#“typical youre the chosen one narrative”

[thefinalwitness]

i don't know if it's because i started playing mmorpgs with one whose fanbase was generally HOSTILE to people becoming invested in their characters as fully fledged members of the story being told (insane, i know), but one thing that environment DID teach me is how to bend the canon story to MY needs and the needs of the character i wanted to play, and i see a lot of ffxiv players, specifically those very invested in the "rpg" part, that don't... seem to grasp this idea?

i instead see a lot of (joking and serious) demands that the wol be portrayed differently in the source material, that we hug more characters, scream and cry over more events, and i think the mismatch happening here is you're supposed to WRITE IN any of those moments or divergences yourself. the portrayal of the wol cannot meet everyone's expectations about who the wol should be; they are, within the game, a narrative tool, as all characters in a story are. they serve a function in order to progress the story squeenix has chosen to tell.

but things like dialogue choices and an ambiguous timeline are MEANT to provide YOU with the option to rewrite the details yourself. they can't possibly provide every way every wol could react, so it's up to YOU to put an asterick in things and say, ok, this is how this scene went in MY version...

and the same is true of how other npcs treat your wol! op is completely right: the formula squeenix used in ARR is "you are an adventurer, and adventurers typically agree to crazy dangerous shit for money, and that's the agreement you and the scions began with". i think minfilia saying "we are family" is a two-fold thing: one, i think minfilia DOES care about you more than the average employer of an adventurer, just because she cares about people in general.

(the secret second reason is, if you were a 1.0 player, she RECOGNIZES YOU in ARR and thus already has a particular relationship and bond with you. ARR is weird because, if you're a 1.0 wol transferred to 2.0, you get lots of different story beats to reflect that—but also, a couple of those beats seem to persist in the non-1.0-transferred version of the story? remember when cid said you gave him his goggles despite never doing that in 2.0? yeah.)

but all of that is just the baseline, default version of a story YOU are meant to and encouraged to rewrite as needed. your wol WASNT the typical die-for-money-or-glory adventurer? you can rewrite the reasons the scions sought your character out, AND their treatment of that character to reflect the new circumstances! that's what an rpg IS: you MAKE the story YOURS.

to be fair to the scions regarding their arguable lack of concern for your wellbeing, despite minfilia's 'we are a family' hr spiel in arr they clearly hired* you in your function as an adventurer, people who by canon die like flies and who's job is to do the worst and most dangerous things ever for glory and shit money and maybe some used shoes. somehow i don't really blame them for taking you at your word. you clearly are off your nuts already

*allegedly we are paid

[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

[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.

[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.

[juliakristeva]

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! 

[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. 💕

[transdimensional-void]

now that we've got the official ending of the series (pending further additions)...

my personal thinking about the near-future of alexandria's archducal family is that myne will focus on increasing the size of the family through adoption.

i think it's pretty obvious that both myne and ferdinand will be extremely reluctant to take additional partners. nevertheless, this is a greater duchy, and they currently have one (1) adult archducal family member. myne has adult-level mana, sure, but that's still only two adult family members with one child who is barely RA age.

that means that (elvira's comments notwithstanding), it's unlikely they will be in a position for rozemyne to get pregnant anytime soon. pregnancy means she will not be able to use her mana to support the duchy, leaving only ferdinand and letizia to bear the entire burden. that means it will be difficult for them to increase the number of archducal family members that way for some time.

what's more, the example of sylvester shows that no matter how little you wish to take additional spouses, the needs of your duchy might still require it. archdukes and archduchesses use marriages not only to increase the size of their family but also to balance faction power and form alliances, so refusing to take additional spouses can really destabilize the political situation.

i think the solution is some well-chosen adoptions. we know they're already planning to adopt letizia once they bind their stars. letizia already has her own faction within alexandria, made up largely of the former first wife's followers. while it was reduced in numbers during the lanzenave invasion, it's not entirely gone. adopting letizia will keep her faction associated with the archducal family.

there is also benedicta, the daughter of alstede and blasius. her parents were both former archduke candidates, meaning she should have enough mana to also become an archduke candidat. either baptizing her as their own daughter or having her baptized as part of an archnoble family and then adopting her would be a way to increase their family while also extending an olive branch to georgine/the former second wife's faction.

