fictional realms

anonymous asked:

#onlyinamitypark is the entire horror genre treated like a branch-off of comedy. to be fair, after that whole thing with the ghost pirate ship and our parents getting kidnapped (shut it baxter it's not like fenton could've flown back up ya dumbbell) everything in the fictional realm is just. completely ridiculous. makes for some fun times screwing with tourists tho. #weseedeadpeople #talkingaboutaghost #freakinoutanewbie #isitfromghostbustersorthenews #imnotsayingbut #itsnotgayifhesdead #mwahaha

that whole “let’s headcanon Amelia Earheart landing on Themyscira” post and the resulting backlash of people going “but she was a real person and that’s disrespectful!!” is actually fascinating to me and something I want to talk about more

at what point does a figure pass into the realm of fictional character without it being seen as disrespectful to the real person?

I’m currently reading a novel where Lord Byron is a central character and a vampire. is this disrespectful to the actual Lord Byron? is Houdini & Doyle (and its highly fictionalised versions of the real breathing Houdini and Doyle) disrespectful in the many liberties it takes with documented historical facts, such as erasing Houdini’s wife and replacing her with a fictional policewoman love interest? are the many attempts to give Jane Austen a fictionalised love interest disrespectful to the original spinster Jane Austen? 

Let The Star Lead The Way - Chapter 11 - “...Why do you linger in the shadows?”

(Warning, adult content. +18)

Thranduil walked through the crowd, his mind set on his prey that had just left the room. He had seen the change in her expression when she had turned back to the dance floor and noticed he was no longer there, her long curls brushing against her nearly bare shoulders as she had run through the doors, in hopes of escaping him.

But this was his realm. He knew every corner, every hidden part of it. There was no place for her to hide in.

He chuckled. “Oh, little one, you won’t get far tonight.”


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Newsfeed #84 May 20, 2017 (20 Lótessë)

Book II: The Saga of Thranduil: It is done, but not over.

On May 19, 2017, The Kingdom of the Woodland Realm Trilogy’s first book, The Saga of Thranduil was completed. The first draft was sent to two trusted individuals first (one in Canada and one in California).

The full volume (currently and subject to change) is 497 pages and 30 chapters long. The 31st Chapter will be in the Epilogue of Book III: The Last Tale of Legolas Lasgalen. What comes next is Book I: The Epic of Eryn Galen and doing work on the extend version of Book II: The Saga of Thranduil.

Now, for the icing on the cake, I suppose: Can you read the book?

https://drive.google.com/file/d/0B5aEKM0HC5bcTUkzZzdWT0UtcFk/view?usp=sharing

From May 20-May 27, the first draft will be available to the public. Remember, it is the first draft and is subject to change (Tolkien did the same thing with The Hobbit, ironically). It is by no stretch of the imagination the final product (mostly because of the extended versions of Book II and Book III). I will say it is cleaner than online (somewhat). It is a work in progress. In its final version, it will be between Book I and Book III as part of the “Trilogy”. Translation: it’s 1/3 of an entire book and depending on what happens in Book I/Book III, some changes might be made and slightly change events in the book.

This is the first completed book about the life and times of Thranduil, one of Tolkien’s most elusive characters and his story is based on Middle-Earth History as given by J.R.R. Tolkien. The story is 100% original (no, Tolkien didn’t write it and neither did Peter Jackson). There are events inside that take place in The Hobbit and The Lord of the Rings, but they are told from the perspective of Thranduil. In Book I, the story will be from the perspective of his ancestors and Book III will be told from the perspective of Legolas.

I completed this book for my father (who is sick and I miss him terribly) and was done in 17 months. I’m just proud of that because I was playing beat the clock not knowing if I could finish such a feat before my father passed away. He’s still here and I completed the draft (for the second time). This will be the final chronicle of the life and times of Thranduil in book form, meaning any changes will come from the extended versions at the moment unless otherwise stated.

Where it goes from here has begun today. The future belongs to Thranduil.–J.

Images: ©2012, 2013, 2014. Warner Brothers Pictures. The Hobbit: The Unexpected Journey, The Hobbit: Desolation of Smaug, The Hobbit: Battle of the Five Armies. All Rights Reserved.

anonymous asked:

forgive me if i'm misinterpreting this; you say everyone is free to write what they like, but yet simultaneously people are not free to respond to said writing. i'm aware of the definition of defamation but this still seems a little one-sided to me. if people are freely publishing their works regardless of content in places where anyone can respond to them, why is this right to respond forbidden, even if it is inflammatory in nature?

