are very much against generalisations and stereotypes)). There’s more parallels I could draw, but that’s not the point I’m trying to make.

I didn’t particularly care for JKR. Like, her name was on the cover, but that was it. It was the books I liked, not her. Even if parts of it frustrated me to no end, especially once I re-read the books in English when I was older. (The lack of political reformation implied in the ending was chief among them. [insert rant about german history, that’s not the point here]. And even during the main plot there was so much casual discrimination and no teacher/politician/authority figure ever addressed it. But apart from the epilogue that still fit into the history I had associated with the plot.

Then 2021 happens and even my dumbass noticed shit went down on twitter, if only because YT keeps recommending me videos of Harry Potter fans explaining Death of the Author. I was vaguely aware that JKR had been having twitter melt down after twitter meltdown, but now I became aware that it wasn’t just random nonsense but actual political opinion she was tweeting. I hadn’t actively read the books in over a decade at this point, only referencing them superficially to keep the timeline in my fanfics straight. So I take my shovel and I dig. Between exams to become a certified nurse and the first tear of med school, I dig, and I read and I watch, and a weird kind of horror dawns on me, and I cry to my mom, who introduced me to these books. These books that were my escape from school yard bullies and toxic friendships that opened up the world of AO3 to me, and then I cry some more. I sit there wondering if I didn’t remember those paragraphs or if I read them wrong just how I described before. I wonder if all those un uploaded files of HP fanfic I have written should even be uploaded. Rewrites, every single one of them. With goblin, house elf and other creature protagonists. I look at the works I have written when I was 15, that I published just so I could learn how to actually write a narrative. It’s nothing to write home about, but it had been a start. Do I delete this? Do I still continue on?

What I do know so far is precious little. I know I am heartbroken. I know I won’t buy official merch anymore, for obvious reasons. And guess I am now typing this out, to post into the void, because I keep screaming in my head and even my lovely mother is getting quite tired of my whining (she still listens though, she’s awesome like that).

So yeah. This became both a kind of (?) perspective, a sort of cry for help of the uninvolved kind and of all the things, a love letter to my mother.

Sorry for the ramblings, I just saw several HP posts in your timeline recently and I guess I just wanted an opinion? There’s many of them online but no one really seems to have an answer on what to do after. I know it’s sort of stupid to make books a part of your world that way. But it is what it is. So yeah, if you can spare the time, please, if you know how to deal with a beloved piece of media crumbling apart in your hands, would you mind giving me some pointers on where to go from here?

I hope I didn’t come off as rude or demanding, sorry if I did. I know my syntax and grammar can be off, due to english being my second language. I wrote all these messy words, because I’d just like an outside perspective on things and your takes always have me either nodding along or having my eyes opened to avenues of thought/action I hadn’t considered yet.

I hope this doesn’t get eaten by your inbox.

Have a lovely weekend, and thank you for being such a positive presence around here, your works and posts really make my day.

(I’ll just send this now, before I freak myself out even further)

Honestly, your experience is what a lot of Harry Potter fans went through and I don't think it's stupid at all despite the hot takes you'll see on TikTok/Twitter/etc.

The books were an escape for millions of us. And most of us were young when we got into Harry Potter and didn't pay any attention to the actual author for the longest time.

Harry Potter and JKR is a unique case of Death of the Author coming into play. When we think of DotA most of us think of people like HP Lovecraft. Authors who are long dead and not still in a position to profit from their creations.

I think her still being alive and active has created this strange sort of divide where some don't believe it's possible to have a Death of the Author even in fandom spaces like they do for other long-dead creators which has created even more friction and uncertainty in the fandom.

Without writing an entire novel on the subject I'll just say that I'm of the belief that JKR and Harry Potter is one of those situations where you can find a variety of ways to engage in fandom and not support the creator at the same time and I act as such.

JKR gets the majority of her funds from places like The Wizarding World of Harry Potter, through books sales, and through streaming contracts she has that haven't expired yet, etc etc.

So, personally, I don't buy officially licensed merch anymore, I don't go see the new movies and wouldn't even if Covid wasn't an issue. Movie boxsets, book reprints, t-shirts, etc etc, all of it's a no go for me. Just, I do nothing that will send money in her direction.

But I still read fic. I still talk about the original 7 books and 8 movies from time to time. Occasionally I'll bust out my DVDs and rewatch GoF because it's my favorite of the series and she can't take that away from me.

Because those are done and no matter how many spinoffs or anecdotes she drops now those are completed works that I paid for years ago.

I engaged with and enjoyed that story for years before she outed herself as a bigot on a global level. I am mature enough to realize where to draw a mental and emotional line between what I enjoyed in the past and what I can currently support now that I have new information. I refuse to support her now and I look back on her past works with a much more critical and aware eye, but I will not and cannot pretend like it didn't mean something to me.

I refuse to shame my younger self for enjoying something wholeheartedly, for finding an escape and brightness in a story in a time before we all knew what we know now about JKR.

Not everyone can or is willing to do that, and that's their business. People deal with things in different ways and my opinion/thoughts/feelings don't invalidate how other people cope/handle the situation.

So, I guess what I'm trying to say is that, again, in my opinion, it's perfectly understandable to be upset and to feel betrayed. But that doesn't mean you have to try and erase it from your life completely if it means so much to you, if it helps you.

If you feel like you can draw that line then do so.

But if you can't, if you feel like it's all tainted now and the only way to cope with the situation is to erase all of it from your life then that's your decision.

But, again, that's just my opinion, that's how I've been dealing with things, and that in no way means that's how I think everyone else can/should feel about the situation.

#Harry Potter #RayRambles #JKR #Long post

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milos-journal · 1 year

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The Everyman

Ok, so awhile ago I made a post that was like "What if I made a long rant post on Vinnie Everyman" and that's essentially what this is. Some notes first, I'm sick so unlike the Asher Family post the art for this post is traditional sketches because I've tried hard to do digital, full drawings and it just is not happening no matter how hard I try. This post is also VERY loosely drafted, so it may be a bit ramble-y. One last warning, this will be talking about the canon events of EMH. If you don't want spoilers, are fictionkin/a system/an IRL, or are simply triggered by some of the events/topics discussed and shown in EverymanHYBRID, please be careful reading this post.

Now from there, I can get started!

Vinnie Everyman feels like a character that is either looked over or deliberately excluded when talking about EverymanHYBRID. Whether it is fandom culture just wanting to mash their favorite characters faces together or it's simply many viewers do not find Vinnie as interesting next to Jeffrey and Alex and their family troubles, Evan struggling with possession, or Steph's long-term struggles as expressed in the tumblr blog CANYOUSEETHEWORDS. Which, both are valid in all honesty. It is fine to not like a character. What this blog post seeks to refute is a claim that seems to consistently circulate around the EMH fandom - that Vinnie is a snake and backstabber.

Which, is partially true, which will be elaborated on a little later. However, Vinnie has all the makings to be a tragic character just like Evan and Jeff, but is often swept under the rug and treated as cruel simply because he did what he thought he needed to survive.

Vinnie Everyman is viewed best when you take him as you do many protagonists, especially in Slenderverse: A representation and vessel for the viewer. His actions make the most sense when the audience puts themself in his shoes.

Obviously, at surface level, Vinnie is a bad person. He conspires with a demon, leads his friends to death, and seemingly feels no remorse until it is far too little too late. So yes, Vinnie is, by all definitions, a snake. But one must put context into his actions.

Looking back on the series, it should be kept in mind Vinnie is entirely led astray by HABIT. While it is not directly said but rather implied multiple times, one time I would like to note is almost all of the video "Lexi", but especially the part where HABIT highlights Vinnie is the guardian, however that is simply not the case, as seen by what he wrote for the role of guardian.

"THE GUARDIAN SHALL LOSE HIS HEART AND THEN HIS BLOOD AND FIGHT TO LOSE ALL HE LOVES"

"THE GUARDIAN SHALL DEFY A GOD ONLY TO BE DEALT A FATAL BLOW"

These lines paint the Guardian as a martyr like figure who is dealt repeated emotional blows, only to be killed. However, these lines almost wholly fit Jeff plenty more than they do Vinnie. His "heart" can be easily put as Jessa, and his "blood" as Alex, since they are blood relatives. Jeff during the series consistently pushed the viewers to search for answers while he also searched himself, which would be his fight.

