Wanted To Draw His Scars Properly Visible Since They're Always Under The Clothes. Pretend This Is A Checkup

how are you people alive.

I’ve been obsessed with this tweet for a while so I’m posting the it to tumblr to inflict it on more people

how am i supposed to go to work when im literally thinking about The Character

Dangerous animals

support fat girls with weird curves

support fat girls with no butt

support fat girls with small boobs

dont just support the hour glass/big booty “acceptable” fat girl

Every page of the legendarium is dripping with love. Love for Christopher love for storytelling love for history and language and nature and the world just a kind of slow reveling in the best parts of living that makes Tolkien’s work so antithetical to modernity and feel so timeless

nothing, just tolkien originally writing down the hobbit because his son christopher kept complaining that he'd change the details from night to night and then christopher later being so crucial in taking tolkien's notes and turning them into fully written novels of worldbuilding. loving someone to the point of creation and then having them help you finish the job.

In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.

What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)

Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.

The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.

We... need worldbuilding by Seth Dickinson

no matter how you examine a bar of chocolate, there's no indication of the exploitation that went into creating it — not an atom that screams "I came into being through slavery!" and yet, the social relations of slavery and unequal exchange are facts of its existence. in the capitalist world, we're presented with an endless series of commodities, while the social relationships behind their production and distribution are hidden from us. when people understand the misery that others are forced into in order to shave $0.5 off the production costs of every t-shirt, sofa, or TV they purchase, they often feel rage at the capitalist system. that's why we must continually expose such things. don't let them be hidden from view

People who hate Frodo Baggins are my enemy. "He didn't do anything and was useless"--yeah, okay, so what you're not understanding is that he was the sacrificial lamb. He endured physical, mental, and emotional torment that got worse and worse as his will broke. Everyone knew this. EVERYONE KNEW THIS. That's why everyone was devastated about it. Because Frodo was the most innocent among them, that was the entire point. He represented ordinary peaceful people being destroyed by the horrors of war. And as a hobbit he also represented some of the last vestiges of magic in what was basically a post magic apocalypse.

Frodo was basically an innocent puppy thrown into the Torment Nexus so that EVERYONE ELSE could maybe have a hope of surviving. And he did that willingly. HE DID IT OF HIS OWN FREE WILL, KNOWING IT WOULD RUIN HIM.

Frodo haters won't see the light of heaven