#BUT its one of the best examples of good character design

[purplepixel]

Rise was peak character design for the turtles and I don't think we'll ever get this level of diversity from tmnt again

For real, making them all different species and with different height/body types was such a smart decision!

[energ00n]

APPRENTICE AU MASTERPOST

-> If you have a question, check in the Popular Questions first to see if it's there or risk getting blocked by asking me the same thing for the 100th time

If you're interested in the AU, let this be your guide. I suck at writing but I'll do my very best. Just a warning this is LONG and I'll probably update it as I go.

I. What is Apprentice AU?

Setting

Apprentice AU takes place in a timeline where all the original Thirteen Primes are ALIVE. They're the rightful rulers of Cybertron and each takes charge of an aspect in their society (religion, military, economy, etc...) keeping everything running.

To be efficient with this, they take bots themselves deem exceptional under their wings and train those into worthy leaders for Cybertron. And potentially, a new Prime.

Fun fact: Only one bot has achieved Primacy through apprenticeship and it's Sentinel Prime.

2. Story

The AU mostly revolve around Orion Pax and D-16, specifically their growing relationship while being Apprentices of Prima Prime and Megatronous Prime, respectively.

Some art and comic I've made of them:

First meeting - First greeting

Chatter - Pastime - Watchful eyes

Orion's upgrade (< context)

Lord High Protector

Fandub

To see only art, use the tag #apprentice_au

Ask tag for filter is #ask_ene

II. What entails being an Apprentice?

Role

A bot can only have 1 Prime as their mentor, thus wholeheartedly devote to that Prime's purpose. During the apprenticeship, the bot will learn all their Prime offers and graduate once they are ready to contribute to Cybertron.

Example:

Prima is in charge of the Religious aspect -> Orion learns of ritual and duties that help with the church

Megatronous is in charge of Cybertron's military -> D-16 is trained to be a warrior/soldier

2. Garment

Once becoming a Prime's apprentice, you are obligated to adorn their House's garment. Mostly consist of one primary colour of the Prime and an accent colour + accessories.

^^^ All designs shown thus far ^^^

*Regarding Nexus: Nexus' garment consist on a golden visor with a star on the right eye. The Visor can come in any frame!! Not just the one showed above

All the garments are considered extreme honour, a blessing that reminds the apprentices of their devotion to their Prime mentors

There's a little made up rule between the Apprentices that only your special somebot can touch your garment, consider how important it is. Like a forbidden peck on the lips if you will.

╔══ •- Popular Questions -• ══╗

"Where is Elita/Bee in the AU? Whose apprentice are they?"

They WILL APPREAR. Eventually.

I have answered about their roles in the past quite a few times too. The AU is still in its very early stage I want to have fun with DPax first before having to learn how to draw other characters, it's tedious work whenever I need to draw a new mech.

2. "Why are Orion and D-16 cogless?"

This is still not thoroughly thought out but a lot of bots do not come online with their cogs. These cogs are later given to them by an older figure in a maturity ceremony.

3. "How are the Apprentices chosen?"

Vibes

4. "Are the High Guard still there?"

Yes. They're intact and is mainly under Megatronous Prime's command. Starscream, Shockwave and Soundwave are D-16's personal trainers since Megatronous has expressed his hope that D will lead the High Guard someday.

Starscream isn't happy so he's a particular harsh trainer to D but he'll be a good guardian figure when D needs him to be. D has a nice friendship with Soundwave

5. "How is X in this AU?"

Most of the time, I will have no idea who you're talking about. I'm super new to Transformers. I would be very appreciative if you'd tell me a short description of the character and maybe suggestion on what trope they might play (anatagonist, mentor, etc...). Information is always welcome.

Please don't ask me about other Primes aside from Prima, Megatronous, Sentinel and Zeta only when it's Sentinel related. Most of it I consider as spoilers. Once again tho, info and suggestions about them would be nice.

Alpha Trion would be fine too but there's nothing much to say about him.

6. "Can we draw fanart/write fanfic/make our own OCs for the AU?"

On my knees, please do and pleaseeeeeee link me if you do, I want to see all that my stupid AU inspired. Tho I do have a few boundaries:

Dpax/Megop and Prima/Megatronous are SOLID. Please don't ship them with anyone else. Strict one-sided from others is fine tho! (ex: Bee has a one-sided crush on Orion)

Bottom Orion and top D-16 only

Orion is Prima's only Apprentice

Thank you all for reading!

[blueskittlesart]

did u not like totk?

i LOVED totk. i think it was well-written and did its job as a sequel to botw very well. HOWEVER. i do think it suffered slightly from the commercial success of botw. as i mentioned in my last post, nintendo does this. thing. when one of their games gets popular where every game after it has to be Exactly The Same so they can make all the money in the world via comparison marketing. (and this is a problem with the wider game industry in general but also a very observable pattern in loz specifically.) I know it's been a pretty long time since botw came out, but before (and immediately following) its release there was some pushback from longtime fans who worried that the open-world and lack of traditional dungeons meant that the game had strayed too far from the classic formula that makes a game a "zelda game." this is to say, botw was EXPERIMENTAL. and the devs had no idea if what they were doing was going to be successful or not. the open-world of botw wasn't a gimmick, and it wasn't the devs jumping on the open-world bandwagon. it was what CREATED that bandwagon. the open-world was a deliberate choice made specifically for botw because it reinforced the story that botw was designed to tell. the game is about exploring a desolate world, about making connections, and rebuilding both the broken kingdom and the player character's shattered sense of self by traveling and learning and building relationships. a large open-world map with only minor quest guidelines and lots of collectibles and side quests lends itself perfectly to this specific story, which is specifically about exploration and rebirth.

the problem is, botw was. almost TOO good. it was so good that every other game company on the planet started scrambling to build giant open-world maps into their next release, regardless of how much sense that actually made narratively. and because of that, when it came time to release a sequel to botw, the devs had a lot to think about. they had HUGE shoes to fill in terms of fan reception, but they were ALSO being asked to follow up one of the best-performing games of all time, commercially. totk needed to SELL as well as botw. And, likely because nintendo was worried about that potential commercial value, totk needed to keep people comfortable. I don't know for certain, but I definitely get the feeling playing totk that the devs were specifically told not to stray too far from what made botw marketable and successful--that being the open world and the versatility of gameplay. so in order to follow that up, they made... 2 more huge open maps, and new gimmick gameplay which was explicitly super-versatile.

do i think that the extra maps and ultrahand were BAD choices? no. however, i don't think they necessarily ADDED anything to the game as a narrative whole. one of my favorite things about botw was how everything seemed to be designed AROUND the narrative, with gameplay elements slotting neatly into the story thematically. totk just. didn't really have that, imo. there wasn't a huge narrative benefit to the gigantic, completely unpopulated depths and sky maps. ultrahand was cool, but within the context of the story it meant basically nothing. in some ways, i almost think totk could have benefitted from a much more linear approach to its storytelling, a la skyward sword, because there are a lot of story beats that have to be found in chronological order in order to have the right emotional impact, but because of the nonlinear open-world it kind of became a struggle to hit all the important story points in the right order. an easy example of this is the dragon's tears in comparison to the memories--the dragon tears have a very specific set order in which they happen, and finding them out of order can make the story you're seeing in them feel confusing and disjointed. the order in which they should be found is technically displayed on the temple wall, but most players aren't going to pick up on that or follow it--more likely, they're just going to explore the geoglyphs as they come across them organically, and therefore will likely witness the story in a completely disjointed way. compare this to the botw memories, which ALSO technically have a set order--the order in which they're displayed on the sheikah slate. however, because they're largely just small moments in time, and not one continuous story, finding them out of order has a lot less of an impact on how you as the player experience the narrative, and it's not hugely detrimental to your experience of the story if you find them naturally as you explore rather than explicitly seeking them out in order. If TOTK had been allowed to deviate from the botw formula a bit, i think we may have ended up with a more cohesive game in terms of narrative beats like that. as it is, i just think the game is torn slightly between wanting to be its own new game with new gameplay and needing to be botw, if that makes sense.

[alpaca-clouds]

The Punk-Factor of Punkpunk Genre

So, when I posted my history of Solarpunk, someone (probably not in good faith) asked: “So, what about the punk in all the other punk genres?!” towards my request to put the punk back into Solarpunk. And given that my autistic brain obviously cannot just let that stand… You know what? Let me talk about the other punk genre and in how far they are “punk”. I tried to be as exhaustive as possible, though there is a good chance, that I might have missed some of the punkpunk genre. So feel free to add.

Trying to judge the punkiness I do not assume punk as simple counter culture, but a specific ideology. Quote from Wikipedia:

[Punk ideology] is primarily concerned with concepts such as mutual aid, against selling out, hierarchy, white supremacy, authoritarianism, anti-consumerism, anti-corporatism, anti-war, imperialism, conservatism, anti-globalization, gentrification, anti-racism, anti-sexism, class and classism, gender equality, racial equality, eugenics, animal rights, free-thought and non-conformity

Most of the artwork here has been taken from concept art of either of the examples listed.

Sorted from most futuristic to pre(historic). Yes, the list is long.

Cyberpunk

We start with the OG punk genre, the one after which all other punk genre were named. Yes, you could argue that in fact the two genre following are more futuristic – but Cyberpunk kinda just had to start the list.

As a genre: Given that Cyberpunk had its start completely in literature it is the best defined in this regard. Taking place in a late stage capitalist dystopian world in which most is owned by megacorps who don’t follow anyone’s laws but their own, the protagonists usually are social outcasts fighting against their own oppression, trying to keep themselves alive in a world hostile to them. With cybernetics always being a core of the genre, it also tends to deal with the question of humanity in a “ship of Theseus” sort of way. How much can the human body be altered, before the human vanishes?