However, the role Vinnie better fits, the Voyeur, is cruel in description and a lot more true to Vinnies intentions.

"THE VOYEUR SHALL WATCH FROM AN EMOTIONAL DISTANCE, INSISTING UPON MAINTAINING THEIR STRENGTH."

"THE VOYEUR SHALL REMAIN IDLE TO ALL WHO SEE, HOWEVER BUSY HE MAY BE BENEATH"

"THE VOYEUR SHALL SWALLOW JUSTICE’S SWORD"

HABIT, by telling Vinnie he is the guardian, is not only making Vinnie a trustworthy figure in the viewers eyes but making Vinnie feel like he is the victim. By saying he lost his love and his blood (which could be his found family, or his friends, or simply the amnesia that made him forget his family) he no longer is not a victim. On top of that, he's now framed as a martyr in the situation.

To circle back, Vinnie is not only manipulated consistently throughout the series, he's also someone the viewer sees themself through.

With the knowledge Vinnie was intensely manipulated by HABIT in many ways, it is understandable to follow his whims. While he almost certainly is not a trustworthy figure from the start, he certainly is a threatening one. The possibility HABIT threatened Vinnie into submission is certainly high, and honestly, given the situation, many people would throw friends under the bus to literally save their life.

As easy as it is to go "Not me!", and the scenario is certainly not a realistic one, what Vinnie goes through is understandable if one thinks of EMH as more allegorical.

Putting HABIT in the position of just an awful person, and Evan as an idealized version of said awful person (an interpretation of EMH I personally subscribe to), the situation is a lot more easy to digest.

Its easy to follow trustable people, and even, in the case of EMH canon, people who hold a position of power, even if the person effected knows its wrong. Given the circumstance Vinnie is manipulated and threatened, its easy to fall into the trap and dig a hole too deep.

(geddin loser, im reliving horrific trauma)

All in all, Vinnie as a character when analyzed is interesting and well rounded. While he intensely stabbed his friends in the back, the way it was framed for him, the other option was to fall to whatever may have been threatened.

Sorry if I rambled plenty or if none of this made sense, as mentioned earlier I am intensely ill and in between school and such I did not and likely won't have the free time to make this post, so I decided to post this while I can. Thank you for reading this far at all, I appreciate it! :-)

#vinnie emh #vinnie everyman #vinny emh #vinny everyman #everymanhybrid #milomamu #AUUGHHH #tw manipulation #tw threats #idk thats all i can think of #this took so much brain power #didnt say it in the post but i have fucking MONO #and this made me wanna fall to the floor and collapse #but i did it! the thing i wanted to do for a month or so!#emh

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hexdsl · 4 years

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Pattern Recognition (by William Gibson)

Yes, I am aware of Mr Gibson's opus.

This book was published in 2003. William Gibson wrote it (I know, Blowing your mind with FACTS!) The last time I read a new William Gibson novel was about 15 years go. Maybe more. It's odd to me that I don't seek out more of his work considering that Neuromancer is one of my favourite books ever.

I should really to a "Book Club" post about Neuromancer specifically. Also, that gives me an excuse to re-visit it, yet again. I didn't want to wite this and have people only read the opening, then tell me how I should read "The Sprawl" trilogy. I am quite familiar with the author. I "love" at least some of his work and I "like" more. So please don't read this thinking its my first ride.

Today however, we are here to talk about Pattern Recognition...

Words. So many glorious words!

William Gibson knows how to write. Fuck me. He knows how to write. He spins a novel in a way that makes it read like poetry without being so boring as to strive for rhythm. His work reads effortlessly cool. Something about the way he puts the words on the page make you "feel" the places and the moods. He does things that will have you swear he is borderline supernatural. He was good when I read The Sprawl Trilogy but now (this one was published in 2003) he's, well.. Back to "fuck me." He maybe the most elegant writer I have ever clapped eyes on. He climbs inside your damned mind with nothing but mystique and a cool that is uniquely his own.

With all that in mind, it may come as an odd redirect that I didn't really "love" this novel. I adore his writing style and the beats that keep the plot moving but ultimately I didn't give a shit about the actual plot. I was there for my fix of his style not for the resolution of the story. I know, an odd mix of feelings.

Whats it about?

Cayce Pollard (Case, I raised an eyebrow too, there is no connection) is a marketing consultant and hunter of new street fashions and movements. She is framed as being somewhat remarkable at what she does.

She lost her father in the 9/11 attack. And I do mean "lost" as in, he went missing but is assumed dead however this is a side story and emotional fuel for the character and not a real part of the narratives main thread.

She has an odd allergy like reaction to brand labels and trade marks. It is assumed that this sensitivity aids her in her job. Allowing her to see through the fake and embrace the authentic. Interesting concept that I really liked.

In her personal life she follows a series of web videos known only as "The Footage" that are around 40 seconds long and are uploaded randomly to assorted locations on the web. Remember this was 2003 so there is some period context for all this. The detailed descriptions of her logging on to the web, and using cyder cafés brought back some very nostalgic memories for me.

Eventually she is hired by "Bigend" yes... that name... The owner of a marketing organisation to "find" the "maker" of the footage.

In 2020 we would consider this whole thing an ARG and the puzzle would be solved by reddit in about an hour. But in 2003, it was a different time. The internet did not have the power and reach that it does now. I think in some ways this hurt the story. Gibson had to do things in such off ways where as now he could use GPS, wifi and global mapping to spin a much more intricate tale I think.

She then makes some logical leaps that baffle me a little. Makes some new friends. Has some out of context memories. Goes to japan to get her hair cut, and then to Russia to wait for a reply to an e-mail. Theres more narrative around this in the book. But my summery is quite accurate. I assure you.

Thoughts?

The main plot, searching for the "Maker" is almost an after thought each event on the journey seems almost an after thought. Mostly we bask in the characters perceptual tangents and indulge in the descriptive wonder that Gibson uses constantly. It's incredibly how consistently palatable the writing is given the density and verboseness of it. I would have been just as happy reading William Gibson's diary I think. Imagine how deeply he could make me feel "putting on socks" and "buying a new jacket."

The logical leaps that Cayce maker though are a little strange to say the least. At one point she really does go to Russia on the off chance some email will turn up and lies to her employer, who is an unexpectedly nice bloke, even though Cayce is convinced otherwise.

If any other writer had led me on such an ultimately pointless journey I would have thrown my Kindle at the wall and tried to forget how to read.

Also the obsessive mentioning of "Buzz Rickson" Jackets drove me mad. For a character who is obsessed with avoiding labels she banged on about her jacket like it was product placement. It actually may have been given that Rickson have a "William Gibson series" of jackets. Yeah. That rubbed me up the wrong way.

So should I read it?

If you have never read Gibson's work, start with Neuromancer. It has it all. Its just THAT good.

If you have already drank from the well of Gibson, and liked it. Yes. Read this. As I said. I loved the journey even though the points along the way fell flat for me.

Closing thoughts sir?

Gibson's effortless cool and affinity for the digital makes me wonder why he doesn't go way more sci-fi than this. It's ultimately a mystery novel with a lot of technology. I want him to dig deep into the future and show me something wonderful.

I won't be reading the next in this series but I had a wonderful time with this little dip.

#William Gibson #Pattern Recognition #books #review

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cloverchats · 2 years

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The Fundamental Horror of DDLC: Script for Scrapped DDLC Video Essay

An indie game going viral online isn't anything new, it feels like every other week some small title with a somewhat interesting idea starts blowing up on social media platforms until people realize it’s a simple one trick pony and lose interest. But there is occasionally one of these breakout independent stars that turn out to be special, have a lasting impact on their player for years, think Undertale or the Five Nights at Freddy’s Franchise.

The subject of this essay, while somewhat more niche, is no different. Getting an expanded edition in 2021, four years after it’s original release in 2017.

Yes, I am talking about the visual novel Doki Doki Literature Club.

Before I can even begin to delve into what the game is, I should probably give a little more context as to what a visual novel is. Visual Novels are essentially what would happen if you crossed some of the elements of a video game (Artwork, Music, Sounds, Player Interactivity) with that of a Novel (You know..Writing).

It is essentially a novel that you read line by line, with visuals and a soundtrack to accompany it, usually having choices made by the player to determine where the story goes.