we don't know much about other possible factions within alexandria, but if there are any others which need to be taken into consideration, of course myne could adopt suitable children from within those factions as well, thus using adoption the same way aubs typically use marriage to balance faction power. one caveat there is that i think myne would be reluctant to take a child away from their family. in letizia and benedicta's cases, they've been left with no other family. there are other orphans from the recent conflicts, so perhaps there might be other candidates for adoption among them.

similarly, i don't see myne doing what letizia's grandmother did and adopting a family member's child. eckhart and cornelius are both her brothers and are both descended from archdukes, so their children might have enough mana to enter the archducal family, but i simply don't see myne being willing to do the same thing to them that was done to her, no matter how badly the archducal family needs more members. sylvester, charlotte, or brunhilde might be willing to negotiate an adoption as well, but i think the same principal would apply there.

what's more, i think myne and ferdinand are both interested in her serving as aub for the minimum amount of time necessary. that means, as soon as they have raised a successor (letizia, benedicta, their own child, or another adoptee) to the point that they are ready to take over, myne will be ceding the aub's seat. that will also allow her to cede the responsibility for increasing the archducal family, meaning she can leave it up to the next generation to form large numbers of marriage alliances.

in conclusion, i think the narrative has set up myne to skirt the issue of taking additional spouses through adoption!

[like-yknow-nyah]

one thing i have to really appreciate about haikyuu is its restraint in narrative framing. it makes the anime soooo rewarding to re-watch. what i mean is that your typical shounen is rather heavy-handed when tying up narrative threads, sometimes over-saturating its climactic moments with flashbacks to make 1000% sure the audience doesn't miss the influence of past events and themes. and don't get me wrong, haikyuu certainly has these moments, and usually uses them to great impact (though i do take issue with how many times we had to see that flashback of ukai saying "don't underestimate what it takes to be a ball boy" in s4). but in a lot of other shows, if it doesn't have a flashing signpost screaming to you that it's important, it's not. haikyuu still leaves a lot for us to find - stuff that isn't particularly emphasized but is too consistent and well-aligned not to have been fully intentional and meaningful. i am continuously impressed by furudate's thoroughness; there is not a single thing in this story that is purely incidental, and the diverse cast is so well utilized. whenever character growth is occurring, the supporting cast for that arc is meticulously chosen.

i just re-watched the mini arc where kinoshita fumbles his chance to have a hero moment on court, and all of the narrative focus goes to noya's shout-out after kinoshita's sideline support spurs him into action just in time to nail his receive. which was great! fine. BUT what i found equally compelling despite the fact that it just kind of breezed past was the moment kinoshita returned to the bench, and suga wouldn't let him sulk because he would have more chances. it's so important that it was suga to say this, as we saw him all the way back in s1 lamenting his limited time left on court. he's the only third-year that isn't a regular because he just can't compete with genius setter kageyama tobio, which is kind of a sad last hurrah. but we watch him make peace with this situation; suga knows more than anyone else that the only thing you can do from here is relish every moment you get on the court and look forward to the next chance. and this parallel resonates in a way that strengthens kinoshita's own conflict. the fact that they made a callback to his quiet little arc THREE WHOLE SEASONS LATER with no fanfare whatsoever is insane. but also *chef's kiss* impeccably tasteful imo. and that's just one small example. honestly, i'm trying to focus on a different character's perspective every time i revisit, and every time, it leads me to completely new revelations about the cast's silent growth throughout the series, especially those that don't wear their hearts on their sleeves.

[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.

[coralcatsea]

Can't all of that usuk things be seen as brotherly love or someone who is important in your life but not in a romantic view? Not hating, honest just thinking

Your ask is about this post, right?

So looking at my examples, you can interpret it that way with some if you want, but with others...not so much.

I hope you actually want to hear me out, because this might get a bit long. Apologies in advance. 😅

-I can't imagine how awkward it'd be to view them as sıblıngs considering some of the suggestive things they do in canon. Personally, I think it'd be pretty weird to grab/tug on a sıblıng's apron when there's nothing underneath and say it "matches them well".

-If someone talks about your sıblıng being good looking, I don't think most people would get flustered enough to start sweating and trying to play it cool. I feel like the sıblıng equivalent would involve something more like eye-rolling.

-For the cake one, sure, you could interpret it as them being goofy in-universe, but from a meta perspective, putting an item that is so heavily associated with you on top of the cake seems to me like putting the wedding figures at the top. It comes off as intentional fan service, which Hima often likes to include.