(I’ve previously answered an ask on the same subject.)

this is a perfectly fine ask, and it reminded me that i’ve been meaning to re-write my blog description for clarity. so here’s the rewrite:

anyone is free to create any fanwork they want. others are free to dislike it. but nobody is free to defame, harass, or harm other people for their fiction.

(nobody should be free to defame, harass, or harm other people for any other reason, either, but this is the area my blog specifically deals in.)

long story short: of course you’re allowed to write a negative review, say you think a fanwork is awful, argue with a creator, etc. But for a long, long time now, some factions of fandom have:

  • held fanworks to an absurd degree of perfection (or even beyond it)
  • read/imagined a million things in fanworks as providing decisive proof of the creator’s tastes and behavior irl
  • insisted fanworks have amazing power to influence and harm members of fandom, particularly minors

all while acting as if their own (non-fanwork) negative words and poor behavior in fandom is of absolutely no consequence, no influence, no possible negative effect at all.

Ultimately, I think both creators and reviewers should be held accountable for presenting their content responsibly. this means:

fanwork creators need to:

  •  tag their content accurately so that those who wish to avoid particular subjects, relationship dynamics, dark themes, and ships can do so. 
  • or, in places where it’s appropriate (such as AO3), they should clearly and strongly indicate they are choosing to not flag their content and therefore are not saying whether or not it contains dark or potentially harmful themes. consumers proceed at their own risk.
  • flag adult/nsfw content as adult where possible, limiting its availability to minors (at least minors who are honest about their age, which of course all minors who want to avoid nsfw content are. right?)

people reacting to fanworks/sharing fanworks need to:

  • avoid making assumptions about the creator based solely on their fanwork (including their gender identity/sexual orientation, their race, their nationality, their past experiences, and their motivations for creating the fanwork.)
  • focus on the creation, not its creator. (Death to the Author and all that.)
  • clearly own that their opinions are opinions - not facts and not absolutes - and understand that others may have different opinions.
  • use words honestly. don’t be inflammatory and use buzzwords for a hot reaction. don’t call things that aren’t pedophilia ‘pedophilia’. don’t call things that aren’t incest ‘incest’. 

and everyone in fandom needs to recognize that the nature of modern social media’s reblog/retweet/reshare functions means that anything we say has the potential to be utterly separated from its original context and used as a bludgeon against others. Work hard to keep creative content+warnings or reviews+disclaimers united and/or inseparable. You will thank yourself later!

so tl;dr: creators are allowed to create whatever they want in the realm of fiction. everyone else can react however they want … as long as it isn’t abusing/harassing/intimidating the creator, making up lies or exaggerating the flaws of the work, or spreading the work for the purpose of mocking and deriding it. 

Essentially: if you’re creating a fanwork, you avoid being a dick by making it as easy as possible for people who don’t want to see it to avoid it. If you’re reacting to a work you chose to look at, you avoid being a dick by not treating the author like shit or setting them up for/subjecting them to abusive dogpiling and harassment.

I won’t say being kind costs nothing, because I think being kind is hard as fuck. But if you can’t be kind or assume the best, don’t waste time on fury when you could be finding a fanwork you actually like instead.  You’ll be making the world a more pleasant space one less harassment at a time.

and seriously: let’s bring back the concept of something being in poor taste. not everything has to be systematically problematic to still be insensitive or mean.

We’re all stories in the end...

What will follow is a very long explanation of why I think BBC Sherlock has become fan fiction in every sense of the word, applying a technique called estrangement effect to achieve as well as envision this. It has been happening since S3 - but came into full force in S4 and especially TFP.

Let me state at first: Sherlock Holmes is dead. He died after jumping off Bart’s. That’s the one thing Mofftisson did that no other adaption has dared to do. Not even ACD did describe Holmes dying. But Mofftisson showed us: Sherlock jumped and hit the pavement. We saw it, and it was never explained how he survived. Because he didn’t. What we watch in TEH is altered footage, like in the beginning of TST. Alienated ficitional reality.

But still Sherlock came back. How is this possible? Because Sherlock Holmes never lived, and so could never die; because Sherlock Holmes as a fictional character has long ago crossed the line between ficiton and reality. He exists in both worlds, the ficitonal and ours. Schödinger’s Sherlock, so to speak.