While that sounds all fine and dandy, the genre of video game has gotten a bad rap for years for its infamous subgenre, one that is the butt of every hardcore gamer or self respecting individual’s joke.

The Dating Simulator.

The whole concept being to use the format of a visual novel for a player to woo any cute girl they please, usually involving different tropes and cliches to appeal to some unrealistic romantic fantasy.

These also almost always have the japanese anime art style, which while nice to look at, usually makes whoever plays such a game look even more like a man who still lives in his mother’s basement.

So when Doki Doki Literature Club released on computer platforms for free with the anime art style and tag for the dating sim genre, most gamers rolled their eyes and moved along. But those who decided to look at the description noticed something peculiar.

“Not suitable for children or those who are easily disturbed.” Was written in big bold letters, the same warning greeting anyone who decided to install the game at the very start of it, making sure that they would see it.

It would seem like some kind of joke right? Everything in this game spelled out “Cute girls doing cute things and all being attracted to your player character”.

Well if said player continued on with the game, they would be on for a rollercoaster of an experience.

For the first few hours of the game, it truly lived up to its advertising. The Main Character had three romanceable options in an after school literature club. Sayori, the goofy and friendly childhood best friend, Natsuki, the cutesy tsundere (a cliche to describe one that is quite mean but only to hide their true and usually romantic feelings), and Yuri the shy bookworm. There is also the president of the club Monika who is really just there as a tutorial guide, not being romanceable.

The player will appeal to the girl of their choice by “writing a poem” after the club meeting is over by picking around 20 random words that would suit her personality.

But despite the romance flying through the air, there are some warning signs, sticking out if you pay close attention specifically in the poems.

Your childhood best friend Sayori's poems are almost all metaphors for depression. Natsuki’s poems show deep rooted insecurities and the possibility of an abusive father, Yuri’s poems implying an addiction to self harm.

So these girls have some problems deeper than the usual dating sim, surely the player can fix them?

Wrong.

At the end of Act 1 of the game the player will walk into Sayori’s room to find that she gave up to her depression and hung herself.

The game restarts the application, and if a player decided to look in the files for the game, they would notice the “characters” folder having Sayori’s file missing.

The Game’s menu shows everyone but Sayori, a distorted mess of code where she once was.

Your previous save file is gone so you have to start a new game for which then the game shows it’s true nature as a psychological horror game, a metatextual experience that twists every expectation of the dating sim genre, tearing apart the fabric of its own reality as it does so.

By the end of the game nothing and no one is left, not even the self aware AI of the antagonist Monika, who deletes the game to save her friends from the trap the game entangled them in. The only thing left was a letter from her to the player.

So yes, the story is messed up in every sense of it, but it is also brilliantly designed and written. Even though I only truly did a barebones summary of the first act and not much else the signs for what makes the story so incredible are there. Critiquing the genre it passed off as by twisting the player’s expectations, bringing up existential questions about the very nature of reality, existence, and identity, scaring the daylights out of the player throughout.

It makes any person wonder what they would have done in the antagonist shoes, how they would have felt in her position.

What if everything about me, my world, and simply everything I have ever known was a lie? What if the only fulfilling goal I could give myself, (romancing the player and thus interacting with true reality) couldn't be reached by me but my not real friends who only comprehend the flat two dimensional world around them?

Then to that extent, is it immoral to manipulate, or even delete the code of such friends if they don't really exist? What are the ramifications of toying with a fake reality as the only aware entity in it? Those are the questions proposed by this game, and to that extent Monika. She might be the antagonist but she is not a bad person. Just a lonely young woman faced with existential concepts that no human has ever experienced.

The fundamental horror of Doki Doki Literature Club isn't only that it twists the expectations of the player, it’s also that it twists the expectations of the characters within it.

That made for a heck of an experience that no player will forget anytime soon.

#essay

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eiirisworkshop · 3 years

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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!

#THE GUIDE #metatext #fandom meta #fandom etiquette #Eiiri made this

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kaialone · 3 years

Text

Kirby Planet Robobot Translation Comparison: Facing Mecha Knight

This will be a comparison of the original Japanese version and the US English localized version.

Specifically, this will cover the cutscene where Kirby encounters Susie for the second time, and ends up battling Mecha Knight.

You can also watch this cutscene for yourself in English and Japanese.

For the comparison, the usual points apply:

Bolded is the original Japanese text, for the reference.

Bolded and italicized is my translation.

Italicized is the official NOA translation.

A (number) indicates that I have a specific comment to make on that part in the translation notes.

As you read this, please keep in mind that with translations like these, it’s important not to focus on the exact literal wordings, since there is no single “correct answer” when it comes to translations.

Rather than that, consider the actual information that is being conveyed, in which way, and why.

Meeting Susie Again:

Secretary Susie:

おーお〜いーだいなハールトマン〜

Oh, great Haltmann~ (1)

Noble Haltmann, we adore him

Secretary Susie:

おーお〜いーだいなハールトマン〜

Oh, great Haltmann~

Noble Haltmann, we adore him!

Secretary Susie:

永遠にー果てなくー栄えよ〜

May you prosper, unending, for all eternity~

Every day we wish him glory!

Secretary Susie:

……おっと、たいへんしつれいいたしました。

...Oh dear, how terribly rude of me.

Oh! Pardon me.

Secretary Susie:

われらがカンパニーのすばらしい社歌、

「銀河に名立たるハルトマン」。

That was our company's marvelous theme song,

"Haltmann, Famed Across the Galaxy".

That was our company's wonderful theme song, "The Noble Haltmann."

Secretary Susie:

ついつい口ずさんでしまいましたわ。

I was just overcome with the urge to sing it to myself.

Sometimes I just find myself singing it out loud. It's so catchy!

Secretary Susie:

さて… また、お会いしましたね。

Now then... It appears we meet again.

At any rate, I must say, how nice to see you again.

Secretary Susie:

秘書スージーでございます。

It is I, Secretary Susie.

I'm Susie, but I'm sure you remember me.

Secretary Susie:

そうそう、ワタクシ最近…

Oh yes, just recently...

Let me tell you a story.

Secretary Susie:

とーってもステキな方にお会いしましたわ。

I met with the most wonderful person.

Not long ago, I met someone who impressed me very much.

Secretary Susie:

いさましくてクールで、ハイレベルな剣士様…

Valiant and cool, a truly high-class swordfighter...

He was strong and full of confidence... A knight of the highest order.

Secretary Susie:

で、せっかくお会いできたのですから、

And, since I was fortunate enough to meet him,

I was so impressed...

Secretary Susie:

ちょっぴり全身カイゾウして…

I have subjected him to just a tiny full-body reconstruction...

I gave him a complete remodel!

Secretary Susie:

わが社のセキュリティマシンとさせていただきました。

And given him the privilege of being a security machine for our company.

And I hired him as a company security guard.

Secretary Susie:

ウフフ…

Uhuhu...

Heehee! I wonder what you'll make of him?

Secretary Susie:

お気にめしていただけるかしら？

I wonder if he will be to your liking?

Please allow me to present...

Secretary Susie:

プロダクトNo. M-７１１０、「メタナイトボーグ」よ…

Now, Product #M-7110, (2) "Meta Knight Borg"...

Model #M-7110. Mecha Knight...

Secretary Susie:

おゆきなさい！

Get to it, please!

ENGAGE!

Translation Notes:

I translated the lyrics that Susie is singing here directly, so they don’t go exactly with the melody in my translation, but they do in the original Japanese.

There’s actually a Japanese pun in Mecha Knight’s product number. The number “7″ can be read as “na”, the number “1″ can be read as “i”, and the number “10″ can be read as “to”. When put together, this spells out “naito”, which is a Japanese transliteration of the English word “knight”.

Comparisons & Thoughts:

This cutscene is another one without many differences.

If you were to really pick it apart it’s arguably a bit looser than the previous cutscene, like having Susie add a few extra comments, but nothing big.

We do get the first mention of the Haltmann Work Company’s theme song, and there is a lot to say about that.

Now, the company’s theme song is hard to talk about without directly addressing details that will come up later in the game, so keep that in mind.

First of all, in English, the song is simply titled “The Noble Haltmann”, whereas in Japanese it’s called 銀河に名立たるハルトマン/Ginga ni Nadataru Harutoman.

