#Good Character Requirement

[lexlawuk]

Comprehensive Guide to British Citizenship by Naturalisation

British Citizenship by naturalisation is a significant milestone for many individuals who have made the United Kingdom their home. As a leading London immigration law firm, we are dedicated to guiding you through every step of this complex process. This detailed guide will provide you with an in-depth understanding of the requirements and procedures involved in applying for British Citizenship by…

[jellysnail-draws]

🐞

[pianokantzart]

I know I've mentioned this before, but whoever worked on the script of The Mario Movie and decided to lay the groundwork for Luigi's Mansion by establishing that Luigi has a fear of dogs of all things needs a raise.

[poorly-drawn-mdzs]

Remember: The burning sensation is part of the process.

[samstarium]

nb aziraphale icons! all art is from hg-aneh (2/?)

transparents under the cut

[spearxwind]

i think every game that makes flying the focus (and theres veeery few of those) should have a map with a lot of verticality to it. Yes we all wanna fly a dragon over a vast landscape but when youre high up everything is indistinguishable, the sky is empty, and that gets boring real quick. A flying game should have verticality in a way that lets you explore heights that are really high and places on the map that are overlaid with each other would feel more alive and give you so much more space to work with. In a way, itd be like the inverse of the subnautica map. The original map was amazing because it made the ocean feel so huge. "What do you mean theres five biomes underneath the earth?? what do you mean theres just vast caves under here?" and everything felt super interconnected too. There should be more things in the sky than just you too. Enemies, prey, companions.... etc.

my fave flying game is called 'aer memories of old' and it doesnt really have that verticality but its a good flying game imo because its got a map thats so rewarding to explore, there is a PURPOSE to flying around just beyond what the game wants you to do. The lore of the world is out there for you to find and piece together, and the map is filled with life and details. And recently theres been an uptick in developers trying to make flying dragon games but none feel like flying has any purpose at all other than be really showy and yeah it looks awesome but without a purpose for flying its gonna get boring for the player!!

"This is the dragon game you've always wanted" and its another purposeless multiplayer mmorpg with an insanely huge completely empty map and they focus so much on the five fucking billion dragon cosmetics (and god forbid theyre all free btw) instead of making a game that is fun to play and just put the responsibility of having fun on the shoulders of the player. "omg u can make any dragon in this game the models look so cool!!" ok but what about the game. can you tell me if you game is fun? is there anything to do? oh, just material gathering shit and crafting? and an mmo where you have to play with others for there to be any semblance of life in the world? ok

idk im just sick of seeing games advertised as a dragon survival game where the only survival aspect is like. 'find food' 'find water' 'find a mate to have an egg' repeat. repeat. repeat. surely theres other things?? what about migration? territorial disputes? becoming the apex predator? being a local tyrant or a benevolent protector? there is so much that could be done with dragons but all every dev wants to dip their ass in is multiplayer nonsesne with the most basic hunger and thirst and a basic as fuck combat mechanic and call it survival so that people can choose to kill each other. its so lazy

[shitpostingkats]

Alabasta Ace is so funny.

Like the strawhats keep commenting that Ace is so polite and restrained compared to Luffy but like. This dude drags himself out of the ocean just to thank them for looking after his brother and offer to help wash dishes. Mans asks "Are these guys bothering you?" and proceeds to blow up an entire fleet with his bare hands. He trips over himself to make sure all of Luffy's crew likes him and no, really, you don't mind that he's a weirdo???? That we, I mean he, are feral little insane guys who take up space and emotional labor and are kind hard to handle? Really???? Cool cool cool hey just a reminder I can help out with anything that needs doing. I got lost in the desert but donnut worry in the 0.6 seconds since you last saw me I have somehow acquired water and provisions for several weeks. Don't ask me how!

Peak oldest sibling behavior.

