lurkeriatipsos

All kinds of worldbuilding ideas for my postvampocalyptic feudal skinwalker/human society, esp re: societal views on sex and femininity considering that 90% of females are sterile hunter/fighters, so it's less of a "sliding scale of straightness vs. gayness" and more based on sex for breeding vs. sex for fun vs. sex for status/dominance vs. tons of asexuals--need to research so I don't screw it up w/ portrayal (lol i c wat i did thar).

I now know the pain of the lone fantasy writer/GM who's bursting to talk about minute details of a world that doesn't exist and there are no stories about (yet) and therefore no reason for anyone else to care.

But, since I am a socially awkward nerd who thinks the internet listens and cares, I shall natter on undaunted!


Stress human/shifter cultural divide (different pantheons, very different views on women in community). Humans have much more variety in jobs but generally inherit family farm/business. Shifters don't have traditional family units, constantly fighting to maintain borders, 95% soldiers, rely on humans for everything material.

(Other 5%: fertile females, who live in the hearts of biggest cities, very "gilded cage-y", sort of idolized, but also isolated from shifter society. Have human servants and nurses who take care of the kids.)


ETA: Just made a not-the-worst-ever human pantheon based on myths based on the Cullens.
And if Bella, Edward, and the deathbaby have an origin story that sounds like Isis, Osiris, and Ra, well, that's just the ubermyth at work, and not me being a lazy story cannibal.

So there.

The shifters have stuck to their ancestor worship/spirit wolf/cold ones mythology.

"What kind of drugs were you on when you created the platypus? May I have some?"

By writing allegories-within-allegories into this play I'm writing about this guy who was born in England but forced to move to Ireland and live in terrible conditions when he was young, but grew to love Ireland and spent his whole life working to better it until eventually he became the most famous Irish person in the world, but biologically he was British, and it's all a metaphor for the tragedy of how easy it is to be consumed with fervor or despair or hatred (even of self) based on the idea of your genetics making you a "true" resident of a particular country, and how that nationalism can quickly turn to evil, like those [please Lord, allow me this one exemption from my Lenten vow] Goddamned shit-for-brains IDIOTS who think the IRA is cool, those fucking dunces who only care about terrorism when somebody blows up one of their buildings, but when Godforsaken monsters blow up children, they don't give a shit it because hey man, it's not like they were fuckin' towelheads!




FUCK Irish-American ignorance! Fuck this "culture" of getting blind drunk on green Budweiser and talking about "The Troubles" and "The Potato Famine" like 5 minutes of 10th grade history gives you a claim on a country you'll never see in your life. Fuck thinking that "being from New England" and "having an Irish last name" somehow equates to practicing the Catholic faith.  Fuck these blind, ignorant idiots who think a century-old stereotype of out-of-control alcoholic ape-men is something to take pride in, who see old newspaper cartoons and laugh.

Somewhere up in heaven, St. Patrick is nauseated and groaning and clutching his head. He's not hungover.

I'd fuck me.
I'd fuck me so hard.

Have grossly simplistic false dichotomies improved the internet or made it a festering den of gibbering trolls?

Finished Life on Mars, then marathon-rewatched Princess Tutu.


Tutu seems like it was created just for me, because I could go on for hours on the amalgamation of Eastern and Western fairy tales, with the fairy princess and the hearts and the true love but also lots and lots and lots of living possession, and how the theme of being yourself despite pressure to conform is very non-Confucian (and only slightly less non-Japanese)  . . .

But right now I'm just thinking about how the ending to Life on Mars was completely satisfying where Princess Tutu's finale left me a wee bit cold.

Is Life on Mars more emotionally honest? Does it deliver what the audience needs instead of or despite what it wants? Is Princess Tutu more honest and mature about storybook endings, even though it's meant for a younger audience?

I don'tknow.

I just know that Life on Mars's ending made me happier than just about any serialized story I've come across in any medium, because I got closure but at the same time knew that the adventures didn't really end.

And I don't care about the real world implications, okay? It had to be done. It was the only way to make it a happy ending! (lol irony)

Your mom.

Tra la la lah laa laaaaaaaaaaaa . . . *fwump* Balls.

Um . . . to be born with one? I dunno. Is that really something that you can <i>teach</i> yourself to do?

I mean, most people I know don't <i>try</i> to be easygoing or uptight, it's just their respective personalities.