I used to have a face, you know. Well, a hat, anyway. Couldn't really see the face. Now it's an A. Old pic was getting old.

Formerly The Silent Orion. Used to be I used that for writing and WolfsTrinity for gaming. Now I just use WolfsTrinity for everything because The Silent Orion had a fancy meaning based on my first major OC, an escapist Mary Sue I've long since grown tired of. WolfsTrinity has the advantage of looking clever but not having enough of an actual meaning for it to ever really get outdated.

Anyway, TLDR? I think too much, write too little, and used to come off as older over the internet without even trying. By now, though, I've actually reached the age people used to guess so that's not exactly a thing anymore. Oh, and all that stuff down there? I haven't gone over it as thoroughly as I might have liked so beware that it was made over basically my entire time here and I'm not the best at keeping it up-to-date. Reader beware and all.

ALIASES:

IRL? Pretty easy to figure out, actually, since I'm the only one to use this username.

DeviantArt: someguynobodyknows

Spacebattles/Sufficient Velocity: WolfsTrinity. I use the first more than the second but do technically have accounts on both.

Anywhere else: WolfsTrinity. There might be one or two Silent Orion profiles I still use somewhere, too, but most of those are ancient.

STATUS:

Upcoming/not posted on here yet:

Might have a Halo/Bleach crossover put up at some point. Wrote something like eighty physical pages years and years ago but I was never quite sure what I'd do for most of the plot so it stalled out.

Been thinking about polishing up Displaced -- adding a bit of stuff I never got around to the first time, essentially. Unfortunately, though, I'm still not a big enough fan of Assassin's Creed to try at the full idea.

I also have a few ideas for some real Pokemon stories, one of which is, as far as I know, something pretty original; a culture-shock heavy crossover with Mass Effect. Why? Yeah, umm, it's been a few years since I came up with that idea and while I still remember the details, I'm not really sure where it came from anymore. The other two are probably not completely original but I still like them. One is based off of a slightly modified Ash's Coma Theory -- just for fun; I don't actually 'believe' the theory because I prefer what fancy people would call Doylist explanations for that particular universe but it's a very cool concept even if it's not a good sub for actual canon. The other idea of mine is a pretty one-shot shaped idea for a reconciliation between the anime and games, essentially "retconning" game continuity into anime continuity's past. I'll probably do that first if I pick either of the other two just to get a bit of practice in and straighten out my headcanon.

In progress: Finally got Age Long Gone to a state where I can properly give up on it so absolutely nothing!

On The Rest of This Page:
Unasked-for Ficwriting Advice - no explanation needed.
Some Story ideas - Needed to record them somewhere and they may as well be public.
Theories/Opinions/etc - Somebody might find this interesting.
Challenges - or: more story ideas except ones that I think would be fun to see and specifically can't/don't want to write myself.

Ficwriting Advice:
My take on this. Used to be longer but I've tried to cut the entries down to shorter, less long-windedly sanctimonious entries.

