#// it depends on how they're written really-

[bellowsmith]

Outliers and why MTMTE frustrates me so bad /affectionate

So, outliers are weird obviously, I mean transformers X-men is inherently silly. But like, why did James Roberts introduce it to us...and then just never bring up anything about it again? There's no rules about how outliers come into existence. Are they born or made? Yesn't? Cause sometimes they're made but only temporarily, and what is or isn't an outlier is never defined (A la Hotrod's flames for exactly 2 panels). So, I guess here's my little head canon for how I have them operate in my Au's and fanfics not that anyone asked:

Rule number 1: Outliers are made not born. Outlier abilities form as a response to some form of intense trauma that forces the victim's body to panic so hard it hyper-evolves a defense mechanism. The ability they manifest will entirely depend on the need/situation they aquired it in. Starscream's eternal spark perhaps was due to a gunshot straight to the chest, or Skids perhaps endured a very prolonged situation that forced him to learn his way out of a bunch of situations.

Rule number 2: Outlier abilities are a manifestation of trauma, negative emotions, and can/will harm the mecha they evolved to protect. Despite Shockwave's "conclusive evidence" that repeated trauma will increase the power level of an outlier ability, which is technically true, it comes at a cost. Repeated and prolonged trauma will degrade the psyche of the recipient and has shown that outliers are exponentially more susceptible to forming intense mental or mood disorders. Periods of irritability or intense negative emotions are liable to trigger a release of outlier abilities as a self defense mechanism, however even the outlier themself may be hurt in the crossfire.

Rule number 3: Outlier abilities are the beginning of apotheosis, a seed of potential divinity should their wielders prove capable. Few to none have ever achieved full ascension in written history, though the Functionist council made sure to erase all mention of such an idea well before the golden age. This information isn't known to the public and was kept under lock and key while the Functionists began the outlier smear campaign and attempted to subjugate or kill all of them before any "minor heathen godlings" could emerge and threaten their clergy.

This is the general outline for how I think about them anyway, feel free to use it if you feel like it. Some other things I tend to add in are that outliers tend to be much more likely to be lower class due to the likelihood of extreme trauma being most common there. They also have a tendency towards addictive personalities as most find the easiest way to keep a damper on their powers is to self medicated with substances to dull their senses.

It really is just robot PTSD but with superpowers and consequences, but given the personalities of all the known outliers in MTMTE I definitely noticed a few patterns I thought could be fun to explore.

[confused-rat]

I'm gonna be honest, I'm autistic and I sometimes take issue with someone saying their favorite characters is autistic for...reasons that I don't think match up. It really does feel like it's people trying to make connections either through their personal experiences or non-autistic people trying to make their favs a little more special. The ladder often causes more rage than not, but when it's the former I don't really take issue with it. A lot of people have different versions of autism and they're going to see themselves represented in different characters depending on how they're written. It's totally fine if that's what you do.

And it's why I take issue with Lily's handling of characters like Laios. I don't give a shit if she doesn't headcanon him as autistic. Lots of other people do, including autistic fans like myself. We see ourselves in this character, and it feels great watching him try and get by and lead his team in a way that feels far more respectful than other shows. If Lily's autistic--IF she's autistic--then I wouldn't blame her if she's willing to disagree. I just blame her for shitting on how other autistic fans feel seen, when she herself will defend Sheldon with her last breath despite how despised he is in the community.

I’m autistic as well, and I agree. Not accepting other people’s headcanons is fine—but invalidating them and vilifying the very traits people relate to is beyond shitty.

[necrotic-nephilim]

i recently remembered DickTim Week 2024 is happening very soon and i looked at the prompts again to see if i could get anything out for it and. the Hades & Persephone AU prompt for day 1 has got me really thinking so here's a vague concept i plan to write.

i've been pretty burnt out on modern Hades & Persephone retellings because of how they always seem to fall into the same generic "innocent wide-eyed girl runs from her evil mean mother into the arms of a dark mysterious man because actually she went willingly and chose to marry him" which has gotten repetitive for my tastes. (for clarity i don't care if this retelling is your cup of tea personally, so long as you're not actively trying to rewrite the original myth and claim untrue things about it, if this is your favorite flavor i sincerely hope you enjoy the buffet i just have little interest in it since it feels overdone for me and exhausted of it's supposed commentary atp)

but? but. biblically accurate Hades & Persephone AU has me all kinds of interested. because wait listen so hear me out right. Hades!Dick and Persephone!Tim, obviously. i feel it'd be more loosely inspired by with themes and imagery (though playing with death and nature powers could be interesting, i haven't decided) rather than explicitly making them gods and all. but. something dark and fucked up where Dick and Bruce are especially estranged. maybe to do with Jason's return, maybe to do with them just clashing and having their usual explosive arguments. and Bruce knows the peace needs to be kept, if he and Dick are at odds then everyone starts to pick sides and things just fracture so he needs a peace offering.

and the peace offering is Tim.

