#“typical youre the chosen one narrative”

[lopposting]

me tryna not get pressed over youtube vidya over pino souls story

[writing-with-sophia]

Write a weak hero

Okay, first, what is weak? According to Oxford Dictionary, weak is lacking the power to perform physically demanding tasks; lacking physical strength and energy, or liable to break or give way under pressure; easily damaged.

That means, a weak hero is a character who isn't physically strong, mentally strong or even both.

So, how can we create a weak hero but do not make readers hate him/her? You will know after this post!

First, developing an effectively background

Unlike typical heroes who may have been born with incredible powers or had a dramatic origin story, the weak hero should come from a mundane background. They can be an ordinary person with nothing outstanding, a failure, etc. and suddenly have to shoulder the responsibility of "a hero" even though they don't want it.

Focus on their mundaneness and weakness. Describe the awkward situation where they are forced to become heroes. Why were they chosen to be heroes, when there are others who are more talented and powerful? What were the circumstances under which this happened? Make it as clear as possible.

Don't forget to describe their thoughts, feelings, and reactions. In their backstory, highlight times when the weak hero tried to be heroic or take on challenges, only to fall flat on their face. Was there a specific incident that shattered their self-esteem? Do they come from a family or environment that was overly critical? These past embarrassments and disappointments can inform their current self-doubts.

Use flashbacks strategically. Intersperse key backstory moments throughout the narrative to gradually reveal the hero's history and motivations, rather than dumping it all at once. This will help the reader better understand the character's journey and the reasons behind their reluctance to embrace the role of a hero.

Second, emphasizing their weakness

Focus on their mundane, everyday struggles. Rather than epic battles, the weak hero's conflicts should revolve around things like asking neighbors for help or failing to complete simple tasks.

You can also contrast them with stronger, more capable heroes. Have the weak hero regularly get overshadowed or overlooked by the more impressive feats of other characters.

The weak hero's ineptitude and frustrations can be a great source of comedy. So don't be afraid to poke fun at their failings :).

Third, slowly build towards small victories

If you want your weak hero to be liked by the readers, never let them be weak all the time. Drop subtle hints in the backstory that suggest the hero has untapped potential or unique talents that could one day be leveraged in unexpected ways, even if they don't realize it themselves.

Focus on the why. What made them become strong, or strive to become stronger? Is it a long-term motivation or a temporary one? Are they doing it for themselves or others? What will they do to overcome their weaknesses? Over time, the weak hero can learn to leverage their "useless" powers in clever ways and gain a little more confidence, even if they never become a heavy hitter.

And, remember to highlight their determination. Despite their shortcomings, the weak hero should possess an underlying stubbornness and refusal to give up. Showcase moments in their past where they persevered even when success seemed impossible.

Fourth, crafting challenges

When crafting challenges for a weak hero, you need to focus on obstacles that play to their specific limitations and insecurities. Here are some types of challenges a weak hero might face:

Outmatched in combat

The weak hero tries to take on a powerful villain, only to be easily overpowered by the villain's superior strength, speed, or abilities.

They get into a fight they can't win and have to rely on their wits or dumb luck to escape unscathed.

Inability to complete basic tasks

The weak hero struggles with simple everyday activities like opening a jar, fixing a leaky faucet, or assembling furniture.

These mundane challenges become major roadblocks that highlight their incompetence.

Social humiliation

The weak hero tries to interact with others, only to say the wrong thing and embarrass themselves.

They may attempt to flirt, negotiate, or simply make small talk, but end up flustered and socially awkward.

Lack of confidence

The weak hero doubts their abilities and has a hard time believing they can accomplish anything meaningful.

They may shrink away from opportunities to be heroic, worried they'll just mess things up.

Overbearing comparisons to stronger heroes

The weak hero is constantly overshadowed by the exploits of more powerful heroes, making them feel inadequate.

They may try to emulate the other heroes' successes, only to fail miserably.

Underestimation by villains

The villains dismiss the weak hero as harmless and ignore them, allowing the hero to stumble into accidentally foiling the villain's plans.

The villains may even make the mistake of toying with the weak hero, giving the hero a chance to catch them off guard.

The key is to create challenges that force the weak hero to rely on their limited abilities in creative ways. Gradually building their confidence through small wins can be a rewarding character arc.

Fifth, supportive relationships

The weak hero likely has friends, family members, or mentors who believe in them, even if the hero themselves does not. By including a support system of characters who see the weak hero's hidden potential, the narrative can strike a balance between the hero's self-doubt and the encouragement of those around them. These supporting characters can provide a counterpoint to the hero's negative self-perception, offering validation and pushing them to exceed their own expectations.

The interactions between the weak hero and their cheerleaders can also be a source of character development and emotional growth. As the hero gains confidence and finds ways to leverage their unique talents, the relationships with these supportive figures can evolve, deepening the overall narrative.

Supportive relationships can be of many types, but the most effective are:

A mentor figure who sees the hero's hidden strengths and pushes them to overcome their limitations.

A loyal friend who constantly encourages the hero and refuses to give up on them.

A capable sidekick or partner who can cover for the hero's weaknesses in battle.

A tech-savvy ally who develops gadgets or abilities to enhance the hero's limited powers.

A family member who provides unconditional love and acceptance, even when the hero doubts themselves.

A romantic interest who sees the hero's inner strength and brings out their best self.

A rival or adversary who recognizes the hero's true talents, forcing them to confront their own insecurities.

A renowned hero or role model who inspires the weak hero to strive for greatness, even if they don't believe they can achieve it.

It is not easy to create a weak hero. Crafting a compelling weak hero requires carefully balancing their flaws and insecurities with moments of growth and determination. You must find ways to make the character relatable and likable, despite their shortcomings, by highlighting their underlying potential and the support system that believes in them.

Hope you enjoy this. If you have any questions about writing, inbox me. I will answer as best as I can.

[muzansfangs]

Can you do a Bloody Mary with Choso from jjk with a breeding kink ice cube 🥹

if you could tag me that would be amazing, my @ is hauntedchoso but I’m asking on my main blog on anon since that one is a side blog 😅

I still don’t like you.

Starring: Choso Kamo x f!reader; mention to Yuji Itadori, Ryomen Sukuna, Hiromi Higuruma;

Format: one-shot;

Warnings: nsfw, choking, hate sex, vaginal sex, degradation kink, overstimulation, breeding kink, creamipie, enemies to undefined relationship, face slapping, canonic fight but in a domestic scenario, post Shibuya with some narrative alterations;

Plot: Choso Kamo, Yuji’s older brother, never got along with you. He claimed you were nothing but a nuisance. On the other hand, you never really trusted him. You never believed in his sudden redemption arc and it was clear to see in the way you never desisted from insinuating he was plotting something devious. When Yuji needed a place to sleep while moving to his new flat, you did not expect for his ‘brother’ to step into your house too. When you found yourself alone with Choso, things degenerated.

Drink chosen: BLOODY MARY (hate sex, choking, vaginal sex, degradation kink, overstimulation);

MASTERLIST FOR THE EVENT | RULES FOR THE EVENT

﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏

You were more than glad to put Yuji up for a week. He was caught up in the middle of moving from his old flat to a larger one and he needed a place to sleep and leave his belongings in, while he settled down in his new home. It was not located far away from your apartment, hence his ultimate choice to knock on your door and ask for hospitality. You had heard one of the main reasons behind his decison to opt for a more comfortable and spacious house was the unexpected presence of his brother Choso in his life, however you did not calculate the possibility to find said man standing on your front door with a luggage at his feet and an annoyed expression plastered on his perpetually impassive face.

Swallowing your pride and biting your tongue not to cause a commotion, you had let him in and agreed to let your enemy reside in your living room until him and his younger brother could finally move to their new flat. For the first three days, things worked out, somehow. It was well-known you detested Choso with a passion. You never really trusted him, since you had been the one who had fought him alongside Yuji back then. You vividly remembered the hatred in his eyes, how hellbent to kill your friend he was, only to show up later on and claiming he wanted to help out and protect his ‘brother’.

He was too shady in your opinion and you had suggested more than once to kill him off. Honestly, you had even declared that Ryomen Sukuna was a better company than him. Daily altercations and brutal fights got so frequent and gory that the ever so noble Hiromi Higuruma had set up the rule of not letting you two casually meet, or work together for a couple of months. It helped, strangely.

Nevertheless, watching Choso occupy your treasured spot on the couch, flicking channels dispassionately, you felt bile go up your throat. Your favorite show was about to air and you had no intention to waste your chance to watch it live.

“Move” you started flatly, arms crossed against your torso.

Choso arched a dark eyebrow, tilting his head to the side to look back at the screen. He was downright ignoring you, fingers tapping onto the armrest steadily, whilst he pretended you did not exist. The audacity he had to disrespect you in your own house blinded you.

You blocked his view on the screen, eyes clouded over in sheer indignation “Are you suddenly deaf? Move your ass and give me the remote” you tried again and, albeit your tone was still modulated to take a polite edge, he could tell you were gradually losing your self-control. Typical of you.

He averted his eyes from the small glimpse of the tv your frame granted a view of “Did you say something?”.

“Choso” you coldly stated, taking a single step towards him. You knew he was testing your patience. It had always appeared to you that guy loved watching you get riled up. Considering Yuji had left for a mission, you had no qualms about vomiting your unbridled odium for the rascal taking over your tv.

As a response, he leaned forward, droopy eyes eyeing you bumptiously “Is the german shepherd upset? What is it, Yuji hasn’t patted your head on his way out?”.

Your eye twitched “Did you just imply I’m a dog?”.

“Did I? Actually, you’re not very obedient. But maybe we could test it out. Tell me, is it true dogs bring back the objects humans throw away?” Choso asked you, cocking his head to the side, hand curled around the plastic remote while he seemed so deep in thought, as if he was mulling something over.

You blinked at his provocation, his words leaving little space for you to actually forgive his ignorance and let it slide. If he had a roof over his head, it was because you had kindly allowed him to stay. You still hated his guts and, honestly, all you were waiting for was for him to screw up, make a false step, betray Yuji or another sorcerer so that you could finally murder him without remorse. However, for the sake of your mental health and to respect your friends’s will, you were making progresses in burying the hatchet. Too bad he did not appreciate it.

You turned your back at him, contemplating the possibility to lock yourself in your bedroom until Yuji was back. Actually, though, you did not even make it to the corridor that the remote smashed against the wall at your left. Batteries skimming over the floor, you watched the device completely shattered into smithereens before your eyes. It took you a moment to put the pieces together and realize he had indeed tossed the remote at you, probably hoping to strike you. This was, without the shadow of a doubt, an invitation to throw hands. And who were you to refuse?

“Come on, doggy, bring it back now” Choso taunted you, arms opening in a welcoming gesture as he stood up from the couch.

The moment you locked eyes with him, Choso knew you were not going to be the bigger person and merely report his shenanigans to Yuji. This was your chance to put him in his place and that is exactly what you did, when you teleported yourself back in front of him and stomped your foot over his crotch.

Choso grunted, eyes narrowing as he clutched his hands over his groin in a futile attempt to alleviate the pain. After a few seconds, he had his hand wrapped around your neck and his forehead was pressed against yours to lock you down in a deadly grip stealing the air out of your lungs. The assault caused you to stumble and topple over the coffee table behind you, flapping your arms around to shove him off of you now that you were squashed onto the floor by his weight.

You truly tried your best to push him off of you, but his compact build was crashing you and, consequentially, your movements were restricted. His face was close, his minty breath wafting over you visage sent frissons down your spine and you felt repulsed by your own instict. Choso was handsome, to be completely honest. You hated his guts and prayed night and day for him to combust inexplicably before your eyes. Yet, this bastard was absolutely your type. The punk guy you would throw your panties at during a concert, the perfect match for a messy hook up in the back of a bar.