As an aesthetic: Cyberpunk is the most punk in terms of aesthetics, really. There is a lot of punk and grunge going on in terms of character design. Neon hair colors, fishnets and thorn up jeans jackets can be found here. As well as of course cybernetics on the characters. The world usually is a megacity with a stark divide between rich and poor, tons of neon signs, a slight Japanese influence, flying cars and somehow a constant downpour of rain.

Punk-Factor: Cyberpunk is the one punk genre, where the “punk” was chosen very knowingly as a name. Usually the protagonists are “punks” fighting for their place in the world against a suppressive capitalist system. (Also, they usually fit the punk aesthetic, if they don’t wear leather dusters.) It should be noted however, that especially in newer western Cyberpunk often the punkiness vanishes more and more – for the same reason we have so little Solarpunk: media that outright confronts the problems of capitalism is just less supported.

Examples: Neuromancer (1984), Mirrorshades: The Cyberpunk Anthology (1986), Snow Crash (1992), The Matrix (1999), Dredd (2012)

Biopunk

As a genre: As a genre biopunk is still fairly ill defined, as it mostly shows up as a subsection of Cyberpunk. Rather than the characters having cybernetic implants (or additionally to it) they are augmented on a genetic level. This can be all sorts of augmentations, changing anything from appearance to giving characters higher strength and agility, giving them claws or night vision, or in some cases even “magic” powers. Usually the genre tends to be set in worlds similar to Cyberpunk. In fact it might well be set in a cyberpunk world, only that characters with bioaugmentations exist parallel to those with cybernetics. Additionally, though, there is a subsection of this genre, that concerns reproductive rights.

As an aesthetic: Ironically biopunk is even less defined as an aesthetic. There is not a lot of biopunk art out there and most that exists can go in different directions. As such it often mixes elements from other punk aesthetics – like Cyberpunk, Steampunk or Dieselpunk – with an assortment of bodyhorror elements.

Punk-Factor: It is hard to define the “punkiness” of a genre, that barely exists for the most part. Usually, when it is set against a Cyberpunk backdrop, it might be very punky, but in other settings those punk elements vanish.

Examples: Ribofunk (1995), Altered Carbon (2002), Bioshock (2007), The Windup Girl (2009)

Nanopunk

As a genre: Like Biopunk Nanopunk mostly exists as a subsubgenre to Cyberpunk, often being set in a mostly Cyberpunk world, only that instead of or additionally to Cybernetics, the technology used to alter the human body is nanites. These serve the same function as the genetic manipulation in Biopunk, giving the human in question more strength and agility and at times more or less magical abilities. There is one common plot that comes up again and again, with an AI or megacorp turning the nanites against the people they inhabit or trying to control them.

As an aesthetic: Aesthetically Nanopunk does not have much in terms of its own identity. Most artworks relating to Nanopunk feature a similar aesthetic to Cyberpunk, with megacities and lots of neon.

Punk-Factor: This genre is so small, that it is kinda hard to judge the exact punkiness.

Examples: The Diamond Age (1995), Prey (2002)

Solarpunk

As a genre: Being another genre, that started as such, Solarpunk is a bit better defined. Solarpunk usually takes place in a world post-strive. It is post-capitalist and decolonial in its settings, usually featuring a world that has either formed against the backdrop of preventing climate collapse or in the aftermath of it. A lot of it features people rebuilding – or alternatively building communities. It always features elements about living in harmony with nature or trying to do so. So far, the genre is mostly defined by short stories, partly because there is still disagreements within the movement, how far a conflict can be taken to still qualify as Solarpunk.

As an aesthetic: Solarpunk has a very strong aesthetic definition, mostly featuring all sorts of cities and urban areas, that incorporate natural elements into the urbanity, with greenery growing on roofs and concrete car-centric streets being replaced with more natural, walkable areas. The character design aesthetic is not quite as clearly defined, but usually features natural materials and patterns usually seen within indigenous art.

Punk-Factor: Contrary to what many say, Solarpunk is fairly punk, as it very much embraces the entire anti-hierarchical, anti-capitalist mentality. With the big difference, that the punk mentality is no longer counter culture, but the mainstream culture.

Examples: The Dispossessed (1974), Nausicaä (1984), Laputa – Castle in the Sky (1986), Princess Mononoke (1997), The Summer Prince (2013)

Lunarpunk

As a genre: Lunarpunk is pretty much a subsubgenre of Solarpunk, just as Nanopunk and Biopunk are sprung off from Cyberpunk. It is so far ill-defined as a genre, but the general consensus is, that it is set in solarpunk-esque worlds, but with a heavier focus on mysticism or spiritualism, at times outright including magic. It also tends to feature a lot darker places, being set in underwater or underground settings – or alternatively at night.

As an aesthetic: Lunarpunk is far more of an aesthetic than a genre so far. It features dark places, often with bioluminescent elements in it. Often featuring a mixture of black and dark blue with lighter blue, violet or light green elements shining in the middle of it. Mushrooms – especially glowing mushrooms – feature repeatedly in artwork.

Punk-Factor: Given that Lunarpunk is barely defined as a genre it is hard to estimate the punkiness in it. If it gets more stories, will those still feature the anti-capitalist and anti-hierarchical messaging we see in Solarpunk? This should be the defining factor. Some of the artworks use little aesthetics from the punk scene, but nothing much more.

Examples: Bioluminescent: A Lunarpunk Anthology (2023)

Hopepunk

Honestly, I had no idea where to put this one, given that it might technically be set at any time and place.

As a genre: Hopepunk is very much a genre, not an aesthetic. It has been defined as the opposite of grimdark by its “inventor/name-giver” Alexandra Rowland. The basic idea is to create fiction that instead of taking a dystopian, defeatist and violent approach, takes one defined by hope and to some degree pacifism. As such the genre can be set in any setting, real or fantastic. It mostly is defined by the protagonists taking opposition to cruelty and violence, fighting for a better world and, crucially, also partly archiving it. Other than in usual Cyberpunk, where the best possible ending, tends to be, that the protagonists get to live a somewhat better life themselves, Hopepunk aims to better the life at least for groups of people.

As an aesthetic: Being fully a genre, Hopepunk has no aesthetic associated with it.

Punk-Factor: Hopepunk is punk less in the sense of the protagonists or things happening within the story, which might or might not be punk, but was named such rather because it is considered counter cultural towards the gross of media at the moment, that often strives for a “realistic, gritty, grimdark” outlook on the world. Basically it is saying: “Hope is punk.” I will not make any judgement on whether or not this is true.

Examples: The Long Way to a Small, Angry Planet (2014), Mad Max: Fury Road (2015), The Good Place (2016)

Mythpunk

As a genre: Another one, that does not really fit into a temporal sorting system, because once again it can be set anywhere between the stone age and the far future. The basic idea is, that the story interweaves postmodern storytelling with elements from mythology or folklore. This can mean mythological, genre-traversing retellings, but it can also mean, that mythology seeps into any given story bit by bit. As such the genre with probably the most media in the subgenre is Urban Fantasy, which often borrows from mythology and incorporates these elements.

As an aesthetic: Mythpunk as an aesthetic is a bit strange. There is definitely a mythpunk aesthetic that exists, often mixing familiar elements with elements from mythology and folklore (at times also including quasi-folkloric works of literature, such as Alice in Wonderland and the Wizard of Oz). Often just a bit dark and twisted.

Punk-Factor: To be perfectly frank, for the most part, there is not a lot of punk to be found in this genre. While there have been definitely punky stories told within the genre, this is more a story decision than something inherent to the genre.

Examples: Pan’s Labyrinth (2006), Over the Garden Wall (2014), Inscryption (2016)

Dustpunk / Rustpunk / Desertpunk

As a genre: Kinda grouping those above all together, because people argue about what they might entail and in some interpretations they kinda are similar: Post-apocalyptic stories set in a world of sand and rust. Often featuring a loner character, having to go up against everyone to ensure his own survival – and at times being forced to learn, that the lonerness might not win him (and most often it is a him) anything.

As an aesthetic: Aesthetically this tends to be very much post-apocalyptic, maybe in some cases with some more classical punk elements added to characters and surroundings.

Punk-Factor: Given that there is neither a system to rage against – nor a new, less hierarchical system – usually there is not that much punk outside of some aesthetic choices. Neither tend those stories go into constructing worlds of mutual aid or working against oppression.

Examples: Anything Mad Max should count for this.

Atompunk

As a genre: Atompunk usually deals with themes connected to the cold war – in some cases directly, in some indirectly. Often it overplays the American ideals that were pushed for during the cold war era and portrays scenarios in which American Exceptionalism slowly reveals itself as the dystopia most punks already know it to be. Outside of this vague idea for the setting, the genre is less described, as there is less of a clear script an Atompunk story might follow. So, little description of who might be the protagonist and what their role is.

As an aesthetic: The aesthetic of Atompunk borrows heavily from the Raygun Gothic aesthetic. So, futurism, as it was imagined in the 1950s and 1960s, with heavy influences from late pulp age science fiction art.

Punk-Factor: The aesthetic in this is definitely not punk. The stories often have some vague punk ideas of recognizing how fucked up the world has become, but given the genre is fairly wide in terms of stories, it is hard to give a definite answer to how “punk” it is. One can definitely tell punk stories within this genre, though.

Examples: Hitchhiker's Guide To The Galaxy (1978), Fallout (1997), Futurama (1999)

Dieselpunk

As a genre: Dieselpunk is once again an example of “strong aesthetic, but no clear genre identity”. Generally, Dieselpunk is concerned with the interwar period, but might cover either of the world wars. In some cases the genre features alternate timelines, in which one war happened and not the other, or in which another faction won, with the technological development being influenced by this as well. But as a genre it is not much defined. A lot of stories building on Lovecraft’s legacy feature Dieselpunk in some regards. And there is definitely a subsection of Dieselpunk stories centered around “what if Nazis won” or “what if Nazis somehow went underground and did their own technological development after the war”. Also, there are a lot of stories about pilots of war planes in this genre.