Bruce (the stand-in for Zeus) offers up Tim. agrees to have Tim move to Bludhaven and be Dick's... whatever Dick wants him to be. knowing that with the implication comes the likelihood of Dick grooming Tim. and Tim has no real say and is hesitant to put up a real fight. he doesn't want this, he knows what this is going to imply Dick will do to him, but he also knows if he says no things have the possibility to just... fall apart. so he's the unwilling bride, dragged off to the metaphorical underworld (Bludhaven) with Dick, away from his family, his friends, the life he built.

and on the flip side, i think weirdly enough, your best pick for the Demeter stand-in is *Jason*. just, hear me out on that. not necessarily on the side of it being motherly, but on Jason being just estranged enough from the Batfamily to be the one willing to call it out for being bad and wrong and raising bloody hell to get Tim back. maybe it's because Jason wants Tim for himself, maybe it's truly out of a concern for Tim to have autonomy, i'm toying with the idea of it primarily being Tim's POV and him genuinely not knowing which of these is true. (and the truth possibly ends up being a complicated middle ground) and because i like Helena, i think you can use her as the Hekate stand in, the one who strikes a tentative alliance with Jason and tries to go find Tim and bring him back. Tim stuck with Dick, getting groomed and hyperaware of it, possibly even getting fucked the whole time as well, knowing he can't go back without causing massive issues for Dick and Bruce because well, Bruce did promise him to Dick. so he has to adjust his whole life, try to figure out being a vigilante in this new city with Dick breathing down his neck the whole time.

and then much like the ending of the myth, a sort of compromise is struck that's a shaky deal for everyone involved. Tim is put on an essential timeshare, going back and forth between Gotham, where he has friends and family and a support system, then getting dragged right back to Bludhaven with Dick in this brutal cycle that he slowly gets used to and stockholm'd into even liking it. Dick isn't so bad, once he gets used to the quirks of their unbalanced 'relationship'. the sex is even something he can adjust to as well. not quite a happy ending but one that sits in this realistic grey area that becomes Tim's life.

i will write this, eventually, but i don't know if i'll get to it before DickTim Week ends so by posting the idea i'm essentially putting it out into the world so the peer pressure holds me accountable. i just. really like the potential of making Hades/Persephone AUs as fucked up as they can be simply by adhering to the source material and making it a raw story of being stolen away and forced to like this new home you didn't ask for.

also a less fleshed-out aspect of this idea i have ties into Persephone becoming the Queen of the Underworld when she's taken and how the transition from Kore to Persephone could be reflected in Tim. how he makes the best of the worst situation and becomes something far more dangerous and dark when he's in Bludhaven, possibly takes on a new vigilante name/identity and leans into the worst quirks of his personality he tries to tamper because there's no point in not going full tilt Obsessively Weird if he has no choice anyway and it being one small way he takes back his autonomy, and that inevitably making Dick *more* into him, because he gets to see Tim finally just. let loose.

[dw-flagler]

its kind of funny to me that in the comics supergirl kind of occupies the spot for like the edgy superman. which is kind of weird for her typical role as kid sidekick to superman because her thing as a character (at least the versions of her character that i like) is that she doesn't have a reason to help anybody and doesn't like earth. edgy superman. but she's also the kid sidekick. strange juxtaposition

[alexcutecolly]

Favor(e)ite Safe-Nomming Scenarios #1

Featuring Prey A & Prey B as tinies, and Pred as a giant/big monster creature.

Warning: a more cruel/sadistic pred in the alternative endings.

Pred has swallowed Prey A and is now keeping them inside their belly against their will. So Prey B comes up with a plan to rescue A without Pred noticing.

As Pred takes a nap, Prey B manages to carefully crawl inside their mouth and descend into their esophagus thanks to a rope securely tied outside of Pred's maw. When B lands in their stomach they reunite with Prey A and gtfo, climbing all the way up to the throat without waking up Pred.

