Passing That Single Brain Cell Back And Forth Between Them

So a ton of these God x follower ships tap into the need to be worshiped. Not just shipping, but also platonic relationships too.

But what about the need to be needed? That urge from the follower and the pride they have that some giant strong entitiy needs their help?

What about those quiet moments when they're still figuring things out, the moral or lower falling in love, and in return learning this giant in their eyes needs them?

That relationship of back and forth?

What about the woman who follows and learns her patron God has been longing to be needed by someone and is showering her in all these blessings because they had no one who would ask until now?

The man who's desire to be required, for someone to be unable to do something without him because he just didn't want to be alone anymore, is fulfilled as a prophet for this God?

How about the child who was never wanted by their parents and now there's a demigod who desperately needs someone's help? And the child is able to be loved and needed by someone so strong?

Where are those moments of need?

my parents (usually my mom) will capture me in a blanket and just sorta swaddle me an say 'can we keep em ?' 'ill take care of it' and my dad will respond with things like 'i dunno.. i think it bites' and ill jus wriggle about biting the air threatening to bite them if they dont set me free,

last night my mom said that i was her most favorite critter and this will stick with me for forever i think

( a collection of summer is ending starters or dialogue prompts. adjust phrasing as necessary.) feel free to make edits to better suit your muse, but please don’t edit or add on to the original post ♡ if you like, please consider supporting me through tips

"The sun feels different today, like it’s saying goodbye."

"Every time the summer ends, I feel like the wind tries to tell me a secret, but I never quite hear it."

"Did you notice how the colors of the sunset have started to fade? It’s like the sky is getting ready for winter."

"The cicadas fell silent today. Do you think they know it’s the end?"

"The lake looks quieter now, as if it knows it’s time to sleep."

"I swear the shadows have gotten longer. It's like even they know the sun won’t be around much longer."

"I can feel the summer slipping through my fingers, like the warmth in the breeze is fading away."

"The ocean feels colder today, like it’s pulling away from the shore."

"The last of the fireflies are flickering out. I wonder if they know this is their last dance of the season."

"It smells different now, don’t you think? Like the earth is getting ready to sleep."

"The flowers are closing earlier each day. Do you think they know the season is ending?"

"I miss the sound of summer already. The air doesn’t hum like it used to."

"Do you feel it too? The way the light is softer, as if the sun is tired."

"The wind today feels like a memory, like it’s carrying the last whispers of summer."

"The days are shrinking. It’s like time itself knows summer is ending."

"The sunflowers have turned away from the light. It’s like they’ve already given up on summer."

"The sky feels higher now, like it’s pulling away from the earth."

"Every evening, the air smells a little more like autumn. Summer’s slipping through the cracks."

"The crickets sound different tonight, almost like they’re playing a slower tune."

"I saw the first fallen leaf today. It feels like summer is already a memory."

"Do you remember how we danced in the rain that night? It felt like the summer clouds were celebrating with us."

"We spent so many afternoons chasing the sun across the sky. Now it’s slipping away from us."

"Every time we went to the beach, the waves played with us, like they knew we only had a little time left."

"Remember when we stayed up all night, watching the stars? I think they burned brighter just for us."

"That bonfire on the last night of August… it felt like the flames were trying to hold onto the warmth of summer with us."

"I still hear the echo of our laughter from that day at the lake. Do you think the water remembers us?"

"We ran through those fields as if summer would never end. Now they look so still, like they’re waiting for us to return."

"The ice cream melted too fast, the sun set too late, and we never really noticed the days slipping away."

"Remember how the sand felt like it was alive beneath our feet, like it was trying to pull us deeper into the moment?"

"We spent the whole summer chasing sunsets, never catching one the same way twice."

"Do you think the fireflies miss us? They followed us through every twilight, lighting up our path."

"The nights were so warm, it felt like the stars were sitting with us, whispering secrets we’ll never remember."

"We picked so many wildflowers, I’m surprised the fields didn’t run out."

"The last picnic we had… the air was so sweet, like the wind had collected all the fun we’d had and wrapped it up in the breeze."

"We built sandcastles like they’d last forever. Now the beach looks so empty without them."

"We never needed clocks. The long days felt like they’d never end."

seductive fallen angel x shy human?

Ooo this is a great dynamic. A is the fallen angel and B is the human. Let me know if you want more.

Seductive Fallen Angel x Shy Human Prompts

Prompts

B has had no luck with dating, so A claims that it’s their purpose to get B a partner and they teach B how to flirt.

Now that A is on earth, they’re partying and enjoying all of life’s luxuries. But wherever they go, they catch glimpses of B: reading at a bus stop, carrying a comically large plant in a tiny bag, mixing three different sugars into their coffee. A becomes enamoured with B and sets out to find who they are.

A lost all their angel abilities when they fell, but doesn’t have the heart to tell B that so they learn slight-of-hand magic tricks.

Oneliners

“Did it hurt when I fell from heaven?” “That’s . . . that’s not how that line works”

“I’m just trying to give you a taste of heaven”

“You’re always trying to get me to live large and seize the day, but have you ever tried slowing down and just savouring the moment?”