1. Rule Zero: When it comes to the fanfic itself, if it's interesting, you can get away with it. No questions, no exceptions. The rest of this just helps.
2. Spellcheck: If you're using a lot of words that your spell-check doesn't recognize, never just ignore it. Instead, make sure you've got the spelling exactly right, capitalize it if it's a proper noun(or temporarily remove the capital letter if it isn't), then right-click the word and hit 'add to dictionary'. If you're using a lot of such words and you don't feel like doing that so many times, too bad! Do it anyway. It helps a lot with editing.
3. Editing: And on that note? Edit, edit, revise, and then edit more. If you can still glean any inkling of enjoyment from your own work, if you don't have to force you eyes to not slide, gormless, over the wretched, senseless familiarity on the screen, you probably have not done enough revision. In short, don't post half-baked crap. Expect some readers to notice and comment on your mistakes but don't anticipate it; every mistake you let through is, technically, a failure.
4. Software: I personally recommend that you use Google docs/drive for your stuff. It's not the best software in the world, but like everything else Google does, it's a solid product that's more than good enough to just write a story. Google docs also has the advantage of being a cloud-based service that constantly saves, which makes it a lot harder to lose your stuff. The only issue that I've noticed is that last I checked, its spellchecker isn't the best at highlighting everything on longer documents so be extra careful about that. See previous point.
5. Titles/Summaries: When writing a fanfic, think of the summary as your résumé; that it's short, impartial, and extremely important. You should never apologize for a bad summary because, honestly? Your summary should not be bad. Ever. If you can't find a way to condense the idea of your story into that space and make it good then how are we, as readers, to expect your story-writing skills to be any better? One way to do this that I've used myself is to type a full, proper summary out somewhere else first(still keeping it short but with no wordcount limits) then cut it down as needed.
   Further tips:
   If you feel the urge to abuse the phrase, "what if," don't. It may be a fun way to come up with ideas but in a summary, it comes off as just cringingly novice and, well, informal -- and unless your story is about coworkers idly chatting over their lunch break, it and its summary shouldn't read like a random lunch break conversation.
   If you've got any space left over, use it to throw in any warnings you'll need(which I'll expand in the next point) or perhaps a short justification as to why you chose the rating. Oh, and for the sake of whatever god you may or may not worship, make sure you don't ever misspell anything in your title or summary. It's a tiny space. There is no excuse.
6. First Chapters: If the summary is your résumé, think of the first chapter as a job interview. Just like the summary or any real job interview, make it good. You don't need to have absolutely perfect grammar, unlike the summary, but do try not to have any spelling errors or major issues in the first few paragraphs, at least. Almost more important than the chapter itself, though, is that first Author's Note you'll probably want to have at the top or bottom. This is basically summary 2.0 and you shouldn't make it too terribly long. It is, however, the perfect place to note any warnings you'll need since they're mostly too long to put into summaries.
   What kind of stuff should you be warning people about? Well, there's the obvious stuff: spoilers, when it takes place relative to the series timeline, whether the fic fits into or wildly diverges from canon, etc. Things that might not be obvious are:
   Directly quoting canon: Never make a habit of this in the first place but if there's something that you really feel the need to copy over, tell the readers. Otherwise, it's blatant plagiarism.
   Important/central Original Characters: Can be fun. More often the sign of an amateur-written, self-indulgent wankfest.
   Major character reinterpretations: these can be amazingly cool to read but warning about it is polite and makes sure that we as readers know you're doing it on purpose and don't just have a skewed idea of the character's personality.
   Homosexuality: It's not homophobic to avoid going into gay bars because you're not gay. Likewise, it's fine to not want to read about homosexuality in a medium where there's a good chance of being given a front row seat to fluffy man-on-man smut(even though smut is against site rules).
   Triggers/sensitive themes: if you're rolling your eyes, so am I, but some people just don't want to read stories that have things like rape, torture, suicide, et cetera.
   Character bashing: First off, doing this at all is generally bad writing. It's kind of inherent in the definition. If you can't resist the urge to bash characters, though? No big deal -- but tell us first. Some people like those characters.
   Anything else you think is important enough to warn about probably is.
7. Crossover Power Levels: Unless you're making a smaller-scope, more character focused story, one of the most important things to take into account when making a crossover is, in short, the dick measuring contest between the two settings. In general, you should note that in-story numbers aren't important; they're technical-sounding fluff and little else. With this established, you're going to want to keep a few things in mind.

   A: The Rest of the fluff and descriptions are still useful. "Able to core an enemy ship stem to stern after breaking their shields"(UNSC MAC Guns, Halo Expanded Universe), for example, is a great thing to take into account -- even though it comes from Halo, which is a horrible offender on the "numbers are bullshit" front.
   B: On the other hand, balance is pretty much arbitrary so start on the assumption that all things are equal. Begin on the idea that an army from Series A can fight an army from Series B to a standstill then go from there. How important keeping to this is depends on the individual story -- sometimes, you might want to ignore it to make a specific point, for example -- but remember to always start here and only deviate if you're trying to.
   C: Some things are true because of their genres while others are true within their genres. Shonen series have a bunch of crazy powerful characters because that's just how things work in those shows. Be careful if you're matching one up with a non-Shonen series that lacks this convention because it's going to screw balance for a pretty dumb reason. On the other hand, sometimes things aren't that simple. For example, Mass Effect is noted for having very small ships/structures, relative to other Sci-Fi, while Warhammer 40K is the opposite; big, brutal excess. Traits like this are what make a setting interesting and you should try to keep to them where you can.

