#I have feelings about the characters the directing the acting the story the dialogue

[ryn-holt]

Being autistic is hard.

Right now it’s hard because I have easily a four hour hyperfixation rant about the the 2010 live action Alice in Wonderland movie which I mostly hate (also love in the way you can only love such a deeply imperfect thing) but also am deeply fixated on as of right now. And no one wants to listen :(

[frailsituation]

Tips for writing internal conflict

1. Define the Core Dilemma

• Internal conflict occurs when a character faces a choice or emotional struggle within themselves. This dilemma should challenge their values or identity.

• How? The struggle should feel deeply personal and tied to the character’s motivations.

• Example: A character who values independence but must rely on others in a life-or-death situation.

2. Make it tied to their core values

• The conflict should challenge what the character holds dear—whether it’s their morals, desires, or goals.

• How? The inner conflict should push the character to re-evaluate their beliefs and priorities.

• Example: A soldier torn between duty and personal ethics, forced to choose between following orders and doing what’s right.

3. Amplify with external consequences

• Link internal conflict to external consequences that impact the character and those around them. The choices they face should have significant repercussions.

• How? Show how the character’s internal conflict influences their decisions in the real world.

• Example: A character haunted by guilt must choose whether to admit their past mistakes, risking their career and relationships.

4. Show the pressure building over time

• Internal conflict intensifies when it’s compounded by time, increasing stakes, or mounting external pressure.

• How? Create scenes where the character feels the weight of their choices growing heavier with every passing moment.

• Example: A character whose addiction threatens to ruin their life, struggling to break free but tempted by old habits every day.

5. Conflict arises from competing desires

• Internal conflict often stems from having two equally strong desires that cannot coexist.

• How? Put your character in situations where they must choose between these desires, both of which seem vital.

• Example: A character torn between pursuing their dream job across the country or staying to care for a dying parent.

6. Explore their fears and insecurities

• Internal conflict can also be driven by the character’s deepest fears or insecurities, which affect their actions and decisions.

• How? Fear of failure, rejection, or loss can prevent them from acting, making every decision feel like a battle.

• Example: A character who has been hurt before refuses to let anyone in, even though they deeply crave connection.

7. The power of self-sabotage

• Let the character’s internal conflict lead to self-sabotage. They may avoid decisions or create obstacles to protect themselves from facing their own feelings.

• How? Show how the character's fear or internal resistance undermines their progress.

• Example: A character constantly pushes away someone they care about because they fear their own vulnerability.

8. Use internal dialogue to show the battle

• Let readers hear the character’s internal struggle through thoughts, doubts, or justifications. Internal dialogue can make the conflict feel more immediate and real.

• How? Keep the internal dialogue sharp, reflective, and in line with the character’s voice.

• Example: “I want to tell them the truth, but what if they leave? Can I really risk that?”

9. Drive change through resolution

• The internal conflict should lead to growth or change in the character. They should evolve, learn, or make peace with their internal struggle.

• How? The resolution should feel earned and reflect the character’s journey.

• Example: A character who fears commitment learns to trust and embrace vulnerability in the face of love.

10. Let it affect the bigger picture

• The resolution of internal conflict should impact the story’s larger arc, showing how the character’s inner change leads to progress or a new direction.

• How? The resolution should tie back to the theme and forward momentum of the plot.

• Example: A character who learns to forgive themselves is able to take the final step in reconciling with a loved one, mending broken relationships.

Follow for more!

[raven-at-the-writing-desk]

Do you think that the Great Seven are actually just better people in the TWST universe, or a big case of historical revisionism?

Been wondering since in the dream sequences "Yuu" gets, I'm pretty sure the story plays out as they were in their original stories? I originally thought this might just serve as a gameplay purpose rather than a narrative one, in case the player doesn’t know the original story or needs a refresher. But doesn't "Yuu" acknowledge their dreams in the story?

From their dialogue I'm pretty sure they don't recognize any of the Disney characters, or their stories, so from a narrative perspective I wonder if these are dreams they’re getting of the past.

Both concepts are fun to explore, but I gotta wonder which one is closer to twst canon.

Based on what I have seen so far, I think Twst is trying to hint at its history being revised. The latest two books (6 and 7) have strong themes of lingering on the past/a strong desire to maintain a happy lie rather than accept a harsh truth or change from that status quo. Additionally, Lilia drops this suspicious line in book 6: “[…] different cultures and species pass down lore in different ways—not every truth is written down. There is no shortage of historical narratives that have been twisted to suit someone's agenda.”

Yuu then has two dialogue options. The latter of these seems to imply the disconnect between the reality of their Disney dreams and the reality of Twisted Wonderland:

“Twisting historical narratives, huh...”