-For Valentine's Day, the scene with Alfred and Arthur is paired narratively right alongside the shippy GerIta stuff. Additionally, there is a note that says this:

"In Europe, it's traditional for lovers to give gifts to each other."

"In America, giving gifts is also mainly done between lovers."

It does indeed mention male to female, but only to give cultural trivia about the difference between Europe and America. The important part is the emphasis on lovers, and we all know Hetalia doesn't shy away from same-sex shippy moments – as evidenced by Germany proposing to Italy in the very same strip. Speaking of proposals, one dynamic that closely parallels Arthur/Alfred is that of Antonio/Lovino, and Antonio tried proposing to Lovino in the manga.

I digress.

-Sıblıngs typically don't suggest ideas like dressing in sexy outfits and swaying their hips provocatively. Which reminds me, I forgot to include a similar scene in my post where Alfred intentionally has Arthur wear a Robin costume that shows off his legs. Yes, intentionally.

"Also, didn't you notice your costume is from the movie and mine is from the comic?"

Of course Alfred would notice. There's no way a big Batman fan like him would've chosen Arthur's costume carelessly, but instead of answering why Arthur has the skimpy version of Robin's costume when it doesn't even match his, Alfred instantly deflects. He then proceeds to tell Arthur to stop crouching and show – ...something. Based on what Arthur is covering, the logical assumption is that Alfred is telling Arthur to show off his legs.

-"Are you fighting like an old married couple again?" Self-explanatory. If they were sıblıngs he could just say, "Are you having a brοthεrly quarrel again?"

-Cardverse is a canon AU by Hima, and Alfred and Arthur are the King and Queen. Magical Strike is also a canon AU, in which Alfred has a fαthεr who is the company president. No other fαmiliαl relations are given. Arthur is a salaryman who simply works for the company.

-There's the scene where Arthur is dying that plays on the "near-death love confession" trope.

-Other characters comment on their relationship...

Again, if it was brοthεrly they could just call it a brοthεrly quarrel. It comes off to me more as teasing friends who could potentially have romantic feelings for each other.

-Tony sees it, too, teasingly commenting "Love me bubu. Kiss me bubu," in reaction to Arthur and Alfred's conversation. He doesn't normally say things like that, either.

-Terms like "big brοthεr" in Hetalia shouldn't automatically be taken literally. They are used in a more Japanese sense (e.g. calling a somewhat older person who isn't related to you "big brοthεr" out of respect). France calls himself "big brοthεr" to literally everyone and even Norway refers to Denmark as "brοthεr".

-Regardless of how you interpret their usage of "big brοthεr", Arthur decides against being called that right away, Alfred himself rejects the idea of it during the Revolution, and Arthur later claims their relationship is "not like that" and fumbles for a way to describe it, mainly considering himself as more of a former mentor or boss.

So I believe that after the Revolution, it's most accurate to consider them as coworkers or friends (who may or may not be attracted to each other).

_____

At the end of the day, you can interpret it however you want. But with how often USUK fans are given a hard time for liking this ship, I wanted to point out that we're not pulling this stuff out of nowhere. It's hinted at and given shippy fan service moments just like several other ships.

I only really disagree with people constantly insisting they MUST be fαmily. Romance vs fαmiliαl are NOT the only two options. I would honestly like to see more non-shippers just let them be friends. Just because I ship it doesn't mean others have to, and just because some perceive it in a fαmiliαl way doesn't mean everyone else must view it like that, either.

And to those who do decide to hop aboard our ship, welcome! We have lots of variety to offer and are always glad for more people to have fun chatting about ideas with.

[viiisenyas]

Prologue: Made of Fire and Water

Series Summary: As the firstborn child to Ser Laenor Velaryon and Princess Rhaenyra, most believed that Elaena would succeed King Viserys’ chosen heir. But after her younger brother, Jacaerys, was named in her stead, the rumours amidst the royal court began to grow regarding her mother’s integrity. Years later, the whispers would not leave, and Elaena would find herself placed in a strategic match with Prince Aegon to placate her mother’s enemies. Little did she know, she had already become a pawn for the political game, and she would become the hidden advantage for the Greens.