   The final and most important two things to keep in mind are that:
   D: Reading about big, stompy overkill boots from one setting to another can be fun but usually ends up getting really boring because:
   E: You are writing a damned story -- not a technical essay or a Spacebattles/Sufficient Velocity debate. Most stories/settings were not written with crossovers in mind so bullshit as much as you have to until the two settings do seem like they were always meant to cross over with each other.

Sliding Scale of Character Bashing:
Something I've come up with just for the fun of it. Putting it here because it also serves as an extension of the above. Note that the slashed-out jokes reflect common targets not personal opinion. Also note that canon is fully capable of doing any of these. Nothing says a fanfic writer can't improve on the original.

Scenario: Character Sasuke Uchiha . . . err, Bob. Yes, character Bob. Bob is slightly-maybe-completely obsessed with revenge. Nothing else about Bob really matters for our scenario. If we're bashing Bob over his desire for revenge, it would look something like this:

Bashing:

Prescription Strength Character Bashing: Bob's desire for revenge completely and utterly ruins his life and he gets absolutely no sympathy for this whatsoever. Any other traits Bob has, good or otherwise, degrade into things worthy only of mockery, somehow because of the revenge thing . . . probably. After all, he deserves nothing less for being a revenge-obsessed moron . . . with terrible fashion sense -- and he smells, too. In fact, it's a wonder Bob is even still aliv--did that bear just bite off his crotch!? Hah! Suck on that, you dickless jerk!
See also: some types of hatefic

Off The Shelf Character Bashing: Bob's desire for revenge constantly leads to him doing stupid things to his own detriment. Any other traits Bob ordinarily has tend to quietly fade into the background, as they are clearly less important than the revenge obsession that never does him any good whatsoever. Characters think he's kind of an idiot because nobody other than Bob seems to even consider the possibility that seeking revenge could possibly lead to anything other than pain -- and the narrative itself certainly isn't about to be nice to him, either. None of this does anything to stop Bob from seeking revenge.
Note: Recommended use and individual experiences may vary. WolfyCorp Medical(TM) is not responsible for any inaccurate dosages, male/female pattern baldness, spontaneous or long-term genderswaps, and/or infertility that may or may not result from proper or improper use of KaractoBash! Ficwriter's Supplement(TM).

Not Bashing:

Cold Turkey Character Bashing Avoidance: Bob is struck by a wild meteor strike shortly before or after the story begins. Should he survive this meteor strike(and how did I miss?), he suffers through a long period of convalescence and recovery that results in Bob either drifting away from the protagonists or simply never meeting them in the first place. If he happens to be off doing stupid revengy things somewhere else? Well, that's far less important than the fact that he's definitely not doing them here.
Note: This is the preferred technique if you genuinely hate that Weasley moron Character Bob too much to write them in a decent light.

Learning How to Quit Character Bashing in X Easy Steps: Bob's got kind of a, uhh, revenge obsession, see. It's got its good sides and its bad sides and Bob's friends -- Bob does have friends -- really would prefer if he would get some therapy because it's not the most healthy thing in the world. It's a great source of motivation, though, and Bob's his own person who can make his own decisions even when they're a little iffy. Sure, he does do stupid things in the name of revenge but every decision makes sense from his(admittedly warped) perspective, seems like a good idea at the time, and, I mean, it's not like the universe seems to absolutely hate him for it.
Note: This is when you take a serious, measured look at a bash-worthy trait. Great thing to see but hard.

Guaranteed Bashing-Free: Bob wants revenge. It's a thing. It's a part of him, something that describes and maybe even defines him but it's certainly not the only thing there is to know about Bob. Even if it sometimes dominates his decision-making process, Bob does think about other things. He sometimes does stupid things because of his revenge obsession, especially when his revenge-boner is up, but it's not like he never makes any good decisions. Some of them are even motivated by revenge, and besides, Paul The Protagonist does stupid things for the fun of it! Some people hate one or both of them for their human failings, most just accept it, and the Universe at large doesn't care either way.
Note: As above but without lingering on the issue -- in this case, a revenge obsession -- that leads people to bash a character.