I choose to translate the Japanese title as “Haltmann, Famed Across the Galaxy”, but it could also be translated as “The Galaxy-Famous Haltmann” or the like.

So, there’s a bit of a difference between the titles here, with the English version feeling a bit more grounded and reserved in its worship of Haltmann, but that’s not all there is to it.

The Japanese title of this song is a subtle reference to the Japanese title of the “Milky Way Wishes” mode from Kirby Super Star, where it’s known as 銀河に願いを/Ginga ni Negai o, which roughly translates to ”A Wish Upon the Galaxy”.

The reference is definitely intentional, considering how Planet Robobot features several important callbacks to Milky Way Wishes.

The English version lacks such a reference, but it might have been difficult to come up with one, even if the localizers noticed this detail.

Next up, there’s the song’s actual lyrics, and that’s where things get a bit muddy in English.

Basically, in the Japanese version of this cutscene here, Susie is singing the first line of the song. In the next cutscene, she will sing the second line.

Then, the pause screen during Haltmann’s battle will show the full lyrics of the entire first strophe. And lastly, the final unlock of the game is the music video that features a previously unseen second strophe.

Because of that, in the Japanese version, the player ends up slowly being shown more and more of the song as they play through the game, culminating with the music video.

It’s clearly supposed to be an important build up, considering it’s also the main theme of the game that was specifically written to represent it and its story.

The English version is a lot less consistent with the song and its lyrics.

Here in this scene, Susie is singing “Noble Haltmann, we adore him! Every day we wish him glory!”.

This doesn’t match with Haltmann’s pause screen and the music video later on, where the first line is given as “Noble Haltmann, we adore him, kingly lord of time and space!“, instead.

To make matters more confusing, the former actually goes better with the melody of the song, it seems.

The English version of Haltmann’s pause screen description also only features part of the first strophe, rather than all of the first, and the lyrics that Susie will sing in the next cutscene are taken from the second strophe, which isn’t supposed to come up until the music video.

It’s kinda messy, honestly.

I can only assume this is a result of how game translations usually work.

Things like the text from in-game dialogue, the text from in-game menu screens, and the text from additional extras like the music video are normally internally stored in different places, and often you end up with different people having to translate them, with very little context.

Note that I wouldn’t blame the translator(s) and localizer(s) involved here, because they can’t really help their working conditions.

But whatever the case may be, as a result the English version lacks the neat progression of slowly getting to know the song, the way it’s presented in the Japanese version.

With all that general stuff out of the way, let’s have a closer look at the lines Susie sings in this specific cutscene.

In Japanese, she sings “Oh, great Haltmann~ May you prosper, unending, for all eternity~”, while in English she sings “Noble Haltmann, we adore him! Every day we wish him glory!”.

Just like with the song’s title, the English version of this line is a bit more reserved when it comes to practically worshipping Haltmann.

It’s not even like it’s not revering him, it’s just that the Japanese version goes even further with it.

But translating lyrics like this is also something that’s especially difficult, since you need to match the melody of the song, so more differences are to be expected with those.

Really a minor thing, but I want to point out this section:

And, since I was fortunate enough to meet him,

I was so impressed…

I have subjected him to just a tiny full-body reconstruction…

I gave him a complete remodel!

And given him the privilege of being a security machine for our company.

And I hired him as a company security guard.

In the Japanese version, the way Susie says that she gave Meta Knight a “tiny full-body reconstruction” is of course a bit of a joke, talking about something so drastic like it’s just a small little thing.

The English version doesn’t retain this directly, but it gives Susie’s dialogue a similar energy here, having her declare that she gave him a complete remodel like it’s something to be excited about.

A bit of a stronger difference is the fact that Susie says she made Meta Knight a “security machine” in Japanese, rather than a “security guard” like in English.

In the Japanese version, there is a stronger impression of Meta Knight being literally turned into an object or product as far as Susie is concerned, and that that’s a good thing in her eyes too.

In English it’s more like she makes him an employee against his will.

Finally, Mecha Knight’s product number “#M-7110” is a pun in Japanese, as I explained in the translation notes above.

I think it makes sense that the English version didn’t try to adapt it and just kept it the same, because in English you just have a lot less to work with as far as number puns go.

I can’t help but wonder what might’ve worked though, perhaps something like “#M-98”?

And that’s it for this cutscene.

Not a whole lot of differences here again, but more subtle differences are starting to crop up and will continue to add up over time, and we will get to that later.

I want to say that I do really like the localization in this one though, particularly the way Susie’s “swooning” over Meta Knight is written.

It stays close to the original without sounding awkward in English, and captures the basic mood the original version was getting at.

All in all, pretty good.

And with that, feel free to check out the next part!

< Previous Part | Start | Next Part >

#kirby #kirby of the stars #kirby planet robobot #planet robobot #kirby translations #my translations #planet robobot translation comparisons #kirby planet robobot spoilers #robobot spoilers #planet robobot spoilers

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imbellarosa · 4 years

Text

Let’s Talk Calm-ly about Two Loves

OR: When you’re a grown man who writes stories for a living, you definitely wrote your own weird bedtime story, too.

The TLDR here is that H has taken one specific listener around the globe, notably to Tokyo and Jamaica. He quotes an old Victorian Poet who was an awful human but who’s lasting legacy is the phrase “a love that dare not speak its name” which is - you guessed it - a reference to queer love. He also is super excited to spend what seems like the foreseeable future with this listener and has bought a little house with a garden of daisies with them and it’s very sweet and domestic. Anyways this is a wild time and it’s all under a cut because it’s...really a lot.

Anyways I think the people I owe thank yous this times around to are @queenlokibeth who had to listen to me scream about this for a while, Astrid, who screamed with me when this came out, and “M” who convinced me to finally get to work in this fandom. And, of course, all of the lovely people tagged below who’s work I used to build my argument.

1.) Who Wrote “Dream With Me”?

Well, not H, or so the story goes. Two other people (Steve Cleverly and Sanj Sen) did! I mean, right, okay, for a while I was like...that seems like an odd choice for a man who didn’t want to hand Two Ghosts over to his own band because it seemed too personal. He wrote on every song in both albums’ he’s released thus far, because he seems to be passionate about telling the stories he wants to tell (even if he won’t tell you explicitly what they’re about). But for a while, I was totally going with the flow there, and the rest of this analysis would still stand: the writer of this story definitely referenced a poem by Lord Alfred Douglas and Harry’s own songs.

However, I then read this fun quote from the Co-founder and CEO of Calm:

“Well,” he said, “The the Harry Styles one is interesting because that came purely from Harry Styles himself...we took the approach of creating a sort of musical epic poem – he doesn’t sing, it’s spoken with poetry, but there’s a sort of musical sound bed to it and it’s pulling on things and themes that Harry’s fans really adore about him and associate with him. So his story was driven really by him – we really created a concept around him.”

- Chris Advansun, July 7th, 2020 via @hlupdate

And I thought, hmmm. This does not sound like a project that he was not involved in creating. From this point on (July, 7th 2020), I began to think of it as a three way co-collaboration between him and the other two authors. But this confused me a bit, because there was largely a nonreaction from the fandom. I was waiting for an actual transcript, because I always fall asleep to these meditation stories, but it was being referenced to as some sort of Y/N fic, which was...honestly not what I expected, but also not implausible, thanks to the ~lovely~ image this man has had since the age of sixteen. But also, twitter seemed to be concerned by other things at the moment, and no one was analyzing the story. .

In fact, I messaged a friend the day that this story dropped, because it had been kind of a shit show day on Twitter. Rumors were sort of flying about everyone and everything: had Liam shaved his head? Was he engaged? Had he and Maya broken up? Were Zayn and Gigi engaged? Had they broken up? Did Niall have a girlfriend? (this one was true lol). Were Elounor engaged? Were they pregnant? Had they broken up??? My personal fav was the bald Liam rumor, which he promptly put to rest in LP Act 1 by...having a huge mane of hair.

So then I thought - huh. Why has today looked like this? I’m not saying that there aren’t days that twitter goes wild because of boredom, because there definitely is - the articles about secret meetings in Italy that are coming out this week (8/12/2020) are proof positive. So that definitely does happen, but it doesn’t usually happen on the days that there’s a lot of content. And maybe I’ve just been starved for content in this fandom, but I would consider a 40 minute video quite a bit of content.