(For some reason, I've got butterflies in my stomach.)

Yuu doesn’t seem to indicate familiarity with the true Disney versions, but this could be for a variety of reasons such as serving more as a narrative device for the players, Disney not existing in Yuu’s Earth (since they don’t recognize the icon that is Mickey Mouse either), or maybe convenient amnesia. They do have small moments of confusion when faced with Twisted Wonderland parallels of elements from their dreams but only start making the direct connection between their dreams and irl events starting late in book 5. This is why they anticipated “something bad happening” and feel compelled to follow Vil (who, at the time, was intending to poison Neige). Yuu also suffers from several headaches and visions of their Disney dreams while conscious in books 6 and 7, They appear to consistently treat the dreams as premonitions and not as material they are familiar with or see as the truth.

There are cases where the non-villains appear as important historical figures. This includes the original heroes of the Disney films, who are still largely portrayed positively—it’s just that the roles of the villains have changed into positive ones as well. There are also cases of the same story diverging to create multiple variations, which implies that stories do warp and change over time. For example, we are told that the Sorcerer of the Sands exposed a fake prince for lying about his status to win the princess’s hand. At the same time, there’s another story about how a street rat happily married a princess.

I do want to point out that altering history isn’t always done intentionally or with malice. Some stories just naturally change over time or get forgotten if they aren’t recorded properly. Oral retellings tend to get altered as they spread or get painted with bias due to who is sharing it, and variations of the same story can emerge from different cultures. Sometimes it is the case where people want to hide information or are acting out of ill intent, it just isn’t true of all cases.

Maybe this will be something they address in the main story ^^ Personally, I really do hope it’s the revisionist history explanation, as it would be really interesting to see explored. If the truth is that the Disney villains are just good people in Twisted Wonderland 💦 it’s convenient for sticking to the status quo, but ultimately far less nuanced.

[jelloapocalypse]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What's really happening is the reverse.

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

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

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

[angrykittybarbarian]

A list of things that bother me about Dragon Age: The Veilguard Part 2

I already touched on a few things that caught my attention and personally irked me about the game. After getting through some more of it naturally a few more points have come up. Though I think they are not really new aspects but more concrete examples of what I had touched on last time.

Without further ado, let's get into it.

!Spoilers below the cut!

The dialogue is repetetive and at times contradictory

Like I already discussed last time the dialogue is bad, to express it in the simplest of terms. As I progressed through the game I stumbled upon a glaring example for what I mean.

In the questline where you infiltrate a Venatori meeting there is a part where Neve in disguise and in company of Rook and another companion gets a Venatori to admit that Elgar'nan was present but not Ghilan'nain. For some inexplicable reason Neve turns around and repeats this twice as if Rook wasn't present.

I stated in my last post that the game feels the need to state the obvious. This is what I mean. It makes the dialogue feel like a rough draft that was incorporated into the game without further polish.

As of its contradictory nature two examples come to mind.

In Harding's companion quest you meet this dwarf of Kal Sharok. His dialogue is stoic, no bullshit straight to the point and passionless. Which was fine. But after several minutes of him being that way they get to stone statue Valta who speaks in these misteryous riddles and suddenly he switches to this unserious tone of "Oh that weird statue, we never know what she's saying, ain't she funny." (I'm paraphrasing here). I was confused for half a minute because of his sudden change in attitude and left wondering what his characterization is supposed to be now: serious or quirky?

Same thing with Taash's whole story. This is especially upsetting because I feel like they could have done such great work with it.

Instead it suffers so much from several inconsistencies that I felt sorry for the VA because they actually did a great acting job.

Taash has a coming out scene with their mother where they reveal they're non-binary. Ignoring the usage of modern terms in a medieval-ish setting, the conflict about their gender makes no sense.

The writing wants you to believe Shathann is not okay with her child being non-binary but she never actually expresses such a thing. Actually Shathann sort of had an inkling that Taash was no ordinary woman ("Behaves more like a man...") and she never passed any negative judgement on it. When Taash told her this she even tried to understand by categorizing their identity into qunari vocabulary she knew (remember the term aqun-athlok?).

I get how hard it is to have an overly critical mother and the feeling of not being good enough but that was not what Shathann was about in that scene and it did Taash so dirty because they looked more like an entitled teenager than someone suffering from trauma and perfectionism.

But moving on.

Some old characters are mischaracterized

It's Scout Harding. I mean Harding.

I was really excited to have her as a companion in the new installment but they sort of butchered her character that I found myself annoyed everytime she opened her mouth.