The Opposite of Bashing:

Enflavourize Your Life(TM) with Character Shilling!: Bob's desire for revenge is the best thing about him! He works ten times as hard as his non-tragic, badly motivated peers and approaches tasks with a laser-like focus that would make actual lasers jealous. Any risky gamble he takes for the sake of revenge will pay off and if it doesn't, Bob's hot-blooded determination to go stab a bitch will have him right back up on his feet in no time! Nobody around Bob -- and there are plenty of people around Bob! -- has the slightest problem with his little obsession. In fact, some of them even wish they had gone through some character-building vengeance-trauma!
Warning: Results May Vary. WolfyCorp Medical(TM) is not responsible for any possible side effects that may or may not be caused by proper or improper use of our Enflavourized Character Shill Formula(TM), which may or may not include: character distortion, reader ragequits, low initial readerbase, spontaneous or non-spontaneous growth of hair, and/or all side effects that may or may not be caused by our KaractoBash! Ficwriter's Supplement(TM).

HEAVEN PIERCING Enhanced Character Shill Plus!: Please see the tvtropes page on Mary Sue.
Note: I feel the need to point out that despite referencing Gurren Lagann here, it's not actually an example of this. It is instead a proper and excellent use of story elements which should only be used in a work if the work is about them; a major part of Gurren Lagann's plot actually is about characters being absurdly overpowered. Otherwise . . . well, the plot would be pretty different otherwise so I can't rightly say if there would be any Mary Sues or not.

Story Ideas:
Like a lot of people, I have these great, cool plans that come into my head but never end up getting realized. Here are a few that I've set into words. If anybody wants to write them out(or more likely a variant), then feel free to message me to ask. I try not to be a stuck up bastard so it's not like I'll turn you down. Just think it'd be nice to know if anyone's inspired by this babbling.

The Legend of Zelda/Inheritance Cycle crossover:
The basis is that, rather than what it is eventually revealed to be in the last book, the vault of Souls in the Inheritance Saga exists in the mountainous area shown to be in the middle of the Hadarac Desert. It serves as a cross-dimensional analogue to the Spirit Temple in the middle of Hyrule's Gerudo desert. As far as actual plot, this is my working idea: Eragon, after the events of Brisingr, either discovers an old reference to the vault's location or sees it in a dream of prophecy(Note the Hylian Goddesses that might totally do that). So, he goes forth, gets into it, activates the Vault's dimensional-gateway function(probably on accident), and gets sent across to either Ocarina of Time or Twilight Princess Hyrule. There, of course, he meets Link. After that, I'm thinking that some evil will crop up in Hyrule for them to face together,. If it's me doing it, the threat definitely won't be Ganon but most likely one of the fun oneshot villains like Zant, Vaati, or Majora. After this is taken care of, there's room for a sequel in the form of Hylian Reinforcements to the war effort across the way.

So, way back yonder, I saw that somebody had views and theories and things on various fandoms put up on their profile. Thinking that was cool as hell, I shamelessly copied them without bothering to remember who's profile that actually was. Here is what I have allowed to remain of that section.

The Legend of Zelda: Pairings:

Like: Link X Malon/Ilia(who really should be Malon but isn't), Link X Midna, Link X Ashei, Link X Tetra/some versions of Zelda.

hate: Link X Ganondorf.

Neutral: Link X Sheik(provided Sheik be shown as female), Colin X Ilia, Link X Zelda(in general), and most other non-yaoi and non-pedophile pairings.

dislike: Don't like yaoi. 'Kay? Pedophilia's bad, too.

Why? See first theory, given that most of these focus on Link.

The Legend of Zelda: Theories:

Mine:

