kiragecko
Oh No, One of My Kids Could Join Tumblr Soon
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Re-reading some comics as research for the fic I’m writing, and this entire Nightwing arc is essentially this:
Dick: "I'm manipulating you."
Slade: "I know you're manipulating me, which means I'm actually manipulating you."
Dick: "Okay, well, I know that you know that I'm manipulating you, which actually means I'm manipulating you. So, checkmate, Slade."
Slade: "Oh. Really?" *lights the chessboard on fire and throws it out the fucking window*
#if this is NOT the arc where Dick is training Rose#I will be very surprised#and need to read a new arc
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WONDERFUL.
I continue to love your thoughts and ideas! Is there a way you know to separate the tags while searching? Colour-coding helps, but I still find the big block of tags hard to read, and would really like at least the 'Additional Tags' separate, like they are when I open the fic. I do not care if this takes up more space.
What you want is the Byline site skin. It modifies fic blurbs so that each type of tag is on its own line. To use that skin, just scroll down to the bottom of the page and hit the button labelled Use.
If you're already using a site skin, you can combine Byline with it.
Edit your existing skin and scroll to the bottom of the CSS box. Next to the word Advanced, select the button labelled Show. That will open up a new section of the form. Scroll down to Add Parent Skins and start typing in Byline. You can select it from the autopopulated dropdown, then just update your skin and you're done.
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Asexual creatives:
Sex is boring, what would I need to add to make it interesting?
Attraction makes no sense, I am going to think about it SO MUCH to try to understand society
Okay, if I build up a strong enough relationship between these characters, it's basically just a friendship. I understand friendships! Let's devote 30 chapters to them learning each other and showing their deep commitment.
Hmm, power dynamics are interesting. And trust! Trust is fun to explore. Maybe ... OOH, the human body can HANDLE that?! What if we add some forced truthfulness once they're tied up? Definitely some ruminations on the meaning of touch. Did ... did I remember to add the actual physical penetration? Eh, I'll get to that eventually, I just thought of a way to showcase their healing journey through their changing relationship with aftercare!
So I WAS going to have the first kiss this chapter, but Character A hasn't talked to their friends yet this week, and that gives them a chance to clear their head a bit. We get a chance to see the contrast between now and the last time they hung out with their friends. Last time, we saw all the parts of their personality they were afraid to show Character B. This time, we're reminded of how many of those HAVE been shared. How the two of them are sharing their lives, even if they aren't sharing their bodies yet. Also, I've figured out a way to bring back that obscure side character I love and it adds SO MANY more plot hooks!
After browsing a few blogs, I've come to the conclusion that nobody is more creative about sex than asexuals, like do y'all just make sex cooler bc u don't care about it or what
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I'm assuming you mean 'what are Medieval Ligatures' and not something like 'which Medieval Ligatures are included'. If I'm wrong, please let me know.
Medieval ligatures are basically abbreviations where the abbreviated letters get written together. During the middle ages, a lot of European writing was in Latin. Vellum, the main thing to write on, was expensive, and using the space efficiently was important. Many Latin words end with similar sequences of characters, like 'dum'. Some words are used very frequently, like 'que'. Medieval writers would use a single character for these sequences to save space and write more quickly. For example, 'dum' was written 'ꝱ' and 'que' was written 'ꝙ'.
My keyboard includes most of them in sections 9.1.1 and 9.1.3. You write the full sequence out ('d+u+m' or 'q+u+e') and then press Ctrl+7.
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Modifier logic is a LOT harder than it seems.
I attempted to organize things by shape, rather than purpose, as much as possible. Upside-down characters are created with Ctrl+2, characters with acute accents are Ctrl+', etc. Even so, all the '/' modifications are based on the alphabets the characters come from, and the various curls/hooks are often sorted by what they symbolize. I also used someone else's keyboard as inspiration.
I can't immediately figure out the reasoning behind which modifier is used for what character in the link you gave me. I'm guessing it might have some relationship to the languages the person studies, and what seems like logical groupings for those languages.
I do know that when you only want one modifier per character you usually need to sacrifice some aspect of logic at some point.
Press:
E
>
is a lot simpler than:
O+E
Ctrl+7
Ctrl+Alt+Shift+6
The first is how the linked keyboard creates an 'ɶ', the second is how mine does.