Ship: Aegon II Targaryen x Elaena Velaryon (OC) Series Rating: 18+ (Minors DNI !!) Series Warnings: arranged marriage, canon divergence, smut, suicidal ideation, alcohol abuse, canon-typical incest, death, obsessive behaviour, dubious consent, graphic violence, sexual harassment, enemies to lovers Credits: Divider from here. A/N: This series begins at Episode 6. For narrative purposes, I've aged up some of the characters. This work is also Team Green positive. If you don't like it, keep scrolling.

[Index] | [AO3]

Elaena

The summer breeze swept past Elaena, and the warm sunlight kissed her copper skin. Her father’s dragon released a long roar while he carried both of them through the clouds, and she clung to Laenor.

Seasmoke began his descent towards Blackwater Bay after Laenor gently patted his scales, and the familiar sight of the Red Keep became larger as they neared King’s Landing.

The dragon levelled out just above the water, and her father gripped the handles of the saddle. 

Elaena let her gaze settle on the ships leaving the harbour, sailing to gods know where. The sight was still just as breathtaking as it was when she was but a young girl, still hoping that her own egg would hatch. But it never did.

He leaned forward, and the young princess grinned while Seasmoke began to ascend above the city as they flew over the docks. 

She always admired the great structure of the Dragonpit from this altitude. However, their flight would be over soon. It was time to return to her responsibilities, and to tend to her mother. Rhaenyra was due to give birth any day now, and her smile widened as her mind wandered to the prospect of finally having a younger sister. 

She wondered whether her supposed sister would have silvery hair and violet eyes like her own. Though she was nearly seventeen years of age, she couldn’t contain her excitement of introducing her sister to dolls when the time came. There were still many that she kept over the years that rested on display upon a shelf - some had been gifts that her paternal grandfather, Lord Corlys, had bestowed to her before leaving Driftmark when she was only eight. Others had been from King Viserys himself. 

The deafening flap of Seasmoke’s wings had pulled her from her thoughts as he circled the Dragonpit before he landed just outside the tunnel where the handlers were waiting. 

“Dohaerās, Seasmoke!” One of them commanded.

He growled, and Elaena gently patted his grey scales. 

“Umbās,” Laenor said firmly. “Rybās.”

Seasmoke snarled lightly as the young princess chuckled, and her father unlinked the chain around their waists.

“You did well, darling,” he chuckled softly. “Soon enough you’ll be riding alone on your own dragon.”

“But there aren’t any unclaimed dragons here, Father,” she frowned as Laenor helped her out of the saddle. 

“There’s plenty at Dragonstone, love,” Laenor smiled and gently poked her nose, making her chuckle. “We can venture there after your new sibling arrives.”

“Do you promise?”

“Of course, love.”

She glanced to her left to see the carriage waiting for them, and her gentle smile dissolved when she met Aegon’s violet gaze.

“My sweet niece,” he called with a wide grin as Sunfyre was being guided out of the Dragonpit.

Elaena resisted the urge to scowl as she dismounted her father’s dragon. 

She despised her uncle, and rather than physically tormenting her as he once had when they were children, he made a point of attempting to provoke her at every turn with his ridiculous innuendos. How he was nearly a man grown, yet still acted like a child at times was beyond her.

“Prince Aegon,” she reluctantly greeted, and Laenor offered the same courtesy. 

Her father pressed his lips together and avoided his good brother’s gaze as he encouraged her to pet Seasmoke, gently moving her hand across the beast’s neck. The dragon snarled softly in contentment when her palm moved against his scales. 

“Why don’t you return to the Red Keep while I fetch an egg for your new sibling,” Laenor suggested. “I’m sure your mother will want your company.”

“All right,” she nodded, and Laenor gently kissed her forehead before she turned to walk towards the carriage.

“Welcome back, Princess,” Ser Steffon greeted. He was sitting astride his white stallion and offered her a gentle smile.

“You look relieved, Ser Steffon,” she laughed.

He chuckled with her. “I am relieved,” he pointed out. “Your unspoiled return just saved my head from a spike.”

She turned to face him, now walking backwards. “If I met my death with my father astride Seasmoke, then I died the death of a dragon rider,” she outstretched her hands dramatically before she mockingly bowed. “It’d be an honour.”

“Aye,” he shook his head as Laenor chuckled. “The Lord Commander warned me you’d be just like your mother in her youth - and your aunt at that.”