“When I fell, I lost my purpose. But since I found you, it’s like I found it again”

“Did . . . did you just call me ‘angel’? As like a pet name?”

Also see:

Angel x Demon prompts and oneliners

Goddess x Mortal prompts and oneliners

Person x Person masterlist

Prompts masterlist

i don’t know if it hurt more to know you or to let you go

// pinterest // phoebe bridgers, waiting room // pinterest // audrey emmett // pinterest // vladimir nabokov // pinterest // steven espada dawson, elegy for the four chambers of my brother’s heart //

Depicting Real World Religions Alongside Constructed Religions

Maya asked:

Hi WWC! Thank you so much for this blog, it's an infinitely wonderful resource! Do you have any suggestions for how I can balance representation of real religions with fantasy religions, or should I avoid including these together? Does the fact that certain things bleed over from our world into the fantasy world help legitimize the appearance of real world religions? I feel like I can come up with respectful ways to integrate representation in ways that make sense for the worldbuilding. For instance, no Muslim characters would practice magic, and both Jewish and Muslim characters would conceive of magic in ways that fit their religion (rather than trying to adapt real religions to fit my worldbuilding). I also have some ideas for how these religions came about that fit between handwave and analogous history (though I realize the Qur'an is unchangeable, so I'm guessing Islam would have come about in the same way as IRL). BTW—I'm referring to humans, not other species coded as Muslim or Jewish. I may explore the concept of jinns more (particularly as how Muslims perceive fantastical beings), but I definitely need to do a lot more research before I go down that road! Finally, I saw a post somewhere (*but* it might have been someone else's commentary) suggesting to integrate certain aspects of Judaism (e.g., skullcaps in sacred places/while praying, counting days from sundown instead of sunset) into fantasy religions (monotheistic ones, of course) to normalize these customs, but as a non-Jewish person I feel this could easily  veer into appropriation-territory.  *One of the posts that I'm referring to in case you need a better reference of *my* reference: defining coding and islam-coded-fantasy

[This long ask was redacted to pull out the core questions asked]

"Both Jewish and Muslim characters would conceive of magic in ways that fit their religion (rather than trying to adapt real religions to fit my worldbuilding)."

Just a note that while having religion be part of magic is a legitimate way to write fantasy, I want to remind people that religious characters can also perform secular magic. Sometimes I feel like people forget about that particular worldbuilding option. (I feel this one personally because in my own books I chose to make magic secular so that my nonmagical heroine wouldn’t seem less close to God somehow than her wizard adoptive dad, who is an objectively shadier person.) I’m not saying either way is more or less correct or appropriate, just that they’re both options and I think sometimes people forget about the one I chose. But anyway moving on—

Your decision to make the water spirits not actual deities is a respectful decision given the various IRL monotheistic religions in your story, so, thank you for that choice. I can see why it gets messy though, since some people in-universe treat those powers as divine. I guess as long as your fantasy Jews aren’t being depicted as backwards and wrong and ignoring in-universe reality in favor of in-universe incorrect beliefs, then you’re fine…

"I saw a post somewhere (but it might have been someone else's commentary) suggesting to integrate certain aspects of Judaism (e.g., skullcaps in sacred places/while praying, counting days from sundown instead of sunset) into fantasy religions (monotheistic ones, of course) to normalize these customs, but as a non-Jewish person I feel this could easily veer into appropriation-territory."

That was probably us, as Meir and I both feel that way. What would make it appropriative is if these very Jewish IRL markers were used to represent something other than Judaism. It's not appropriative to show Jewish or Jewish-coded characters wearing yarmulkes or marking one day a week for a special evening with two candles or anything else we do if it's connected to Jewishness! To disconnect the markers of us from us is where appropriation starts to seep in.

–Shira

To bounce off what Shira said above, the source of the magic can be religious or secular--or put another way, it can be explicitly granted be a deity or through engagement with a specific religious practice, or it can be something that can be accessed with or without engaging with a certain set of beliefs or practices. It sounds like you’re proposing the second one: the magic is there for anyone to use, but the people in this specific religion engage with it through a framework of specific ideas and practices.

If you can transform into a “spirit” by engaging with this religion, and I can transform into a “spirit” through an analogous practice through the framework of Kabbalah, for example, and an atheist can transform through a course of secular technical study, then what makes yours a religion is the belief on your part that engaging in the process in your specific way, or choosing to engage in that process over other lifestyle choices, is in some way a spiritual good, not the mechanics of the transformation. If, on the other hand, humans can only access this transformative magic through the grace of the deities that religion worships, while practitioners of other religions lack the relationship with the only gods empowered to make that magic, that’s when I’d say you had crossed into doing more harm than good by seeking to include real-world religions.

Including a link below to a post you might have already seen that included the “religion in fantasy worldbuilding alignment chart.” It sounds like you’re in the center square, which is a fine place to be. The center top and bottom squares are where I typically have warned to leave real-world religions out of it.

More reading:

Jewish characters in a universe with author-created fictional pantheons

–Meir

Apparently it’s #IzzyIsThriving day, so excuse me while I pause my mental health break to throw a tipsy doodle of a crew cuddle pile at you guys

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

💥🙌👏