As an aesthetic: As an aesthetic Dieselpunk is more clearly defined. A lot of bare metal and the sorts of technology you would expect from this era, often with retro-futurist and art noveau elements in between. A lot of the fashion within the genre is defined by pilot and military clothing of the times, but at times also dipping into “roaring 20s” fashion styles.

Punk-Factor: In this genre I would generally say: “If the story involves punching Nazis, you might get a couple punk points – but otherwise this is not really punk.”

Examples: The Iron Dream (1972), Brazil (1985), Dark City (1998), Iron Sky (2012), Bitter Seeds (2010)

Teslapunk

As a genre: Yet another one of these, that exists mostly as a vague idea, with no clear definition. The basic idea is a world, that works on Tesla’s inventions. And as those of you, who watched Doctor Who, might know, Tesla sorta, kinda already invented the internet or had an idea of what it could be and how it could work. So a Teslapunk world is based in an alternate timeline, but might in fact go into light futurism. There is not much in this genre though with a unique thematic identity, as stories that use Teslapunk as a backdrop rarely have coherent themes.

As an aesthetic: The aesthetic of Teslapunk is basically “Steampunk, but with Tesla-coils and electricity”. Which is not a big surprise given that Tesla came from the same era that would also be the inspiration for Steampunk. So, we have a lot of Victorian fashion, maybe some light augmentation, airships, and – again – all the tesla coils you can muster.

Punk-Factor: As, again, I think punk is more about themes than aesthetic, this is once more not really possible to judge, because there do not seem coherent themes within the genre so far.

Examples: The Prestige (2006), Sherlock Holmes: A Game of Shadows (2011), Bioshock Infinite (2013)

Arcanepunk

Another one of those that do not neatly fit into the timeline…

As a genre: Arcanepunk takes place in a world, where both magic and technology have developed. In some cases both developed side by side, in others, we might have a technological world, that suddenly discovers magic by some happenstance. The fact is, though, that both exist parallel to each other or might at times be intertwined, with technology being powered by magic. This can exist at different technological stages, usually featuring settings inspired by the late 19th or early 20th century. But usually futuristic stuff that includes magic might be considered Arcanepunk, just as might stories that mix 18th century technology with magic. While also a vague genre, there is a repeating theme of magic being hoarded by those in powers and the poor and downtrodden finding ways to still use it in their own advantage.

As an aesthetic: Given that Arcanepunk’s setting is defined by the co-existence of magic and technology, rather than a specific technology, Arcanepunk has less of a defined aesthetic. Never the less, we have a part of punk aesthetics that often come up, as a surprising amount of Arcanepunk features characters with neon colored hair.

Punk-Factor: Another genre that is rather thin, yet, there is a surprising amount of stories featuring some punk ideas of fighting against an oppressive system and being counter culture to a main culture build around suppression.

Examples: Too Many Magicians (1966), Shadowrun (1989), Bartimaeus (2003), Arcane (2021) duh

Steampunk

Steampunk was the second genre to pick up the “punk” suffix and hence is as much responsible for the punk-punk as Cyberpunk as the originator.

As a genre: Being named as early as it has been, Steampunk kinda suffers the same issue as Cyberpunk itself. There is a lot of ideas there, but some are only vaguely defined. In general, though Steampunk always takes place in a world where the steam engine became the defining technology and was never replaced with the combustion engine. As such cultural aspects from the steam era, especially Victorian England and the Belle Epoche, still carry over for longer, than they did. So often we will see noble households based around similar values as the puritan Victorian English families, while the very poor are made to work in workhouses. At times we might also see themes of colonialism here. In some cases magic might exist in these worlds, as might electricity for some aspects. There is often a heavy inspiration from Jules Verne and H.G. Wells. Though it is still hard to define the “stereotypical steampunk story”, given that Steampunk offers a wide variety of stories, from adventure stories and romances, over to stories where people rise up against the Victorian-esque society.

As an aesthetic: Steampunk as an aesthetic is very much influenced by Victorian aesthetics and the time period of the late 19th century, mostly in the USA, Great Britain and France. But as all other punk genres it knows very well: “If it is worth doing, it is worth overdoing,” so steam-related elements are added to everything. Could

Punk-Factor: In the original idea for Steampunk was a lot of punk. “What if we took Cyberpunks ‘rage against the unjust system’ and made it 19th century” they asked. But given that the genre branched out so much, it is not necessarily there in all the stories. There is a ton of stories where people rage against that steam powered Victorian machine – but also a ton in which the Victorian world gets idealized and romanticized.

Examples: Thief (1998), The League of Extraordinary Gentlemen (1999), Wild Wild West (1999), Clockwork Century (2008) – also half of all Sherlock Holmes adaption made after 2000 in any medium usually use Steampunk elements

Silkpunk

As a genre: Silkpunk is hard to define, despite there being a clear definition. The reason for this is, that the person who coined the term – Ken Liu – had a very specific idea in mind. He explains that the idea is of a world that has technology as language. In which form is as important as function, is made to speak a language all of its own. Inspired by ideas from W. Brian Arthur and Chinese philosophy. However, what the wider Science Fiction and Fantasy community made from it was “Steampunk but East Asian!” But given he coined the term (and also the alternative feels vaguely racist) I am going to go with Ken Liu for this. While Silkpunk will usually be set in an East Asian inspired world, the central idea is about the duality of technology, which will also be addressed within the stories.

As an aesthetic: As said above, the idea Liu had for it was a world that features some technology, but technology that is as much about form and communication through it, as it is about function. So the technology here has strong visual ideas. At least that was, how Liu intended it. Once again, the wider community made “Steampunk, but East Asian” out of it.

Punk-Factor: There is not a lot of stuff in this genre for now – however so far I do not manage to see a lot of punk ideas in it, even though some of Liu’s stories definitely feature the concept of challenging a higher power.

Examples: Dandelion Dynasty (2015), The Black Tides of Heaven (2018), The Tea Master and the Detective (2019)

Clockpunk

As a genre: Once again storytelling in this genre is not really defined, but the worlds diverge a bit before the wide adaption of steam, instead featuring mechanical devices powered by coils and springs and somehow kept alive, often at least implied through some form of arcane magic that gives “live” to these mechanical inventions. Most examples of Clockpunk, however, tend to show up as settings for parts of fantasy stories. Any fantasy world might have this “Clockpunk” area, where protagonists might travel. Especially games tend to feature this. While there is definitely a trope of the “mad inventor” often going along with this, few other tropes stand out.

As an aesthetic: The aesthetic of Clockpunk tends to take some inspiration from the early 19th century, but tends to add a lot of gears to everything, with even city wide gear constructions keeping things working. We often will find mechatronic characters, such as wind up soldiers or wind up dancers.

Punk-Factor: Once more, there are so few stories told, that it is kinda hard to speak about how punk this is. Most stories told so far, however, do not feature punk elements.

Examples: The Great Mouse Detective (1986), Hugo (2011), Clockwork Planet (2017)

Whalepunk

Please note: This is one of those genre, I would love to see more in, though so far it is barely explored.

As a genre: And you might ask: “Why do you even name those genre, that exist mostly in theory?”, to which I might answer: “Because I am a nerd.” As all these retrofuturists genre, Whalepunk imagines mostly an alternate historical timeline, where the technology that became defining was based around whale oil. This means that in Whalepunk often whalers or harbors play a big role, though as the genre is again very thinly spread, it is hard to say what “THE whalepunk” formular is. It seems there is a tendency, to mix some mysticism or magic into the genre, though, as the idea of hunting sea monsters often plays into it as well. Good chance that it could at some point merge with Cthulupunk (which I did not name separately, because most of it is either covered in Whalepunk or Dieselpunk).

As an aesthetic: The aesthetic of Whalepunk is basically “Steampunk, but with more sailors, ships and sea monsters”. There is definitely a bit of Oceanpunk mixed into it as well, with some aesthetics being somewhere between Steampunk and Dieselpunk. (Which is kinda ironic, because whale oil was mostly used in the early 19th century.)

Punk-Factor: And again. There so far is not a lot of connective thematic tissue within that genre, so exploring themes is kinda hard.

Examples: Dishonored (2012), Dredge (2023)

Oceanpunk / Piratepunk

As a genre: It really is hard to divide the Piratepunk out of the Oceanpunk, though some might call it different. The idea here is that this genre features stories mostly set on the ocean and often more heavily leaning into fantasy, than science fiction. While the worlds might feature technological elements, they will almost certainly feature magical elements of some sort. The characters will usually be seafaring one way or another and stories might involve any sort of adventure. There might be a storyline, though, about one company or nation trying to control the seas – often times through magical means – with the characters often unwillingly being made to oppose them. This genre might also take place in a post-apocalyptic setting with a flooded planet.

As an aesthetic: While the aesthetic is not clearly defined, there is a good chance that it borrows heavily from the late 17th and early 18th century and the golden age of piracy, when it comes to both ships and fashion sensibilities.

Punk-Factor: Pirates, at least as far as modern media imagines them, tend to be very punk, as they tend to inherently oppose any sort of government and what not. While the punk is not there in all of the stories, a lot of the most popular stories from the genre will feature at least lightly punky elements.