Then the transcript dropped. I’m using two as references - this one on Wattpad and also @carl-and-pearl ‘s version here (thank you so much for the transcript!!). We’re going to get into a more detailed description of what’s going on in the story, but the first thing I recognized immediately is that it was first person POV. I knew that going in, based on the number of Y/N jokes going around on twitter. Then I read it aloud, and I realized that it read like a letter. Like an experience specific to the writer and the reader. And while that’s not super uncommon to write about an experience from the author’s POV - I listen to a podcast called Nothing Much Happens: bedtime stories for adults which has a similar concept - I thought it was odd that they were trying to include both the author and the listener. I completely understood why the y/n jokes were pertinent. But at the same time, it felt like something had snagged in my mind - like a particularly annoying splinter.

The conversations I was having around this story - completely based on the content, concept, and my own instinct - was that this story contained specific references to one person. I thought that it did read like a love letter, and that most identifying features would have been taken out, but the essence remained. Which, once I thought about it, was something that H excelled at doing. Think about Sunflower Vol 6 and Adore You and Canyon Moon and even Watermelon Sugar and Golden. Ask yourself, What do I know about the person they are about? They have skin that browns, they have a secret, they have mesmerizing eyes, they’re willing to dance in the kitchen with him (to dancehall), they have a belly, they’ve been through hard times, they’re witty, they have an accent, and they have lips. I know - super specific right?

So the splinter grew into a thorn - what was I missing? And then - when I was looking for something completely different - I stumbled upon this old interview Harry did with Zach Sang and the Gang Show back in 2017. For context, he was being asked about Sweet Creature. As you can imagine, it’s hard for people to believe he wrote such a beautiful love song when he hadn’t ever really had a long term relationship (two hearts in one home?? Who did you move in with, you can imagine them asking. When did you have time?). So what did he have to say about this?

"In my opinion,” he explained, “I think most songs are written for one listener. Maybe there's one thing in there that only they'll notice about them.... It's so much easier to say something in a song than it is to say it to someone and I think it's really amazing to be able to communicate through that and be able to wrap up everything that you want to say in three and a half minutes and say it in a song."

- HS, May 3 2017

By this time, please believe that I was screeching. Seeing this felt like he put into words the exact feeling I had about “Dream With Me”. It felt like a nod to someone that I didn’t know, which made the story hard to listen to, tbh. Although, I will say that when I did finally listen to it, it knocked me out and gave me odd dreams so. Once was enough for me haha!

So my new operating theory is exactly what Advansun said: I think that H was the primary writer/the driving force behind the story. Because of the references I’m about to run through, because it feels like the way he tells stories, and because they admitted to him being more involved than they originally claimed. That’s going to be how I write the rest of the analysis - under the impression that H had a direct hand in the story that was being put forth. However, I think that the analysis itself would stand whether or not he wrote any of it. It would just be a more tenuous reflection of him than I believe it to be.

2.) How Do I Love Thee? In Two Ways.

Before I jump into the story, let’s talk a little about the poem that I want to compare it to: Two Loves, by Lord Alfred Douglas. Let’s be clear this is not at all a defense of who Bosie was - he was a terrible person, particularly in his later years, when he’d converted to Catholicism and turned his back on his younger self, and his partner, Oscar Wilde. He was violently anti-Semitic, and turned his back on his own community. I want to get this out of the way because I very much believe that we should examine artists for who they are. That is, after all, what I am trying to do here.

But his poem Two Loves has often been used - much to his disappointment, I’m sure - as an exploration of queer love in Victorian times. A line that I will be exploring more deeply in a second was in fact used against Oscar Wilde in his trail for indecency . He attempted - unsuccessfully - to explain it away, but it was too blatantly about their relationship for even the British Victorian society to ignore. I really, really recommend a read of this poem, because it is - despite it’s author - a good piece of work, which explores the themes of shame and love and longing between two men in that time.

I’m going to start with my own background, as someone who’s analyzed fandoms before. I first came across this poem in the Sherlock fandom, with this analysis by @the-7-percent-solution, when I was running in that fandom, and she explains the poem brilliantly in just a few lines. I’m going to take a little longer to run through it, but if you want a concise explanation and a brilliant meta, I encourage you to run to their blog and check it out. That fandom taught me most everything I know about catching symbols and recurring themes and “clueing for looks” and I love it desperately, still.

But we’re here to talk about this fandom, so on with the poem! Essentially, the poem outlines a dream the speaker had: In his dream, he’s standing in a field with flowers - beautiful ones of all kind - and he meets this young man with clear blue eyes and bright red lips and they kiss a bit and have a picnic, and it’s all lovely. If you think I’m kidding, I’m really not. Please, read it for yourself.

Anyways, after they did they did the whole picnic thing, the speaker and his date go on a walk in this field, where they come across two figures. The first is described as,

“...fair and blooming, and a sweet refrain Came from his lips; he sang of pretty maids And joyous love of comely girl and boy, His eyes were bright, and 'mid the dancing blades Of golden grass his feet did trip for joy; And in his hand he held an ivory lute With strings of gold that were as maidens' hair, And sang with voice as tuneful as a flute, And round his neck three chains of roses were.”

- Two Loves, 1894

The speaker, however, was drawn to the second figure:

“He was full sad and sweet, and his large eyes Were strange with wondrous brightness, staring wide With gazing; and he sighed with many sighs That moved me, and his cheeks were wan and white Like pallid lilies, and his lips were red Like poppies, and his hands he clenched tight, And yet again unclenched, and his head Was wreathed with moon-flowers pale as lips of death. A purple robe he wore, o'erwrought in gold With the device of a great snake, whose breath Was fiery flame..”

- Two Loves, 1984

Of course, the speaker immediately asks the second man who he is. The second man says, “My name is Love”. The first man corrects him quickly:

“ He lieth, for his name is Shame, But I am Love, and I was wont to be Alone in this fair garden, till he came Unasked by night; I am true Love, I fill The hearts of boy and girl with mutual flame.”

-Two Loves, 1984

The second man sighs and acquiesces, “Have thy will. I am the love that dare not speak its name.”

It was, of course, this last line that really gave the meaning of the poem away. It was the line that was put to Oscar Wilde as proof of a romantic relationship, it was the line that went down in history as a way to refer to queer love, and it was the line that first stuck out to me when I was reading “Dream With Me”.

The reading here is clearly that “Love” is the love that is acceptable to society - easy, sweet, and cherished. “Shame” is the love that happens in secret - beautiful, alluring to the speaker, passionate, anxious ( as can be seen in the clenching and unclenching of his hands), and proud. He refuses to call himself as anything but what he is. The first man may call him Shame, but he refuses the name, and instead, offers a qualifier to his own descriptor. He is still love, he is just the love that can’t be spoken about.

3.) Walking in Golden Fields of Sunflowers

Now let’s talk about “Dream With Me”. I’m ignoring the first few stanzas (from the line “Have you ever wondered” to “What the two of us can find”.) because those are pretty standard introductory paragraphs to a guided meditation. So we start with the line “Let’s travel now to moonlit valleys...”.

I’m going to do the same thing I did with “Two Loves” first. I am going to describe literally, in general terms, what happens in the story. Warning, I change pronouns from “they” to “you” because the whole thing confuses me, but note that I’m always talking about the speaker and the listener:

So after doing the standard intro, the speaker and the listener take a walk through the woods enjoying nature, particularly the grass, the trees, and the blue sky above. You’re already clearly in love. Then you’re magically on a raft, with cherry blossoms all around you. If you want a good visual for that, here’s a site that has pictures from a boat rental in Tokyo where you can snuggle on a raft in the Chidorigafuchi moat. And then suddenly it starts raining, and they (you) watch the rain for a hot second, and then the scene magically shifts again, and you’re under a porch (although I guess it could be the boat rental’s porch. They do usually have covered areas).

Kind of furthering that theory, they then lounge by the shoreline, skipping stones and hanging out, looking at the snow capped mountains. In case you’re curious, because at this point I sure was, you can see mountains from certain areas in the city of Tokyo.

Anyways, then it’s snowing, and you’re magically in a cabin, just chilling by the fire, and you fall asleep again. You wake up somewhere else.

Where are you now? Well, you’re on a tropical island filled with palm trees. As an American, my mind immediately jumps to the Caribbean, but I suppose it could absolutely be in the Mediterranean as well. The island has white beaches, mangroves, a turquoise ocean, and a gorgeous, peaceful atmosphere.