Interpretations of The Protagonist:
Well, obviously, our protagonist has very little shown characterization. Little hints spread out through various incarnations and leaps of logic based on translating gameplay into characterization are basically it. That said, I personally see four basic ideals to base any characterization of him on. First is Link The Hero, which is the obvious choice but also too broad to be very useful for narrative purposes. Thus, we must separate it out, leading to the other three; Link The Warrior, Link The Commoner, and Link The Knight.
Link The Warrior either likes to fight or, if not, still often gets into fights. In short, this Link The Warrior is a personality shaped by a life of combat. The Warrior can be but is not always an incomplete interpretation. Thus, it can easily be combined with other versions of the character. As far as relationships go, I personally see The Warrior as a negative influence, the lifestyle being one that degrades his overall interpersonal skills. This is also one I personally like and what I was favoring a bit when I came up with the pairings section.
Link The Commoner's pretty simple. Owing to the fact that in most games that show it, Link comes from humble origins, this interpretation implies a humble, down to earth character. In short, Link The Commoner is a personality that, though answering the Call of Destiny, would be perfectly happy to live an ordinary life. In terms of relationships, I see this as a polarizing influence, closing off certain avenues(ie: Zelda) while opening or dramatically widening others(Malon/Ilia, any number of side characters that otherwise wouldn't make sense).
Link The Knight is complex, implying both chivalry and literal nobility. Basically, this version is based on the chivalric ideal: a larger than life hero straight out of a fairy tale, code of honor and all. It can be played more than one way: that strong, enduring archetype could be played to the hilt or it could also be a more realistic interpretation of a character that's simply based on the concept, which may emphasize either the strength of character part or perhaps use a more literal Nobility and Knighthood. Relationships-wise, Link The Knight would be a chaotic influence. Depending on how exactly it's played, this personality could gain a number of admirers but, especially if the Knight Errant elements are emphasized or it's simply taken so far as to turn Link into more a force of nature than a proper, realistic character, he may have little inclination to 'choose' any of them or even acknowledge that they exist at all. Otherwise, it's pretty much the ideal interpretation for a Link X Zelda pairing. Link The Knight isn't an interpretation I'm personally very fond of but from what I recall(It's actually been awhile since I've really read Legend of Zelda fanfic), it's a pretty common one.

what exactly the Triforce of Courage does for Link:
Zelda and Ganondorf both gain extraordinary magic from their Triforces. It's not really clear, though, what Link's does for him, besides the heavy implication that it causes link to become a wolf in Twilight Princess. I believe that what Link's Triforce does is grant him his highly increased stamina, the ability to instantly use any new weapon he obtains, and the ability to not be shaken by even the most gruesome of monsters. In many games, such as OoT, Link is a kid. Any normal kid would go completely insane after going through everything Link does in OoT(he may not have it while he goes through all that, but once he does get it, Courage could very well fix the issues). As well, in most of the games, he'll gain a new weapon and without any prior training is able to use it perfectly fine. As for the stamina thing: well. imagine if you(or, if you're a twig like me, a reasonably-muscular person of Link's proportions) had to fight through a huge load of monsters then kill some sort of gigantic beast without stopping. You'd be pretty damned tired, but Link is perfectly fine(granted this can also be justified through literary conventions that people just don't do in games at all). Also, he survives impacts that would normally kill just about anyone. It's simple, and it works.
Finally, if you want to be funny, the Triforce absorbs the life energy of anything he kills and coalesces it into lovely red floating hearts for him to collect. :D

Dislike:

Link being mute:
NOTE: Exception is humor. Not much more I can say about that.
This one is self explanatory. Personally, I believe it's utterly impossible for Link to be mute, and any who portray him as such haven't put much serious thought into the matter. Imagine any conversation in one of the newer games. Now, try to think of how it would work without Link being able to talk. In short, it wouldn't. It takes about two seconds to come to that conclusion. It could be argued that Link is never shown speaking in the games, which is the base of the theory anyway. My counter argument points out the ellipses(these things . . . ) that are shown when he would be speaking(that's actually what they're grammatically intended to be used for). These are interpreted that it's meant for you to make up words FOR Link to say. And really, that's not even needed. The mere fact that the conversation is impossible otherwise ought to be proof enough, and independently, the proper grammatical use of ellipses proves it as well.

Most Timeline Theories: Now, I do respect those people who want to go through all their massive efforts in order to create timelines, I really do. Thing is, I just really don't like that. To me, it's not worth all the effort to go through the whole series with a fine-toothed comb just to establish a timeline. Plus, I seriously doubt that Nintendo was thinking of timelines when they created most of the games, so it's more or less guaranteed to be a convoluted and unnecessarily difficult task to create one on the first place. To me, it's just easier to pick a Hyrule and go with it. I'm fine with Partial timelines, though. If you see a similarity between two or three games, then sure I'm all for linking them together. I just prefer when it's kept easy to understand. A convoluted/full theory is absolutely fine with me from the story end so long as that crazy convoluted bastardry isn't dragged into the story itself.