How ironic was it that you were having such thought right when he had you pinned underneath him?

Huffing in distress, you wrapped your legs around his waist, hellbent to flip you over but yiu failed and surprisingly Choso only pressed himself closer to you. Your clothed pelvis made contact with his crotch, a slight gasp leaving his lips as he applied more pressure on your windpipe. He was getting hard.

“You sick pervert…” you taunted him, despite your current position and blatant disadvantage.

His jaw tensed, hand leaving your throat, only deliver a slap on your right cheek more meant to mock you than actually hurt you. Factually, it aroused you. Even if you were not going to admit it to yourself, he rubbed it on your face “Me, huh? Tell me why your leggins are soaking my pants then, you slut”.

Mortification took you over for a few seconds, before you reached your hand up to grab a fist full of his hair, your lively eyes clouded over in a mix of rage and desire to take your immensurable anger on him. Probably, you were both acting like feral animals. Nor you, neither him relied on rationaly and intellect. This was a matter of power and, for once, you reeled at the thought of baring your fangs and howling like a beast.

“Maybe I had only fingered myself in my bedroom, it’s clearly not for you. — you cooed, a malicious smirk curving your glossy lips as you pulled at his chestnut brown strands to emphasize your words �� Don’t tell me you were getting hard thinking it was for you? How pathetic, Choso… Humping me like a dog, feeding yourself a sweet little lie to boost your ego, damn… Look at you” you sneered, watching his face contort in discomfort for your cruel grip on his hair and utter intollerance for the demeaning words you were throwing at his face. If you itched to humiliate him, then he was going to pay you back with an equal treatment.

“What a slut… — Choso rasped out, glowering down at you with homicidal rage flickering in his dark eyes — You fingered yourself like a dog in heat, huh? No one to breed that pussy, all alone, except for the unsolicited company of the man you wish to see in a coffin. Let’s do something about that attitude of yours, huh? Honestly, I was waiting for us to be alone again” he hissed, before pressing his lips against yours in a searing kiss.

Your eyes initially grew round in bewilderment, especially when he began to scramble his hands down your body to search for the waistband of your leggins. Yet, you could not turn down such a chance to make hin whimper, to show him you could withstand anything, while he could not. You kissed him back confidently, your teeth nipping at his bottom lip heedless of his groan of pain.

This was until he yanked your pants down your legs, your slippers knocked away in the process of stripping you naked. With your legs finally free again, you attempted once again to flip you over, but Choso grasped your ankles and pinned you down roughly.

“No, don’t even think about it” he warned you coldly, raising on his knees to get rid of his own clothes.

You pushed yourself up on your elbows, eyes trailing down his chiseled pectorals and abs, mentally cursing him for how handsome he was. You could not confess you wished you could ran your tongue on every dip and hard muscle of his body though. You still liked to tell yourself he thought you were just agreeing because you were horny, not because you liked him.

“Instead of mentally fucking yourself on my cock, take off this poor excuse of an underwear you’re wearing” he caught you red-handed. Your cheeks heated up in shame and you scoffed indignantly at him, complying to his request without further ado for the sake of your throbbing need. And his one, apparently, pulsating before your clouded over eyes. Straight as a ramroad, leaking precum on the tip. A drop timidly peeked on the edge, running down the underside of his member.

You acted before mulling over your option and you lounged towards him in a split second. Choso arched an eyebrow, fingers threading through your hair inelegantly as he lolled his head back to suppress a groan bubbling up deep within his chest. Your tongue eagerly lapped at the veiny underside of his cock, tracing the curve up until you collected that salty drop to swallow down before his eyes. You circled the tip, half-lidded gaze peering up at him, expecting him to push you forwards to make you suck him off properly. But instead he shoved you back down on the floor, rolling onto your stomach and spreading your arses to grant himself a good view of your glistening intimacy.

On your hands and knees, you glanced at him from above your shoulder “What the fuck are you doing?”.

Choso did not even spare you a look, instead giving your pussy a slap to send jolts of electricity cursing through your body. You cried out in need, earning a pleased hum from the bastard behind you “You are not worthy to suck my cock. — he replied, lining his shaft to your opening to collect some juices and facilitate his entrace — But I’ll surely pump so full of my cum you’ll soon have to tell Hiromi who made you pregnant” he commented bitterly, before pushing past your folds with a satisfied grunt.

The strained moan you emitted, mortified you. His girth was absurdly perfect for you. Each thrust, each time he rolled his hips against yours you trembled. His words had made color drain from your face, but you soon found yourself arching your back to give him an even better access.

Choso watched in glee your ass jiggle with each thrust he gave you. One of his hand reached down and slided to the upfront of your neck, fingers deftly latching around it as he pulled you up against his broad chest. Your back pressed against his abs, clammy bodies, breathy moans, you felt like two animals. He kissed your neck ferociously, heavy balls slapping against your ass as he attempted to reach his end into you.

Choso needed to stain you. The idea of you, so petty and standoffish, walking around with his seed leaking in your panties when you talked to your friend made him increadibly eager to ruin you. On the other hand, you were too lost into the pressure coiling in your lower abdomen to think straight. His breath-play, his relentless pace and the dull track of pain you felt when he occasionally hit your cervix made you see the stars and the whole galaxy expanding infinitely in the limitless ocean of space. You wished he fucked you less good than this, because there was honestly no way in Hell you were going to forget the pleasure you were experiencing for years to come.

Almost reading your mind, Choso huffed “What is it, bitch? Are you scared from that from this day on you won’t be able to look me in the eyes without remembering how loud I have made you scream today?” he flaunted, as you shot him a glacial glare through your lashes and tears.

You tightened around him, his other hand travelling over your stomach and holding you close to his body “Don’t flatter yourself over a hook up! I still don’t like you” you fired back, matching his tempo to spare the time and doubling the sensation of your walls and his dick continuously brushing together in the overwhelmingly impressive bliss.

When you thought of Choso, you did not think he was a virgin. He had good looks, he was shady enough for some pretty and shallow girl to fall at his feet and give him the regular dose of endorphins a man needed not to spend the night with blue balls. Despite that, you were firmly convinced he was not much experienced, especially in terms of seeking and finding all the sweet spots that could bring tears of ecstasy in a woman’s eyes.

Choso bristled, mouth close to your ear, as he pounded into you with a renewed vigour “Is that so? Then you better not wallow in the false hope that I have outdone myself for you. — he rasped out, shoving you face down again, you cheek making a harsh impact with the floorboard — This is how I fuck. It’s standard, nothing special” he spluttered, his thrusts gradually but surely getting sloppier. Regrettably, though, they were still hard enough to knock the air out of your lungs.

You gawked, screwing your eyes shut and banging your fist onto the floor in defeat. You were about to reach your climax and your snarky attitude had apparently left your body. Blank mind, your body twitched, until you milked him up and basked in the only good thing Choso Kamo had ever done for you.

He cussed when your spongy walls sucked him in, his seed painting your inner walls white as he made sure to push back in the excessive amount leaking out of you. The damage was done. But no one was a victor, judging by the disheveled hair and bruises on your bodies. Spent, you two recovered from your irresponsible stunt in silence, laying spent and drained in the floor of your living room. The tv casted lights in the dimly illuminated room, setting off your naked curves and his sharp features.

Not only you were a mess, but you also had to clean up the floor from the sweat and fluids staining in, representing the last evidence of the deplorable mishap recently happened. Yuji could not know about this. No one was entitled to have a word about what you two had done. Nor you, neither Choso offered the agreement of not talking about this anymore and to anyone, but sharing a knowing look with him, you realized he was back to make good use of his brain.

Standing up on your wobbly legs, you collected your clothes and gestured to a mop on the balcony “Clean yourself up and wipe away that mess, asshole” you croaked out, heading towards your bedroom in a frenzy.

“Do it yourself, whore”.

You smiled. This was the Choso Kamo you knew.

AUTHOR NOTE.

Hello there! I have finally finished this fic, help!Since it is also one of the requests I have received when I hosted my event, my joy for having crossed it out of the list is doubled. Let me know what you think about this. As per usual, likes, comments and re-blogs are greatly appreciated!

Love,

Luce

TAGS: @axesfordays @jenntlegarden @cyder-puff @wet-cedar @pin-k-ink @bakugosgirl01 @hauntedchoso @makingtimemine @dangertits97

[literaryvein-reblogs]

Writing Notes: Narrative Arc

Narrative arc - also called a “story arc,” a “dramatic arc,” or just an “arc”.

It is a literary term for the path a story follows.

It provides a backbone by providing a clear beginning, middle, and end of the story.

Freytag's Pyramid

The concept of narrative arc as we know it today was created by Gustav Freytag, a German novelist and playwright who closely analyzed ancient Greek writing, along with William Shakespeare’s five-act plays.

As the term suggests, when plotted on paper, a typical narrative arc forms the shape of a hill or pyramid.

5 Classic Elements of a Narrative Arc

A traditional narrative arc has five elements, in the following order:

Exposition. This is the reader’s introduction to the story. The exposition offers background information to prime the audience for the rest of the story, including introducing the main character(s) (the “who”), setting (the “where”), and circumstances or time period (the “when”).

Rising action. This is when conflict begins to ramp up. The rising action usually begins with what’s called an “inciting incident”—the triggering event that puts the main events of the story in motion. This is when the audience starts to see what your story is really about.

Climax. This is the highest point of tension in your storyline, and often the point at which all the different subplots and characters converge. Typically, the climax requires the main character to face the truth or make an important choice.

Falling action. This is what happens as a result of the protagonist’s decision. During the falling action, the conflict gives way to resolution. Loose ends are tied up, and tension begins to dissipate.

Resolution. Also known as a denouement, this is how your story ends. The resolution of a narrative arc isn’t always happy, but it does close the loop and show how the events of the story have changed the characters and the world around them.

Narrative Arc vs. Plot

Plot - the individual events that make up your story. In other words, the plot is what happens.

Narrative arc - the path or sequence of your plot, and how that series of events creates a flow and progression that keeps the reader engaged at each stage in the story.

Narrative Arc vs. Character Arc

If a narrative arc is the path of the overall story,

a character arc is the path a specific character takes during that story.

The story arc is external, and happens to all of the characters,

while a character arc is internal, and happens to one person.

A character arc usually involves a character overcoming an obstacle and changing the way they see the world.

When the narrative arc begins its descent down the pyramid into the falling action and resolution, the character arc has its moment to shine.

This is when a character experiences a turning point by asking for help, learning a new skill, making a critical choice, and/or becoming more self-aware.

Typically, only major characters have character arcs, though minor characters can undergo this type of character development as well.

Create a Narrative Arc in 4 Easy Steps

Here are some writing tips for building a narrative arc in your own writing:

Choose an archetypal narrative arc. Think about the story you want to tell. Is the main character overcoming an obstacle? Going on a quest? Experiencing a rebirth? You don’t have to follow any one example to the letter, but writing with an archetypal narrative arc in mind can be a huge help.

Identify your beginning, middle, and end. Who are the main characters? What are they doing? When are they doing it? Where are they doing it? Why are they doing it? And, most importantly: What is all of that building toward?

Plug your events into a narrative arc. Creating a visual diagram of your chosen narrative arc, then add the events of your story along that arc. Seeing a quick overview of your story on a page makes it easier to identify problems and fill any gaps. For instance, if you have a lot of events clustered in your “exposition” stage, you may want to cut some of them out or reimagine them as new developments in the rising action.

Adjust as needed. Of course, there’s no hard and fast rule that you have to stick to Freytag’s traditional narrative arc. Every story is different: some are heavier on exposition, while others draw out the rising action. Give yourself the freedom to be flexible and see where your unique story goes.