Examples: One Piece (1997), Pirates of the Caribbean (2003), Assassin's Creed IV: Black Flag (2013)

Dungeonpunk

As a genre: So, the idea of the genre is basically “What if Cyberpunk, but Dungeons & Dragons?” Usually set in a vaguely medieval world, this world still shows the same corporate corruption as your usual Cyberpunk world. Adventurers are just another resource to be exploited by the system, their day job involving going on yet another dungeon crawl. For this there might be some technology entirely powered by magic, with those magic items taking over the same functions technology might have in a Cyberpunk world. And yes, indeed some brave dwarf, elf or halfling might rise up and challenge the corporate dungeon syndicate. (As you might sense: Yes, this genre tends to be at least partly a bit of a parody of the punkpunk idea. Though it also can be played straight as “Cyberpunk conflicts, just that all technology is somehow magic.”)

As an aesthetic: This is once again one of the examples, where there is a clear idea behind it – but absolutely no clear aesthetic, as this genre might cover anything from medieval settings to a lot more modern stuff.

Punk-Factor: The base idea, being heavily inspired by the base idea of Cyberpunk, just from a very different perspective. But too many people read the genre as “Magic Technology, yay”, in which case, no, it is not punk.

Examples: Dungeons & Dragons can be played this way, also Final Fantasy VI – XIII definitely counts.

Sandalpunk

As a genre: I mostly include this for the sake of it, because this genre tends to boil down to “fantasy set in ancient Greece or Rome, but with vaguely anachronistic elements”. It might also include alternate history stories (even going so far as Science Fiction) based on the idea “What if Ancient Rome/Ancient Greece never fell?” There is no real overarching themes, even though I could imagine some interesting way one could build those up. So far, though, it is mostly a vague gesture towards: “SciFi Fantasy, but with more ancient civilizations.”

As an aesthetic: The aesthetic is usually just Ancient Rome or Ancient Greece, but with more magic or anachronistic elements.

Punk-Factor: Given the super vague nature of the genre and the fact that it seems more like a genre of hindsight (with most media being declared this having been released even before 2000)… Nobody wrote those stories to be punk. The one punk thing I can see about several of these stories is people challenging Gods, but… That’s about it.Examples: Hercules: Legendary Journeys (1995), Xena: Warrior Princess (1995), God of War (2005)

Stonepunk

As a genre: The basic idea of Stonepunk is, that it is set in a stone age world, but with the technology being pressed towards a very anachronistic end, which is often played for laughs. Basically it gives stone age people a modern seeming world, though not really. Often enough this is used to make a point about the modern world and parody it in some regard. An argument can be made for stories, that feature stone age technology people being somehow subjected to modern technology (for example through time travel or space travel) also possibly falling into this genre.

As an aesthetic: Usually the aesthetic of Stonepunk is one of an overplayed stone age setting. The clothing characters might wear are not what we know is historically more accurate but really just “everyone wears a pelt around their shoulders”. Meanwhile stone age tools get spun to be used as all sorts of modern technologies.

Punk-Factor: The genre does usually not feature punk themes. However, the nature of parodying and challenging the modern world tends to be punk in its own merit, I assume?

Examples: The Flintstones (1960), The Croods (2013), Horizon: Zero Dawn (2017)

That's it. That's the list.

Feel free to add to it.

[thedissonantverses]

The Solas Problem:

A Lesson in Narrative Tension in DATV

This isn’t a Solas critical write-up, nor is it positive. It’s only an essay on how narrative tension works. We take Solas as he is here. Media Literacy 101 is back in session under the cut.

TL;DR: Giving Solas more screen time would have stripped Veilguard of one of its best parts. Solas.

“No real god need prove himself. Anyone who tries is mad or lying.”

We actually have two major problems with Solas right off the bat. The first is power. The power creep on this man is absurd. He’s been around for thousands of years and his magic has affected the fabric of reality in Thedas. He can kill people in their dreams. He can turn people to stone with his mind. The blight. Just…the blight. Altering the course of history is what he does best.

When we first meet him in Inquisition he is a considerable threat but not anything special for Thedas. In his reveal in Tresspasser he sent chills down my spine. In Veilguard he’s had years to accumulate enough power to tear down the Veil. If it had been a real fight with Solas in the beginning Rook would have been obliterated.

Even if Solas was an ally, it wouldn’t work. This is very similar to why Superman had kryptonite because he’s already overpowered without it. If Solas is around the whole game pulling Rook out of every fight, Veilguard would suck. It’d be so boring. There is no good way to deal with his raw power without trapping, severely injuring, or putting him to sleep or on a side quest the whole game. Put a pin in this, we’ll get back to it.

The second large writing problem with Solas is he is ruthless. This man clearly follows his own rules and he’s survived a long time against enemies many more times more powerful than the Veilguard. It’s why Rook and the team seem so “nice” in comparison. None of them would have stabbed their friends for the greater good. None of them could or ever would do what he and Mythal did to the Titans. Whatever his motivations are at any given moment are largely driven by his own sense of right or wrong. He does have one. It’s just not the same as us mortals’. Run afoul of his moral code and you’re dead.

I’m going to go on a bit of an aside but I promise it’s related. The first Alien movie is a good horror move, in part to a technique movies use to great effect. Tease your audience. The reason they don’t show the alien too much is because it would look fucking goofy. No matter how good your effects were back then, a human in a suit moves like a human in a suit. What that movie does really well in its horror is show glimpses of the man in the mask but not the whole thing at once. Let the audience’s minds fill in the gaps.

That’s what Veilguard is doing with Solas throughout the game. We know Solas is powerful. But the first time we see him it’s him failing. Then he’s trapped in time and space. We get echoes of what he can do. We don’t fully realize how powerful until you see him flinging blight back in Minrathous with the same amount of effort a regular character would use to shoot their bow. We get glimpses of his deeper motivations and foibles, but we don’t feel what’s it’s truly like to be in his way until Tearstone Island. We don’t learn about Varric until the wolf has already cornered us.

So why did they trap him?

Trapping Solas in a prison of his own design, where the key is regret, is excellent character work. We know Solas doesn’t see himself as the villain. We know he’s the type of man who thinks of himself as not just Elgar’nan’s equal, but his better. Which, maybe he is, but he is still a self-righteous man with rivers of blood on his hands who was ready to destroy the world Thedas has become in order to restore a past that can never be again. Solas is static. Unyielding. Frozen by regret. He won’t change to suit the world, he will change the world to suit him.

The examples used of how Solas could be dealt with work, but to varying degrees depending on how well they’re executed. Why matters as much as how. What the writers did was look at Solas’ prior character work and pick the best one to suit him. The way they executed this solves multiple problems at once, using the character’s own fatal flaw against him.

It’s a simple solution, really.

[urautismdiagnosis]

Peso

Peso my lil Habibi <3 <3 <3

hes just a top tier character

my Hispanic coded son, mylil guy who's learning how to believe in himself

i just I lovepeso guys he's so pure and supportive and caring and lighthearted and silly and he's really doing his best??

he could probably cure my mentally illness with a bandage I'm sure

imgonna be so real I think he has game tho, like I'm 300% he could pull any maiden

he can become friends with like any sea creature too probably

hes my hero and my son and I think he low-key judges everyone internally

cuz like idk if y'all have met people who refuse to swear out loud verbally and hate confrontation, but the internal dialogue omg

i just know one of these days if he gets pushed too far hes gonna threaten someone with his slappity flippers

like y'all know the look birds do where they just sideye you??

that glance???

i think he does that whenever people do things that are stupid

like he loves them all dearly but shellington why would you touch The THing That Will Hurt you, no shellington you cant eat that for science-

Also I think he and dashi would listen to music together i think they might spend evenings relaxing together. I mean their rooms are right next to eachother so like I'm sure they've had some lovely little evening conversations and stuff 🥰 i can just imagine dashi tryna teach peso yoga and like 😩🙏his penguin body wasn't built for it but he still slays

Hes like the little sibling but in the actually I am the most mature way???

I think its cuz he looks up to alot of the other members (altho he's definitely gotten alot more confident as the show has progressed) but he also like..

He gives me the vibes of the oldest sibling of not just the siblings but of all the cousins??? This might just be me projecting but like why did u even become a medic for such a wide range of medical creatures and sign up to join the newly formed highly experimental water nasa???

I think he probably had alot of high expectations on himself because everyone just always believed he could do anything. And that sounds super supportive in theory but when ur like tryna be the oldest and first one to support ur family and everyone is always looking at u because like.. most other people in ur family are younger or ehatever.. that pressure and extra attention can cause alot of perfectionism and high self standards

That mixed with being The Caretaker in your family especially as a child is a pretty good recipe for getting anxious about any big goal in your life and how others perceive you. I think he tried to like humble himself by saying oh no I'm not really capable of all those amazing things so pls don't have those huge expectations hahaha but then it just turned into not believing in himself as much???

Also we slay genuinely caring and kind people having alot of pent up frustration they never show because they love everyone too much. It still hurts inside tho.

Anyways uhhhhhhhhhhh this totally ain't me projectin or anythin.

also hes like a mixed kid, but he's mostly gentoo penguin id say based on my own design

speaking of penguins I think that their homes would be actually made of stone lol. Their homes would have like different smaller homes for privacy around like communal areas.. they still gotta deal with predstors like albatross or ehstever tho. But their albatross for example might work in groups or even be larger.

Friendly reminder my lore for the octonauts is a bit different than the Canon. Sure People People being like hunted is wayyyy less common than irl but They're basically still playing their evolutionary roles kinda like how we see with sea otters in the show.

I'm gonna make the post for their social norms and etc on this within the next few days actually lol but back to peso

Do u guys ever think peso wouldve jumpscared the crew by being like "oh no the shelf is too tall!" And then busting out the "hey did you know that penguin legs are just folded and much horrifically longer than ud think they are?" On them 😩🙏

"Wh- why would ye show me this??"