Note: The revelations brought about by Hyrule Historia . . . pretty much vindicated me, really. Yes, they've got an official timeline(which I don't personally like much) but there's also explicit confirmation that the drive behind my dislike of timelines was right; that is, Nintendo's team really doesn't make the timeline any kind of a priority when they're making the games.

Harry Potter:

Pairings:
On the two most common fan pairings, I admit to personally preferring Harry/Hermione but still accept and like the canon pairing.

For the rest, it amuses me to generalize:
* If your writing sucks, I don't like it. The following apply under this stipulation.
* If it's gay/yaoi, I don't like it.
* If it's Lesbian/yuri, I . . . admit to the double standard that I probably won't mind.
* If it's a currently evil character with a currently good character, you'll need to convince me.
* If the two characters hate each other in canon(and haven't been reasonably changed), I don't like it.
* If canon-style Voldy gets a pairing, I don't like it.
* If canon-style Voldy doesn't get testicles, I like it.
* If it is canon, I like it.
* If it is not canon but still makes sense, I still like it.
* If it is polygamy/harem, I hate it on general principle but may still tolerate the story it's in.
--Three-way pairings are an exception since it's easier for them to not get in the way.
* Luna's awesome. Her getting a pairing is likewise so.

Theories(mine, that is):
These are fun to do with Harry Potter.

Different Kind of Horcrux:
Now, I do accept the canon explanation for this, but I read a fic where somebody had them not work, and I didn't like how he handled that, so I came up with my own alternative. I like it, so I'm putting it down. Mostly, it's the same as canon, with a few very notable differences. For one, Mind and Soul are separated. The mind is higher thought and the Soul is the unconscious, and it is also soul energy, which is different from magic(supported by the admittedly-fandom idea of a "magic core" and the general implication that Voldy splitting his soul didn't break his magic) Now, the soul can be split without affecting most of the mind, but not the fully unconscious part, which grows more dull and less responsive with each additional Horcrux. This, of course, must be mitigated via spellwork, but Voldy wouldn't have much trouble with that. The loss of the soul energy itself also disfigures the person's physical body.
This mainly justified canon elements, though; the most important difference is that when the soul fragment inside the body is killed, Voldy's mind is not free to move about. The mind needs at least a little bit of the soul to exist, so it is instead sucked towards the nearest Horcrux, thus sealing Voldy within it, where he can only affect those very close to the physical shell until either he is resurrected or manages to take over somebody's body through the Horcrux. Considering how well he hid his little Soul Jars(well, most of them), that might be something of a problem . . .

Spell Creation:
This is a little pet theory I came up with entirely on my own. It is not canon according to some interview or another where JKR stated that arithmancy is required for spell creation, as well as not fitting my other Magic theory, but it just amuses me too much not to share. Nothing too complicated about this one: the idea is that the reason incantations seem so basically arbitrary is because they are. Creating spells is theoretically rather simple, you see. A potential spellcrafter simply waves their wand, says the words, and imagines what they want to happen over and over and over again until magic itself simply bends itself over and does what they want. Once initially created, casting the spell again and teaching it to others becomes much easier, though more repetition certainly helps to imprint the pattern further. Arithmancy still helps, mind you. Quite a lot, in fact, able to shorten the process from years and decades to more like weeks and months, both from finding more compatible gestures and incantations and from simply being able to give more detailed thought-instructions for magic to follow.
Mostly, though, I just find the idea of Harry Potter style spells being created through nothing more than sheer, irrational stubbornness to be kinda funny.