Elaena couldn’t stop the laugh that escaped her, and she turned back with a wide grin. She didn’t notice that Aegon had moved closer, and she nearly collided with him as she released a sharp gasp.

“Fuck,” she huffed, stepping back.

“There are other ways to tame a dragon, sweet niece,” Aegon bent at the waist to whisper in her ear. “If you still yearn for one. Come to my chambers tonight, and I might show you how.”

Her stomach turned. She gave him a contemptuous look as she moved past him towards the carriage, and Aegon chuckled.

“May the gods shrivel his cock,” she muttered under her breath.

The sound of his voice was irritating, and his presence was almost unbearable as she resisted the urge to shiver with disgust.

“Good morrow, Elaena,” Helaena greeted from the carriage with a gentle smile, and her expression softened.

Elaena smiled widely as she approached her aunt while she took off her glove with her teeth. 

“Your mother has given birth,” the Targaryen princess said.

“Already?” She asked, voice muffled. “Is it a boy or a girl?”

“A boy,” Helaena nodded.

Elaena sighed with disappointment and looked down as she removed her other glove.

“What… auspicious news,” she forced a smile and peered back at Seasmoke as the dragon slithered back into the depths of the Dragonpit alongside her father. 

The sunlight reflected from the dragon’s grey scales in an iridescent haze, and Elaena turned back after she caught Aegon leering at her again, sitting astride Sunfyre.

She released a disgusted sigh, rolling her eyes before Helaena outstretched her hand towards her to invite her within the confines of the carriage.

“I do hope your flight with Ser Laenor was a pleasant one,” she tilted her head. 

“It was,” Elaena smiled softly as she grasped her hand and climbed the steps into the wheelhouse. “I must admit, I’m surprised that you’re not riding today. It’s been a while since Dreamfyre was let out.”

“She just laid a clutch of eggs,” Helaena beamed as the two settled together. “I heard that Lord Stark is coming to court from Winterfell. And his eldest sons.”

“Odd,” Elaena furrowed her brows. “The Starks haven’t been to the capital since my first name day.”

“They’re coming for Aegon’s tourney,” she elaborated, and gently squeezed her hand after her niece scoffed. “And perhaps a betrothal.” 

Elaena deadpanned as she resisted the unpleasant shiver that threatened. 

She had grown up on stories of the suspicious and superstitious ways of the Northerners - the stories of the Kings of Winter. A brutal lot, they were, and she dare not assume that the passing centuries had softened their hearts or their grim ways after her forebears had united the realm. Even if it weren’t true, she didn’t want to live out the rest of her days in the grey waste of their homeland.

“Gods, I hope not,” she muttered, and a giggle bubbled from Helaena.

The carriage ride back to Maegor’s Holdfast was tedious and Elaena gazed through the wicker covering while Helaena had fallen asleep. 

She watched as she passed through the capital, and placed her hand over her mouth and nose, unaccustomed to the stench as they passed through Flea Bottom. 

Elaena began to wonder what life would have been like had she been born a commoner rather than a princess. To be a simple peasant, someone who did not need to constantly question why her younger brother, Jacaerys, was named her mother’s heir, and not her. 

She was the eldest of the Velaryon siblings, after all, and the unsettling thought plagued her mind for years. Was it really because she was a woman? Or was it simply to honour Westerosi tradition? But she was painfully aware that her grandsire had already broken that tradition with her mother. 

Her father once told her that it was because Rhaenyra didn’t want to burden Elaena with the responsibility of ruling when the time came. But she knew in her heart it was something… deeper. 

She possessed the typical traits of House Velaryon: silver-white curls, copper skin and violet eyes. Her younger brothers, however, did not inherit the same traits. But of course, that was yet another matter that was meant to be left unspoken. 

When the two finally arrived at the Red Keep, Elaena walked with her aunt through the castle in comfortable silence until they parted ways to tend to their own devices. 

She made haste to her bedchamber to change out of her riding attire. Having settled on a fine cerulean gown, she sighed softly when she gazed into the looking glass while her handmaiden, Rinna, quietly fussed over the mess of her wind-tousled curls. 

“Are you sure you do not wish to style it in the tradition of your house, Princess?” the woman asked. “It would be more manageable.”

“I like my hair just the way it is, thank you,” Elaena rolled her eyes playfully while she anxiously smoothed out the lingering wrinkles of the skirt of her gown with her hands.

“A braid then?” Rinna raised a brow, “Perhaps over your shoulder?”