And this is because they make her sound so immature. Really think about it. DATV somehow makes Scout Harding sound younger and more childish than she was in DAI despite the fact that she is supposed to be a whole decade older in DATV than in DAI.

I don't know what direction her VA recieved while recording but everything was pronounced so slowly and extra clear that it seemed at times that Harding was either talking to a confused elderly person or a child.

She herself uses expressions not fit for her age. The most jarring moment was when she called the Blight in D'meta's Crossing 'weird' and sounded like a teenager who has stumbled upon furry art for the first time on deviantArt. This pattern pretty much continues throughout the game. And it hurts so much.

Also Morrigan. She at least still uses her even for DA setting standards antiquated vocabulary but she is too happy and cheery and friendly.

Morrigan is not a nice person to those she does not know and like personally. But to Rook she was so nice despite having met them for the first time.

The Morrigan we have come to know love/hate should have been more snarky or at least more neutral in her demeanor.

The Venatori

I don't know why they are still a thing honestly. I was under the impression they have lost all footing after the death of Corypheus. Why would they follow the Gods of the people their country systemically abuses anyway?

Bonus: Why would the Antaam for that matter, as the qunari are so notoriously arcanophobic that they leash their mages, sew their mouths shut and literally call them "dangerous thing"?

Solas' spy network and agents

What happened to them? Where are they? Shouldn't he have a small army? Why weren't they used as the gods' agents instead of the Venatori? Surely, Elgar'nan and Ghilan'nain would have an easier time simply controlling Fen'Harels elven army after imprisoning him in the fade.

The Chantry

It is just not present. Sure there are some Chantry buildings but there is no discussion of faith. In all previous DA games the Chantry has had a constant influence that could be felt everywhere. Faith was discussed and explored from various angles and perspectives, ranging from ultra conservative to progressive. But in Veilguard it's not there.

Why are we not exploring the Tevinter Chantry more? Why doesn't Emmrich discuss the nevarran Chantry, who follows the Sunburst Throne in Orlais, in regards to the Mournwatch, their necromancy practices and magic? Why was he not affected by the mage uprising that started in Kirkwall? How does he deal with faith and the Chantry? It is simply never mentioned.

By all accounts, this game avoids delving into the world like the plague.

Part 3

[sendothetaurus]

How to write good dialogue

Almost every story needs dialogue - obvious right? Well, this post is about the not-so-obvious sides of conversations. I've struggled a LOT with snappy and realistic speech, so I've made it my mission to collect some handy directives. Here is what I found:

Contents

Information Dumps

Setup And Payoff

Characterization Through Dialogue

Three Simple Questions

Four-Sides Model

Depth

About Answers

Sources And Credits

⮮ Let's go! (^▽^) ⮯

Information Dumps

Everybody knows them, everybody hates reading them. But how do we avoid them? Something really clicked for me when I understood context. If your character talks about something that happened in the past, they don't need to explain what happened. They were there. Here's an example:

"It would be nice if we at least got a B for that paper. Since I will go to college next year, I feel that this is important to me."

The speaker and the listener should be aware of the exposition (regarding their last year at high school). During dialogue, these conditions go without saying.

Setup And Payoff

Instead of dumping everything at once, let the reader guess what's happening. This is done by mentioning something that is not answered right away. Also dropping hints can increase tension.

Scene 1 "Why do you always carry that with you?" she asked and pointed at the box cutter. Her friend eyed her with suspicion. "For cutting." "Yeah, but why?" "Might come in handy sometime." Scene 2 An ice cold shiver ran down her spine as her fingers felt around the bag, searching for the familiar shape. There was nothing. The other tossed the thing onto the floor between them. "Care to elaborate?" She couldn't have known. "How could you!"

Someone definitely has a secret here that they don't want uncovered. It makes the reader speculate: Does she carry the knife to defend herself or does she plan on hurting someone with it?

Characterization Through Dialogue

The general rule of thumb is: Show not tell. If a character is shy, self-absorbed or chaotic, make them act like it. Also, readers take part in the characterization of your protagonists. Make them guess why a character acts a certain way.

"C- can I have your pen?" She twirled her thumbs and looked at the ground. "What the hell, no!" Disgusted, he brushed off his hands on the front of his jeans. "I'mma better disinfect that."

Notice how the girl is stuttering and the boy has a loose tongue. Mannerisms help identifying traits in a character. Everyone has a distinct way to speak (e.g. relaxed, polite, malignly) which makes it easier to tell them apart. Sometimes there is a difference between speech and behavior. This can be quite useful to highlight conflict inside a character.

Three Simple Questions

Who wants what from who?

Why now?

What happens if they don't get it?