" because no one will ever believe you"

Hes very sweet but I think he deserves to be a little bit of a sneaky sht

If uve made it this far thanks for reading the brainrot I hope it was comprehensible pls lmk ur headcanons about him cuz I need more ngl

[prickly-paprikash]

I have two major criticisms for the first season of Nocturne.

The pacing and the villains.

In the original series, Seasons 1 & 2 are basically just one whole season in and of themselves. It is a focused narrative that doesn't spend a single moment wasting plot or character development.

Whenever the episodes decide to slow down, it feels deliberate. The down times in the first two seasons were rich with character interaction that helped attachments grow and allow the plot to flourish organically.

The best examples of this are when we explore Isaac and Hector's pasts; and when Trevor, Alucard and Sypha arrive at the Belmont hold. There was a rhythm to the seasons. Dialogue, conversations, contest of philosophies, witty banter, and hard truths. Then we transition smoothly to excellently animated and choreographed fight scenes that have weight because we saw these characters humanized in various ways beforehand.

For the villains, Dracula was impeccable. Weak. Starving. Exhausted. Suicidal. His grief and his hatred loomed like a shadow over every single character and plotline throughout the two seasons, and the effects of his demise echoed until the very end.

Castlevania had its flaws. It had its weaknesses. Especially when it was cut to four seasons when it really should have been five. But it was nevertheless a focused narrative.

Nocturne, for all its excellence, does have some glaring flaws that are hard to overlook.

Erzsebet feels threatening and powerful, but the more I watched the show, the more it felt like these were because of purely aesthetic reasons. Don't get me wrong—her design is gorgeous, her past seems rich with potential for the narrative, and I loved how she struck the fear of god in every hero the moment she stepped into the Abbey. But she isn't Dracula-levels of impactful.

Olrox and Drolta did most of the heavy lifting. In the first Castlevania, even when Dracula wasn't the main arc villain, his presence was felt. Erzsebet doesn't have that same weight. She feels... empty at times, as a villain.

That can definitely be fixed in season 2 and I pray that the showrunners prove me wrong. I love being proven wrong because that means the show continues to grow.

The second criticism is pacing. God, the pacing.

Nocturne at times felt all over the place.

Annette's plot of her escaping the clutches of slavery? The way we saw her perspective on the Haitian Revolution? So fucking good. Richter's struggles? Emotionally rich and hooks us immediately. It's the constant, almost dizzying shifts between them, the Abbey, Drolta, Edouard, and the past that drags it down just a bit.

I loved Nocturne. A solid 8/10 for me and I am dying in the dirt waiting for the next season.

But I think the show should've been 10 episodes to accommodate the ensemble cast and their varying plots, and I hope that Erzsebet is improved upon as a villain, a threat, and a character.

[cripplecharacters]

hi!! I have a character I created when I was a teenager who I am currently revamping for a new project, but I am stumped for how to fix a big mistake I made at the time. I based this character's appearance on my best friend in high school, who had a growth disorder/facial difference.

at the time, I asked him how he would describe himself in writing, and his examples were phrases like "a boy with a malformed jaw" or "misshapen fingers". I recognize that if this were his own project, he would be totally allowed to say whatever he wanted about a character who had his disability, but I am not a person with a facial or limb difference, so I feel like I need to change the phrasing. I would ask him for his opinion again, but he passed away a couple years ago, so it's not possible for me to find out what he'd like me to change.

I still want to include this character and make it clear what he looks like, because it's important to me that I represent him in my writing in some way. However, I don't think he was misshapen or malformed. I don't know what words I can use instead to communicate exactly how he appeared, and I'd really like some insight for how to describe him appropriately and with the respect the friend this character is based on deserves. Please help!

For reference, the character we designed had a mix of both our disabilities' symptoms, and we did not give him any specific diagnoses at the time because of this. The character used a wheelchair because I did, the character had crooked fingers and uneven legs because he did, the character was nonverbal because we both were, had an overgrowth of tissue on his face because my friend did, and the character was epileptic because I was. I am not sure how relevant all of that is, but I figured I'd include it. Sorry if this ask is rambling, I am trying my best to be detailed

-🦴🏴‍☠️

Hey!

I don't think it'd necessarily be wrong to describe your character as such if the person he's based on used that as his self-description. I probably said this somewhere on this blog before, but I always think that “a character with less than perfect terminology portrayed well” is much better than “horrible representation, but they used the 'proper' term”. And if that's what he said about himself, this might just be the “proper” term in this context.

But I do understand that you might want to go another way, especially considering you said that you didn't see your friend as having something malformed or misshapen about him - so how did you see his differences? Maybe “a boy with 'an overgrowth of tissue on his face'” - as you described in the last paragraph - would work?

In writing, I generally think it's helpful to be more specific than not when it comes to character descriptions. So you could get more technical (all random examples);

“an asymmetric lower jaw, with the right side larger and protruding forward,”

“had a left leg that was slightly longer, with the hip tilted upward,”

“his fingers bent towards the other ones, curving like the letter C and overlapping with each other at the tips,”

or, you could go halfway, using the words that your friend used himself;

“he happened to have a malformation on his jaw; a soft mass decorated his chin throughout its length,”

“crooked fingers, each having a slight bend to it.”

If you decide to go for the original terminology, I would expand on what exactly the reader is supposed to imagine by it - there are a few ways to not have a facial difference, and a billion ways to have one. You don't need to go into way more detail than you do for other characters, but it'd be good to be informative enough so that the reader doesn't end up wondering “malformed in what way?”. In my opinion, “overgrowth of tissue” (or any other wording that would provide this amount of information) would be completely sufficient for this role.

I will also say that “malformed” and “beautiful/handsome/adorable” are by no means antonyms as words. One can have a disfigured nose that's incredibly cute, misshapen legs that look great in shorts, or an attractive malformed jaw. That's very much doable in writing, and would help here with making sure you're not portraying it as negative in some way.

There is also the option of using more medicalized terminology (“hypertrophied”, “clinodactyly”, etc.) but it might both not be the most comfortable to use, as well as confusing to some readers if there's no other descriptor given. It also might be awkward in writing, especially if that'd be the only time this kind of terminology would come up. But if you're up for this;

“the clinodactyly on his hands caused the fingers to curve toward each other,” or

“the hypertrophied tissue stretched from his left earlobe to the chin, with freckles adoring it along the way,”

or something along those lines could work, I think.

I'd also try to describe other “non-difference” features as well, perhaps even at the same time. There's a ton of ways you could go about it, but the general idea is to bring up his difference as a complete non-event - something that's so normal that it's not needed to give it a separate description;

“the bright red wheelchair had one footplate set much higher to accommodate for his short right thigh,”

“her eyes were drawn to his hands, with each colorful nail making a clicking sound whenever his overlapping fingers moved,”

“he grinned widely after noticing that his facial hair has fully filled in behind the soft overgrowth on his chin,”

“the sunflower tattoo on his larger leg was still slightly red, but the cat on the thin right one already looked fully healed.”

Obviously all the examples here are random, but hopefully they will help you figure out what kind of description you want to employ.

Either way, it's clear that you're approaching this with a lot of care and good intentions and that's what really matters. I hope this was helpful, and I wish you good luck in your writing.

mod Sasza

[talenlee]

4e: I Like the Ardent

One of the elements of Dungeons and Dragons as a game system that I hold fast to as one of its greatest strengths is the nature of the class-species based system where a player is immediately invited to create a character the second they hear about the basics of the system. To this end, there is a design space in D&D where the classes in that class system regard the potential power carried in a name that meaningfully explicates what they do. Class systems, broadly, recognise the value of names for what a class is, because that conveys tone for what a class does. A Barbarian and a Fighter aren’t meaningfully useful classes but when positioned as game systems, one of them is immediately more technical than the other.

Even if, yes, I’m sure, Berserker is the more proper term.

Anyway, to this end, a D&D character class cares about what I think of as ‘name space’ – the kinds of things you can name classes in order to make those classes compelling, interesting and memorable, the handles that players can get a grip on. This means that some titles, like Wizard, Bard, Rogue, Sorcerer, the 90s idiot’s allure of The Ninja, have value and weight to them and you can almost always directly tie the quality of a class to the name it gets, as that’s a sign that someone had a real clear idea and wanted to do something. If the weird is generic (the Seeker) or completely obscure (the Factotum), then you were odds on dealing with something that was not designed with a strong class fantasy and were about to be in for A Bad Time that was maybe interestingly broken.

And then there’s the Ardent.

Ardents are a type of support character, a Leader in the context of D&D 4th edition. While by no means their first appearance in the game, 4th is the place where they got good. 3rd edition Ardents worked in a way that I will generously call weird, and were positioned as a psionic healer and therefore in direct competition with the Cleric, one of the best classes in the game that could always manage healing as an afterthought. Not a good look there at the best of times, especially with the strongest virtue of the psionic system of 3.5 being ‘guess what rules oversight I get to dance in.’

The simplest description for the Ardent is that they’re a melee psionic supporter that leads by example and expresses emotions hard. It’s a bit of a hard class fantasy to put into a single word, right? You’re a feeler. Wait no that’s bad. You’re an emotive? Nope, that won’t do it, either. You can tell Ardent is a rough word to use since it shows up in the flavour text of dozens of other things and the Paladin even gets a starting power called Ardent Vow.

Thing is once this idea is set aside, the actual mechanical package of the Ardent absolutely rules. For a start, it’s a melee weapon based Leader whose primary attacking stat is Charisma, and whose skills back that Charisma up. You can play a skulking streetwise Ardent or a sincere politician Ardent or even just a walking threat Ardent, they all have the compatibilities. They also rely on a big weapon, meaning you get some of that anime hero vibes of a character with a huge weapon leaping into combat to have a big impact.