If you’re curious as to what a mangrove looks like - and I certainly was - they are a group of trees and shrubs that live in the coastal intertidal zone and Jamaica is doing a massive restoration project involving primary school children to regrow this vital part of their ecosystem. More interestingly, there currently exist no mangrove forests in the Mediterranean, so my initial feeling that this scene would take place in the Caribbean was correct. On that note - again, because I was curious - Jamaica has gorgeous white sand beaches with turquoise oceans.

But I’ve gone off topic again! After you’re minds are “in tune” once more (trying to find a heartbeat, anyone?), you reappear in a meadow, with beautiful flowers of all kind, where you are now walking hand in hand through a field of sunflowers, which give the feeling a “warm and golden hue”. Then you come across a little farmhouse with daisies poking out (clearly I have no way of locating this anywhere in the world, but I assume that the UK has both sunflowers and daisies). It’s an empty house which was loved and left because of the passage of time, which inspires my favorite line in the poem: “ The thought of passing time inspires/A feeling that grows stronger”. It’s just...really sweet to me.

So, of course, they do what anyone would do when they come across an empty farmhouse, they go inside. And there, they begin to fall asleep, reflecting on all they have just seen, referencing other scenes of the poem: “ Moonlit valleys, Burdened forests, Gazing at the ocean. Summer meadows, Tranquil sunsets steeped in emotion”.

The next few stanzas are just going to be copy-pasted, and then I’ll go into them a bit, but this is the end of the poem, so they’re the final reflections;

“The tenderness we feel When we are close Two minds as one Surrounds us and connects us But we’ve only just begun.

For now we dream together Of all there is to follow. And know that sleep will keep us safe From now until tomorrow.

Maybe all the memories That we’ve gathered here tonight Are all dreams now remembered Or wishes in plain sight.

No matter what They’re with us now. For this night and forever. And every time we close our eyes They’re yours and mine to treasure.”

- HS, Dream With Me, via @carl-and-pearl

And that’s it! The literal story, in short, is that you started in a forest, then went to Tokyo (maybe) and then Jamaica (perhaps) and then back to a field of sunflowers and daisies in the UK (which is also a guess, it could be Italy or France or Idaho for all I know, but let’s call it an educated guess).

4.) My Dream Journal

So now that we know what happens in the story, how do we interpret this? Well, There are a few lines in the poem that I want to draw your attention to: the first takes place in the first part of this story, when you’re still in the forest. This is, I must say, the most direct reference to Two Loves in the whole poem/song/story. Both works are describing a walk in the woods with your loved one, and, in a fun reference in the middle of the story, Dream With Me says

The shimmering reflection Shows us smiling from above. But what we think But dare not speak is L-O-V-E love.

-Dream With Me, 2020

Remember that line I mentioned before? I am the love that dare not speak its name. Right, so that’s almost a direct quote. It also has a really fun nod to “I Would” (Would he say he’s in L-O-V-E?/Well if it was me then I would), but I digress.

This first part of the narrative, I feel, really sets up what the rest of it will look and feel like, in the same way that “Golden” sets the tone for Fine Line. (You didn’t think I was going to make a post about Harry and NOT mention Golden, did you?? If you did, I’m disappointed!!). So let’s take a look at what’s happening, and the language he’s using to describe it.

One of the best things about this poem is how vivid it feels. Of course, I’m about to argue that it’s vivid because it was based in reality, but let’s talk about the sheer amount of detail he uses to describe the place he’s walking through. The valley (canyon lmao) is moonlit, the grass and the leaves make mosaics of green, you’re walking by the heather (the symbolism of heather is good luck, admiration, and protection), the sepia sunlight breaks through the trees.

You know what it kind of sounds like? Sweet Creature. You’re about to roll your eyes at me! I can feel it! But listen, okay?

“Sweet creature Running through the garden Oh, where nothing bothered us But we're still young I always think about you and how we don't speak enough”

Which, to be honest, sounds like what they’re doing. They’re walking through the garden in the sun, not daring to speak about the Love that he (they both) feel, and instead refering to it in veiled Victorian terms.

And then we head to Tokyo! I know that you’re about to ask me why I think it’s Tokyo versus...idk, anywhere else? Well, for one, he went to Tokyo (to let it go) publicly in 2019. He was there for a few months, and there are some great pictures of that time:

Look! Here he is with his club owner friend and his dog, and a fun red bandanna! But let’s be honest, the dog really steals the show here. But wait! there’s more! More dog content, too!

This was on Jan 31st, 2019, and he’s taking the dog for a walk! Very cute! If nothing else, he spent a lot of time with dogs in Tokyo! And the city fits the description of the story. So I feel rather comfortable with my interpretation that this first date is a memory of this trip - or another - to Tokyo.

So what did “you both”do in Tokyo? Well, chill on a raft while the cherry blossoms flutter around you, clearly. You also refocused your purpose. What did he do in Tokyo in 2019? Well, he took time to think about and write songs for the album he was about to go record. Kind of like refocusing on what’s next, right? And then, in the story when “you both” had time to think amongst the lake and the water and the rain and the moon, and you’d come to the conclusions you needed to, you left. What did he do when he did the things he needed to? Well, he left, too.

And where did he go? Well, in real life, I suppose he went to do his job. But, in the story, you’re meant to be falling deeper and deeper into sleep, so it’s sort of like traveling backwards, you see? Like counting down to one. So you end up on this island with turquoise ocean and mangrove forests. I’m calling this Jamaica. Why? Well, the description fits, for one, down to the four types of mangroves that exists within its ecosystem.

And - probably the biggest reason - I can place him there, too. Here’s him in 2017:

I added this picture because the water around him....looks rather turquoise, doesn’t it? Kind of like he’s enjoying his time on a tropical island by the beach?? Oh, and here’s another one!:

The red bandanna makes a comeback!

So what are you doing in Jamaica, according to the story? Well, you’re hanging out, basically. Enjoying the beach and each other, of course! What else? To be exact, “[Your] thoughts dovetail and unify/ In tune two minds together”. I’m so glad that you’re tuned like an old guitar now! Congrats! Really happy for you!

What was he doing in Jamaica three years ago? Why, he was recording his first album, or so the story goes. I’ll tell you something: finding press for that album was literally the most difficult part of this whole analysis. I got a fair bit of the tattoo roulette with Kendall Jenner, and some things about Carolina, but the interview with Zach Sang took me like an hour and a half to find again to link. The fact that a lot of it has been buried is...not great, for posterity purposes. He’s going to want that one day.

But I’ve gotten off track again! We gotta go back and finish our story, right? What happens now? Well, this does:

hahahaha okay, I’m really sorry, but I had to. I’m not, actually, making it up though! According to the story:

“ As minutes turn to hours We drift off somewhere new. And visualize a stairway To a door we now walk through”

- Dream With Me, 2020

So maybe Louis was just...demonstrating for you.

Anyways! Where do you walk out to? A golden field full of sunflowers. You walk for a minute, then come across an old house with daisies popping up out of the garden. And that’s where the story ends. I guess you’ve made that farmhouse feel like home.

Now to the little reflection he does on the outro. The lines I want to bring your attention are: “The tenderness we feel when we are close two minds as one surrounds us and connects us but we’ve only just begun” and “Maybe all the memories that we’ve gathered here tonight are all dreams now remembered or wishes in plain sight.”

Let’s talk about the first sentence first. In the context of finding a home that could be a shared home, and a future, this is very much an “end of the story, beginning of our lives” sort of thing. You’re back from all over, and it’s time to settle down, and see what’s next.

And now the second sentence. I think this is the one that really drives my point about this story being a collection of memories he has - that’s what he calls it. The story is “gathered memories” that might also be called “remembered dreams” (think of how people say of vacations, “oh it was a dream!”) or you might call it “wishes in plain sight”. This feels in line with the rest of the story. In this stanza, he’s sort of letting you in a bit. If I’ve read this right - and I really think that I have - he’s giving the larger context for the story. It’s a collection of memories he’s had with someone he loves.

5.) Cool! Can you prove it?