Alternative Ending 1:

Pred awakes either while B is going down their throat or as they reach their stomach; as soon as they catch up on what's happening, they decide to wait for A and B to start climbing up, grinning mischievously.

When the Preys reach the end of the mouth on their way out, Pred cuts the rope extra-dramatically with their teeth and gulps them both down again satisfactorily, only to then go back to sleep. Their lips can be seen curl into a smile before they pass out.

Alternative Ending 2:

Pred wakes up unbeknownst to Prey A and B like in the previous ending, but this time the tinies think it's safer to travel back to the top one at the time. B lets A go first in case something goes wrong. "And it will".

Pred pretends to be asleep, eyelids closed and breathing purposely slowed down as A exits the maw and now waits for B. But their turn never comes, because Pred's big eyes open and they sever the rope with the most effortless tug.

Their voice resonates in the air, accompanied by a smug smirk of theirs as they stare at A.

"What now, then?"

[permanentreverie]

The way that first love: hatsukoi is just hurting and pain but so good

[tae-shimura-is-my-wife]

The reason folks praise Black Clover female cast is because the women are strong, important, competent and plot relevant as the men, not because they're "hot" or have fights.

[crest-of-gautier]

pq posting before i go to bed! a shorter session (3 hours) but it was nice and i'm happy to say that i finished you in wonderland!

THIS WAS SO FUNNY... honestly i don't think i give enough credit to akihiko and mitsuru's dynamic they're literally so good i really enjoy how well they know each other but also they're like.. a constant in each other's life and i do enjoy their interactions a lot even if i never vocalize it...

wow yosuke, who would've thought that you two are partners, this guy literally introduced himself as your wife /s (i kinda regret naming souji yosuke wifey but im glad i wrote the y in lowercase bc otherwise i wouldn't be able to tell their dialogue apart 💀

and finally, yosuke <3

some more elaborate thoughts (aka speculation) under the cut because i learned my lesson from last time

ok unfortunately i can't say that im going to go AS INSANE as i did last time when i was spitballing in the tags for the second pq posting just because i feel like i aired out most of my "AAAA WHO IS ZEN AND REI??" there but.

i do have to say that i'm very glad i'm at the point where p3 and p4's casts are able to interact! i can't tell if it's because the writing feels like it shines a little bit better here rather than the solo casts (sometimes i roll my eyes at how junpei and akihiko are with some of the traits the writers play up), or if it's because i'm a guy who's very endeared by crossovers and interactions from characters who didn't exist in the original source material.

i had a lot of times where i was writing things down in my notes software during the crossover segments and im just?? really endeared and creatively inspired by it, to be honest. i really like this aspect of pq.

i think something that catches my interest with zen and rei at the moment is the difference in how they're.. regaining their memories. like... it's interesting to me that zen is able to get some of his memories back from the stuffed rabbit marked with "niko," but rei doesn't. i don't really know how much i can speculate off of this atm (i feel like this is something i'd get more info on when i progress through the second labyrinth, or it's something i'm missing out on because i can't use intertextuality to piece things together. i dont know shit about alice in wonderland.)

like it does make me think that maybe these two are like.. separate entities in that respect (rather than a shared one? but i could be wrong, and i welcome that!). but also there's something that makes my brain go "AAA" about how adamant zen is about wanting to protect rei despite not having any memories, because my brains like "WELL WHAT IF ZEN'S TRUE IDENTITIES AND MEMORIES ARE ACTUALLY THE OPPOSITE, AND DON'T WANT GOOD THINGS FOR REI." poorly phrased but like, it's about the irony, y'know.

i have no fucking clue what rei is supposed to be if we're going under the notion that they're two different things that have lost their memory (she is so head empty only food and its precious tbh). but like my brain just thinks that zen is just... going to end up being some awful incarnation or something like idk. there's something about persona characters with amnesia that make me raise my eyebrow... like just look at ryoji and marie and teddie...

and i guess as another thought on the matter, the way zen and rei work mechanically speaking does make me ponder a bit because like.. obviously, yeah, they can't equip a subpersona because they're... GESTURES. not persona users but FUCK, the way zen and rei have very distinct skillsets just make me wonder if those can allude to what they symbolize. like zen's skills are much more.. destructive and im just like (AIGIS VOICE) "YOU ARE DANGEROUS."

anyways. i am very much invested in the identities of zen and rei but i am also glad that the crossover stuff is here too because i think the sillies will keep me inspired... and also im just happy to see yosuke... i really like yosuke even if i forget that i do a lot of the time..

last thought, after seeing souji talk and move, i think i'd definitely want to look into p4 side... because um. 🥴 i'm really simple guy. i need more minato in my life. (everyone rolls their eyes. i'm predictable!) i want to see minato move and talk. i want to think about him. he's my boyfriend. he's my wife. he's my universe. im being so cringe about him but I DONT THINK THIS IS A SURPRISE TO ANYONE... i like him a lot (NO SHIT, LIZZ). but!!! idk if this'll be something that i watch or play, it depends on what the NG+ functionality in this game is like...

anyway gn!! thanks for reading my delusions im very much enjoying this game and im happy to be playin git.