Because their primary focus was how things feel they could put a lot of different emotional impacts on the kinds of moves they had. That could be something like leading your friends in a direct charge against an enemy or sometimes it could be about psychically dragging your enemy towards you so every friend you have gets to make an attack on them along the way like it’s an Assist Strikers spice reel from the attract mode on an arcade.

Ardents had a special ability that fired off when they got bloodied, which was rarely worth worrying about. They had another ability that change how you related to opportunity attacks, too – either you were better defended against them (prompting you to be more reckless about how you moved), you were better at dealing damage with them (and therefore became more mindful about forcing opponents into positions to deal with them) or you got to deal more damage when you got hit by them (in which case you were suddenly an immense idiot trying to get whacked on the snout all the time in combat just so you could retaliate with nova spikes).

They also grew well. See, they were a psionic class, which meant early on you picked some at-will powers and then instead of getting encounter attacks, you swapped those at-wills for other at-wills and got instead power points to choose how to fine-tune your powers for points in combat. This could lead to things like a slow burning opening turn setting up a late-combat nova, or vice versa, or maybe you’d find you had one power you loved to use all the time and focused on using it, with your other powers as niche, sometimes fooders. As an example, Demoralising Strike is a power you start with and, using no power points, just gives enemies a -2 to defenses when you hit with it. If you augmented it though, it would impose a penalty of -X, where X is 1+ your con mod, so in some cases, -5, or -6. This is a big swing and makes things very easy to hit and paints a very broad target.

On the note of painting a target, they also get the power Forward Thinking Cut, one of my favourite 4th edition powers ever. Used just on its own it’s a solid melee attack that gives everyone adjacent to you +1 to hit. That’s a perfectly reasonable power on its own. It can be augmented once to allow a higgledy-piggle side-step charge, but then it can be augmented a second time to instead allow two other characters to come with you on the charge. This kind of flexibility delights me, where it goes from a serviceable every-time power and then upgrades into a power for transporting people into the fray at the very start of combat.

It’s such a cool class about creating cool feeling moments.

Shame about the name.

Check it out on PRESS.exe to see it with images and links!

[buffetlicious]

The Mid-Autumn Festival (中秋节), a Chinese celebratory season observed by many East and Southeast Asians, has begun. Held on the 15th day of the eighth lunar month, which is in the middle of autumn, the festival marks the end of the season’s harvest and is a time to appreciate the moon at its fullest and brightest. Besides feasting eyes on the moon and lanterns of different shapes and sizes, Mooncakes (月饼), a rich pastry with all sorts of fillings, are undoubtedly the main highlight of the festival and are traditionally shared among family and friends.

The Cantonese Mooncake (广式月饼) is the most commonly found traditional mooncake in Singapore. Its fillings consist of lotus seed or red bean paste and usually include one, two or four salted duck egg yolks. Many would also be familiar with the snow skin variant that was created in Hong Kong in the 1960s as a healthier alternative to traditional baked mooncakes. The fillings and a ball of dough are traditionally pressed into a wooden mould, which embosses intricate wordings of the pastry shop’s name or stuffing on top of the pastry.

A mooncake with various flavours such as rich, savoury-sweet and peppery, the Hainanese Mooncake (海南月饼), also known as Su Yan Bing (酥盐饼) is traditionally filled with ingredients such as fried shallots, lard, salt, white pepper, rose-flavoured white sugar, sesame seeds, melon seeds and dried wild tangerine skin peel. The filling is encased in a thin crust made with flour, salt and lard.

The Hakka Mooncake (客家月饼) is also called Yu Gao (月糕) and is a flat, snow-white disc that is typically made with cooked glutinous rice flour and sugar, giving it a crumbly and powdery texture. It is usually embellished with more intricate designs, often with animals and flowers. Although it doesn’t usually contain any fillings, some come with candied winter melon, desiccated coconut and sesame seeds mixed with glutinous rice flour, sugar, margarine and water.

Easily distinguishable by the red stamp of Chinese characters on the top of the crust and its white disc-shaped pastry which resembles a bright moon, the Hokkien Mooncake (福建月饼) consists of a dry and sweet filling that is made of candied winter melon, tangerine peel, melon seeds, sugar, and cooked with lard or peanut oil. A less common type is a savoury version with minced meat filling. Once known as Scholar Cakes (状元糕), they were given to those who took part in the Imperial examinations. Today, it is given as a symbol of good luck to those who are about to sit for their exams.

Many would be familiar with the Teochew Mooncakes (潮州月饼). It has a crispy, spiral-layered crust that crumbles easily. It originated from the Chaoshan (潮汕) area in Guangdong Province and typically consists of yam paste and a salted duck egg yolk. Other traditional versions of the Teochew mooncake are still made by old school bakeries in Singapore. For example, La Bia (朥饼 or lard biscuit), where ‘La’ refers to pork oil, has a thinner, flaky crust with a thick mung bean or red bean filling. There are also alternative fillings including red bean, mung bean or lotus seed paste. There is also a steamed version of the typically baked Teochew mooncake, called La Gao (朥糕). It can either be served plain or with a mung bean filling.

A Snow Skin Mooncake (冰皮月饼) variant was created in Hong Kong in the 1960s as a healthier alternative to traditional baked mooncakes. Similar to mochi, its crust is made of glutinous rice flour and varies in colour, based on the flavours used. And unlike traditional mooncakes, these are best served cold!

Mooncake information and drawings courtesy of Ministry of Culture, Community and Youth.

[meglosthegreat]

"It was fun, but it got a little boring by the end" is perhaps the most common review of Veilguard's combat that I've seen. No one seems to have strong opinions about it, overall. As far as things to have beef with this game over, it doesn't even make the shortlist, really. I mean, it was fine.

But hell, I'm not above being petty, especially when it comes to this game. So amidst all the other things wrong with this game, here's my hot take: Bioware doesn't understand RPG combat, and why it's useful in, you know, RPGs, as they ostensibly claim to make.

This didn't start with Veilguard, though Veilguard is obviously the subject of this post. It was apparent since before DAI that they were gravitating towards action combat, and I had a lot of problems with Inquisition's system at the time. But Veilguard took it even further, doubling down on their pivot away from RPG mechanics. And, well, I don't think a proper RPG system could've saved this game. But it could've given the game something it desperately lacks - replayability.

RPGs are long games, are driven by the premise that most players will not follow the exact same path towards the end, and above all, are designed to be played in as many ways as possible. This is why character classes exist; why there are multiple weapons to choose from, and why there are more party members to pick from than can fit in your party at once. This works when you consider the other hallmarks of RPGs: different story paths, dialogue choices, and romance options. Variation outside of combat compliments variation within it, and this makes a good RPG something you can play several times and have a completely different experience each time.

And more than that, the mechanics of an RPG compliment a game that could take anywhere from 80-100 hours to complete. You NEED that level of choice within the game mechanics to get you through that long a game, and Veilguard's problem is that it has the length of an RPG, but the combat system of your average 30-40 hour action game.

Of course, there are excellent action games out there that are also up in the 100-hour range, but what these games do that Veilguard did not, is put the majority of focus on their combat systems. Elden Ring is probably the best example of this, but of course we wouldn't want a Dragon Age that's like Elden Ring, really - Dragon Age needs to have more going for it than just combat. And if you can't build your whole game around its combat system, then you need something that has the longevity to sustain a 100-hour runtime.

Everyone bemoaning the lack of direct companion control is absolutely correct - their lack of damage output and usefulness compared to the player renders them basically meaningless in combat. But what this also does is make any kind of customization of their abilities or their gear next to pointless. Even if you could replay this game and build them differently - which you can't, let's be clear - doing so would not make a single iota of difference in combat.

And Rook themselves - well, consensus is that the game starts to get boring about 40 hours in. That's roughly the place where you've gotten enough skill points to specialize in one thing, and though, sure, you could theoretically refund all your points and try something else, by that time you've gotten enough points to acquire all the skills in the general tree anyway. It doesn't help that the gear system is such that whichever items you happen to get early will probably be the ones you end up sticking with. It definitely doesn't help that the enemies in this game severely lack variation, and once you've fought one dragon, you've fought them all.

You know what would have helped? Giving people multiple ways to approach combat. Giving us enemies that require a different approach. Giving us companions that you can build out in interesting ways. Giving us, in short, a reason to play this game again. Because if you're going to create an 80-100 hour game that has very little else going on mechanically, then the very least you can do is make sure your combat is actually fun for the full 100 hours.

[midnight-bay-if]

OMG i just have to say the way you write your characters is amazing! Often times when I read books with a large cast of characters a lot of the characters feel like the same and their characters aren't the most distinct but each and every one of the RO's feels like their own individual, with their own voice. If someone threw a random quote from one of your characters in my direction i feel like i could easily distinguish which characters said it because they are each so unique, which is amazing writing on your behalf! 👏 I'm currently working on my own IF and I was wondering if you had any tips on making unique characters or just writting in general? And I hope that your feeling better after your illness and that your writting is going smoothly <3

This is such a nice compliment! 🥺 I'm a little speechless, haha. But this is precisely why I like answering asks from each character's POV. It's great practice, and I've learned a lot about my own characters doing it that way.

Firstly, do not be afraid to start with a trope. They can be great stepping stones to get you started. For me, the beginning stepping stone for the wider story was Umbra. I was going through a really personally tough time when I created them. I needed a way to voice my desperation. Then came N, and with them came the devil on my shoulder. I played around with the character tropes I've loved for so long while figuring out the greater story after. So much of The Midnight Bay was designed alongside the characters.

Empathising with your characters will help you find their struggle and voice. It can be uncomfortable for me to write Umbra at times because so much of my own anxiety has been put into that character, but some people will connect with it, and that's important.