“Sure.”

“You must be eager to meet your new brother, no?” she smiled. 

“Positively,” Elaena said flatly and examined her fingernails. “I was just hoping that I’d have a sister.”

“Perhaps some day, my princess.”

It didn’t take long for the woman to finish the fishtail, and she tied a leather strap on the ends of her hair to hold it in place.

“There,” Rinna said and pushed the braid over her shoulder before Elaena could reach upwards to do it herself. 

“Thank you,” she smiled sheepishly. 

“Now go. If you delay any longer, your mother will send the guards to come find you,” the handmaiden gave her a pointed look as she stood.

“Do I look like I’ve been out riding?” Elaena asked as she moved towards her door.

“No, but you do smell like you’ve been out.”

“Seven Hells,” she muttered as she glanced around.

There was no time to mask the distinct scent with rosemary oil, and Elaena huffed before she made haste out of her room. She walked quickly throughout the Red Keep, mindlessly greeting every other lord that gently bowed their heads until she rounded the corner towards the next stairwell.

Quiet curses escaped her when she lifted her skirts to skip the steps. She could never understand why King Maegor had left his descendants with a ridiculously enormous castle - that in itself was inherently cruel - but she sighed with relief when she finally approached her mother’s doors and knocked quietly on them.

“Come,” Rhaenyra’s voice resonated, her tone welcoming.

Elaena opened the door and slowly poked her head inside with a sheepish smile. 

“Hello, Mother… Apologies for my tardiness, I was—”

Oh. 

She wasn’t expecting Ser Harwin to be standing beside her mother, and he offered a kind smile as he handed the newborn babe to Rhaenyra. 

Rhaenyra smiled. “Come in, sit with me a while.”

“I, uh… Of course,” she nodded, letting the door close behind her. 

“Princess,” Harwin greeted with a nod.

“Ser Harwin,” she raised her eyes out of courtesy as she sat on the plush sofa beside her mother. Then her eyes drifted back down towards her brother.

Elaena resisted the urge to frown, and she tilted her head. The boy looked like her other brothers. 

“Where is your father?” Rhaenyra furrowed her brows.

“He’s at the Dragonpit. He said he wanted to choose an egg for the babe.” she shrugged.

“You stink of dragon,” her mother pointed out, disapprovingly. “You went riding with him, didn’t you?”

“I– yes,” Elaena looked away with guilt for a moment before she raised her index finger. “But, I’ve already finished my lessons for the day, and Father wanted to take me riding for practise.”

“You’ll claim a dragon sooner than you think,” Rhaenyra chuckled softly. “But I do hope you’ve learned something today, Elaena. The Septa has informed me that you still struggle with paying attention.” 

She scoffed and pressed her lips together. “If she didn’t speak so slowly, perhaps I’d be more inclined,” she rolled her eyes. “I learn far more from Grandfather than I do from her.”

Ser Harwin smiled, and a quiet laugh escaped him.

“It is still important to focus - even if you find yourself on the edge of tedium.” Rhaenyra gave her a pointed look, and Elaena sighed softly, nodding.

“I’ll try.”

“Well, Elaena, I want you to meet your new brother, Joffrey.”

Joffrey? she thought as she pressed her lips together. That isn’t a Valyrian name.

“Do you want to hold him?” her mother tilted her head. 

Elaena met her gaze and nodded before reaching to gently pull the babe from her grasp as she stood. Elaena cradled the boy in her arms just as she was taught to with Lucerys. 

The babe’s eyes roamed around the grandeur room before he sneezed and the little sound made her giggle. 

“He is very charming, Mother.” 

“Yes,” she agreed. “He is the smallest one out of all of you. And incidentally… you were the largest - and my worst labour.”

Elaena hummed and shifted slowly, keeping her violet eyes on him before she looked at the downy brown hair that thinly covered his head. 

Her brows furrowed, and she discreetly looked up at Ser Harwin who had been watching her sway Joffrey. There were quite a few similarities between them. Between all of them, she finally realised.

It began to make sense why he always seemed to be in their company, and Elaena drew in a breath as she processed the knowledge.

And here I thought he was just being kind.

“I’ll be taking my leave now,” Ser Harwin said, and Elaena cast a sidelong glance in his direction that he didn’t seem to notice.