[epiphainie]

i've just finished my s7 rewatch and it's kinda so funny to me how much discourse people created over every bucktommy interaction when their whole arc boils down to tommy being patient and vulnerable with buck and showing up for him. like when you are not wearing shipper goggles under the name of "analysis" and don't try to reverse-engineer every word and look and shot with utmost bad faith, that's what it is. a simple and sweet story of a new exciting relationship with a guy who's understanding and willing to show up. literally the two things buck needs from a relationship but never had with his previous love interests. they are kinda sickeningly sweet and well-communicating actually lol

[dogpawsswapgod]

something I've appreciated about The Dragon Prince is how it eschews a good/evil, hero/villain binary and instead insists that what matters are choices: the path one chooses to walk. are you fated to walk a dark path? or did you make a choice with every step?

characters say "i had no choice," a lot, but eventually face the truth (usually before a big moment of growth): there's always a choice, and you've always been making choices. this is something pretty much everyone is going thru throughout the series but no one more obviously than Viren (and now, Claudia 😭).

when Viren faces his younger self in the mirror in season 5 and young Viren rejects the idea that he is "fated" to walk a dark path, he places his hand on the glass, saying "i am free, and so are you!" this is one of the series' main theses--alongside whether history is "a narrative of strength or a narrative of love"--that "i have no choice," is never true. our choices are all we have, and they shape our reality by paving the path we take.

Viren has been a worthy and engaging "villain" throughout the series, totally hateable, a grade A baddie, but I'm grateful for how his arc ended in season 6. i admit i shed a tear for that old war criminal.

if history is to become a narrative of love then different choices must be made.

making space for anger and holding "villains" accountable for their harmful choices, but also allowing for those same villains to change (or cut out) their hearts and thereby change the path they have walked--even if it's only in the final few days of a lifetime of wickedness-- all play well alongside the setting of the story: a magical world on the precipice of revolutionary transformation ("a long slow spiral into chaos," as one Star Elf put it).

can't guess how this will play out with the big boss battle against Aaravos himself in the final season, but for now, I'm content w how the writers seem truly invested in exploring these big ideas and applying them to the characters' story arcs.

[tackykachowch]

I'm still disappointed how shallow Jinx and Sevika teaming up is. Sevika literally hates Jinx for screwing everything up and potentially ruining their plans for getting independence for Zaun. Her last line to Jinx is literally "I can't wait until you implode and Silco finally gets the message that you're as good for our cause as you were for your family. Jinx". Why would she not want to give up Jinx to Piltover then? ESPECIALLY knowing that this will potentially make Zaun independent? Is it not her primary goal? Besides, does she even know that Jinx killed Silco? A man she was really loyal to, for whose sake she lost her arm, who she respected and hoped will bring the Undercity its long-awaited freedom? And if she finds out that the girl she was so against killed him? Oh brother she would be AFTER HER ASS even more than Piltover.

I'm all for their partnership btw, I think they have a great dynamic, but it has to be REALLY earned. Other people hate Jinx for what she's done to them, but Sevika hates her because she stands in a way of her entire life's purpose. I would even say that they should've dedicated an entire act to their reconciliation instead of the whole Isha crap.

[utilitycaster]

feel free to ignore if you feel like it's too theoretical/parasocial/etc. but: I see how the campaign as a whole is off because of how lack of prep influenced the cast to create somewhat unfit characters, but as someone who got immensely annoyed by this episode, I'm wondering why has that throughline carried out for so long. why haven't the cast decided to start playing their characters in a way that leads to a more cohesive and satisfying story? is the hesitation and bizzare opinions on gods a very dedicated RP choice or do you think the players themselves are also at a loss? I'm honestly very confused about that, given how driven and decisive they played VM and M9 during their oneshots. I don't want to feel like I'm singling anyone out to hate but e.g. the way taliesin plays caduceus vs ashton is particularly puzzling to me.