Mofftiss (and Steve Thompson) have adapted Holmes for the 21st century - with all its consequences. They are the first who allow Holmes to die - as it should have been, in Watson’s arms. This is truly new - like it or not.

But why could he survive? Because of the fans. Fans brought Holmes back in 1903 - and they brought him back in S3 (or even MHR). Whereas S1 and S2 might still be somehow canon compliant if modernised, with S3/MHR the show left the realm of ACD and became something else. It became our story. We are the narrators. Therefore, we appear, for example, as Anderson or the Empty Hearse Club, before we, in TAB, leave this concrete narrator position behind to ascend onto yet another narrative level.

Many commented (and lamented) the change from S2 to S3. The show became a romcom! The cases didn’t matter anymore! All those new characters! All true - because the BBC adaption had detached itself from ACD and started to become its own work of art, it’s very own pastiche. That might be self-referential; and perhaps wasn’t even always well made (TFP!) - but I think we should stop applying real life structures and standards to this work of art - because it simply doesn’t work. (And, as every writer, Mofftiss have the right to fuck their own story up).

The audience and fandom struggle with a lot of twists after S2 because making the distinction between canon compliant fictional verisimilitude and the realm of associative fan fic is especially hard to mark with a figure like Holmes - who seems real and yet never was. On the other hand, he is the perfect character to undergo such a narrative transformation.

If this interests you, please continue under the cut.

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My thoughts on reading fanfiction

Okay, so I was looking through my old fanfiction.net account (ah, memories~) and noticed that I had read over 250+ fanfictions back then, for FOUR years, before I moved to AO3. Some of the stories I had the wonderful opportunity to finish, some I didn’t because they didn’t interest me anymore. But it’s still something. I was reading. I was taking my time off into another realm of fictional universes with anime, cartoons, or comic characters instead of staying grounded to reality. Needless to say, my reading speed drastically improved over time.

What became surprising to me is that just when I thought 250+ fics, over the course of four years was a LOT, and a FEAT onto itself, it was nothing, NOTHING compared to the bookmarked fics I have on AO3 for the past YEAR… I currently have 325+ fics-finished (and just waiting to be reread), still ongoing, on hiatus, or marked for later.

If I do the math and assume 1 fic=1 short book (some of them may be oneshots or drabbles), technically, I’ve read around 500 books for the past 5 years, and that’s taking it VERY lightly since I distinctly remember having read two Danny Phantom fics that had more than a million word-count. I’m not sure the reliability of the article I read, but they say that an avid reader reads around 5000 books in their lifetime. (GEEEZ, 19 years old and I’m 500+/5000 already?! Well this makes me reconsider my decisions about my life)

But to all the fanfiction writers, fanfiction artists, and fellow fandom people, thank you for inviting/encouraging me into this world of reading. We may not actually be able to ‘show off’ our english teachers or those scholarly literary critics how much we enjoy reading (without the fear of being judged prematurely) but somewhere out there, I know there are thousands of other fellow readers who are just as appreciative of free fiction as I am.

I never had to read american history before (have to now for an exam of Law for my translating career), and honestly the story of your independence and constitution is fascinating. I love to read where the “values and morals of the american people, land of the free” and all that that you keep talking about in movies and stuff came from. 

And reading about the boston tea party and the first and second continental congress and how the struggle came about from excess of taxation over a young nation of merchants i started thinking that i’d read something like that before, in fiction.

just now it hit me. the ROTE world! Bingtown! the struggle against the Satrap (SOUND LIKE A KING?) and Jamaillia (SOUND LIKE AN EMPIRE?) also comes from excess of taxation over a young nation of merchants! i wonder if Robin drew inspiration from american history (probably since y’all must have been made to study this since you were like 2) and if it was always kind of obvious to you US people? Of course the parallels pretty much end there, american soil was not a Cursed Shore (i think?) but it’s still fascinating to discover the influence of real history in fiction.

For us foreigners let me tell you, it’s NOT obvious at all. 

I’ve seen a couple fanfics that tie in the Toei Yu-Gi-Oh anime with the Duel Monsters anime and/or treat them as the same canon, but I wonder if anyone has tied in Noah Kaiba with Toei!Seto since they have similar hair colors, demeanors, and outfits. (And ages, I think XD) Noah was a shout-out to Toei Seto, but I also wonder what they’d do if they met.