My sequence is entirely logical! You type the two characters that historically combined to make an 'Œ', combine them, and then turn them into a small caps version. After learning this sequence, it's pretty easy to figure out how to make characters like 'ᴇ', 'œ', or 'ᴁ'.¹
But it's SLOW. It's unnecessary if you only have a few combination characters. And it's meaningless to anyone blind, or who's thinking more about sounds than shape.
A keyboard that's focused on IPA SHOULD use different logic than I did. My focus is completionism!
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Hope that helps. Thanks for your interest in my keyboard!
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¹ 'ᴇ' = e then Ctrl+Alt+Shift+6
'œ' = o+e then Ctrl+7
'ᴁ' = A+E then Ctrl+7 then Ctrl+Alt+Shift+6
IPA and More Keyboard
When I first got into linguistics, I decided I needed a keyboard that could support IPA¹. But I was studying Sanskrit, and switching to a completely different keyboard every time I wanted to add a dot below a character (the common Sanskrit transcription convention) was really annoying! Also, I hate the IPA character for a palatal nasal (ɲ), so I wanted to be able to use 'ñ' instead. And ... a thousand other tiny things, all requiring different keyboard layouts. Why wasn't there a keyboard that just let me type EVERYTHING?
Eventually, I designed my own. And that was fun enough that I expanded it. Over the last 15 years, I've been adding characters and streamlining it's use.
The current iteration is a monster. For an idea of what it can do:
this keyboard can type over 50 diacritics (accent marks)
it can rotate and flip any character that has a rotated/flipped Unicode counterpart, as well as replace them with smallcaps, superscript, and subscript versions
it can type most medieval ligatures and characters (though my research hasn't always been good enough to provide the most natural ways to do so)
it covers the whole IPA, of course, as well as historical symbols, extIPA, and uppercase forms when available
it can type any modern or historical click character available in Unicode (still waiting for Doke orthography support >:( )
it allows you to type Greek and Cyrillic characters (though it prioritizes IPA variants and isn't really streamlined for writing the language)
it allows you to transliterate Sanskrit, Ancient Egyptian, Chinese dialects, etc. that use discipline-specific characters/diacritics
it lets you add bars, tildes, slashes and curls to any character that has a matching Unicode counterpart
it can type most proofing and punctuation marks, modifier characters, as well as
alchemical, astrological, and gender/orientation symbols
and much more
For more detailed documentation on what this keyboard supports, and how to use it, here's the guide (PDF or Word Doc).
Here's the keyboard: IPAKeyboard dot kmp
Because it's designed to work for a LOT of characters, this keyboard is rarely going to be the simplest way to type a specific one. There are definitely IPA-only keyboards that will be more efficient for typing just IPA. And this keyboard isn't a font. There will be characters that don't show up - I've yet to find one that supports the entire range of characters this keyboard allows. Doulos SIL is my suggested font, especially if you use a lot of diacritics, but you might want to look around to find the one that supports you best.
But it's a powerful tool if you want to be able to switch between multiple transliteration and transcription systems in the same document, explore characters to use for non-human sounds, discuss the history of transcribing language, or quickly type special characters without opening 'insert symbols' dialogue boxes.
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This is a Keyman keyboard. You'll need to install Keyman before being able to use it. Keyman is a free program with some amazing keyboards, and a lot of supports for people designing them for underserved languages. I've been really happy with it for almost 20 years, now.
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For ideas about what else I could add, or suggestions for better key combos for specific characters, please contact me here, or at kiragecko at gmail dot com.
Things I'd love ideas for:
medieval ligatures (need to match them to logical character strings (words), but these are frequently NOT what unicode suggests)
mathematical, geometric, and/or scientific symbols (huge numbers of symbols, need a logical way of organizing them without too many key strokes)
Teuthonista symbols (very little English documentation, so I don't know what all of them MEAN)
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¹ The International Phonetic Alphabet, one of the main ways linguists indicate sounds.