[vendettavalor]

⚔️ Writing Trope Tier List ⚔️

TAGGED BY: @mayxthexforce (thank u <3)

TAGGING: Y O U

[physalian]

How To Make Your Writing Less Stiff 5

Movement

Dredging this back up from way back.

Make sure your characters move, but not too much during heavy dialogue scenes. E.g. two characters sitting and talking—do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them…

Gesture

Wave

Frown

Laugh

Cross their legs/their arms

Shift around to get comfortable

Pound the table

Roll their eyes

Point

Shrug

Touch their face/their hair

Wring their hands

Pick at their nails

Yawn

Stretch

Sniff/sniffle

Tap their fingers/drum

Bounce their feet

Doodle

Fiddle with buttons or jewelry

Scratch an itch

Touch their weapons/gadgets/phones

Check the time

Get up and sit back down

Move from chair to tabletop

The list goes on.

Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t—what does that say about the both of them? This is where “show don’t tell” really comes into play.

As in, you could say “he’s nervous” or you could show, “He fidgets, constantly glancing at the clock as sweat beads at his temples.”

This site is full of discourse on telling vs showing so I’ll leave it at that.

Epithets

In the Sci-fi WIP that shall never see the light of day, I had a flashback arc for one male character and his relationship with another male character. On top of that, the flashback character was a nameless narrator for Reasons.

Enter the problem: How would you keep track of two male characters, one who you can't name, and the other who does have a name, but you can’t oversaturate the narrative with it? I did a few things.

Nameless Narrator (written in 3rd person limited POV) was the only narrator for the flashback arc. I never switched to the boyfriend’s POV.

Boyfriend had only a couple epithets that could only apply to him, and halfway through their relationship, NN went from describing him as “the other prisoner” to “his cellmate” to “his partner” (which was also a double entendre). NN also switched from using BF’s full name to a nickname both in narration and dialogue.

BF had a title for NN that he used exclusively in dialogue, since BF couldn’t use his given name and NN hadn’t picked a new one for himself.

Every time the subject of the narrative switched, I started a new paragraph so “he” never described either character ambiguously mid-paragraph.

Is this an extreme example? Absolutely, but I pulled it off according to my betas.

The point of all this is this: Epithets shouldn’t just exist to substitute an overused name. Epithets de-personalize the subject if you use them incorrectly. If your narrator is thinking of their lover and describing that person without their name, then the trait they pick to focus on should be something equally important to them. In contrast, if you want to drive home how little a narrator thinks of somebody, using depersonalizing epithets helps sell that disrespect.

Fanfic tends to be the most egregious with soulless epithets like "the black-haired boy" that tell the reader absolutely nothing about how the narrator feels about that black-haired boy, espeically if they're doing so during a highly-emotional moment.

As in, NN and BF had one implied sex scene. Had I said “the other prisoner” that would have completely ruined the mood. He’s so much more than “the other prisoner” at that point in the story. “His partner,” since they were both a combat team and romantically involved, encompassed their entire relationship.

The epithet also changed depending on what mood or how hopeless NN saw their situation. He’d wax and wane over how close he believed them to be for Reasons. NN was a very reserved character who kept BF at a distance, afraid to go “all in” because he knew there was a high chance of BF not surviving this campaign. So NN never used “his lover”.

All to say, epithets carried the subtext of that flashback arc, when I had a character who would not talk about his feelings. I could show you the progression of their relationship through how the epithets changed.

I could show you whenever NN was being a big fat liar about his feelings when he said he's not in love, but his narration gave him away. I could show you the exact moment their relationship shifted from comrades to something more when NN switched mid-paragraph from "his cellmate" to "his partner" and when he took up BF's nickame exclusively in the same scene.