The next time you sit down to write, consider drawing up a quick narrative arc. It’s a useful tool that can help you stay on track if you’re ever unsure of what comes next in your story.

Source ⚜ More: References ⚜ Plot ⚜ Character ⚜ Worldbuilding ⚜ Exposition

[prokopetz]

So, you've mentioned before that TTRPGs always have an expected "mode of play", that is, the basic concept from which the gameplay loop is derived. I admit I have little experience with this kind of thing, but I'm having trouble wrapping my head around the mode of play of Lasers and Feelings. Like, what's the unifying thread between Lasers and Feelings, Radical Catgirl Anarchy, and Lily is Girls With The Ability? Or between L&F and something like Speeding Bullets, for that matter? Is it just that they're all rules-light shitposts? Or is it based on, like, the tension between the two different ends of a dichotomy?

One-page games can be tricky in this respect because they just don't have the bandwidth to explicitly state many of their assumptions. They necessarily depend on the players (and the GM, if present) bringing the "correct" set of assumptions to the table regarding how the game ought to be played.

Still, there's enough there to draw certain conclusions. For example, in a typical Lasers & Feelings hack, rolling the dice gives a pass-or-fail outcome (with optional complication) for a discrete physical, mental, or social task. This frames a session of play as a sort of narrative obstacle course: the story consists of overcoming a series of well-defined obstacles in order to arrive at a particular goal. That might seem like a fairly banal observation, because that's how a lot of tabletop RPGs frame a session of play, but we need to make that explicit to contextualise the next step.

That next stop, of course, being the approaches.

One of the baseline assumptions of any tabletop RPG is that you're going to use it to tell the kinds of stories about which the rules have something to say – indeed, a tabletop RPG has to assume this, because if you're not telling the kind of story about which the rules have something to say, you're not playing the game!

To that end, a Lasers & Feelings hack is usually going to give you a pair of approaches to roll against, each consisting of a set of ways of conceptualising the obstacle in front of you. I'm not using the term "conceptualising" just to be fancy here; in Lasers & Feelings, the GM (if present) describes the obstacles, but it's on the player, not the GM, to decide "this is the kind of obstacle which can be overcome with [insert approach]", and nobody gets to tell them they're wrong.

Thus, a Lasers & Feelings hack assumes that the story of your game is going to consist of a series of obstacles (see above) which can usefully be conceptualised using at least one of the game's two approaches. A game where your approaches are "the power of friendship" and "the power of unimaginable violence", for example, probably isn't one that you'd want to use to play out a scenario inspired by Jane Austen's Pride and Prejudice, because those approaches aren't useful ways of conceptualising the kinds of obstacles such a story is likely to present – and if you used it anyway, the story would rapidly stop being a Pride and Prejudice pastiche.

All that in mind, it might be more accurate to state that Lasers & Feelings as a framework presents meta-expectations; the framework provides a set of mechanisms for a particular hack's chosen approaches to direct play, but you have to look at what that hack's chosen approaches actually are to pin down what that direction is.

[saintsenara]

what are your thoughts on the mini prefect plot in OOTP regarding ron and his relationships with harry + the weasleys? was he really suited for the role?

thank you very much for the ask, anon!

neither harry nor ron should have been prefects - justice for dean, i say - but the revelation that ron has been made one serves a very important narrative purpose and i can't think of anything which could have replaced it...

order of the phoenix is the book in the series which is most explicitly a coming of age story - and it's not only a coming of age story in that it's the book where harry has typical teenage experiences like sitting exams and pulling for the first time and realising that he wants to be a different man from his father, but also in that it's the book where harry transitions from being a member of a trio who get up to shenanigans as a team to being the chosen one, who is superior to his disciples, ron and hermione.

this is an important aspect of why harry spends the beginning of the book fuming that ron and hermione aren't telling him anything about their work with the order - he's not just pressed that he's not being given information, he's pissed off because he thinks that ron and hermione aren't behaving correctly, since they should recognise his authority over them by virtue of his centrality to the fight against voldemort.

hence harry's thought process after he learns ron has been made a prefect:

He was no better than Ron in lessons. But what about outside lessons? What about those adventures he, Ron, and Hermione had had together since they had started at Hogwarts, often risking much worse than expulsion? Well, Ron and Hermione were with me most of the time, said the voice in Harry's head. Not all the time, though, Harry argued with himself. They didn't fight Quirrell with me. They didn't take on Riddle and the basilisk. They didn't get rid of all those dementors the night Sirius escaped. They weren't in that graveyard with me, the night Voldemort returned... And the same feeling of ill usage that had overwhelmed him on the night he had arrived rose again. I've definitely done more, Harry thought indignantly. I've done more than either of them, But maybe, said the small voice fairly, maybe Dumbledore doesn't choose prefects because they've got themselves into a load of dangerous situations... Maybe he chooses them for other reasons... Ron must have something you don't...

but crucially, harry's conclusion - which dumbledore affirms at the end of the book, when he says that the only reason he didn't make harry a prefect was because it would be too much additional stress - is that ron doesn't have something over him.

after his initial flash of malice, harry comes to understand why being a prefect [with all the status it confers] would matter to ron - and this is an example of self-growth, since, in goblet of fire, he's incredibly dismissive of ron's jealousy over him being selected as triwizard champion - but, in doing so, the lesson he learns is that being a prefect is important to ron because ron isn't as special as he is, whereas it's not important to him because the authority he has as the singular focus of the anti-voldemort cause - which is shown in order of the phoenix through his leadership of dumbledore's army - is what actually counts.

[wellofdean]

I wanted to make a separate pose to big up these excellent tags on this post about how a show can be about misogyny when it's about men from @deangirlism101 :

#by virtue of watching the show long after it stopped airing and after years of exposure to the fandom#I've experienced a very interesting phenomenon wherein i went in expecting a very straightforward male fantasy#specifically in regards to dean#and was continuously surprised by how dean was around women who were actual characters and not caricatures#with caricatures of women dean also becomes a caricature of a womanizer#but with woman characters? with victims and friends?#dean is constantly paternal/brotherly#endlessly protective and respectful#in fact dean's utter lack of sexualization of the complex women around him in the first few seasons#kind of had me thinking he might just be straightforward gay#additionally it's interesting to point out that dean is the only one of the three winchesters who does not have a#''symbolic woman'' that drives his narrative#i.e. of the three winchesters he is the one who engages with the women around him as people and not someTHING to give him ''purpose''#which ties pretty well into his own role in his family being a typically femenine one#john endlessly relies on dean to serve the role of his mother yet he resents him when he does it so naturally#which from a queer lense is pretty much spelling out ''john can't put his finger on it but something (queerness) about dean bothers him''#anyways it just surprises me how#the fandom has perpetuated this image of the characters#and how#ironically#that image is the exact caricature dean so obviously puts on and we so obviously are supposed to KNOW he puts on

Some really nice points here, and bang on target:

Dean is not called to his adventure/journey because a symbolic woman dies like John and Sam are; he is put upon it by his father and his own sense of responsibility and love before he has the agency to choose. He wants his father's approval, his brother's love, and he wants not to be alone in a world of monsters...and...is HE a monster? A killer? Is everything his fault?

John resents Dean because what he needs from Dean (obedience, domestic work, emotional labour) is feminine. It's what women are for. Dean internalizes that resentment. Sam defies John and is driven by his own losses, and John can respect that, but Dean becomes the family repository of what they've lost. Dean is the eldest daughter who can never do enough.

John has chosen to abandon normal life and live on the fringes to pursue his revenge quest, and Sam is fighting to get back to the center -- left his family, hot girlfriend, Stanford Law, credit in the straight world, friends. But Dean? He has accepted that he will never be normal. He has accepted that he will always be a lonely, liminal weirdo who knows something terrible about the world that most people are spared from knowing.

Like:

If you leave Supernatural season 1 without realising that everything Dean pretends to be is pretty much the opposite of what he is, then you are not watching it right, full stop. The Dean Winchester he pretends to be is a character invented by a terrified, homeless, wounded little boy who doesn't know how else to protect himself.

Second, if you can't see how totally fucking queer all that is, I CAN'T HELP YOU. And,

you cannot hit that many nails on the head without knowing where you're swinging your hammer, and in conclusion, Dean was always deeply queered, and that was in the DNA of his character.

The truth is, that Dean is a very cohesive character. He is written and performed beautifully, and with intention. He is not an accident, he is an artistic creation, and he is excellently drawn. I am not "giving the writers too much credit", I am taking an Occam's Razor-type view of it, and coming up with the simplest explanation for what I see on the screen.

That said, if by some insane magic trick they managed to make Dean this queer by accident? It doesn't matter what they intended, because THE TEXT IS WHAT IT IS. I don't need the permission of the authors to see a church by daylight, and Dean is THAT OBVIOUS.

[talenlee]

Game Pile: Kentucky Route 0, One of Three Games About America

Script and Thumbnail below the fold!

Kentucky Route Zero is a magical realist point and click game of what I’d normally call Narrative Adventure, which came to kickstarter in 2011, then came out in 2013, 2014, 2016, and 2020, because you can’t have nothing for free, even things you pay for. The game is a text-driven game without any of the trappings of your typical point-and-clicker where you jam a ladder in your pants and try to work out why you want to put green dye in the water fountain. Instead it follows the haunted mind of Conway, a trucky driver and his interactions with small handful of people on a part of the Kentucky Interstate, while he to find the place he needs to do his delivery, despite being utterly lost.

I enjoyed what of Kentucky Route Zero I played, but the thing that stands out to me in hindsight is its sound design. It’s a beautifully defined game, audio-wise, with all sorts of thoughtful foley for its environments, and the way that even the pieces of the interface that Conway interacts with have their own sort of specific authentic sounds, chonks and thunks and ch-zzzzses.

It’s also visually splendid, beautiful in what it tries to represent in the heightened reality of its setting but also the format of a videogame. These places look good from the angle that’s chosen, creating lines of artwork and bars of cages, depending on what you’re focusing on, and by being a fixed-camera story of its type, Kentucky Route Zero takes on traits of theatre, with blocking and careful positioning and timing all making up part of how the story unfolds.

A story I haven’t finished.

See, I don’t feel like playing Kentucky Route Zero Act V.

Sit down, traveller. Let me tell you a story.

There’s a chance you’ve heard this story before. I’ve anonymised it here, not because I think you shouldn’t be able to work out who it is, but because the idea of focusing on the who runs the risk of ignoring the what. Plus, I don’t want to direct anyone to a person who said something stupid and encourage fights. That’s not the important issue.

This is the story of when someone perfectly represented something, and probably never realised it.

You will sometimes hear me talk about the take that ‘there are three games about America,’ with a tone of utter revulsion and derision. This is from an incident back in 2020, when a game developer and advocate for inclusive games, had an opinion, on the internet. This advocate is well-established and has a big audience, but also, he’s crucially, not a white guy, not a Christian guy, and not an American guy. These are factors that play into what he said, which was, in summary, that while Kentucky Route 0 was no doubt phenomenal, he wasn’t interested in playing it right now.

To this, an actual adult responded with:

This is legitimately the worst take you’ve ever had. There are only about three games that are actually American, and this is one of them. Everything else is designed for export. Kr0 is a precious and valuable thing. It is of immense and intense personal importance.

Now, resisting the urge to argue with a tweet, which is just generally a bad practice that leads to doing things like wanting to be on twitter, and setting aside this tweet conflating ‘this is of personal importance to me’ and ‘this should be of importance to you,’ this position describes the idea that there are only three games that are ‘actually American.’

What does it mean to be ‘actually American?’