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Help is allowed and all this is not about your fav just get them all to the same number
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Take a wild guess which I was
#a post expressing shock that they HADN’T learned it from a supernatural meme#followed IMMEDIATELY by a supernatural meme#polls#trump#us politics
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3. ADHD forgetting. You KNOW the shape of the memory. You know the context. It bothers you constantly. It blocks your view of everything else, and you long to express it. You cannot remember what it was.
4. I might remember that. Am I inventing the memory? Am I just guessing well? Or was I there and the memory is smoke, visible but impossible to grasp. Well, if you talk about it enough I promise to Frankenstein things from your description, and remember it perfectly!
It’s interesting how there are at least 2 types of “I don’t remember that.”
1. Not remembering until the memory gets triggered/ you are confronted with evidence, and then you do remember.
2. Absolutely no evidence will bring back the memory. The memory does not exist anymore. That wasn’t me. Nope. Didn’t happen.
And then there’s “I have been told about this, and while I do not remember it, I know that it is factually correct. How do I know? I don’t know.”
I don’t even know what my point is, it’s just interesting to think about. Memories are weird, dissociation is weird. The way the highly traumatized young mind deals with memories is weird.
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‘Gore’ IS a tag! It’s one I look out for! Any lovingly detailed description of wounds and innards qualifies.
In the fic I’ve read, ‘Graphic violence’ is usually more focused on the … fast paced, shocking horror of injury? While ‘Gore’ is usually for slower, more creeping, horror. People describing graphic torture are more likely to use ‘Gore’, for example, even though it’s definitely graphic and violent. (Though of course they often use both.)
how to figure out if you need to use the "Graphic descriptions of violence"?
I feel like I should know this but I struggle to find the line that crosses into the warning.
I'm writing for the fandom where there's canonically a war. I plan to write about it, and as wars go there are murders on screen and off screen and also fights and such.
So how would I know?
I'm going to take inspiration from this truly iconic post about mature vs explicit.
Violence is I stabbed him. Graphic violence is And here are all of the details related to that.
So for violence:
I looked at the gift in front of me. I'd spent a whole week searching the house for where it was hidden, and now I'd found it. I felt a rush of victory as I tore off the bow and in a flurry of tearing paper, I revealed the box inside.
Meanwhile, graphic violence:
I pulled off the ribbon first. There was a slippery sound as the knot unwound and the blue curl of one end tickled the back of my hand. In my impatience, I snapped it in two pieces. The sharp snap of it made me grin.
I was going to enjoy this.
My nails scratched over the paper looking for purchase, and when they finally found it I let out a roar of delight. The paper tore, large gashes appearing as I used my strength to pull it apart. I could see flashes of a logo on the box underneath. It shone in the light of the desk lamp over my shoulder.
Again and again I pulled at the wrapping. Each rip and tear was like music to my ears. My hands moved so fast they blurred in my vision as scraps of paper floated through the air, some hitting my face, some my chest, until there was a pool of them on the floor.
With the box finally revealed, I didn't stop there. My nose was full of the scent of paper and it spurred me on. I kept ripping, this time at the cardboard. I could feel papercuts on my fingers, but I didn't care.
The box ripped, not as cleanly as the paper, but it ripped all the same and when it was in tatters, I gloated.
The box lay on the table, a husk of what it once was. Paper and ribbons were scattered on every surface. My hands were covered in papercuts and I could hardly catch my breath from my exertions.
It was mine. I had finally found it. No one could take it from me.
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okay, so who is all your guys favorite unpopular and little known dc character?
#love civilian side characters#sebastian ives#bridget clancy#chris kent is also painfully cute#and I love how they portrayed his feelings about his painful power-surpressor that he was too young to fully understand#I think we deserved more onyx adams
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Prompt:
Jason insists on being the bait for a joint mission with the Bats. But the moment he starts “screaming” during the interrogation process, Batman calls the whole thing off and smashes right through the window and into the first thug.
Absolutely nobody is surprised by this development. Except Jason.
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I don't know how strictly accurate this is, but one of the things I find shocking about watching historical dramas is how many people there are around all the time---according to Madame de... (1953) a well-off French household in the Belle Epoque maintains a workforce of at least 3, and the glittering opera has staff just to open doors. According to Shogun (2024) you can expect a deep bench just to mind your household, and again, people who exist to open doors.
