Yes, I'm aware these codes have been around since the days of steam trains and clockwork phones.
It's the use I can't quite get my head around.
Well if you look at the other side of the coin someone is 'cons' trying/capturing/using the 'nc' or 'reluct'.
Are you saying (as I hazarded before) that the antagonist is 'cons' and the protagonist is 'nc'?
In the same way the codes write M/f, etc?
I was seeing things like reluct/nc and thinking it meant the protagonist was both reluct and nc, depending on the scene, not that the first one was the antagonist. It never occurred to me until last night.
If it was always cons/cons, or cons/nc, or nc/cons, or reluct/cons I might have guessed it, but there are stories that aren't self-bondage that simply have codes like 'nc' (see Anne Gray for example), but when you read the story it's fairly plain it's nc/cons (cons protagonist).
I guess that was the main thing I couldn't get about the consent coding.
Wanting stories that contain stuff that gives me nightmares for a week to have clearer codes is a different issue, though it would be nice. TBH the author is usually a give away, but not everyone knows all the authors.
When I see 'torment' and 'XX' I don't immediately think "this story is going to be extremely disturbing and contain references to horrific and extreme torture".
'Torment' is defined in the storycodes section as 'causing mild pain ie: spanking, nipple clamps'.
Maybe just me, but there are a few stories I'd have given a 'torture' rating to, rather than the mild sounding 'torment'.
I'd hate to think of someone reading
Betrayal chapter 1 and thinking it's going to be
mild, or somebody reading
Turned into Nothing and thinking there will be a bit of mild torment. Yes, anyone who's seen an M88 story might think there's a pretty slim chance of
that given the title, but it might be the first one they read. And then they come away thinking "this is what they call mild, I'd better not read an extreme one."
Of course it's hard to get right, especially when you have events that are merely discussed but not shown, and which
might never happen. I think if the story conveys those non-occurring events powerfully, they might as well be happening.
Let's say we have a story where a menacing villain scares the heroine with detailed descriptions and threats of rape, isn't that as disturbing as portraying the actual events? Sure, it never happens, but the impact on the reader is the same. Fiction at one level or remove isn't much stronger than fiction at two levels of remove.