I do the same thing in Eternal Night when Elias, my protagonist, stops referring to Dorian as "it" and "the vampire" instead of his name the moment they collide with a much more dangerous vampire, so jarringly that Elias notices in his own narration—the point of it being so explicit is that this degredation isn't automatic, it's something he has to conciously do, when everyone else in his clan wouldn't think twice about dehumanizing them.

—

Any literary device should be used with intent if you want those layers in your work. The curtains are rarely just blue. Whether it’s a simile with a deliberate comparison or an epithet with deliberate connotations, your readers will pick up on the subtext, I promise.

[13eyond13]

Lightmello?

Theoretically potentially interesting!

In practice I get very annoyed by it very quickly whenever it appears in fics!

[fickdichistwarum]

A prologue is like any other story element, it can be done well or done poorly, and the industry goes through a cycle of someone writing a really effective prologue that soon means that everyone is writing prologues, then there's enough bad prologues that everyone hates them and says the whole cobcept is bad, and then someone writes a really good one and the cycle repeats. Someone who rejects all writing with a particular element out-of-hand probably isn't going to be a great person to learn about writing from.

Prologues

I was having dinner with a good friend last night, who is currently working on a redraft of her novel; she's taking a workshop that sounds awesome, but she was nervous about having added a prologue, because she'd heard from the other participants that prologues can be offputting. Apparently one person said that if there's a prologue to a novel they just don't read the novel, which absolutely floored me. (It turned out that people liked her prologue, which is just more proof that once you know the rules and reach a certain level of skill, you can break them with impunity.)

I don't read prefaces to books anymore, because usually they contain brutally detailed spoilers, but I still read the actual book. I doubt I even notice a prologue normally. But I know that a book having a particular element that's offputting to a group of readers also isn't confined to commercial fiction -- a lot of fandom won't read fic in the second person or the present tense, for example.

So I told her I'd put up a poll and report back on the results! Tell me all your thoughts on prologues!

I'm setting it to one day because I'm going to be seeing her tomorrow and I figure I can report back then. :D

[vinceaddams]

Any tips on learning to make buttonholes? I've been putting it off for.... *checks notes* like three years.... but better late than never and all that. I don't have any fancy machines so I gotta do it by hand but that seems right up your alley.

Thanks!

It IS up my alley, yes, I do most of my buttonholes by hand!

I'm actually part way through filming an 18th century buttonhole tutorial, but I expect it'll be a few more weeks before I finish that and put it on the youtubes, so in the meantime here's the very very short version. (The long version is looking like it'll probably be about 40 minutes maybe, judging by how much script I've written compared to my last video?)

Mark your line, a bit longer than your button is wide. I usually use a graphite mechanical pencil on light fabrics, and a light coloured pencil crayon on dark ones. (I have fabric pencils too, but they're much softer and leave a thicker line.) You may want to baste the layers together around all the marked buttonholes if you're working on something big and the layers are shifty and slippery. I'm not basting here because this is just a pants placket.

Do a little running stitch (or perhaps a running backstitch) in fine thread around the line at the width you want the finished buttonhole to be. This holds the layers of fabric together and acts as a nice little guide for when you do the buttonhole stitches.

Cut along the marked line using a buttonhole cutter, or a woodworking chisel. Glossy magazines are the best surface to put underneath your work as you push down, and you can give it a little tap with a rubber mallet if it's not going through all the way.

I'm aware that there are some people who cut their buttonholes open using seam rippers, and if any of them are reading this please know that that is abhorrent behaviour and I need you to stop it immediately. Stop it.

Go get a buttonhole cutter for 10 bucks and your life will be better for it. Or go to the nearest hardware store and get a little woodworking chisel. This includes machine buttonholes, use the buttonhole cutter on them too. If you continue to cut open buttonholes with a seam ripper after reading this you are personally responsible for at least 3 of the grey hairs on my head.

Do a whipstitch around the cut edges, to help prevent fraying while you work and to keep all those threads out of the way. (For my everyday shirts I usually do a machine buttonhole instead of this step, and then just hand stitch over it, because it's a bit faster and a lot sturdier on the thin fabrics.)

I like to mark out my button locations at this point, because I can mark them through the holes without the buttonhole stitches getting in the way.

For the actual buttonhole stitches it's really nice if you have silk buttonhole twist, but I usually use those little balls of DMC cotton pearl/perle because it's cheap and a good weight. NOT stranded embroidery floss, no separate strands! It's got to be one smooth twisted thing!

Here's a comparison pic between silk buttonhole twist (left) and cotton pearl (right). Both can make nice looking buttonholes, but the silk is a bit nicer to work with and the knots line up more smoothly.