Magic In General:
Something I idly thought up, again prompted by somebody else, who thought that the magic in Harry Potter is too mundane and, well, easy. I agree with him, and in a small discussion, a half-formed thought of mine coalesced into this theory. The way it goes is that at some point long ago, some very powerful group of mages(Atlantean seems an easy bet) decided that they needed to literally tame magic. So, they created a grid of spellcraft to coat the entire planet. The affect of this, as intended and carried out, was to form a network. Using wands as a catalyst(most people were using them already, /justify), this grid forms a network between all mages who possess a wand. Because of this network, which would likely require some amount of physical anchor points, spell-casting is much easier, and spoken spells are far more important. Where before, the words and the wand served to help focus the mage's energies, now the words and the wand are required to use cast the spell at all. Each spell is finite, and new spells must be keyed in to the network to work(This could also explain Merlin--rediscovering the system). As well, instead of using their own energies, each mage "donates" their energies to the network. Every time a spell is cast, it draws out just enough energy from every magic user on the planet to work out its task(hence, they can throw them around like candy).
Most wands, however, can only channel so much energy, and most spells have built-in limiters to match, so spells like Reparo can't fix wands, which are powerful magical artifacts in their own right. The reason the Elder Wand works like it does is by essentially cheating the system. Due to whatever went into its creation, the wand can theoretically draw in and contain all of the magical energy in the entire world(though this is overkill for basically everything). It 'merely' draws whatever massive amounts of energy are needed to perform the task, no matter what.
This could be worked into a story and/or crossover element by adding one little caveat to the system: see, these theoretical mages, being assholes and all, wanted to tame magic itself, not just magic for whoever happened to need a wand, so with this in mind, they created their little network to work its stuff on any magic user to have risen above a certain level of power. Hence, no accidental magic for older witches and wizards even if they don't have their wand with them to link to the network. Why would this matter? Well, anyone wanting to use a different sort of magic might just experience some . . . difficulties, with the non-voluntary system.

Crossovers: Plausibility:
Again, discussion with someone, felt like putting it down.

Negative Plausibility: This is when two series really don't make any sense to cross over with each other, but because the author is having fun with it, and the reader is supposed to, it doesn't really matter that it makes no sense, because it's not really a serious story. As long as the basis is decent enough and the writing is kept lighthearted, it works fine. Of course, it's fully possible to play this dead seriously as well, which is rarely done but can lead to some extremely interesting stories.

Literary Plausibility:where you think that the feelings you get from the two universes are similar, even if the in-universe laws don't really justify it, so the crossover would only work well from a looser, let's call it "literary," perspective. It's subjective, of course, but an example a lot of people could agree with is Starcraft and Halo. There's no particularly solid basis to use in crossing them over, but they're similar enough that it's worth engineering your own basis to see.

Same-Universe Plausibility: wherein two series' may not necessarily be ideal or conventional to cross over with each other, but there's really no reason to believe that they couldn't exist in the same universe anyway, and by using this, one can make a perfectly sensible crossover. An example of this might be Ghost Busters and Batman. I won't pretend to know all of Batman's probably tens of thousands of different mini-plotlines, but I can't recall any of his major villains being paranormal in a way that would interfere with the Ghost Busters, and the two Ghost Busters movies at least don't explicitly mesh badly with Batman, so even though the two series aren't really connected, there's no reason why it couldn't happen. A better example, and a more insane one, might be crossing over the show House with nearly any story set in modern(or Modern-ish) earth. While there are hiccups in some cases, what with the proliferation of Sci-Fi in a lot of these settings, the Sci-Fi may be toned down enough in general to not be a factor, not available to the public, or just plain not extreme enough to discount the possibility of the medical staff on House not working in whatever given hospital. Sure it may be absolutely nuts to pair House up with, say, Teenage Mutant Ninja Turtles, but there's nothing to say it couldn't happen.

Cross-dimensional:can be separated into three types: Plausible, Reasonable, and Justifiable(not really perfect names, but i just came up with them) All three also apply to Same-Dimension, but they're more important for Cross-dimension.

Cross-dimensional Plausible:This is when there are actual canon elements of both series that would make a crossover actually something that perfectly fits into canon as being possible. An easy example would be Harry Potter and just about anything that acknowledges that multiverse theory(pretty much the one that says that there are an infinite number of realities) is in effect. True, there is the fact that prisoners used to get shoved through the Department of Mysteries Arch, but that can be worked around(Apparently, JKR also confirmed in some conference that it leads to the afterlife, but that's no fun); assuming no real idea WHAT happens to people sent through The Arch of Doom, it's a distinct possibility that it leads to other dimensions. Hey, it's not like the Wizards would really care what happens to their execution victims as long as they don't come back. Could even be spun into a fun story element.

Cross-dimensional Reasonable:Reasonable is the generic middle ground where it only takes a few small changes for A to cross with B. A very common example of this is Mass Effect with . . . lots of things, really. Replace Mass Effect's generic Human Systems Alliance with Series B's version of humanity(possibly gestated a few hundred years) and there you go.