America is a pretty pervasive presence, if you’re not aware of it. Most people in the world have to know about what’s going on in America. We know about your Presidents and your Senators and your Constitution, to the point where people can be more aware of how your country’s laws work than their own country’s laws. I’ve often seen it held up as an example of how poorly educated people in say, Canada and Australia are that we believe we have, say, a ‘first amendment right,’ but the thing is you have to ask why there is that.

We watch so much American TV.

We listen to American music.

We try to make our news broadcasts look like yours, because that’s what real and legitimate news looks like. We try to retell your stories in our local languages because that’s what real media looks like. Our children sing songs in your accents because that’s the culture that a multi-trillion dollar economy has pumped into the whole world.

America demands we attend their wars and surrender our living to become their dead and when we are done America sells the survivors a cheeseburger.

This is not a remarkable or controversial statement. You must know, this is not even vaguely challenging to know about. Everywhere in the world is replicating parts of the American empire, because America exports and enforces the vision of the American empire. McDonalds may sell curry in India, but it’s very important that the curry being sold is McDonalds curry because that is how you know it’s an American style curry.

What this means is when someone tries to assert there are only really three games about America, that’s a kind of specialised brain rot that requires you to consider games that are very much about America as not being really about America. And thus we see the other thing about America, which is it’s not enough for America to be the most important place in the world that everyone else in the world needs to recognise, but also, most of America is inadequately America for this vision of America. You saw this in the wake of 9/11, and the election of Barack Obama: huge amounts of American media resurged in extolling the values of ‘real’ America, as opposed to the parts of America where the vast majority of Americans lived, which just so happened to paint a lot of marginalised people living in the cities as ‘fake Americans.’

I am not bringing you unique information. This is just obviously true things if you don’t live within the boundaries of an environment that flatters you as the most normal thing in the world. The vast majority of the world is not America. There are eight billion people in the world, more or less, meaning that America is about 4% of the world, and yet, it is catastrophically, overwhelmingly, deleritously the common touchstone for how things are ‘supposed’ to work. This is through media imperialism, which is mostly supported by American companies exporting all their media to foreign markets extremely cheaply.

‘about three games that are actually American.’

This fascinating piece of doofusry still, even now leaves me agog. ‘Actually American.’ Kentucky Route 0 is actually American, you see, as opposed to… what? Is America’s Army one of them? You know, the game financed by the American Army? What about Call of Duty, a franchise that is in part subsidised by American military complex manufacturers? What about Grand Theft Auto, a videogame that tells the rags-to-riches story of American excess in criminality, setting aside the way it’s made by a Scottish company. Actually American, because American doesn’t mean America, it means one tiny little pool of ‘America’ where the speaker can imagine there’s a realness and an authenticity to the America-ness that doesn’t involve all the messy realities of what it is to be America. It’s the towns of hard-working people, that suffer under your particular description of oppression, whether that’s cities full of nonwhite people or corporations bleeding the country dry, always eliding the social cruelties and terribleness of these places, as if giving people money stops them from being bigoted (for example).

This is then used to recruit these poor, superior Americans, the you know, America Americans, whose sufferings are noble and whose authenticity cannot be impeached and they are then used as a defense against criticism of, you know, America. It’s the same speech Charlie Daniels gave about how foreigners may think they could push around Barack Obama (a dude who bombed a lot of shepherds with the most elaborate and brutal military ordinance in the world) but they were going to have a harder time taking on Americans who wrestled alligators, who at this point have exactly zero recorded drone strike kills.

This is because America America isn’t real.

‘Real’ America is a nebulous nothing that you can project whatever you want onto, and which is also not responsible for anything terrible that America does. It’s not the American Empire, it’s not the exporter of culture, it’s somehow purer, better, a sort of individualised folk who are to be protected and extolled, shriven of all the things about America that make it anything but its perfect idealised form of America.

I could go on.

I really could.

This is something that defines the world I have to live in. I speak English. I’m white. I’m from a coloniser state. I should be able to integrate easily and smoothly into the white supremacist capitalist hierarchy of American culture, but we are told, that no, we are not acceptable. We are only valid as long as our differences are invisible. We, a real people, do not get to have opinions on America, because we do not know True America. When you spell colour wrong in a chat message, when your accent isn’t quite right, when you don’t know the difference between junior and sophomore year of high school, then you are shown, you are evinced, and you are made very aware that you are other, you are outside, you are wrong.

And really, there’s no good reason for it. We send our soldiers to America’s wars, we buy America’s submarines, and we sing your songs. Our currency mimics America’s, our culture permeats with America’s, we even have such a crushing inferiority complex about the empire that there’s an academic term for what we feel about our own media compared to the media of the truer, proper empire to which we are vassal.

The term is ‘cultural cringe,’ and it was coined by Henry Lawson, who you, odds on, have never heard of. In 1894, he wrote:

The Australian writer, until he gets a “London hearing,” is only accepted as an imitator of some recognized English or American author; and, as soon as he shows signs of coming to the front, he is labelled “The Australian Southey,” “The Australian Burns,” or “The Australian Bret Harte,” and lately, “The Australian Kipling.” Thus no matter how original he may be, he is branded, at the very start, as a plagiarist, and by his own country, which thinks, no doubt, that it is paying him a compliment and encouraging him, while it is really doing him a cruel and an almost irreparable injury. But mark! As soon as the Southern writer goes “home” and gets some recognition in England, he is “So-and-So, the well-known Australian author whose work has attracted so much attention in London lately”; and we first hear of him by cable, even though he might have been writing at his best for ten years in Australia.

This is imperialism. This is a way in which we have been induced and brought by the empires around us to accept their ways as correct, as the normal, as default. And that is the mindset you must have if you want to look at the breadth of videogames, with their American ideas like health insurance, readily available guns, the importance of freedom, the ubiquity of air travel, the branding and iconography of types of food and the sports metaphors and then say ‘yeah, this doesn’t have anything to do with America, not really.’

Anyway, this thread, this incident, was a big deal at the time, in that there were a lot of people from within the community of game developers and journalists who seemed very happy to line up and get mad at a brown foreigner for being inadequately enthusiastic about the possibility of playing a videogame. But don’t worry, after a day or two, an apology was forthcoming for all of this fracas, by which I mean, the original developer apologised for being so thoughtless as to, again, express honest lack of enthusiasm in a videogame.

For me, this was a kind of break point, where I started just blocking indie devs on sight. I don’t want to know what they’re involved in, I don’t want to promote their work, and I will hold tiny grudges against them that I do not seek to transfer or encourage in others. This was one silly incident in which a lot of people said something silly because they don’t know better, or they’re arseholes.

None of this is fair to Kentucky Route 0. It’s a game with its own intentions and its own perspective. It’s not trying to make this conversation happen. Kentucky Route 0 has been choked and gripped by this position around it, where to talk about an American game, someone put a cross on it that made it the avatar for All Things America. The wild thing to me is that I had, prior to this point, played two episodes of Kentucky Route 0. I thought it was pretty good, and I liked what it did with the negative space of dialogue options – when a character you’re controlling makes excuses, the excuses you choose show you other things you could be making excuses about that you, the player, didn’t know beforehand. That’s some good Narrative Storytelling Design, I like that a lot. But now I can’t really engage with Kentucky Route Zero because the main thing it makes me think about is how this final chapter, meant to round out the game’s story and present a conclusion and a point, became this flashpoint for a lot of people to be very casually racist.

Which kinda poisons the whole thing for me. It’s an authentic thing, I’m sure, it’s a thoughtful thing, too, but the people stepping up to say I should care about it did so in a way that made me hate them.

Any time you see me say ‘three games about America’ I’m talking about this, and the attitude of a particular kind of American that America is, as always, exceptional. It’s real easy to not realise when you’re just voicing your self-centeredness and how easy that is to ignore the opinions of people around you and what they’re saying. This is what I’m talking about when I mention ‘the three games about America.��

[fade for credit text]

By the way, the three games about America are Crash Bandicoot, Sam & Max Hit The Road, and Bust A Move.

[undaughtered]

i’m pro choice and religious also but i’m curious if you could expand on how your pro choice beliefs are informed by your faith bc i’ve always felt like mine are in conflict w each other and im very curious bc ive never heard that before!

cw: mentions of rape

in the story of the immaculate conception we are faced with two options to account for the palpable power imbalance between mary- a young, unmarried, working class jewish girl living under a violent colonial power- and god.

the first option is that god is an authoritative, patriarchal god who subjects creation to his will. mary is not really given a choice in the matter of her pregnancy, and her utterance "i am the handmaid of the lord" is thus made under coercive circumstances, a faith born out of fear as would be typical for a young woman in her cultural context. in this scenario, mary's life only becomes worthy of protection after her pregnancy. she is sanctified not through her existence but through the injection of christ into her womb. in this scenario, because mary is coerced in a deeply imbalanced relationship, she is also a victim of coercive rape. jesus is thus the product of rape, and while this argument infuriates christians, this is the underpinning to pro-life ideologies. women are not worthy of protection until they have a child. they are justified not by their own existence but through their relationships to cishetero masculinity, of which god (in this scenario) must be the pinnacle. mary is not and is never worth more than the baby inside of her, which is a god.

of course, the attributes of god in this scenario are largely antithetical to what we know about god, especially what we know about god in a theological context. (such as: the spirit that covers mary in her impregnation is a feminine spirit, the shekinah, not a penetrative masculine entity. in fact the whole of mary's story has very little to do with men: between the shekinah and elizabeth, up until joseph is actively called into the narrative, it is a story about motherhood and sisterhood, not about heterosexual union or male/female connection for the purpose of childbearing.) if mary only becomes sanctified after she becomes pregnant, then the theological underpinnings of christ's conception and his redemptive arc make no sense. christianity at its core is rooted in the idea that all people are uniquely worthy of life. to be worthy of life means also to be worthy of dignity. since mary is the first to believe that christ is the son of god, the one coming into the world, she is the first christian (along with mary magdalene, the first to believe christ returned from the dead- two women named mary are the first to take up the two basic tenets of what it means to be christian); which means that god knew mary was worthy of life and this, worthy of dignity, before she became pregnant. it was mary's womanhood specifically that deemed her as worthy of dignity, because god could have chosen any way to manifest himself in the world but he chose to be the child of a woman.

this god- who is keenly aware of and yearns to give life to his creation, which cannot be bestowed without a deep and enduring respect and elevation of their dignity- cannot be an authoritative patriarchal figure, since that figure is incapable of upholding the life and dignity of a young, marginalized woman. this also means that, since god is not capable of violating creation's dignity, he cannot have coerced mary into pregnancy, meaning that she could not have been raped, meaning that by definition, mary was given a choice. in fact, this is suggested in the lucan narrative by her verbal consent to become pregnant: "let it be with me according to your word." this isnt a passive submission to god's will, because god does not desire passive submission from those he loves. it is an active choice. god wants us to choose him just the way we, as people, want those we love to choose us.

and we can sit and debate omniscience and omnipotence and predestiny, and whether mary really had a choice if god knew she would simply say yes, but i like to humble myself before god and not pretend to even remotely understand his thoughts. i only know what i can see, and what i can see is mary's verbal consent, and the nature of god as it has been revealed to me.

i cannot believe in a god who would violate a woman's dignity even for the most noble of reasons, because that is not the god i know from scripture. otherwise he would not be of the material of pure love that i know god is because he said so (john 15:12, 1 john: 48 and 4:16). so for me the entire basis of christianity comes down to women's choices and their freedom to choose- in that house in nazareth, in front of the tomb in jerusalem, but never once does the god that i know take away that freedom from his creation, whom he made because he loved. to whom he gives the dignity of choice, even when it leads us away from him, because he loves us. but he loves us enough to let us say no.