I've actually only used the silk for one garment ever, but am going to try to do it more often on my nicer things. I find the cotton holds up well enough to daily wear though, despite being not ideal. The buttonholes are never the first part of my garments to wear out.

I cut a piece of about one arm's length more or less, depending on the size of buttonhole. For any hole longer than about 4cm I use 2 threads, one to do each side, because the end gets very frayed and scruffy by the time you've put it through the fabric that many times.

I wax about 2cm of the tip (Not the entire thread. I wax the outlining/overcasting thread but not the buttonhole thread itself.) to make it stick in the fabric better when I start off the thread. I don't tend to tie it, I just do a couple of stabstitches or backstitches and it holds well. (I'm generally very thorough with tying off my threads when it comes to hand sewing, but a buttonhole is basically a long row of knots, so it's pretty sturdy.)

Put the needle through underneath, with the tip coming up right along that little outline you sewed earlier. And I personally like to take the ends that are already in my hand and wrap them around the tip of the needle like so, but a lot of people loop the other end up around the other way, so here's a link to a buttonhole video with that method. Try both and see which one you prefer, the resulting knot is the same either way.

Sometimes I can pull the thread from the end near the needle and have the stitch look nice, but often I grab it closer to the base and give it a little wiggle to nestle it into place. This is more necessary with the cotton than it is with the silk.

The knot should be on top of the cut edge of the fabric, not in front of it.

You can put your stitches further apart than I do if you want, they'll still work if they've got little gaps in between them.

Keep going up that edge and when you get to the end you can either flip immediately to the other side and start back down again, or you can do a bar tack. (You can also fan out the stitches around the end if you want, but I don't like to anymore because I think the rectangular ends look nicer.)

Here's a bar tack vs. no bar tack sample. They just make it look more sharp, and they reinforce the ends.

For a bar tack do a few long stitches across the entire end.

And then do buttonhole stitches on top of those long stitches. I also like to snag a tiny bit of the fabric underneath.

Then stick the needle down into the fabric right where you ended that last stitch on the corner of the bar tack, so you don't pull that corner out of shape, and then just go back to making buttonhole stitches down the other side.

Then do the second bar tack once you get back to the end.

To finish off my thread I make it sticky with a bit more beeswax, waxing it as close to the fabric as I can get, and then bring it through to the back and pull it underneath the stitches down one side and trim it off.

In my experience it stays put perfectly well this way without tying it off.

Voila! An beautiful buttonholes!

If you want keyhole ones you can clip or punch a little rounded bit at one end of the cut and fan your stitches out around that and only do the bar tack at one end, like I did on my 1830's dressing gown.

(I won't do that style in my video though, because they're not 18th century.)

Do samples before doing them on a garment! Do as many practice ones as you need to, it takes a while for them to get good! Mine did not look this nice 10 years ago.

Your first one will probably look pretty bad, but your hundredth will be much better!

Edit: Video finished!

And here's the blog post, which is mostly a slightly longer version of this post.

[bitter-hibiscus]

Hear me out, hear me out. The reason why I think the dynamic of Batman and Robin is abusive is not because of the concept of child sidekicks.

Whenever you see other heroes with their respective sidekicks, their dynamics are about mentorship and being a guiding hand, most times about teaching the younger generation how to understand their powers better and how to use them for good. Child sidekicks are most commonly for the benefit of the child, not the adult.

That is not the case with Batman and Robin.

B&R's dynamic is for Bruce's benefit. Robin is the light to Batman's darkness. Robin is the one who saves Batman from himself. Batman needs a Robin. This is widely a result from Tim Drake's introduction as Robin, when Bruce was passively suicidal and causing more harm to people than he should. Tim and Bruce, in a vacuum, are not that much of a problem. It's still kind of messed up that Bruce would depend on a 13-year-old to get his mental health sorted out, but it makes sense in the context it exists in, where Jason had just died and Bruce blamed himself for it while simultaneously being in denial about his pain. The problem is that the idea that Batman can't function without a child to help him with his mental issues stuck.

It means that, between bad writers and good writers and wildly different interpretations of Bruce as a father, Bruce starts being painted as obsessive. He needs Robin to always be happy -- the guiding light -- he needs Robin to always be funny and upbeat but still mature and skilled and ready to die for Their Cause, that wouldn't have been Robin's cause at all if Bruce hadn't introduced the idea of it to them. Needing your child to never express a Bad Emotion or act out of line (like Jason was, for example, in the events leading up to ADITF) or else you're going to make them feel like they're undeserving of their place in your family (I'm not your father, Jason, I don't need teenage rebellion) is, in fact, abuse.