I mean, I’d argue that if you read this far, I have proved it, but let’s make some more links, shall we? This was called a “muscial epic” that was “driven by him”. I’d argue that if I know my Victorian literature (thank you, Sherlock!), then he definitely does. Then there’s the fact that he quoted it, so. That did happen. And he knows what it means. And even if he didn’t, there were two other people on the story. Someone was more than capable of catching that one, and the fact that they didn’t speaks to intent. They want you to think of that phrase when you read this poem. They want you to think of that walk in the woods while you’re going on this one.

And, as for my assumption that this is for and about one person, well. Think about it. He said that he writes his songs for a single listener. I’m not saying it’s the same listener each time, let’s get that right, but it is always just for one person. With that, and with the assumption that he’s been involved in the writing of this story, I’d say that the same rule applies. He went with someone to Japan and Jamaica (J^2 haha). And, if I had to guess, it was the same person.

Why, you ask? Well, for one, if that weren’t the case, then this poem would no longer be for one listener, it would be for multiple. And, for another, imagine how awkward it would be to listen to it with his current partner and have to explain “oh, yeah that was the super romantic vacation I took with someone else” . And, I suppose that because I think that attitude of “refocusing” and “dovetailing” and “tuning” and getting excited about imagining all of the tomorrows with your partner speaks to a long term relationship breathing easily, you know?

I’m also going to argue that describing the aura around the house as “golden” was intentional, especially when paired with the location - in the middle of a field of sunflowers. Those are both direct references to his songs. And those two songs are particularly linked by the number 28. The third song that features 28 is Fine Line the song, but that’s a different story. Anywho! “Golden”’s bridge just repeats the word ‘golden’ twenty eight times (if you go here , you can count the bridge) and “Sunflower Vol. 6″ ends the song with 28 “boops” (believe me, I wish I was making this up. I’m not.). So then, once again, you’ve linked a story to two already linked songs.

And, even if you don’t buy the intentional repetition, they’re linked another way, aren’t they? The color scheme and the sun symbol. Sunflowers were named because of their sun-like appearance. They turn to face it. They symbolize loyalty and adoration. And then, of course, the sun is - say it with me - golden. And it - like the person in golden - waits in the sky, beautiful and dangerous and constant. And here that symbol is, in a farmhouse in the middle of nowhere. At home.

This whole story feels like you’re taking the time to find that heartbeat that you think you might have lost, and sort of coming back to a space where you understand that this is what you want, now and forever. It feels like finding a home that could be yours forever, and it feels like walking through some of the moments that remind him of that.

It really is rather lovely, if you think about it, especially since he has a tendency to attribute “home” to people rather than place, in his songs. So it’s like. Going all around the world and always being at home.

#harry styles #calm #dream with me #two loves #honestly man #im happy for you #but ewww #be less sappy please #i mean #SOME OF US DONT HAVE THAT YET HAROLD #hahahaha i think im funny #long post ts #idk how else to tag this but im really proud of it #okay now i'll do the penguin song #promise hahaha

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millenniumblog · 3 years

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[ID: A chart describing the core values of each of the nine Enneagram personality types with YuGiOh characters correlated to each of the types.]

YuGiOh Enneagram Analysis, Part #1

Please note that this is the “boring” informational post about Enneagram with the Types listed and explained as well as a few other things. The next post is what has the actual, in-depth character profiles promised!

Introduction & Motivation

Over the past several months, I have been trying to analyze my strengths and weaknesses as a writer and learn more. I have been writing fanfiction since I was a little kid, making my first FF.net account in 2003 when I would have been twelve years old. Even before that, I was a lurker and wrote fics to share with my childhood best friend on paper or floppy discs.

YuGiOh came into my life at some point shortly thereafter. I know this, because I spent my thirteenth birthday in a comic book shop, mostly watching some of my male friends play the trading card game. I had some of the cards, but I was never much of a player, unable to keep up with the seemingly rapid rule changes. Besides that, I was always way more interested in the story and characters than I was in the card game. I remember I even wanted to call “YuGiOh cards” “Duel Monsters” instead to make it seem a little closer to tween-y LARPing.

Eventually, I gave up on collecting cards or trying to ply the game. I felt that while my male friends didn’t mind me being around when they played, they weren’t extremely interested in helping me learn or keep up. I felt I had other strengths, so I started carrying around a notebook even more than I already did. I started my fledgling forays into online fandom. And YuGiOh was a big part of the beginning of that.

I can’t remember posting any YuGiOh fic in particular, and I’m sure that if I had it would make me cringe now. What I do remember is reading some and also spending a lot of time lying on my bed, headphones plugged into a small purple stereo, listening to the first of the two American-released CDs with YuGiOh-inspired music on them. In particular, the last three tracks were pieces of music from the original score composed for the 4Kids dub, which is - for some reason - different from the original Japanese music.

During that time, I would fantasize and conjure my own YuGiOh plots in my head, most of which were focused on the Ancient Egyptian and more spooky, spiritual, and horror themes in the show. I was really fascinated with the reincarnation angle, though my understanding of and opinions on how that works have grown with time.

Years went by, and I didn’t think about YuGiOh much at all. Then, something happened in 2018. I don’t know what got in my head, but it was like all the joy I once found in thinking about the YuGiOh characters came back in a giddy conversation with my childhood best friend. Then, for a little while, it wouldn’t leave me alone.

I started writing for the fandom then, and after several detours, I’m trying to get back in the groove of it.

My approach to the tone of YuGiOh-fanning is that it’s a bit serious, but it’s also with a tongue placed in my cheek because of how incomprehensible or silly the plot can be on a meta level. Sometimes, it almost brings tears to my eyes by being so over-the-top about something that, in the real world, would make no sense at all. But the drama, in the context of the universe, somehow rings true.

I think that’s all owing to how most of the primary characters are just... really freaking great characters.

It has often puzzled me. Like, did Takahashi do all this layering on purpose? Is it really there, or did earnest fanon just make it seem like it? And, as a person, I am always here for a good fan-and-canon symbiosis.

This post is going to be, from here on, an effort to match the YuGiOh characters to the 9 Enneagram Personality Types. I am writing this for my own benefit as I continue to work on my pet YuGiOh fanfiction project, It’s Always Sunny in Domino City, which is a mixture of YGOTAS-vibes-and-concepts taken seriously and a sincere take on fanfiction for the actual canon. It’s dramedy about a sizeable chunk of the main cast a few years post-canon with some canon divergence such as the Memory World arc not yet and possibly never-happening. If that sounds like something you’d like, I would humbly request you check it out!

Either way, this will be an in-depth character analysis cheatsheet for all of the characters above, based on my observations, opinions, and feelings. I invite discussion, but it’s fine if we need to agree to totally disagree!

If you are interested and enjoy what’s below the Read More and in the coming second post, then you are welcome to utilize the character analyses to aid you in your own fanwork!

Enneagram

What is Enneagram, and why am I using it?

Enneagram is a personality categorization system that one might compare to the somewhat better-known MBTI. However, in the words of excellent writing-advice YouTuber, Abbie Emmons:

MBTI shows us how we behave.

Enneagram shows us what we believe.

I will be referencing Abbie’s video Using The ENNEAGRAM To Write CONFLICTED CHARACTERS and her free Enneagram-cheatsheet, available in the description of the linked video. Whether it’s before you continue reading or after, if you’re interested in writing, I would highly recommend you check out her channel!

The Enneagram system has nine basic personality types that overlap and interact in really interesting ways. It is not a hard science, and it’s not a horoscope. Instead, it’s supposed to be “based on conventional wisdom and modern psychology.” All I can say is that with every set of characters I’ve tried it with, it works! Once you get the hang of it, it feels kind of like ~✰~magic~✰~!

Below, I will list Abbie’s simplified definitions of each of the personality types, in order:

Type 1: The Reformer

The Rational, Idealistic Type:

Principled, Purposeful, Self-Controlled, and Perfectionistic

Basic Fear: Of being corrupt/evil, defective

Basic Desire: To be good, to have integrity, to be balanced

Key Motivations: Want to be right, to strive higher and improve everything, to be consistent with their ideals, to justify themselves, to be beyond criticism so as not to be condemned by anyone.

Type 2: The Helper

The Caring, Interpersonal Type:

Generous, Demonstrative, People-Pleasing, and Possessive

Basic Fear: Of being unwanted, unworthy of being loved

Basic Desire: To feel loved

Key Motivations: Want to be loved, to express their feelings for others, to be needed and appreciated, to get others to respond to them, to vindicate their claims about themselves.