[hayatheauthor]

How to Pick The Perfect Weapon For Your Characters 

When you’re writing a novel every small element has its own purpose. From the lush setting to the intricate plot, each detail is carefully chosen to convey a message, evoke emotions, and immerse readers in the narrative. One such crucial element is the character's weapon. 

A character’s weapon is their best friend, sometimes even literally in cases like Magnus Chase. This seemingly insignificant tool can be a symbol of their essence, values, and role in the story. This is why it’s so essential to pick the right weapon!

As an author of both thriller and SFF, I decided to create a quick guide to help you learn how to pick the perfect weapon for your characters. 

Swords: The Symbol of Honor and Valor

Swords have long held a special place in the realm of storytelling. They are the embodiment of honor, valor, and the chivalric code. Whether it be thriller, action, or even romance, stories have sported brave princes and knights bearing swords from decades. Characters who wield a sword are perceived as strong, determined people with a willingness to make sacrifices for their cause. 

Some writers often associate swords with the main male protagonist, however, this weapon would be a great fit for any character who is perceived as a force to be reckoned with. The cliche prince on a horse with a shiny sword might paint a clear image, but don’t limit yourself to literary stereotypes.  

Types of Swords

Contrary to popular belief swords come in various shapes and sizes, each with its unique attributes. 

Longswords: These versatile weapons are known for their balance, allowing for precise strikes and powerful swings. Longswords are often associated with knights and heroes. These are the type of swords a typical prince would wield. 

Katanas: Elegant and deadly, katanas are the traditional swords of Japanese samurai. They represent discipline, precision, and the way of the warrior. Katanas are also often used by antagonists. 

Rapiers: Slim and agile, rapiers are the choice of swashbucklers and duelists. They symbolize finesse, quick thinking, and style in combat.

Ideal Characters

If you’re finding it difficult to decide whether or not your character should wield a sword, here are some personality traits and physical qualities to go off of: 

Courage: Swordsmen and swordswomen are brave, unafraid to confront danger directly.

Honor: They uphold a strong sense of morality and adhere to a code of ethics. However, this also applies to antagonistic characters who often fail to see the flaws in their ways. 

Chivalry: Sword-bearing characters display manners, respect, and hold themselves to high regard.

Physical Prowess: Proficiency in swordplay demands agility, strength, and dexterity, this usually comes with a fit if not lean physique. If your character is more of a brute then swords might not be the best pick for them. 

Examples in Literature

Throughout literary history, swords have been embraced by iconic characters. You have chivalrous heroes like the legendary King Arthur wielded the mythical sword Excalibur, a symbol of his destiny and nobility. However, there are also notable villains such as Luke Castellan from Percy Jackson. 

Luke’s character starts off as a minor protagonist who is akin to a mentor figure but he slowly turns into a major antagonist. Many people often associate swords with protagonists, however, they can also be used by powerful antagonists with a strong mindset who are determined to have their way. 

When crafting a character who wields a sword, consider these attributes and the symbolic weight that comes with this choice. Swords are not just weapons; they are embodiments of valor and the unwavering spirit of your characters. 

Daggers: The Stealthy and Cunning Choice

In the world of weaponry, daggers hold a unique allure. These swift blades are the embodiment of stealth, cunning, and the art of silent confrontation. When a character wields a dagger, it signifies their mastery of subtlety, their ability to navigate the shadows, and their readiness to strike with precision when the moment is ripe. 

Unlike swords, daggers have been used more uniquely throughout literature and are wielded by various character types. However, they are often associated with the sarcastic quick-witted characters or quiet calculative ones.

Types of Daggers

Daggers come in various forms, each tailored for a specific purpose:

Stilettos: A stiletto's slim, needle-like design is tailor-made for covert operations. It's the weapon of choice when subtlety and concealment are paramount, often associated with assassins and spies.

Dirks: Dirks are the Swiss Army knives of the dagger world. Their broad blades enable both offense and defense, making them versatile companions for characters who value adaptability.

Throwing Knives: Characters who wield throwing knives are the sharpshooters of the dagger realm. Their skill lies not just in close combat but in launching these deadly projectiles with uncanny accuracy.

Twin Daggers: Twin daggers, a pair of symmetrical blades, represent a double-edged approach to combat. Characters who favor this style emphasize agility, dual-wielding techniques, and the element of surprise.

Ideal Characters for Dagger-Wielding

Characters who favor daggers share a distinct set of traits and characteristics:

Stealth and Evasion: Dagger-wielding characters excel in the art of remaining unseen and slipping through the tightest of spots.

Cunning and Strategy: They rely on their wits, strategy, and clever tactics to outmaneuver opponents who might possess greater physical strength.

Resourcefulness: Daggers are versatile tools that require characters to adapt to their environment. Whether in a dimly lit alley or a sun-drenched courtyard, they use what's at hand to gain an advantage.

Quick Reflexes: In close combat, precision and agility are essential. Dagger-wielders are known for their ability to react swiftly to changing circumstances.

Examples in Literature

In the realm of literature, characters who master the art of daggers often exude enigma and resourcefulness. Unlike sword-wielders who are seen as flashy and bold, those who use daggers are capable of slinking through the shadows and using their weapon to sneakily complete their tasks.  

Arya Stark from George R.R. Martin's "Game of Thrones" series is a great example of this. Arya's journey is intrinsically tied to her slender dagger, Needle. It becomes an extension of herself, embodying her resilience and resourcefulness.

Another example would be the assassins in the "Assassin's Creed" series. These stealthy characters employ an array of daggers for precise and silent takedowns, epitomizing the cunning and agility associated with this weapon.

Crafting a character who wields a dagger opens up possibilities for intrigue, stealth, and the art of subterfuge.

Axes: The Brute Force of the Battlefield

Axes, with their sheer power and imposing presence, are the weapons of characters who favor raw strength and ferocity on the battlefield. These formidable tools are more than mere instruments of destruction; they symbolize the unyielding force that some characters bring to their quests and conflicts.

Unlike the other weapons listed in this blog post, axes are possibly the only weapon where I would advise you to go with the stereotypical ‘big, strong person’ image associated with this weapon. This is because axes are impossible to wield on a regular basis by someone who isn’t physically capable of handling their weight. 

Types of Axes

It is common knowledge that axes come in various forms, each designed for specific purposes, but here are the most common types of axes used in literature:

Battle-Axes: These massive, double-bladed weapons are designed for cleaving through armor and enemies alike. They are the embodiment of relentless strength and often used by the antagonist’s henchmen or guards.

Hatchets: Hatchets are compact, one-handed axes known for their versatility and practicality. They are often associated with survivalists and woodsmen.

Tomahawks: Tomahawks are single-handed axes with a historical significance, representing both tools and weapons for Native American characters.

Ideal Characters

As I mentioned above, there are certain traits associated with characters who use axes that you would be better off following. However, that is not to say you have to go along with the stereotype to the T. Think of characters like Hagrid, who fits the physical and mental requirements for an axe-wielder yet is portrayed as a loveable character. 

Some traits you should keep in mind to use as a reference point for axe-wielders are: 

Bravery: Axe-wielding characters are unflinchingly brave, charging headlong into battles without hesitation.

Ferocity: They are known for their unrestrained aggression and determination in combat. However, they can also be quiet and keep to themselves in daily life. 

Physical Might: Proficiency with axes demands exceptional strength and endurance.

Resilience: Axe-bearers can endure heavy blows and keep pressing forward.

Examples in Literature

In literature, characters who wield axes are often forces to be reckoned with. They’re those powerful characters that leave a lasting impact on your readers. Think of characters like Thor, Brienne of Tarth and Gimli. 

While this weapon is generally associated with magical beings like dwarves and giants you could also have fun with it. Maybe a hot-headed female elf prefers using an axe rather than swords and bows like her peers, or a princess could have picked up on how to use a hatchet while watching the guards train. 

Remember, axes represent not only power but also the indomitable will to face adversity head-on.

Bows and Arrows: Precision and Patience

In the realm of weaponry, few choices demand as much finesse and discipline as the bow and arrow. These elegant yet deadly weapons are the preferred tools of characters who value precision, patience, and the ability to engage their enemies from afar. As the arrow leaves the bowstring, it represents not only a physical projectile but also a testament to the archer's skill and the unwavering focus required for this art.

Types of Bows 

Archery encompasses a range of styles, each offering unique advantages and reflecting the character of the archer:

Longbows: Known for their simplicity and sheer power, longbows have been used by legendary archers throughout history. Drawing a longbow requires considerable strength and skill, making it the choice of archers who value raw force and accuracy.

Compound Bows: Modern archers often favor compound bows, which employ a system of pulleys and cables to provide mechanical advantage. This design makes them easier to draw and hold at full draw, ideal for hunters and those who value both accuracy and ease of use.

Recurve Bows: Recognized by their gracefully curved limbs, recurve bows store and release energy efficiently. These bows are versatile, often used in competitive archery where precision and consistency are paramount.

Crossbows: Crossbows are handheld devices that offer unique advantages, particularly in terms of precise aiming and ease of use. Archers who value accuracy and a quick reload often choose these weapons.

The Ideal Archer

Characters who become proficient with bows and arrows exhibit a distinctive set of attributes and skills:

Patience: Archers are masters of patience, waiting for the perfect moment to release their arrow, whether in the heat of battle or during a hunt.

Precision: They possess an uncanny aim, able to consistently strike distant targets with pinpoint accuracy.

Stealth: Archers can engage their enemies from a concealed vantage point, using the environment to their advantage.

Stamina: Drawing a bow requires not only finesse but also physical strength and endurance, especially when handling longbows.

Examples in Literature

In the world of literature, characters who master the art of archery often personify these traits:

Katniss Everdeen from Suzanne Collins' "The Hunger Games" series is the perfect example of a typical archer. Katniss's skill with a bow becomes a symbol of her survival and resilience in a dystopian world, her weapon is something she can rely on and trust. It isn’t as flashy or bold as some of the other characters’ weapons, however, her weapon’s, often-overlooked, proficiency helps her overcome her opponents. 

Another good example would be Legolas from J.R.R. Tolkien's "The Lord of the Rings" trilogy. Legolas, an elf archer, is renowned for his exceptional accuracy and agility, traits that make him a formidable member of the Fellowship.

When crafting a character who wields a bow and arrows, delve into their temperament, motivations, and the patience required for their style of combat. Bows and arrows represent not only precision but also the ability to strike with calculated efficiency from a distance.

Magical Weaponary: Enchanted Tools

Magical implements, imbued with mystic energy, are the tools of wizards, witches, and characters who harness the arcane forces of magic. These enchanted objects represent not only power but also the mastery of spells, incantations, and the unseen forces that shape their world.

Types of Magical Weaponary

Magical implements can take various forms, each with its unique properties and associations:

Wands: Wands are slender instruments often associated with precision spellcasting. The type of wood and core material can influence their magical properties.

Staffs: Staffs are longer and more robust than wands, often associated with wizards and sorcerers. They provide greater control over magic and are sometimes used as a support in physical combat.

Orbs: Enchanted orbs or crystals are used for scrying, divination, and channeling magical energy. They are linked to foresight, vision, and mystical insight.

Runestones: Characters who use runestones possess knowledge of ancient symbols and magical scripts. These stones are often used for inscriptions and rituals.

Amulets and Talismans: These enchanted jewelry pieces provide protective or augmentative effects to the wearer. They can be worn as necklaces, rings, or bracelets.

Ideal Characters

Characters who wield magical implements typically possess specific traits and qualities:

Magical Aptitude: Wielders of magical implements have an innate or learned mastery of magic, allowing them to cast spells and manipulate mystical forces.

Intellect: Magic is a craft that requires knowledge and intelligence, and characters with magical implements often excel in both.