When it comes to finding a character's voice, it's best to start with their background. Consider how the character got to their position and how it has affected them. Their psychology will determine a lot about what they say and how they say it. But equally as important is what they choose not to say, and why.

Their personalities are going to play a large role in their speech. For example, S is a tactician, smart, to the point, but can turn on the charm when desired. All good things, right? Well, yes and no. They have a bit of a hero complex and will always put their teammates in the most advantageous position, even to their own detriment. A fatal flaw of character will always make your characters more interesting. Their best traits can also be their greatest weakness.

Sometimes, it can be fun to switch up which aspect of a character you choose to keep secret. Taj wears all their flaws out in the open, unlike the others. They stand out against the others because their softer side is what is secret.

Also, this is an old tip that gets passed around quite a bit, but it's one I think about a lot; could each of your main characters work as the story's protagonist? Are they fleshed out enough to work as a main character? Can you imagine following them through the main story and still have a compelling story to tell? If the answer is no, consider why not - what's missing?

I'm fighting my imposter syndrome right now in order to deliver these tips, but hopefully, they are helpful and don't come across as pretentious, haha.

This is going to be an anticlimactic final point, but it deserves saying. Writing often is going to be the biggest help. Even if you can only manage a couple of lines a day, it'll help. Some days I really struggle; my imposter syndrome takes over and I feel utterly hopeless. On days like that, I'll search my inbox for a new ask to inspire me, reread my favourite novels or move onto another scene entirely to unstick my brain from its patterns. The most important thing is to have fun with it.

Anyway, hopefully, this was at least slightly helpful. I fear I have just rambled nonsensically, but it's pretty accurate to what my process is like, haha.

Thank you again for such a kind message. It really helped brighten up my day since this illness has been lingering much longer than I would like. I'm getting better as the days go by now, and I'm hoping to get back to work on chapters 3 and 4 starting tomorrow :)

[abysshare]

I feel like this needs to be said but i feel like I'll just be talking to a brick wall for the billionth time.

The ableism of disabled villains in fandom is so beyond tiring. Its bad enough when a grey or protag character gets it.

Today I'll be using Curly from Mouthwashing and William Afton from FNAF as an example.

Curly, isn't really a grey character. Maybe more of a protag, but since we play as Jimmy for most of it, he is kind of an antag. But for this post i will be putting him as a protag. Which reminder.

Protag doesn't mean good guy exactly.

Anyway.

Captain Curly is a burn survivor as well as a disabled man, with no skin, no hands or feet, and is left with one eye. The damage is pretty bad, and the Nurse ( Anya ) has done the best she could with what she had, which is pretty damn good considering all things.

How does the fandom treat him? Its a mixed bag but of course. Ableism.

They either give him "dog buttons", or infantalize him, coquette-ify him, erase the situation just because "its easier" or whatever else. And then theres some people who genuinely try by getting him to a proper hospital so Anya or another doctor can try and fix what they can, as well as give him an AAC device or a wheelchair, so on and so forth.

Its either shit as unfortunately expected or good enough that makes people genuinely do research or call out ableism.

Now lets look at William Afton. A villain, murderer, mad scientist and so forth. For this post I'll be strictly talking about The Fourth Closet William Afton and Burntrap.

For those who are not into FNAF. The Fourth Closet is a seperate timeline from the games, an AU. And Burntrap is TECHNICALLY not William now, but when Security Breach came out, we didn't know this.

A bit more backstory for those who do not know. William has an Animatronic suit that he can go into to perform or kill, but it has these things called springlocks. If something happens, they can go off and hurt and eventually kill him.

Moving on.

William Afton is a Springlock Victim ( and even though no fire happens in the book before the ending of The Fourth Closet, i would argue and say he does indeed have burn scars as well in the graphic novel ) aka ragged Metal throughout his skin.

As Burntrap, he is a metal burned skeleton with leftovers of Springtrap/Scraptrap with burnt flesh.

How does the fandom treat both versions of him?

As Burntrap: some people like him, some don't. Its purely because at the first reveal we all thought it was William himself somehow even though he is supposed to be dead-dead for real. His design CAN be cool, scary and great in the right spotlight.

However.....

Most people took the "haha peepaw" route of memes. Some being ageist and some being ableist. Making him a senile old man in a wheelchair or a walker with Vanny being his caretaker. Most of the time throwing him down the stairs or beating him with his mobility aid or threatening to. Sometimes they would also draw him in diapers with poop in it.

Utterly disgusting, ageist and ableist behavior all because this is a villain.

How do they treat TFC version of William? Well.... i don't see much of him to be frank. But either its coquette-ifying him ( which is just as gross as coquette-ifying Curly ), genuinely calling him pretty or being absolutely being ableist/rancid, or removing his scars all together.

What is the point I'm getting at?

If its a villain, like William, to Darth Vader to Hordak from the She Ra remake, to Belos from TOH.......

They get mocked for their disabilities because abled folks ( and even some disabled folks ) thinks the Villain or whoever deserves it as punishment.

But these same people will turn around and infantilize and baby, or dogify or coquetteify "good guy" disabled characters.

I haven't seen this in the Arcane fandom, while i don't doubt people have been ableist to Jinx, Silco or Viktor , at least it isn't as "loud".

Ableism isn't cute or funny. And while i UNDERSTAND these are characters- and that they are not real.

It HURTs real people.

And I'm talking as a disabled chronic pain person, so don't even start with me.

Ableists and shit will be deleted, ty.

Edit ( 12 / 9 / 2024 ): to add to this, i still see people making jokes, especially to make self shippers feel bad ( those who self ship with springtrap ), about how William most likely passed human fluids and gasses as he died-

Yeah. News flash: you do that no matter how you die. Even later in a casket as you're rotting away.

Now.. the act of him doing that as he dies isn't ableist within itself. But the fact that these people using the bit of him urinating and defecating himself as a joke Is ableist as there are folks with disabilities that can't control it, and there is no shame in that.

Also if you're trying to say "Springtrap smells like literal shit". Consider people already know this and either ignore that ( which is valid ) or yk. Have their insert take Springtrap home and clean him up and fix him.

Or have Springtrap clean himself up ( i imagine he does by the time he become Scraptrap, as best as he can anyway ).

.

As for Curly, i am seeing a lot of Videos that are finally talking about it. Thank the gods, moon, whatever.

Mouthwashing is one of those things you really don't need to ship anyone with anyone ( if you must i highly suggest making an oc because thats awesome ).

On top of that though I'm still seeing ableist art of Curly and probably will for awhile 😮‍💨

[rebeltigera]

Haiii!! I got question:

Do you have any head-canons for mk? Mac? Wuk?

And what is your personal opinion on season 5?

I am responding second time because the first one didn't send :'D

Pls end me.

I don't remember the headcanons I've mustered out the first time damnit -

*sigh*

Those are general ones , I use the design of the character most of the time to show headcanons

For MK

-He's wasted after one beer.

-his tail subconsciously curl against legs of his friends or person he trust

-he chirp subconsciously

-he don't like bitter things like dark chocolate

For Wukong

- he got thick , strong curly fur . When fluffed up texture it reminds of the dust brush

- his body temperature is much higher due to the furnace punishment

-gets headaches due to the circlet (phantom pain)

-he speak and read fluently ancient Chinese , however he got problems with modern language

-he usually sleeps with lil monkeys around

-he can't get drunk.

-monkeys take care of his fur

For Mac

- his ears are too delicate for piercings. They would hurt.

- thin , straight/wavy fur like smoke . He can't stand cold

- he can always hear past and present but future is randomly whispering to him

- he got lower body temperature (due to the shadow nature)

- when drunk he looks like a beast but he's a snuggly wuggly teddy bear

-he takes care of his fur regularly himself

For Mei (because it's lacking in other categories and I don't remember more :'D)

- When she fights she tunes into imaginary music in the background. Like Gwen from spiderverse 2

About S5

*sigh* Vent warning. not directed at anyone in particular

I am unable to put up presentable opinion on this season

Also warning to everyone that will read it

If you are here to defend/ you are touchy on subject of S5 please avert your eyes.

The season was mid at best. , script was rushed, the core of it was S3 with meek antagonist, the most evil character there was a bug demon with many eyes, and SACRIFICE was basically word for this season.

Other things I remember from it is a burnt dumpling and Nezha's mech. Oh and Wukong being useless, Mac carrying season on his back , MK being even more stupid than usual. A random guy with a pagoda and a Twink snake. Nothing else .

Let's put my opinion about the animation now :D

Flying Bark got sacrificed just like MK in this season lol

The animation was a pure nightmare, it's like Seven deadly sins Incident

And if you guys think it will get much better from that in one year (let's say for example they will produce another season next year) you live high on copium and delulu.

Our juicy yummy frame by frame animation was taken away and they gave us RAGDOLL animation.

What does it mean? -AND HERE TUMBLR DECIDED TO CRASH ON ME AND IM WRITING IT 3rd TIME :D- you know how hieroglyphs are animated? Ye, that's basically it with extra steps! HOW FUN. NOW WE HAVE PUPPETS 2D. A FREAKING GACHA FROM YT IF YOU MUST. THOSE IN SOME CASES ARE EVEN BETTER ANIMATED THAN OUR SHOW ITSELF BTW. This has it's perks! I guess. It's cheaper and easier to make episodes! :D the cons are we will no longer see good battles in the show. yay "But we saw Wukong vs MK! And snippet of Wukong vs Mac fight!" please, spare me. If you are telling me those were good fights , that is half assed animation they have no idea how works and two dots clashing with eachother you should go rewatch other seasons. the fucking disgrace and audacity.

But no matter. That i can live off, that i can gulp down.

YOU KNOW WHAT I CAN'T? THE SHEER AMOUNT OF MISTAKES ON BASIC LVL IN ART. I am sitting here looking at those colors, those lines this fucking scenography and ask- what a fucking newbie did this .