Could people....not open doors in the past? Were doors tricky, before the standardization of hinges? Because otherwise, the wealthy used to pay a whole bunch of people to do it for them in multiple contexts, and I find myself baffled.
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The main problem with interjections like this is that SO MUCH of the meaning is conveyed through emphasis. The secondary problem is that this means that multiple, nuanced, things can be communicated by the same phrase!
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Generally, the word that conveys meaning is emphasized, and the others act to support or qualify that word.
It's easier to see with 'yeah'.
In "Yeah", "No, Yeah", "Yeah - no, for sure", and "Yeah - no, yeah", the (first) 'yeah' is said clearly. It's usually slightly longer, and maybe louder than the other words.
In "Yeah, no", "Yeah, yeah, yeah", and "No - yeah, no", the 'yeah' is much more quick and quiet. The vowel is different. ('yeh' [jə] instead of 'YAH' [jɑ] or [jæ] or whatever your dialect uses.) In "Yeah, yeah, yeah" NO word is emphasized, which makes sense since meaning is actually being conveyed by tone, like @brawltogethernow said.
(The same thing is happening with the 'no's, but it's harder for me to hear.)
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One way to see this is to try to put the emphasis on 'wrong' words in these phrases, and see how confusing it gets!
'YAH, no.' - what does this mean???
'yeh' - that's either agreement with something really unimportant, or not very certain agreement.
'YAH.' 'YAH.' 'YAH' - very emphatic agreement!
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The ones with dashes are extra confusing, though, because they can be one or two ideas. The meaning stays roughly the same, but the emphasis is different.
One idea (same as the previous section):
"Yeah - no, for sure" - 'YAH no for SURE.'
"Yeah - no, yeah" - 'YAH no YAH.'
"No - yeah, no" - 'NO yeah NO.'
Two ideas:
"Yeah - no, for sure" - 'YAH.' 'NO for sure.'
"Yeah - no, yeah" - 'YAH.' 'NO yeh.'
"No - yeah, no" - 'NO.' 'YAH no.'
The first option is reinforcing the answer. The second option usually has a noticeable pause between the two, while the speaker considers. It's emphasizing that the the person is SURE of their answer.
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A final way to shift up meaning is drawing out/lengthening words. This usually indicates qualification. (The speaker either isn't certain, or has conditions.)
'yeeeeeeeeh' - is "maybe" or "I disagree but can't argue right now" or "I agree in some situations"
'noooooooo YEAH' - is "I had to think about this but I agree."
'yeeeeeeeeh NO for sure' - "I agree it's a no and also have strong emotions about this topic"
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I've had situations where I WANTED to stop acting out my hate for things, but found it really hard. And I found it could be helpful to figure out what I was gaining from my hate.
Hating stuff is FINE. This is NOT ADVICE FOR FIGURING OUT IF YOUR HATE IS 'VALID'! It's already valid, you'd don't need permission. This is only for situations where you suspect that you might be making fandom a bit more toxic for other people, but don't know how to stop. Where you aren't enjoying the experience of hating, but find yourself doing it anyways.
There are some extremely valuable things to be gained from hating a character or franchise. Some that I've experienced are:
it's a safe target. I used to repress all my anger. I'd empathize with EVERYONE in ways that invalidated my own feelings. Hating Colossus and Angel (from the X-Men) was a way for me to practice anger and dislike without hurting anyone real.
I need my experience validated. Sometimes I'll want to rant about how much I hate some event or character because something resonant happened in my life and I'm insecure about whether people will support me through it. It's a lot safer to talk about the fictional event than the real one, and hurts slightly less if people brush it off.
I need to defend myself. I DESPISE books that involve a quirky (usually female) character being taught how to fit in with the people around them. Because too many people assumed my happy ending was learning how to get rid of all the traits that made them uncomfortable so they'd be willing to accept me. Every time I observe someone talking about a story like that, staying silent feels like betraying myself. Saying I hate the story feels like refusing to be complicit in my own suffering again.
safety is never a given. There are things I'd love to talk about, but that only work if the audience is receptive. And I know the topic is divisive. Expressing hate can act as a litmus test - the way people respond to certain topics can predict how they'll respond to others. If most people agree or are relaxed about it, I might be okay to bring the more important thing in.
hate is simple. Some stories are really complex and require a lot of nuance and perspective taking. It's a relief to be able to insult The Draco (an extremely stupid X-Men arc) after a day of reading complex and ambiguous discussions about disability and representation. The Draco is bad. There are no conflicting access needs here. I just get a break!¹
Once I realized WHY I was attached to my performative hate, it was much easier to chose when I acted it out. And to find other ways to get those needs met. I've mostly grown out of my need to safely practice anger, or get a litmus test before bringing out a topic. I've mostly found other ways to validate my experience and defend myself.