Discipline: Effective spellcasting demands discipline and concentration, traits exhibited by wielders of magical tools.

Morality: The ethical choices made by characters with magical implements can impact their magical abilities and alignment.

Examples in Literature

Picking the right magical instrument for your character can either be very easy or difficult depending on the extent of magic bearers in your book. If your book is akin to Harry Potter you can simply pick one magical weaponry and assign it to a group of characters. Maybe your wizards and witches use wands while your warlocks use staffs. 

However, in a book like J.R.R. Tolkien's "The Lord of the Rings" series, where you have one specific magic bearer like Gandalf, you would have to pay more attention to the type of weapon you assign to your character. Gandalf's staff is not only a tool for his magical abilities but also a symbol of his wisdom and power. If you were to assign a wand to a character like Gandalf it wouldn’t have the same air of sagacity as a staff. 

Modern Firearms: Technology and Precision

Modern firearms represent a significant departure from traditional weapons, harnessing technology and precision to deliver deadly force with incredible efficiency. These weapons are the choice of characters in contemporary settings, from gritty crime dramas to action-packed thrillers.

Firearm Types

Modern firearms encompass a range of types, each tailored to specific purposes. I’m sure you can find a more detailed list anywhere online but here’s a quick list of the basic types. 

Handguns: Pistols and revolvers are compact, concealable, and ideal for close-quarters combat or self-defense. They require steady aim and quick reflexes.

Rifles: Rifles are versatile long-range weapons known for their accuracy and power. They are favored by marksmen, snipers, and characters who need to engage distant targets.

Shotguns: Shotguns deliver a spread of pellets, making them devastating at close range. They are often used in home defense scenarios and for hunting.

Automatic and Semi-Automatic Firearms: These firearms offer rapid-fire capabilities, making them suitable for characters facing multiple adversaries or engaging in intense gunfights.

Ideal Characters

Characters who wield modern firearms possess specific attributes and training:

Firearm Proficiency: Proficient characters are well-trained in firearm use, understanding safety, reloading, and maintenance.

Mental Toughness: They must maintain composure under pressure, as firearms can be unforgiving in high-stress situations.

Training and Experience: Characters may have military or law enforcement backgrounds or undergo specialized firearm training.

Mindset: The choice to use firearms can reflect a character's willingness to employ lethal force when necessary.

Examples in Literature

In literature, characters who wield modern firearms are often found in genres like crime fiction, espionage thrillers, and action-adventure novels:

Jesper Fahey from Leigh Bardugo's "Six of Crows" is a sharpshooter with a passion for firearms. He brings a unique blend of humor, charm, and unerring accuracy to the crew of skilled criminals known as the Dregs. Armed with his trusty revolvers, Jesper showcases not only his prowess with firearms but also his quick thinking in high-stakes situations.

Jesper's character reflects the complexities of using firearms in a gritty, high-risk world. His marksmanship skills not only contribute to the crew's endeavors but also serve as a storytelling element, illustrating the fine line between life and death in their dangerous heists.

I think he’s a great example of the type of character readers would typically associate with loud flashy firearms. 

Unconventional Weapons: Creativity and Surprise

unconventional weapons are like hidden treasures waiting to be unearthed. They offer writers a canvas upon which to paint unique and memorable characters. These characters don't just march to the beat of their own drum; they make their own drumsticks, turning the ordinary into the extraordinary.

Whips, Chains, and Musical Instruments

When you think of weapons, whips and chains might not be the first things that come to mind. Yet, in the hands of a skilled writer, they become symbols of precision, control, and the unexpected. A whip's crack can be as powerful as any gunshot, and the rattle of chains can send shivers down spines. And what about musical instruments? 

The sweet melody of a flute can lull enemies into a false sense of security before revealing its true potential as a weapon. Writers have the freedom to explore these unconventional choices, creating characters who surprise, enthrall, and captivate readers.

Creativity Knows No Bounds

Unconventional weapons are a playground for creativity. Writers can let their imaginations soar, crafting characters who wield items that defy convention. Whether it's a character fashioning a weapon from the environment or turning a seemingly mundane object into a deadly tool, the possibilities are endless. 

Want your hero to use a bouquet of roses as a weapon? Go for it. How about a character who wields a garden gnome like a hammer? Let your creativity run wild. Rachel Elizabeth Dare threw a hairbrush at a titan, Alice uses a flamingo as a croquet mallet. When it comes to unconventional weapons, you really don’t have any limits. 

I hope this blog on How to Pick The Perfect Weapon For Your Characters will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[apostaterevolutionary]

So I touched on this a little in my veilguard review, but this is one of the topics I wanted to talk about separately. And it’s that I think I've figured out what really makes an rpg great vs just not bad for me. This is really a preference thing, cause I know there's people who are the exact opposite on this. But for me, it's about the amount of personal involvement the player character has

Like why are you, as the main character, here? Why do we care about the plot that's unfolding? Is it just cause 'well, world needs saving and I'm here', that's not very interesting to me. It's too replaceable - any sufficiently valiant person could do this (even in a chosen one narrative, this is typically true). 'Wrong place, wrong time' can be fun if done right, but it's still eh to me. I like it best when the player character has some tie to the overarching plot. I want it to be personal because that opens up so many more interesting emotions

Dragon age has examples of both of these. Origins, despite the Warden canonically being replaceable, as we know all the origins happened, it's just only one actually survived, does have this personal element imo because it has Ostagar. Different Wardens might see this differently, of course, but you arrive after just barely being saved by Duncan. Everything seems fine until the big moment and then everything goes wrong - you're betrayed, from your pov, Duncan is killed, and you wouldn't survive this third near-death experience in a row were it not for Flemeth's interference. This, in the moment, feels pretty damn personal. No matter who your warden is, Loghain acts as a personal antagonist right up until right before the end, whereas while the blight situation is mostly a 'wrong place, wrong time' situation, that personal element plus the little moments you get that reference the origin events really make it work for me. It could have more, but it has just enough to make it really good imo

Of course, DA2 is so strong on the personal motive front that arguably the personal story is actually the overarching plot and it's just occasionally a wider-impact event creeps into it lmao but that's why it's my favourite game. Inquisition, on the other hand, while yes, you have the mark and are the only one who can close the breaches, that is the only tie you have to events. The inquisitor has no motive beyond 'well, world needs saving'. If the anchor had somehow been transferable, Cassandra quite frankly would've made a more compelling protagonist because of her devotion to the Divine. She had a reason to be there beyond just 'gotta save the world'. The inquisitor doesn't, they’re really just there because they have to be (and that’s also why I think their appearance in veilguard is pretty weak imo, but people with different views of their inquisitor will disagree there)

And I'm not comparing, rather just using an example, but bg3 I think has both options. For me, durge is much more interesting than tav cause, once again, tav is just some guy (gender neutral) who happened to stumble by at the wrong time and oops, brain worm. Even the emperor would've happily discarded them for another if it served his purpose. They're just there because they're convenient. That's not as fun to me as durge, who has an actual personal reason to be involved in this, even if they don't know it at first. It starts out as the same, generic motivation of 'get rid of the brain worm, try to save world if we can' (assuming a relatively "good" playthrough lmao, but for comparison's sake) but it later becomes something that is personal. You have a VERY direct involvement in the plot and it really adds something to it for me. That's the kind of flavour I seek 🤌 🤌 🤌

And veilguard is definitely more on the inquisition side where literally any heroic person could fill in for the protagonist (and tbf, I liked it more than inquisition), when I think what really would’ve brought it over the top for me would’ve been some act 2 Personalized Horror event to happen. Easiest option would be something related to the faction, like maybe one of the recurring NPCs ends up dying in some really hardcore way. It wouldn’t be that hard to implement imo because it could be roughly the same quest, just with tweaks to fit the chosen faction. Giving Rook a personal motivation would’ve really spice things up and give the factions more depth too. If you play as a warden, I think weisshaupt may have that affect (which is why my second run will be a warden lmao), but it would be nice to have something really devastating for the character regardless of faction

(And to be perfectly honest, if we were going to lose a companion anyway, having that happen in the middle of the game might have actually been spicier and really cemented Rook’s conviction while still having the regret prison concept work imo. It would mean missing out on a companion arc, but it’s another option at least)

This would also give an opportunity to really boost the companion relationships. Like the Bad Thing happens and then you get maybe a little scene with the current love interest, or even just some dialogue with each of the companions. Something with them being the ones to comfort Rook for a change. Cause all that remains is devastating, and the bg3 act 2 redemptive durge scene is wonderful, but it’s also the aftermath that’s really tasty. And having some sort of Personalized Horror for Rook would’ve given us an opportunity to have that moment of them being vulnerable, and the companions stepping up to help them. That really would’ve made the team feel good and cemented, like they really were a strong team

And again, I know this is a personal preference thing. I have a friend who struggles whenever a game has any kind of established background at all and thinks that bg3’s tav is the absolute perfect kind of rpg protagonist and I’m sure there’s plenty of people who agree and prefer the fully blank slate. Some people do prefer to just headcanon all of this rather than have it directly in the game. And that’s fine. But for me, that personal involvement and motive is the real special sauce for rpgs and I think that’s why DA2 specifically is the one that made me insane lmao. And I think if veilguard had’ve had that bit of personalized angst, I would’ve put it an entire bracket higher than I did. It would’ve fit really well imo and idk if it was something bioware ever planned for the game, but I, for one, really would’ve loved it

[lexchxn]

A Triad for Bosses

The Three S's

I had a realisation about Dark Souls.

This is a design insight, and I think it’s one that’s applicable to TTRPGs.

Some Dark Souls bosses (a lot of people’s favourites), essentially have three methods by which you can beat them: 1. Skill |Just outright pracice and precision letting you take a small enough amount of damage to survive while dealing a large enough amount of damage to kill. 2. Strength | Whether through stats or a power solution (either being 10 levels high enough or using a damage type the boss is weak to). 3. Solution | You “Solve” the combat before it begins, either through an item that trivialises the fight or a puzzle that outright bypasses it. These “Three S’s.” can of course mix and match, and I think the Eldemonsoulsbornekiro games (sorry) lean on Strength as a primary pillar, Skill as a close second, and Solution as a surprise tool they occasionally pull out, but I was considering how these principles could and could not be applied to TTRPGs. So... Do they?

First, they require some adaptation. TTRPGs don’t have the bounding boxes that video games do, nor do they maintain as much of a balance between elements like player skill and character build. What adjustments do we need to make?

Well, while Skill certainly continues to exist in the TTRPG space, dice luck can have a very large dilutive effect on one’s ability to express Skill. Skill also, I’d argue, has much more of a direct impact on “Strength” in TTRPGs than it does in video games. Building a character here has, again, weaker bounding boxes than a preprogrammed game.

Strength can vary wildly depending on the style of the TTRPG, but regardless of the chosen book table play tends to be farther away from insurmountable/trivial encounters than video games due to GM tailoring. If you’re in an encounter, there’s typically both an expectation for you to engage with it and knowledge that it won’t waste your time.

And Solution is interesting. Depending on the GM or the story scenario, this may be all but impossible. But it might also be the primary focus of your game. Every fight you take meant to be solved, every combat a puzzle. Also typically, the higher allowance for Solution expression, the more Skill expression has space to shine. After all, someone’s gotta find those solutions!

With weaker availability for Skill expression, a usually tighter box on Strength expression, and Such a wild variation in Solution expression, what kinds of incentives and rewards can we now build into our campaigns? - We can build in Power rewards for their Skill in character creation. - We can prompt Skill growth by facing our parties with difficult tasks they can still achieve. - We can create narrative or prompt creative focus and reward Skill by putting all of our eggs into the Solution basket, waiting for our parties to “Figure it out.”. - We can create a feeling of immense resistance (or outright despair) by using combats that require more Strength. ...and more! Balancing encouragement and reward between these three pillars to create your style of encounter, I would say, covers just about every design you’ll ever field.