YOU CAN'T EVEN GET COLOR RIGHT

AND BEFORE ANY OF U F NERDS WILL COME TO ME AND SAY "UUU ACTUALLY ITS LIGHTING FAULT-" NO ITS FUCKING NOT.

THEY CAN'T EVEN USE SAME COLORS AS IN THE PRIOR SHOT , THEY CANT EVEN SAMPLE IT PROPERLY . BETWEEN THOSE SHOTS NOTHING CHANGE THEREFORE THE LIGHTING IS THE FUCKING SAME

IF YOU DON'T DRAW , AND HAVE NO FUCKING CLUE WHAT YOU ARE TALKING ABOUT , JUST -

we have a shiny wukong here

What is this scene , please someone can explain to me the scenography of this

Why this perspective is wrong, the shading, the lack of lighting

Here characters don't even stand properly

WHAT IS WITH THIS AWKWARD SCENOGRAPHY ?

WHY THEY ALL LOOK OUT OF PLACE. AND IM NOT EVEN TALKING ABOUT THIS SHADING BECAUSE ITS SHIT.

HAVE THEY MISSED LIKE ALL BASIC LESSONS IN ART SCHOOLS? OR SOMETHING? LIKE THIS IS A JOKE. NO WONDER PEOPLE THOUGHT TRAILER WAS FAN MADE.

Now this- this is just hillarious.

Just add to it some dramatic intense sound effect and we have another nightmare.

The voice acting was great tho

[theresattrpgforthat]

System Overview - LUMEN

This week has been a break from my regular recommendations to cover a few popular game systems and talk about what makes them tick. This week, we're covering the fast-paced combat-friendly LUMEN system. This is all the systems I'll be covering this week, but I hope to do some more system overviews in the future!

LUMEN is a game system originating from Spencer Campbell of GilaRPGs, for use in his game LIGHT. It has gained popularity over the past few years due to its ability to replicate fast, powerful combat, and a simple set of rules.

As a disclaimer, I haven’t played any LUMEN games yet (although I really really want to give NOVA a go). What I have seen is a consistent amount of high-quality, exciting games being released over the past few years using the LUMEN system. The SRD is only 13 pages long, and the pieces are simple enough to pick up, re-mix, and turn into something engaging, which makes LUMEN a great option for new game designers - especially since the designer really wants to see what people are making with this toolkit.

So, let’s talk about some of the pieces that make up this game.

Attributes as Approaches

LUMEN gives your characters 3 stats that define how they approach an obstacle, rather than defining a specific skill. You’ll have something for raw power, one for quickness and speed, and one for precision and details. Your characters are expected to be professionals, the best of the best. Of course they know how to fight - this a power fantasy, after all. By focusing on an approach rather than a list of skills, these stats are also flexible: if you are using your raw power, you could open a door, swing a sword, or pull someone back from a ledge.

Depending on the game you’re using, the names for your approaches may differ. In Hedge, your approaches include Might, Sleight and Bright. In LOOM, these are re-tooled into Passion, Fleetness and Serenity.

This way of building a character is very good for players who may not want to juggle a number of different values in their head, and keeps the table focused on what the battle looks like more than anything else. It also makes a statement on what kinds of actions your characters don’t need to bother rolling for. No perception checks, minimal social obstacles, and don’t bother doing a memory check in this system. In LUMEN, you’re here to kick ass.

Dice Pools & Staggered Success

The number attached to your selected approach determines how many dice you roll to do an action. The highest number rolled is the only result you need to focus on.

Similar to Blades in the Dark and Powered by the Apocalypse, LUMEN uses a series of staggered successes. However, unlike the previous two games, success is a little more likely - 2/3 of the time, you’ll succeed. On a 1-2, the action failed with a consequence. On a 3-4, the action succeeds with a complication. On a 5-6, the action succeeds, no problems in sight. The difference in probability compared to Blades is one decision that indicates how powerful your characters are; they’re less likely to fail on any given roll.

To add a layer of complexity, you can include specific scenarios that determine how many dice you roll. For example, in Apocalypse Frame, there is a difference between rolling while inside or outside of your mech. When outside of your mech, a character subtracts 1 dice from their dice pool, and when attacking with your mech, you use a number attached to your Armament, rather than your Attributes. There are also character class abilities that may give you extra dice, such as the Ancient Technique ability attached to the Ancient class in Deathless. These abilities will only give you extra dice in very specific situations.

Character Classes

One thing is common among all three of the systems that I’ve talked about this week and that’s pre-packaged character abilities. LUMEN doesn’t use playbooks though, possibly because the characters are so lightweight that they wouldn’t take up that much space on a piece of paper.

Your class will come with special moves, abilities or gear that sets you apart, and will likely also define your play style. In Black Hole Era, for example, you are spaceships with system arrays and weapon bays. A Warlord ship has powerful long-range particle beams, while an Inquisitor ship has the ability to teleport or turn invisible.

That being said, you don’t have to use character classes with this system. In Wild Duelist, the game presents the character options as either a static stat build, from which you choose a few different options, or a character life path, in which you roll randomly to determine your heritage, weapons, approach scores and special powers.

Your character powers will usually come with a few important pieces of information: how they affect the field of play, what their range is, and how much it will cost you to use them. You do not roll to use your powers: you are powerful characters, and when you choose to do something cool, it works. In some games, your powers can be get more powerful as your character advances, or have tags added to increase range or damage dealt. Because LUMEN is meant to replicate combat-heavy video games, it also is designed to replicate the ability to customize your character to match the combat style that you prefer.

Room to Add Complexity

The LUMEN system is quick and only has a few core pieces, but there’s plenty of room to add more complexity in order to incorporate factions, long campaigns, and special details.

In Emblems of Their Dying Breaths, characters dig into dungeons that are procedurally-generated using a deck of playing cards. .brawl centres its combat on a map, using miniatures to help your players strategize as they fight in a cyberpunk arena. Clean-Up Crew diversifies the resources needed to pay for special powers, making enemy drops more interesting - and more necessary, if you’re going to find the specific resource you need.

The original designer is also updating and re-designing LUMEN, with the plans to release a LUMEN 2.0 SRD that does away with dice, health, and a few other pieces. You can check out some of his design thoughts on his YouTube channel, and take a peek at how this new version of LUMEN will play out in his game DUSK.

Meanwhile, let’s talk about some more games in the LUMEN series that I have yet to highlight on this blog.

Brawl City is a Street-Fighter game, still in development.

Dust is a game about surviving in a post-apocalyptic world, inspired by works such as The Book of Eli, and 9.

Photon is a two-player game about fighting a Singularity trying to consume the world.

paktbound is inspired by Dishonored and shackles your characters to a Stranger who sends them on heists in a rotten world.

If you want to check out more LUMEN games, there's a compiled list of games kept by Spencer Campbell, as well as a LUMEN collection that I'm adding games to as I find them.

Do you have any favourite LUMEN games? What kind of video game do you think would work well for this system? Share them in the comments and tags!

[jerreeeeeee]

actually its kind of crazy how little we actually see the starblaster crew interact with each other. like other than tres horny boys and each of the pairs in that trio, and like, arguably lucretia and thb, barry and lup, and lup and taako, most of the relationships between the crew are only a few lines, if anything? like obviously in-universe they're all really close and griffin says that (time enough to grow indescribably close), but there's a lot we don't see. like, taako & barry, for example, have a handful of moments, lines we can point to that show they are really close (you're my family, taako, can i speak frankly?), but as far as actual screentime, there's really very little.

and even those i mentioned before, like, lup has more screentime with barry and taako than with anyone else, there's the whole little legato monologue about her and barry's relationship and she has (comparatively) a lot of scenes with taako, but also, as a character, she's only around for maybe a sixth of the show, so there's just not a lot of time to work with?

and that's not to mention the relationships we can figure were probably present in-universe, but literally never see, like lup & davenport. and on that note, i actually can't think of any other pairs who don't interact at least once, but still, very rarely. like now i'm considering davenport & barry. who we hardly see but there is the fact that barry cast command on him to drink the ichor. it's one line in the show and the implications are never really mentioned but there's a lot of significance to be wrung out of this one tiny interaction. barry condemns lucretia's methods of stealing agency from their family in the service of the greater good, but when he thinks it's best for davenport, does the same on a smaller scale? barry doesn't have the time to try to convince him to drink, he needs davenport back to himself now, because davenport is someone dependable, a leader, someone who barry knows will be capable and decisive and relieve him of the responsibility he's been shouldering by himself? that barry knows davenport won't begrudge his use of the spell, because he'll see it as pragmatic, necessary, assistance, and forgive him for it? none of that is necessarily supported in canon but it can be extrapolated from, again, kind of a throwaway line.

the non-thb crew have presence and are important to the narrative, but most of that comes from thematic significance rather than them as individuals, you know? we hardly see lup and barry and davenport (maybe arguably lucretia too, though we see more of her than them), but we see the echoes of their decisions and their goals and their love for the rest of their family and the way they shape the story.

but actually, even that's not entirely accurate, because as significant as they are in that way, their presence isn't only due to that, they're full characters too. they have personalities and depth and connection, they're not only plot devices. like, maybe griffin needed to explain why lup was missing, and that's why she became a lich, and her needing to be a lich is why she and barry had their romance, but also, if that were all there was to it, the legato monologue wouldn't exist, the best day ever wouldn't exist. those are scenes designed to build lup as a character through her connections to other characters and to the central themes of balance, not to fix plot holes. it's just that all of that character building takes place in a pretty small fraction of the show compared to tres horny boys, who have the entire thing. idk its interesting and impressive how some of the deepest characters and most profound relationships were developed in a very short amount of time