Hey anon,

This is all highly speculative (as, to be fair, was the original idea the cast was given very little information, and that turned out to be right) but I think it's the far-reaching consequences of that initial lack of prep combined with the fact that it's been a very central-plot focused campaign that failed to allow the characters to develop into more decisive people. It also, I think, centers the Ruidusborn such that I suspect a lot of the rest of the table is taking their lead.

The Mighty Nein, we know, involved a lot of prep with Matt specifically offering feedback and vetoing certain aspects. Every character came in with pretty clear goals, and because it was a character-driven campaign we got to see those goals change as they learned more: Caleb and Fjord notably abandon their original goals in favor of new ones. Veth and Caduceus achieve theirs; Jester as well, and she develops new ones as she becomes less sheltered. Beau and Yasha's exact goals were much more nebulous, but they have the opportunity to confront their pasts at length and find new purpose and peace throughout the narrative. I don't think it's productive to rehash everything every time but: lack of pre-existing long-term relationships and more work on the short-term friendships that existed, the fact that Beau and usually Molly due to Yasha's absences (and later Caduceus) were free agents who didn't know anyone prior to their meeting, and the fact that the party had like 2 gold to their name and had to double up in odd configurations plus their willingness to engage in conflicts led to a fairly quick and deep bond, which also influenced their goals and dynamics.

Vox Machina were initially very generally sketched out characters, but after they began doing more there was a similar effort put into to backstories, and I think going back after they'd already played a bit meant they knew more about who they wanted these characters to be. The pre-stream plot, as we can tell from the origins comics, was also heavily backstory focused; the Briarwoods arc is when most people feel the streamed campaign really takes off.

We have seen the backstories of the characters of Bells Hells, but a lot of them are deeply tied into a long-running main plot that doesn't really allow for the same development over time. Like, Percy, for example, actually does his "plot" about quarter of the way into the campaign; but this kickstarts his development. Fjord is rather similar; he learns the source of his powers quite early on, but grapples with them until the halfway point and then the rest of the campaign is him embracing something new. To compare, I suspect Laura envisoned Imogen's story as being not dissimilar in the sense of "learn what my powers come from, find a way to better control or perhaps get rid of them" and so upon finding out this is the lynchpin of the entire plot, Imogen never has that post-resolution time to cook, essentially. Even for those who had slightly more rewarding plot beats they kind of felt like "let's address this problem so we can get back to the moon stuff" (Chetney, Laudna) and in some cases, I think it felt to the players, rightly or wrongly, like those plots were actively rushed to the point that they couldn't explore them (I suspect this happened for Ashton during the solstice split). There's been a hurry-up-and-wait sense of urgency over the whole campaign because it's a plot that was introduced very early and has never let up. There's been no "what do we do" type breaks and I'd be shocked if there are. We've sort of run out of plot because we've speed run everything that would have been a plot in a different campaign.

So I think the players don't know how to evolve their characters because there's been no in-world impetus to evolve, really. Now, as someone who prefers to play people who are already decisive, the fact that most of the cast went for kind of indecisive/impulsive types isn't my bag, but that is valid; but it means no one's really had the chance to organically move from that.

I also think that the fact that there's one big plot that really centers the ruidusborn is another factor. Even if Orym, for example, were the type to shut down the party, what is one person who can't reasonably stop two spellcasters from going into the Hallowed Cage going to do? I think this post makes a good point; I think putting the pressure very heavily on two players who (very understandably! for a number of reasons!) are among the most averse to making a hard and potentially alienating or unpopular choice has sort of prevented anyone else from taking a wild swing. The other campaigns had a much more even distribution of who could make decisions within the party, and I think that reflects that. I also think this is uniquely an issue for longform campaigns; I haven't seen this hesitancy from Laura nor Ashley in Candela, Downfall, nor in the various Daggerheart one-shots and miniseries, since you have to swing big there.