Think about the Three S’s next time you’re building an encounter! Hopefully this can provide a solid framework for your next brainstorm.

[rwbyrg]

Hello!

I would like to ask if there's already a post a long the lines of "Why Rosegarden is a good ship" or reasons to ship RG? If none would it be alright to ask for your insights?

It's my first time being interested in them but I just can't wrap it around my head for now. I would love to read about them!

Thank you in advance ^^

Hi Anon!

I have not yet made any posts specifically with these questions in mind, no. Just a small, unfinished, series about why I believe the ship is likely to be canon. I am happy to offer some insight, but I don't know that I'm going to give you the answers you're looking for. 😅

First and foremost, the questions you're asking aren't really ones that can be answered objectively. What makes a ship "good" or "bad" is largely subjective, as there are as many ways to view a ship as there are people viewing it. I could make an argument about how I think it is - objectively speaking - a well written pairing that follows the typical beats and tropes (with delightful subversions) of a good romance arc, that also parallels how other canon ships within RWBY have been established... but at the end of the day, if you're not a fan of what RG is about, then there's not much I can say to change your mind.

Which brings me to your second question. The best reasons to ship RG are going to be the same reasons for why anyone should ship anything: ship it if you want to, ship it if it resonates with you, and ship it if you enjoy it.

If their characters, interactions, themes, parallels, allusions, tropes, symbolisms, foils, designs, messages, etc., aren't your cup of tea, it's completely okay if you pick something else on the menu! So long as you don't like. verbally harass people that do like it or fill the tag w the same discourse that we are all very tired of seeing.

I don't know if that is a sufficient answer to your question, so I'll take a chance and also provide some of my personal reasons as to why I think it's "good" and why I ship it. While there are many reasons I can't all include, the main things are just how much they mirror each other:

From their complementary character designs (red vs. green, silver vs. gold, moon vs. sun, etc.),

To shared fairytale allusions (Little Prince and the Rose, Dorothy and Princess Ozma/Tip, Warrior in the Woods, etc.),

To the narrative parallels (both being the youngest of the group when they joined respectively; how both of their attachments to each other keep being put into focus; to their shared themes around choice and identity: Ruby having chosen adventure but feeling as if she has no choice but to keep moving forward, while Oscar was chosen by adventure but chooses to do what he can despite his circumstances; Oscar not knowing who he is because of the merge and asking: "I'm just going to be another one of his lives, aren't I?", versus Ruby not wanting to be who she is after chasing the the ghost of an unachievable ideal, but being asked "what if you could be anyone?"; how they're both just kids thrown into war and unfair responsibility before they even have a chance to figure out the kinds of people they want to be, etc.),

to perhaps, most importantly, the show of mutual support between the two of them.

Ruby supports everyone as best she can. She is always giving to and supporting others as a show companionship and leadership. But thanks to V9 and also E4 of RWBY Beyond, we know this was not sustainable or sufficiently reciprocated.

She was let down by Weiss who constantly managed to hit her right in her insecurities; let down by Blake who - even while trying to uplift her - just ended up adding more pressure by treating Ruby like a role model; to Yang and Qrow who both tried to support her as best they could, but kept comparing her to Summer in the process; to Penny having so much of her own lack of experience, stressors, and very immediate worries going on that she couldn't offer Ruby the support she needed even if she wanted to; to Jaune flipping his lid at her and pointing the blame even when he himself was guilty and knew he was out of line; to Ozpin, Qrow, Maria, Tai, Summer, Cordovin, Ironwood, etc., all being adults who could have taken responsibility or done the right thing, but fumbled or failed leaving her to pick up the pieces in their wake. But Oscar? We see it from Oscar's introduction that he - like their shared fairytale allusions - is in awe from the moment he meets her. But after one conversation about the weight of her grief, trauma, and the responsibilities she is carrying - a conversation she has not had with anyone else up to this point - he immediately sees how heavy Ruby's burdens are. Saying, as early as V5: "This must be really hard on her too". And while it is subtle, he never stops looking after her as best he can as the volumes go onward ("Looks like you're needed elsewhere."/"You're sure?"/"Yeah, I've got it."). However, it's only in V9 that her sister Yang is asking "why didn't she just talk to us?". It is only in V9 when her partner Weiss admits: "Maybe it's because she didn't feel like she could". It is only V9 when Ruby finally lays her burdens out to someone else again, this time to the Blacksmith, after almost having given up completely.

For a character who's 116 episode long arc has been about carrying the weight of responsibility far beyond her limits, never asking for anything in return no matter how difficult it gets... to meet another character that instantly notices her struggles and makes a conscious effort to help where all others have failed? To have one conversation and say "that looks heavy, let me help you carry that" without her asking or waiting for an answer? It's just one of the most beautiful acts of care I can think of. The themes and the parallels all resonate very strongly with me on a personal level, making it - in my humble opinion - a brilliant, and very stable foundation for a relationship, and for a story.

Thank you for your question, I hope I was able to offer some of the insight you were looking for. 💕

[whetstonefires]

I think you’d write a fic where Jiang Cheng has to care for Wen Yuan for some reason, knowing that he is Wei Wuxian’s adopted son. And tries to work through his feelings about Wei Wuxian, chosen sons, parents, and himself in relation to the intersections of all of the above, so that he doesn’t mess up too badly.

Hah, fantastic! I'm honestly very impressed by your command of this narrative based on secondhand information.

This is fascinating, because yeah on the face of it that ought to be something I would write, it lines right up with the kind of thing I keep on writing across fandoms, and I am admittedly very hung up on Jiang Cheng's brain. By all accounts you should have me dead to rights.

This however isn't actually something I'd be very likely to write, unless I read someone else doing it in a way that was really interesting but which I disagreed with passionately in some way. And I've just spent a while trying to isolate why.

I think it's:

1) I'm generally loath to move things around in the death-timeskip part of the story unless I'm going for a really dramatic final result, so if Jiang Cheng got Wen Yuan I'd need to work out why, and what this would cause, and it would have to be interesting. And I'd be worried about Lan Wangji and this would distract me.

2) For me, Jiang Cheng assumes his final form at the unseen moment he makes that irrevocable choice to commit to the siege of the Burial Mounds. In a lot of ways, the entire construction of Jiang Cheng's personality is all designed to bring him to that point, and make him live with it forever.

He is The Kind Of Guy who would Do That under the right conditions, that's the point of him.

That is to say, one of the major functions of Jiang Cheng as a fictional construct is that he's occupying the same niche in the my-beloved-sect-brother-became-a-dark-lord cliche that Star Wars cribbed for Obi-Wan Kenobi, but in a deconstruction of the cliche. Meaning, among other things, that his throne of lies is hiding much dirtier pain than Obi-Wan's.

So I instinctively don't want to situate a Jiang Cheng character study in a timeline where he avoided making that choice, at least not if the timeline is like that mainly to create a more functional Jiang Cheng, and that's not just a side effect. I find that unaesthetic. I could get over this aversion with motivation, but it's definitely there.

But if he's taken that damage, he cannot take responsibility for this child.

3) Okay, I'm sorry gecko, but I can't explain myself further without some reference to harm-to-children; almost entirely hypothetical but in some cases somewhat specific. You can just skip the rest of the post if you're not feeling up to entertaining that kind of scenario, or go forward warned.

I honestly do not believe Jiang Cheng, at that point in his life, would be capable of being sufficiently okay in the face of this situation to not harm the child in some way, and even trying would be self-harm on a frightening scale. I think unless you introduce some fairly enormous changes into the circumstances of Wei Wuxian's death, Jiang Cheng could not do this.

Elaborating under a cut for length, not because the references to canon-typical violence are that bad.

I can't entirely buy a Jiang Cheng characterization compatible with this scenario, and when I have seen characterizations intended to have a similar effect, they have mildly annoyed me. His inability to not lash out under strain is a defining feature; the way it interacts with his exquisite consciousness of who 'acceptable targets' are and how that list is defined is key to his characterization.

I've read a few fics doing a less intense version of this idea, and (especially if you use softened cql Jiang Cheng) it can work, but I have to aggressively suspend my disbelief to invest, in a way I can't do while writing.

The Jiang Cheng that killed this child's family as part of a symbolic rejection of this child's foster-father being his foster-brother cannot pivot to interacting with the child in basically any way at all while acknowledging the context, and not break.

I don't think he could be the one to kill A-Yuan, either, mind you, because he's not a person with all that much capacity for evil.

And like his mother, he is extremely reliant on self-vindicating narratives to hold his shit together when he does behave badly, and I doubt he could sustain one about child murder--like, he went those 13 years assuming his actions killed that kid indirectly, but I'm sure he didn't think about that ever.

I can see Jiang Cheng in a mental health crisis backhanding Wen Yuan across a room, I can see him pretending he didn't see him in a situation where that means the kid will almost certainly die one way or another, because he canonically did a more abstract version of that; I don't think he could go through with his murder, and I give him only 50% on the ability to deliberately and consciously let someone else do the deed in his vicinity, even with the most stringent political pressures to do so and even if he didn't have to watch.

(Now that's an interesting scene to write. Picks up the Jiang Cheng that held Wei Wuxian back from protecting Mianmian; picks up the Jiang Cheng who clutched the hem of his mother's skirt and begged her not to maim Wei Wuxian.)

But he could not take him home, the way his own father took Wei Wuxian home. Especially not if he had any expectation of getting to do any of the caring for baby Jin Ling, which it's popular to depict him doing but I really question if the Jin would have allowed it.

If he did take him, on some mad impulse, like if he hid an entire toddler under his fancy cloak after tripping over him in Demon Subdue Groddy Cave and smuggled him out, he would need to pass him off to some random family and never see him, if he wanted to stay functional.

...except having laid hands on him, he might not be able to completely let the kid go; Jiang Cheng has never let anything go in his life. But you can't stick a child at the back of a drawer like you can a flute. So I guess he'd stick the kid somewhere, like a couple towns over, and discreetly check up on him occasionally, like a huge creeper?

He might be able to do that, and even be better off for it, as long as he didn't let himself think too hard about it.

(This is genuinely compelling now that I've started trying to problem-solve it sdkafjskl; lmao.)

Hmm. Are his powers of denial strong enough that he could steal the baby from the middle of the massacre, after watching Wei Wuxian gruesomely self-destruct, take the Last Wen home from his own killing ground while half mad with grief and rage, and then just not think about it every time he saw this one junior disciple that was actually Wen Yuan?

I don't think they are, but it's fascinating to try to imagine what the process of pulling that off would look like.

That one would be so delicate to write but it has some fun meat, in that in this scenario, Jiang Cheng would be raising his disreputable dead best friend's son as a Jiang disciple and giving him no special treatment. Not even acknowledging him in any way. No intimacy whatsoever.

Exactly like his dad should have done with Wei Wuxian, according to Jiang Cheng's most resentful brain worms.

I don't know how that would go, and that's interesting. It's basically impossible Jiang Cheng wouldn't occasionally remember, even if he didn't let himself consciously remember, and have a fit of temper in A-Yuan's general direction. He probably wouldn't single him out as the one to hit when he got mad at the group the way Yu Ziyuan did with Wei Wuxian...or actually maybe he'd do that once and then never again.

There's basically no way Jiang Cheng doesn't do something fairly awful at some point in the proceedings, though; leaning into all the worst habits his mother taught him is a vital coping mechanism for him in this stage of his life, which means emotional violence as a routine self-soothing tool, and the threat of physical violence sort of lurking in the wings.