Cross-Dimensional Justifiable: There's nothing to say that A can't cross with B. A million and a half examples of this one since most series don't talk about interdimensional matters unless they actually want to, you know, use those other dimensions and not just bring it up just to shoot down the idea. Theoretically, for example, a lot of different Sci-Fi could cross over with a lot of other Sci-Fi(or even other genres) and still be technically in-universe with each other as long as only one of them explicitly mentions earth. Nowhere near likely, but possible.

Challenges:

Dresden Files Challenge: To Be Thrown/or: The Currents of Time:

Category: Dresden Files

Summary Blurb: The Laws of Magic are sacrosanct; break them and ye shall receive no mercy -- but although absolute, the Laws are not unequivocal. They carry just the barest shadow of Fey Truth. "Thou Shall Not Swim Against The Currents of Time," certainly, but what if you're thrown? For Harry Dresden, that question just got a lot less theoretical

Full Basis: So on the one side, you've got a classic time travel fanfic setup: the main character(usually) goes back in time from late into or after the conclusion of a series right back to the beginning, traditionally but not always by possessing their own younger self, the additional presence of fresher younger-self memories and/or personality optional. On the other, you've got a setting where time travel is extraordinarily stupid, dangerous, stupid, power-consuming, dangerous, stupid, and guaranteed to earn you a free Warlock designation and decapitation from the reigning magical authority if you so much as think too hard about trying it. Also on this side is a main character who, though generally competent, usually ends up fighting things far above his weight class and getting the shit kicked out of him before just barely managing to win anyway.

Doing it all again, with the looming shadow of a time paradox hanging over his head? What could possibly go wrong?

Why not me? Honestly, I just might go and do this one myself. Mostly, it's a challenge because I just think it would be a wonderful thing to read and I have no idea if I could give the idea the justice it deserves with my chronic lack of motivation. Also, I am or was mid-way through rereading the series and it would be annoying to go through them again so soon.

Requirements:
I don't technically feel like I have much of a right to demand but I will claim one requirement. Dresden is heterosexual. I don't have a problem with gay or bisexual characters but Dresden isn't one. Call it a pet peeve if you want but if you break this one rule, your 'fic doesn't answer my challenge. It is inspired by it -- which would still be amazing.

Considerations:
Not really gonna call any other 'requirements' on this since the idea itself is plenty huge enough but here's a few things to think of.

Timeline in general
Not sure if there's an official timeline but personally, I figure it's about ten, fifteen years or so between Storm Front and Cold Days. Definitely at least a decade.

Time Travel starting/end points:
For starting points, there's not too much to choose from, especially since my idea calls for a very recent/hardened version of Dresden. The chaos at the end of Cold Days would be the perfect launching point but the surprise at the end of Changes would also do if you want to ignore/alter some of the newer developments. For endpoints, the very first scene of Storm Front would be ideal but also difficult, both for the character and writer; so much goes on in such a short time, especially with the Doom of Damocles still hanging above his head, that trying to write Dresden both in-character and successfully resolving that mess with the time travel hanging over him and all sounds like a pain, especially right off. Making the endpoint some time earlier than that would give the character time to cool down and plot and the writer time to use that plotting and cooldown to get a better feel for his voice and personality. Picking a later date would make things generally easier without the Doom waiting in the wings to escalate everything to hell but also not quite as much fun to read -- though it also avoids having to deal with the less well-written early books, which could be good(don't have to reread them) or bad(don't get to improve on them.)

Terminology:
Hard to deny that the first few books are pretty rough. While this obviously has a lot to do with Butcher's own increasing abilities(and increasing access to good editors), the way they books are told also comes with a ready-made justification in the form of Dresden himself. One thing in particular that I noticed when rereading Storm Front is the very prototypical phrasing choice: weird stuff like "the third eye" instead of The Sight, "half-enchanted objects," no mention of vampires having different Courts, etc. Using/lampshading this and other differences from later books could make for something cool and interesting.

Marcone:
On the one hand, an opportunity to potentially soulgaze someone twice is a pretty interesting concept that I think might have Dresden just slightly tempted, especially with somebody who is firmly not liable to add even more horrific totally-indelible memories. On the other hand, future-Dresden is one hell of a darker person than he was the first time 'round. Rationally, tipping off the criminal kingpin like that is probably a terrible idea. Having a less-than-currently-rational Dresden do it anyway might skew his relationship with Marcone enough to make for a very interesting plot point.