Type 3: The Achiever

The Success-Oriented, Pragmatic Type:

Adaptable, Excelling, Driven, and Image-Conscious

Basic Fear: Of being worthless

Basic Desire: To feel valuable and worthwhile

Key Motivations: Want to be affirmed, to distinguish themselves from others, to have attention, to be admired, and to impress others.

Type 4: The Individualist

The Sensitive, Introspective Type:

Expressive, Dramatic, Self-Absorbed, and Temperamental

Basic Fear: That they have no identity or personal significance

Basic Desire: To find themselves and their significance (to create an identity)

Key Motivations: Want to express themselves and their individuality, to create and surround themselves with beauty, to maintain certain moods and feelings, to withdraw to protect their self-image, to take care of emotional needs before attending to anything else, to attract a "rescuer."

Type 5: The Investigator

The Intense, Cerebral Type:

Perceptive, Innovative, Secretive, and Isolated

Basic Fear: Being useless, helpless, or incapable

Basic Desire: To be capable and competent

Key Motivations: Want to possess knowledge, to understand the environment, to have everything figured out as a way of defending the self from threats from the environment.

Type 6: The Loyalist

The Committed, Security-Oriented Type:

Engaging, Responsible, Anxious, and Suspicious

Basic Fear: Of being without support and guidance

Basic Desire: To have security and support

Key Motivations: Want to have security, to feel supported by others, to have certitude and reassurance, to test the attitudes of others toward them, to fight against anxiety and insecurity.

Type 7: The Enthusiast

The Busy, Variety-Seeking Type:

Spontaneous, Versatile, Acquisitive, and Scattered

Basic Fear: Of being deprived and in pain

Basic Desire: To be satisfied and content—to have their needs fulfilled

Key Motivations: Want to maintain their freedom and happiness, to avoid missing out on worthwhile experiences, to keep themselves excited and occupied, to avoid and discharge pain.

Type 8: The Challenger

The Powerful, Dominating Type:

Self-Confident, Decisive, Willful, and Confrontational

Basic Fear: Of being harmed or controlled by others

Basic Desire: To protect themselves (to be in control of their own life and destiny)

Key Motivations: Want to be self-reliant, to prove their strength and resist weakness, to be important in their world, to dominate the environment, and to stay in control of their situation.

Type 9: The Peacemaker

The Easygoing, Self-Effacing Type:

Receptive, Reassuring, Agreeable, and Complacent

Basic Fear: Of loss and separation

Basic Desire: To have inner stability, "peace of mind"

Key Motivations: Want to create harmony in their environment, to avoid conflicts and tension, to preserve things as they are, to resist whatever would upset or disturb them.

Now that you’ve seen all those, what do you think your favorite character is? In YuGiOh or anything else! It works great for original characters and even yourself and your loved ones.

The actual Character Profiles will be in coming post(s), but continue reading if you want me to explain more about how and why the Enneagram is a great personality typing system. #nonspon, or whatever.

The Enneagram Chart

Now, you could just go to the Enneagram Institute’s page on How the System Works, but below I’ll cut it down to only the parts I’m interested in and explain those in a way that helps me.

Unlike in astrology or MBTI, which are both more restrictive in different ways, the relative position of each type matters a bit on the Enneagram chart, because it can be used to visualize a lot of things about a person!

The Basic Chart

The Types are shown in a clockwise fashion with “1″ in the 1 o’clock position on an analog clock. The interior lines mean things, but I have trouble reading it without further delineation.

Centers of Response

Below are two small charts, displayed side-by-side. (If it’s too small, try right-click, open in new tab!)

The chart on the left shows the three “centers.” The “centers” indicate the first ‘processing language’ a person would use to respond to stimuli.

Type 8, Type 9, and Type 1 respond first based on instinct (primal, gut-feeling). If you want to go Freudian, this is from the id.

Type 2, Type 3, and Type 4 respond first based on feelings (social or personal desires, the heart). If you want to go Freudian, this is from the ego.

Type 5, Type 6, and Type 7 respond first based on thoughts (analytical rather than emotional, the head). If you want to go Freudian, this is from the superego.

Remember that, of course, every single type and person engages their instincts, their emotions, and their thoughts at different times and to different degrees, and some of these are learned or changed behaviors. This is about what their innate drive toward that would be.

Likewise, the same “centers” can also be used for the chart on the right. You will notice that all three of these are defined by what is typically considered a negative emotion. This is because this is about a person’s instinctive, not particularly conscious emotional response when they are backed into a corner and deprived of something that is core to the needs of their personality type.

Type 8, Type 9, and Type 1 tend to respond to a threat to their psychic well-being with anger/rage.

Type 2, Type 3, and Type 4 tend to respond to a threat to their psychic well-being with shame.

Type 5, Type 6, and Type 7 tend to respond to a threat to their psychic well-being with fear.

Stress vs. Growth

We all know that there are times when a person isn’t acting like themselves, for better or for worse. Usually, “You’re not acting like yourself,” means that a person is behaving badly. Of course, it’s way easier to withdraw and bristle and defend rather than growing in the midst of adversity. However, it is certainly possible to experience character growth in response to experiences, good and bad. Unlike a lot of other personality typing schemes, the Enneagram has a way to display and predict what stress and growth do to a person.

The Enneagram never suggests that any Type is an island unto itself. Every person contains multitudes, but a person’s Type is likely to remain relatively stable throughout their lives, once they have had a chance to develop any personality at all. This means that when a person is stressed or growing that they do not become the type they emulate. Rather, they are more highly expressing that aspects of their personality that reflect those drives and desires but in a way that is either fraught, sickly, or unwell (in the case of stress), or aspirational, flying-high, and incorporating the hard-lessons into who a person is going to be going forward (in the case of growth). The latter, especially, isn’t a sustainable mode, while a stressed person can become more entrenched in their bad habits and defensive coping mechanisms.

Stress

Note the white, directional arrows. Each number has an arrow point pointing to it and an arrow leading away from it. The point indicates that this is the stress manifestation for the Type at the origin of that arrow. The origin of each arrow indicates the Type being described.

Confused? Let me finally give you a YuGiOh example.

When I was trying to identify the Types of the characters, defining Marik was difficult, because he has a “Yami,” or Dark Side, which has its own personality and will but which is not its own separate soul or person than Marik himself. Rather, it’s a kind of fantasy/magic-assisted personality splintering where Yami Marik is a full manifestation of the negative traits Marik needed to embody to survive.

So, for reference:

When stressed, Type 1 behaves more like Type 4.

When stressed, Type 2 behaves more like Type 8.

When stressed, Type 3 behaves more like Type 9.

When stressed, Type 4 behaves more like Type 2.

When stressed, Type 5 behaves more like Type 7.

When stressed, Type 6 behaves more like Type 3.

When stressed, Type 7 behaves more like Type 1.

When stressed, Type 8 behaves more like Type 5.

When stressed, Type 9 behaves more like Type 6.

Alternatively, you can use these sequences to follow the stress lines:

1-4-2-8-5-7-1

9-6-3-9

Growth

Think of the above-explanation in reverse.

The sequence:

1-7-5-8-2-4-1

9-3-6-9

As a Type 1 grows, they incorporate more positive traits of Type 7.

As a Type 2 grows, they incorporate more positive traits of Type 4.

As a Type 3 grows, they incorporate more positive traits of Type 6.

As a Type 4 grows, they incorporate more positive traits of Type 1.

As a Type 5 grows, they incorporate more positive traits of Type 8.

As a Type 6 grows, they incorporate more positive traits of Type 9.

As a Type 7 grows, they incorporate more positive traits of Type 5.

As a Type 8 grows, they incorporate more positive traits of Type 2.

As a Type 9 grows, they incorporate more positive traits of Type 3.

Wings

The final thing to know about the Enneagram chart for my purposes is about wings. The wing of your personality traits accounts for the complementary and contradictory aspects of your personality. They are the inconsistencies that make you human, predicted and jumped in. Typically, a person is not thought to have both possible wings but one or the other. A wing is one of the two adjacent Types to yours, the number before, or the number after, and it is annotated, for example:

Type 1, Wing 2: 1w2

Type 1, Wing 9: 1w9

Link to Part 2 Here!

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