I do want to cover one point specifically, which is that I actually find Ashton to be one of the better played characters. I disagree with them, to be sure, but like, Caduceus is a character who can be arrogant in his fairly limited worldview, but who is also consistently very empathetic and kind. Ashton has that arrogance, but without those priorities. Caduceus isn't really invested in hurting those who hurt him; he's interested in stopping those who would hurt his home, family, or friends, and if that requires hurting them he's okay with that. Ashton really does want to beat up those they deem responsible for their own pain, justified or not. I think taking the shard was a great move and stand by that [though, admittedly, it and the bit about Predathos needing a vessel just now have me like. the consequences have been conveyed in a crystal clear manner to ME and somehow the cast is not getting Matt flat-out saying in game THIS IS WHAT WILL HAPPEN, so idk what's up with THAT.] and my issues stem specifically from his decision to claim to speak for the weak and then immediately accept the titans saying that a remade world in which only the strong survive is fine. Like, I don't think there is a problem in how Caduceus is played vs. Ashton, in that I think they are both internally consistent as characters; I think it's just. Caduceus is someone who tries to make decisions that minimize broad harm to that which he deems good, and Ashton is often, by their own admission (episode 78), selfish and conceited. Like, Taliesin is just. Playing someone who is often not a great person this time. And that's a valid choice. But I think it's in a narrative that didn't really permit enough time and space for characters to change meaningfully so Ashton is a bit stuck there whereas, while Caduceus didn't have nearly as much of a gap between who he already was and the hero he needed to be, he had far, far more room to grow.

[numbuh424]

shoutout to whatever L and Light had going on in Time Speaks

[canisalbus]

Imagine if Machete was Muslim instead of Catholic. His name would be something like Saif سيف, and Vasco would probably be something like Dhahabi ذَهَبِيّ

.

[andthendk]

some practice doodles for my next post - simplifying characters do not come easy 😭🫠 and yes I'm an advocate for 💜soft grunge/ goth/ graceful goddess/ disney princess 💜 Raven and everything in between because shoving her into one category is lazy.

[bugsbenefit]

genuinely still baffled by the "they don't need to address Mike's sexuality, all that matters is that he's in love with Will" crowd. especially when people say it who claim to care about Mike's character (when you could also just say you don't really care for that part of the show, which would be fine, no one cares about all characters/arcs)

because Surely you realize how him being gay or bi would change his entire character, right. whether he's attracted to girls or not would change the way all his actions up until now are to be interpreted. not even making a statement on his sexuality here, this is generally speaking

if he was actually attracted to El you'd have to address when and why he suddenly stopped loving El since in fiction "it just happened" isn't usually a satisfying answer to breaking a multi season couple up. Why is Will it for him? he's been acting weird for ages so when did he realize? and what made it click he fell out of love with El for good? you'd have to give some explanation for why he was able to proclaim his love for El accidentally in s3 and then fail to do it in the same season while looking uncomfortable with kissing her and so on since his pov was so majorly withheld

if he's not attracted to girls his arc in s5 needs to focus more on comphet and how dating El affected him/why he felt he couldn't break up with her/homophobic attitude in his surrounding slash Hawkins. or the idea of platonic and romantic love in general. there would be no how he got from point A(El) to point B(Will), like what the focus of a bi!Mike s5 arc would have to be on to explain what happened, but a focus on how he ended up at point A in the first place and why he was stuck there/how it affected him

and even core moments of the series would have entirely different meanings depending on if he's attracted to girls. "it's not my fault you don't like girls" being a peak example. if he's gay it's easy to explain it with projection. if he IS attracted to girls though it would read as a much more intentional (even if blurted out) act of homophobia, since it would be him pointing something out that Will genuinely does (not liking being around girls) but he himself can't relate to

and that's all just the surface level differences. Mike being attracted to girls or not being attracted to girls would give his arc an entirely different focus in s5. AS WELL as make his past actions have entirely different meanings. the idea that "it doesn't matter for his character" is so insanely wrong it's wild how many people confidently peddle it

[samstarium]

nb crowley icon fest! all art is from hg-aneh (3/?)

transparents under the cut