But I still relax through the simplicity of performative hate sometimes. I just usually include a disclaimer, and don't tag it in ways that will put it on fans' dashes.
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¹ There are probably redeeming qualities to The Draco. I haven't read it since the early 2000s. I'm fine with other people enjoying it. But I don't want to hear about any redeeming qualities, because hating it is FUN.
I do wanna say without derailing the other post that there are, absolutely, books and TV series and movies out there, including adaptations of things I love, that I hate. No nuance, no complex relationship, no I-hate-this-but-I-love-that, I just think they're terrible, sometimes for reasons of genuine objective badness and sometimes for reasons of my personal taste and often for a mix of both. And I certainly have complained, and will in future complain, about these things both to my friends and in public.
What I don't do is make hating those things a long-term lynchpin of my fannish experience, because...I hate them, so I do not wish to spend time thinking about them. Yeah, it's satisfying to know other people feel the same way I do, but once we've established that then what else is there to talk about? There's joy in a good Fisking, to be sure, but that requires extended and thoughtful engagement with the thing (that I hate) and even, I would argue, a measure of affection for what it could be in other circumstances.
Cultivate profound indifference to the stuff you hate. Cultivate happiness within yourself for the people who don't hate it, having fun over there. Cultivate the ability to exorcise your demons in the group chat and then let it go. I promise, with all my heart, it makes fannish life a hell of a lot nicer.
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In the AO3 Demographics Survey 2024 - an unofficial demographics survey of 16,131 AO3 users - 78% of respondents reported having at least one disability, neurodivergence, or other health condition, including 58% experiencing mental health conditions, 33% experiencing ADHD, and 27% experiencing autism.
To see more analysis, including full transcripts of all the data and comparisons to disability statistics for the general US population, please view the full results on AO3.
#3 in every 20 fanfic writers is visually impaired??#definitely makes me feel good about adding image descriptions#1/3rd of us are ADHD#1/4 autistic#and over half have a mental health condition#1/4 are chronically ill another 1/4 have chronic pain#we have impressive numbers
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trying to learn from and process my grief and anger in constructive ways and its like. i go to swing a big hammer at a gigantic hornets nest but i hesitate just long enough at the last second and accidentally end up making a wooden chair that i can sit on the front porch drinking sweet peach tea in. and im drinking the sweet tea and sitting down. but im mad about it
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Just in case anyone has missed one of these WONDERFUL examples, here's some recs:
the politics of dancing, by TheResurrectionist (and the rest of the DC outsider POV series) - this one is Jason going to a board meeting for Wayne Ent. I love it so much. But all the others are also amazing.
Ain't No Compass, Ain't No Map, by ebjameston - extremely funny comedy with a lot of heart, told from the perspective of a social worker who is pressured into letting the Red Hood be Tim Drake's foster parent.
oh, well imagine, by blenderfullasarcasm - another really good comedy about a goon and his relationship with the Red Hood
Ives Adapts, by kiragecko - my fic about Ives watching Tim change
The Waynes of Twitter, by tiredofsatansbullshit - one of the better social media AUs
r/onlyingotham, by amurderofmagpies - another social media AU, this one pretty much entirely from outsider perspectives
Hmm, looking at this list, I need more serious outsider perspective fic. Anyone have suggestions for me?
outsider pov batman fics are so good. yes i would love to read an in-universe bruce wayne interview. please tell me more about a popular blog in gotham. what are the insurance rates for bat-property damage. does brucie wayne have a tiktok presence. do we think azrael is big on goth twitter
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[Image shows a bunch of overlapping translucent circles of different sizes. Their colour change depending which other circles they're overlapping with, and each section has a subtle gradient. Their borders are either teal or orange.
End ID.]
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