And the worst part is that this dynamic gets retroactively attributed to every Robin!!! Even though it really originated (or, rather, became truly ingrained in the text) with Tim!!! Because we keep getting more and more Robin Dick and Robin Jason stories written post-Robin!Tim and it gives them a dynamic with Bruce that they didn't have before!! Which sucks !!!

[jelloapocalypse]

Hi! I guess it’s ask time? Just wanted to say I think you’re one of the funniest people on YouTube; I have a playlist called ‘Emergency Funny’ and like half of it is just your videos.

I’m wondering, when you’re cold-reading a line, like in those streams of voice acting a video game while playing it, what are the small details, if any, that you look to to figure out how to read the line? I’m continually amazed how you manage to have near perfect delivery while never having read the line before. Sorry if this is worded confusingly I legit don’t know how to phrase it

This was sent months ago, but it's actually a very good question and talking about this might help people who like to voice games on stream get better at doing that.

For context, this is about our "fully-voiced" game playthroughs where we cold read an entire video game out loud.

One small thing I try to do that helps is pressing the "advance dialogue button" when the person speaking is about 65-70% of the way through their line. That way, if the next line is from the same character the actor has a chance to read it smoothly as though the lines were not separated at all.

If it turns out to be a different actor's line, this gives the new actor more time to skim the words as well as extra time for them to realize they're about to be speaking so they don't get caught off guard.

Doing this is actually kind of hard because every actor we work with reads at a different pace and the person actually playing the game has to keep that in mind. Oz, Vixen, Arim, and I can sight read most lines almost instantly. I've seen Oz and Vixen in particular read entire text boxes that were only onscreen for a couple frames. But, obviously, not everyone is that fast, so everyone gets different "advance the dialogue" speeds.

Ideally, if a game is well-written and the characters you're playing have a strong voice, you'll slowly fade into the character as you read them. You begin to feel the things they're saying rather than just reading words on a page. Once you hit that flow state, it becomes easier to process what they might logically say next. If you notice one of us make 2-3 errors in the span of just a few lines, it means we're probably not in that flow state.

Some games are also much easier to scan than others, usually because of their character poses.

A game like In Stars and Time has such incredible character portraits that you can usually tell the tone of the accompanying line within a few frames of a portrait change.

Loop (above) is an extremely suspicious and weird character, but voicing them was so much fun because I could always rely on the portraits and the font changes in the text to give me direction on how to play them accurately, even though I didn't actually know what their deal was until about halfway through our playthrough.

Coffee Talk also has very strong portraits that react in real time to the lines of dialogue. The framing can push characters smaller or larger in focus depending on how upset or meek they are, so it's very easy to react on sight and adjust accordingly.

Every time a game developer takes the time to painstakingly add portraits that match every single line, every time they add SFX to accentuate certain words, every time a font wiggles to tell you someone is speaking in a sing-songy way, that's all direction that the game's creators are giving you.

Another thing that helps is just media literacy. I think everyone on the channel is pretty good at that because, speaking frankly, I don't like hanging out with people who have bad media literacy, lmao.

The more media you consume, the easier it becomes to know how a story is going to go. Even a really well-written mystery usually has only 3-5 real options for an ending, and while you're reading games aloud it's a good practice to consider all of them equally so your reads make sense no matter what. You'll notice it's pretty rare something takes us entirely by surprise in a read-through.

Also, of note, it's much easier to notice specific foreshadowing and word choice in dialogue when you're reading it aloud as opposed to silently skimming.

A solid example is our fully-voiced playthrough of Trails From Zero, which actually happened on SurpriseRoundRPG a few years back and not my own Twitch or YouTube.

Minor spoilers, but the character above, Ernest, has some antagonistic interactions with your main party over the course of this game. He wants Ellie, the white-haired party member, to quit the police force (that's your group) and go back to working with him in the Mayor's office.

When Arim played this game solo he didn't really think much of this guy. However, when he played the game for us and we read it out loud, having lines like the one pictured above spoken aloud makes it kind of impossible not to notice that this man is a freak. Mo, his VA, ended up playing him as a manosphere incel weirdo because that's the vibe he was putting out, and, lo and behold, that's pretty much exactly the character he turned out to be.