He's not nearly as cruel as she was (aside from however much murdertorture of demonic cultivators was actually going on, but I mean like, he's not nice to Jin Ling exactly but he also doesn't target his insecurities the way she did to him) as far as I can tell, but I think that's partly because none of the people he's really mad at are present in his daily life. And his schema for differentiating acceptable and unacceptable targets is noticeably influenced by his father's principles, even as it diverges from them at certain points.

Anyway so Jiang Cheng wouldn't be as casual about hitting even a teenage Wen Yuan as his mother was about hitting Wei Wuxian, but unlike his mother Jiang Cheng has been through war and killed a lot of human beings, so my impression is that his whole relationship to violence is more intense than hers was. He can't resort to it casually, because his instinct to stop before he goes too far can't be relied on.

...the thing is, Lan Sizhui is talented. He's not a genius but he's gifted. Even with a certain amount of shifu neglect, I think he'd be near the top of his age group. And he's about three years older than Jin Ling.

If Jiang Cheng ever saw That Kid helping Jin Ling with his swordplay or anything like that, I think he'd have a stroke.

~

So yeah conclusion I've reached is, it would be ooc for Jiang Cheng to wholly refrain from child abuse in this scenario, which it would be ooc for him to put himself in to begin with, and thus I'd struggle to write it. You could make both happen, but at that point you're cramming the narrative into a small enough space within the greater possibility space to avoid Upsetting Events that it loses dynamism.

Having thought about it this hard, I might wind up doing it anyway though lol.

Maybe like ten years later, if Lan Wangji messed up and allowed Jiang Cheng to put together the clues to Sizhui's identity and he was placed in an emergency situation where the kid needed protection? With that kind of distance from the traumatic events, he could probably handle it short-term at least.

Hmm. He'd be doing his best to compartmentalize, but it would be imperfect, with no run-up, so you could get more direct thoughts on the subject in this case....

[literaryvein-reblogs]

Writing Notes: Elements of a Good Scene

Scene - a section of the overall story that contains its own unique combination of setting, character, dialogue, and sphere of activity.

For instance, if a story opens on a scene where the main character is talking to her best friend inside a coffee shop and then they move out to the street, this means the opening scene has ended and the next scene has begun.

But changing location is not the only way to make a scene end.

If the third-person narrator in the above example had remained focused on the coffee shop after the two initial characters had left, that would also have signified the end of the scene.

Then, when two new characters enter and begin their own conversation, a new scene starts. In fact, you could craft an entire series of scenes in that one location, simply by shifting characters or the course of action.

Elements of a Good Scene

If you’re considering the craft of scene-writing in fiction for the first time, you’ll want to analyze what elevates a good scene over the type of scene that’s superfluous or just poorly written. When writing fiction, strive to create scenes that have the following elements:

A good scene has a specific storytelling purpose. This could be an inciting incident, a flashback, a love scene, or a riveting action scene. As you go into writing a scene, as yourself: What does this scene accomplish?

A good scene provides valuable information. Carefully pace out your reveals so that each scene brings a small piece of new information to light—such as a main character’s backstory or a rival character’s thoughts and motivations. These subtle reveals shift the course of the narrative—sometimes subtly, sometimes dramatically.

A good scene offers a point of view. Typically this will be that of the narrator or of a carefully chosen POV character. Knowing the purpose of the scene will help you choose a point of view.

A good scene enhances character development. When possible, use each scene to deepen your readers’ understanding of your protagonist. Put your character into situations that force them to reveal their true colors. Use obstacles to challenge and test them. Give your character the capacity to grow and change.

A good scene contributes to worldbuilding. Worldbuilding is especially important early in your novel, but every scene going forward can layer more detail onto your setting and reveal new, previously unexplored corners of your fictional world.

A good scene shows without telling. When it comes to exposition, follow the “show, don’t tell” model that values action over explanation.

A good scene has a distinct beginning, middle, and end. The beginning of the scene should ideally establish its setting and relevant characters. The heart of the scene should contain action (which can simply mean active dialogue) and showcase the motives of the characters. The end of a scene—particularly a long scene—should start a transition into whatever comes next in your story.

A good scene is like a novel in miniature. To really make a scene pop, you need to complete a compressed story and character arc, like a miniaturized version of an entire novel’s arc. If you’ve reached the last paragraph of your scene and you haven’t completed such an arc, go back and revise. While they may not be able to articulate it, readers have an inherent sense of when a scene ends in a satisfying manner and when it does not.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[chick-with-wifi]

Meta: Root as the Chosen One

One thing I love about Root's arc is that it's a subversion of the traditional 'Chosen One' narrative.

The Chosen One is usually born with special powers or featured in a prophecy, making them the only one capable of saving the world. Root, however, strong-arms her way into it as an adult by seeking out the Machine for a chance to serve Her ("I don't want to control your Machine. [...] I just want to set it free." 2x01). 

The Machine then chooses her as Analog Interface, likely both because of the abilities and loyalty she demonstrated and out of a desire to help her, which Root eagerly accepts ("The Machine offered me a job. She never said it would be easy." 3x17).

This position gives Root special powers through access to the Machine's omniscience. Including real-time updates about her surroundings ("Twelve US Marshals guard the building, plus our friend over there who was scouting the perimeter that we're now inside. Air support is ten minutes out." 3x10), information about people posing a danger to her ("2 O'CLOCK. 2007 ANTERIOR CRUCIATE LIGAMENT TORN." 3x12, via Morse Code) and being told where to aim when shooting people, which she demonstrates to great effect in 3x10 and 3x17.

Being the Analog Interface comes with the job of "trying to save the world, of course. By preventing the emergence of a second machine." (3x17), then later ensuring their survival when Samaritan comes online ("We had to settle for protecting the seven people who might be able to take it back." 3x23) and working to defeat it ("Because this is war. And the thing we're up against, it has virtually unlimited resources." 4x01). Which, as the one person the Machine speaks to directly, only Root can do.

The typical Chosen One is a reluctant hero, who struggles with the pressure thrust upon them or the idea that they are special. Root steps into the role with ease and enthusiasm, immediately considering herself one of the heroes ("I know it seems weird, but I'm one of the good guys now." 3x17). She feels secure in the idea that she's special ("The truth is that She's chosen me." 3x01) and carrying out her job brings her fulfillment, as demonstrated by her blissful expression when being retasked in 3x19.

She has no problem accepting that this mission, which she takes very seriously, means that her fate is no longer hers alone:

Shaw: Wait, Root, is that all? Where are you?

Root: Right where I'm supposed to be. (3x23)

Despite their doubts, the Chosen One is committed to defeating the Big Bad because they want to save the world. Root is immediately dedicated to the cause ("Like I said, we have a larger fight ahead of us. I think we should be together when that begins. Don't you?" 3x10) and willing to do anything, even give her life in service to it ("If I don't see you, Harold, it's been a fun ride." 4x05). However, this hinges on her desire to serve the Machine and protect Shaw and Finch, rather than any concern about the world as a whole:

Root: In the first thirty minutes after Samaritan comes online, a lot of people are gonna be killed. But they're gonna start with four: you, me, your helper monkey, and Shaw. And there won't be a damn thing anyone, including your Machine, can do to stop it. You think I don't care about people, Harold? I'm doing all of this to save you. (3x17)

Therefore, it is only when she loses these three tethers that her doubts show themselves. After Samaritan comes online and her contact with the Machine is severely limited, she begins to struggle ("She was supposed to remake the world. Now God's on the run. I have to keep going. [...] Even without Her, I can still see the edges of the tapestry." 4x05). She sought out this position because she wanted to be the Machine's Chosen One, now she has all but lost that connection yet remains a key player in the fight.

Shaw is then taken by Samaritan (4x11) and Root's devotion to the cause falters for the first time. She begins to disregard what the Machine taught her by preparing to kill Control (4x12) and torturing Leslie Thompson (4x13). When the Machine tells her to stop looking for Shaw, she walks away both from the team and the job that has been her purpose for so long:

Finch: The Machine is asking us to stop looking for her. Perhaps the Machine does know, perhaps it has a plan. But for our own survival, our sanity, I believe we must reconcile ourselves with never knowing the truth. Otherwise, our pursuit of it will consume us entirely.

Root: Goodbye, Harold. (4x13)

The next time we see her, she saves Finch's life and smiles at a security camera, then tells Reese "there's a lot that's new." (4x15). This indicates that she and the Machine have renegotiated and, while Root is working with Her again, she no longer holds the same unwavering faith.

When Finch has a plan to strike a blow against Samaritan that will likely cost his life, Root directly disobeys the Machine:

Finch: My value to the Machine is irrelevant.

Root: You're too important to me.

Finch: The Machine didn't tell you to do this.

Root: She told me not to. I thought I could sacrifice everyone, I really did. Win some, lose some, right? It's for a good cause. But it turns out I can't lose you, Harold. Not you and Shaw. (4x18)

For the first time, she puts her own needs ahead of the 'good cause' she was willing to give everything for and sabotages a chance to defeat the Big Bad, because she found the one thing that matters more to her than her duty. Finch then tells her "I don't want to see you for a while." (4x18).

Despite all of this, she continues to carry out the Machine's instructions and comes to Reese's rescue in 4x19, then goes back to working with the team.

In 4x21 she gets a call appearing to be from Shaw and instantly regrets stopping her search when Shaw has been alive all this time. Prepared to walk into a trap for a chance to save her, Root uses her own life as a bargaining chip to manipulate the Machine into helping them. Once again, she prioritizes the life of her loved one over everything else.

While following this lead, Root learns that Samaritan is close to finding the Machine and her goal expands to protecting both Her and Shaw no matter what:

Root: They're close to finding you. I don't care what happens to me.

Finch: What did the Machine tell you?

Root: She says it's too dangerous.

Finch: I'm inclined to agree.

Root: This isn't just a rescue mission to save Shaw. The Machine needs our help too. If we don't save them, who will? (4x21)

When Samaritan threatens her to get the Machine to reveal Her location, Root begs the Machine not to do it ("Don't do it. Please. Don't give yourself up. Harold was right. We are interchangeable. You can replace us. You can keep fighting." 4x21). All she wants is to protect her loved ones.

The Machine agrees to Samaritan's bargain, then gives the team Her own number to warn them of an imminent system shutdown and directions for how to help Her. When it looks like they won't be able to get there in time, Root gives the Machine an ultimatum - "No more standing on the sidelines. You want us to save your skin? Get in the game." (4x22). Ever since becoming the Analog Interface, she has been helping with the Machine's mission. Now she wants the Machine to help with her mission.

Root and Finch then save the Machine and work tirelessly until they restore Her. Root is also focussed on protecting her loved ones, which has expanded to include Reese and Fusco ("John needs our help now. You have to give us something to work with." 5x05. "An exit strategy. For you and your son to disappear off the grid, just in case." 5x07).

The priority of finding Shaw never leaves Root's mind and eventually she once again forces the Machine to help her by threatening to withhold her cooperation ("I refuse to do one more mission until I know that what I'm doing is going to lead me to Sameen." 5x07). Together they send a message to Shaw, which gives her the motivation she needs to escape, and Root is so desperate to be reunited that she would have given herself up to Samaritan if Reese hadn't intervened.

Throughout all of this, Root remains dedicated to the war against Samaritan and vehemently advocates for them to take a more offensive stance ("We have to be willing to do whatever it takes now, or we've already lost." 5x03). She then adds to the Machine's code to give Her an edge in the fight ("What if I said I hard-coded a little something extra into the system before you closed it for good? I gave Her the capacity to defend Herself." 5x10), thus fulfilling her duty as the Chosen One by using the abilities and loyalty the Machine chose her for to ensure Samaritan's defeat - but for her own reasons: protecting the family this role led her to.