Her mother emitted a soft hum in response before the knight walked out of the room. Elaena watched him intently before the door closed again, and she cleared her throat. 

“Do you need anything, Mother? Water, perhaps?” She asked as she looked at Rhaenyra. 

The woman shook her head. “No, I’m quite content right now, my darling. Thank you.” 

Elaena slowly sat back down beside her, being careful not to wake the now sleeping infant, continuing to sway him. 

“When I was your age, I couldn’t bear the thought of having children. But everything changed after you were born.” Rhaenyra offered a soft smile, and Elaena returned it. 

The simple acknowledgement quelled most of her doubts, but some still lingered as she looked at Joffrey again. 

“Mother, what are your plans for my future?”

“What do you mean, darling?” Rhaenyra tilted her head as she shifted on the sofa. 

“I mean…” she began, choosing her words carefully. “I’m almost seventeen. The queen said I should be betrothed by now, and Helaena informed me that the Starks might be coming to the capital for one. I-I don’t want to leave home only to be locked away at Winterfell.” 

Rhaenyra exhaled slowly, and she paused in thought as she reached to tuck a loose curl behind Elaena’s ear. 

“My sweet girl,” she leaned closer to her daughter and cupped her cheek. “You descend from the greatest dynasty that has ever been established. You have the blood of Aegon the Conqueror, and you are the granddaughter of the greatest voyager. I’m sure that your future husband wouldn’t dare.”

Elaena drew in a breath and leaned against the backrest of the sofa. 

“But, the Starks are our allies,” she said. “And from what I understand, Cregan Stark will be the Warden of the North when the time comes. Regardless of who you wed, you must do your duty to the realm. But for now, you needn’t worry about such things until your red flower blooms.”

Duty. The word settled bitterly in her mind. Lying on her back to later squeeze out an heir for some lord in exchange for a stale oath didn’t seem to be that favourable of a prospect.

The young princess nodded as she masked her disappointment with a polite smile before she gently handed her brother back to her mother.

Gods willing, I’ll just turn up barren, she thought with contempt.

[princehendir]

Before you use the term "found family" STOP.

Despite having a rather broad definition, there's a possibility that's not actually what you mean! "Found family" most often implies that the family dynamic is intentionally and actively chosen, by persons not related by blood, and doesn't exist solely due to marriage or adoption! It also necessitates that the persons involved actually consider themselves to be family, or have a family dynamic, whether they are emotionally intelligent enough to verbally phrase it that way! The TvTropes page actually covers the definition and nuances very well, gives examples of similar but different tropes (Band Of Brothers, Fire-Forged Friends, etc) and is a recommended read!

Other terms to consider that may be more accurate to what you're describing, but aren't in the TvTropes article above:

Ensemble cast

In a dramatic production, an ensemble cast is one that comprises many principal actors and performers who are typically assigned roughly equal amounts of screen time. The term is also used interchangeably to refer to a production (typically film) with a large cast or a cast with several prominent performers.

In contrast to the popular model, which gives precedence to a sole protagonist, an ensemble cast leans more towards a sense of "collectivity and community".

(from Wikipedia)

A great multi-use term that refers more to narrative function than in-universe relationship. Can refer to coworkers, roommates, blood family members, all sort of things, there's no strings! They just have to be given roughly equal screentime and narrative weight. Give it a shot!

Blended Family -or- Stepfamily

A stepfamily is a family where at least one parent has children who are not biologically related to their spouse. Either parent, or both, may have children from previous relationships or marriages. Two known classifications for stepfamilies include "simple" stepfamilies, where only one member of the family's couple has a prior child or children and the couple does not have any children together, and "complex" or "blended" families, where both members of the couple have at least one child from another relationship.

(from wikipedia)

Also: family through marriage! They don't even have to like each other for this one, they have no choice!

Team dynamics

Again, pretty broad, and more than a little vague, but that's what makes it great! They don't have to like or love each other, they don't have to be there voluntarily, they just need to arguably be in some sort of team, and have some sort of dynamic. Possibly even multiple dynamic. It's very versatile!

And many more!

Disclaimer: while this post was admittedly made in a state of some frustration, it is not meant to shame or criticize! The purpose of this post is simply to inform & encourage clarity and the expansion of your vocabulary. It is also meant to discourage the further collapsing of "found family" into a useless umbrella term for when there is more than one guy in a piece of fiction.

Have fun 🖤