There's a running theme on our channel where commenters are often surprised to see the game "play into our bits" and how we "accidentally predict things".

What's really happening is the reverse.

It's very, very rare that we decide to make up a bit from absolutely nothing. It's not a hard and fast rule, but I find we only make jokes and play up aspects of characters based on things that are already there. Hence that one time in Miles is a Robot when I said something awful and sexual as Ray Shields, Oz groaned, and I said "Hey man, I'll give him a different joke when the game gives me somethin' else to work with!" I didn't choose to make Ray awful and sexual all the time. That's just how he is, so that's the well we pulled bits from.

Because we only extrapolate from existing content and our "silly" versions of the characters onscreen are just exaggerated versions of what's really there, whenever the game gives us more info about them, the new stuff tends to be very in-line with the bits we've already been doing. It's not us being psychic. It's us being consistent!

It also helps that almost all the regulars on my channel have done professional voice work and have been doing some version of this for literally 10+ years. Practice makes perfect!

[lucidloving]

I learned how to be quiet about pain when I was very young. I learned how to fold in on myself like laundry, to take up less space in the cupboard. I learned how to keep the peace around me by sweeping the dirt under my own rug.

I have been taught that expressing my less favourable emotions is just complaining—something weak people do when they're too incompetent to solve their own problems.

Incompetent. Incompetent. This word is very important to me. Incompetent is the word I am always running from. To run from incompetency means to run from feeling dejected, feeling lost, feeling hurt. To run from incompetency is to run towards goodness. To run towards a me who knows all the answers and shoulders all the burdens and shrugs off all the pain.

Some days I am not very good at this race I am running. Days when the past lurches forward to bite my ankles, or days when the future looks back to scorn my present.

On these days I am weak. The poise slips. It's all too easy to cry a little and vent my fears. I forget that I am supposed to be keeping all of this shut away where no one else can see. I forget that I am not supposed to be dragged down by these feelings in the first place.

Today I feigned nonchalance and I feigned it well. No one noticed that I was hurt by the thing that happened, and sitting alone in all my hurt, I was bitterly gratified. I had fulfilled the proper narrative of an animal who is injured and returns to its cave to lick its wounds only in private.

But there is a desperation for the hidden pain to be noticed. This is the Achilles' Heel of the whole stealth operation; it threatens the little play I have constructed in which I suffer alone and inconvenience no one and am all the stronger for it.

Today I stood upright to talk to my mother and doubled over in pain the moment she left the room. It is satisfying, knowing I did the valiant and honourable thing of keeping the damn pain to myself. It is infuriating, the way my eyes flickered to the door in the dark and private hope that she would come back in and witness me while I was down.

I want to be strong and hide all the hard things away. I want someone to see my efforts to hide all the hard things away and realise I'm strong. I want to bring to life this character I have created who suffers without complaint and is loved when the truth is revealed. Who suffers well.

This is the person who stores up agony to a breaking point, to justify the ultimate snapping of composure. This is the person who wants to be depended on relentlessly and one-sidedly, so that someone someday might notice the unfairness of it all. This is the person who virtuously and righteously take all the hits without a sound, so that when they finally, inevitably break, their pain will come to light all at once and inspire awe and guilt in equal measure.

Who am I, really? Is it terrible to want to play this character? Perhaps some old wound craves acknowledgement and understanding and doesn't know how else to ask for it except by hiding until it festers.

Strength. Competency. Resilience. Dependability. Independence. They have all become synonyms in my black and white dictionary. They have all become straws for the drowning man.

I self-impose silence. I take pleasure in denial and secrecy. I take pride in successfully keeping a problem to myself.

Pride. That's another important word. I think I have too much of it, although it pains me when others point it out. Pride implies I think highly of myself, which is something a good person should never do. Pride is so audaciously self-absorbed, so high-and-mighty, so filthy with ego. There's probably a lot of it in this damn thing I've written.

Pride is the other thing that keeps my mouth shut. The thing that says I should be austere, untouchable, immovable. Pride is the thing that says look here, you don't have a lot going for you so you better keep this mask on right if you want to be good. If you want to be admired.

These terrible things keep me safe. I can't let go of that stupidly noble character or that cowardly pride. I need them to shield me from the reality that I am emotional, not all that put together, and honestly hopeless most of the time.

I need to have something worth liking about myself. I need to have a grit that makes me undeniably good. I need to have a strength that goes unsung, that lies in wait of discovery.

What an exhausting way to live. But it's the only way I know.