These questions ensure plot consistency. For question 3 the only other outcome is conflict. Conversations thrive off of conflict and it is of benefit to have a supplicant and potential provider for a solution. It's basically intention versus obstacle.

1. She wants to be his wife. He doesn't want a marriage. 2. She is pregnant. 3. She needs to provide for a baby all on her own.

Tadaa, a conflict ensues.

Four-Sides Model

The four-sides model is a theory on communication. It assumes that a message has four distinct ways of being conveyed:

Facts -> data, facts, truth and relevance

Self-Disclosure -> explicit and implicit information about the own mindset; likes, dislikes, opinions

Relationship -> information about whether the person is liked or detested; approval and disapproval; "I assume you have [this] opinion of me"; body language

Want -> a direct attempt to influence the behavior of another person; advice, desire or instruction

Since this is highly technical stuff, I'll provide you with an example:

Customer: "I always drink my coffee black." 1. Fact: The coffee I drink is black. 2. Self-Disclosure: I like black coffee. 3. Relationship (POV of the waiter): Did I do something wrong? OR It's their fault! They ordered the wrong thing! 4. Want: Bring me black coffee.

Controlling the message through sender and receiver gives a new level of influence to an author. The relationship-level is the bottleneck in a conversation that holds the most potential for misunderstandings. I'm trying to be aware of it when I write subtext (see below).

Depth

On the nose dialogue is what we want to avoid at all costs. For this reason subtext is created in stories. Read this:

Scene 1 A: "I like you." B: "Nah, I don't like you back. You're so annoying." A: "Ouch, that hurts. I'm not sure if I heard that right." B: "We were never friends. Go away."

This is not how conversations work. Thankfully, dialogue like this is not entirely useless. It conveys what the characters really want to say. The challenge is to think of a way to not say the thing but keep a similar meaning.

The true meaning behind the dialogue is called subtext (scene 1). If I don't know how to continue after a certain line, I write down the subtext first before I decide on how to paraphrase it.

Finally, I add a fitting description of expression and body language if needed. I try to keep it short and simple.

Check this out:

Scene 2 She tucked her hair behind her ear. "I need a ride home later. Are you free?" -> I like you. "Sorry, all seats' re taken," he said without looking at her. -> Nah, I don't like you back. You're so annoying. "Uhm, okay. But I'm small. You could fit me in the footwell, honestly." -> Ouch, that hurts. I'm not sure if I heard that right. He leaned forward as if he had the urge to stand. "Ha, funny. But no, I'm not planning on doing something illegal tonight." -> We were never friends. Go away.

A character's action depends on their own intention and the other's response. I feel it is easier to keep track of what's happening behind the curtains when it's written alongside the dialogue.

Simultaneously, you can keep habits and traits in check. Does the the character apply all criticism to themselves? Are they disregarding or constantly marginalizing others? Do they worry only for themselves or solely for others? Subtext truly is the most powerful tool in conversation-writing.

About Answers

Did you know that you don't have to answer every single question? In fact, there are two other ways to show an emotion without telling it.

The first one is called sidestepping. The character ignores the posed question and carries on with an entirely different topic.

A: "Do you still love me?" B: "We should get going."

It's very obvious, right? By sidestepping the question, we can assume that the character is uncomfortable or angry with the other person.

The other way to answer is actually a bit paradoxical. Through silence, a great variety of emotions can be displayed. It is recommended to refrain from actually describing silence with words like "he remained silent", "he refused to say anything", "he never responded".

- The laptop hummed. - The birds chirped in the trees. - She felt her legs going numb from sitting in an uncomfortable position. - His eyes wandered around, searching the parking lot for a familiar face.

It feels more natural to explain the things that grab our attention when we sit in silence.

This is it, folks. That's all I could find on the topic - for now. If there's anything missing, I'd love to hear it.

‧͙⁺˚*･༓☾ Anyway, thanks for reading, I hope this helped ☽༓･*˚⁺‧͙

My sources are this and this video as well as this article.

Also a big thank you to @zoropookie for helping me with the colors ⸜(｡˃ ᵕ ˂ )⸝♡

[guiltycorp]

Damn i really want to know tf happened in the writing room of arcane s2. Some of the downgrades were inevitable due to the show's corporate limitations (not being able to progress the class war story in a meaningful way, having to tie things back to league of legends in terms of making playable characters more appealing to well, play... rip Mel and Viktor in particular), sure. But i still feel like it's even worse than that? There are so many bad decisions that i couldn't even start listing them all... the characters, plot, pacing, themes, it's just such a mess? Even the dialogue writing, it feels much more mm Marvel at its worst i suppose. What i am most bothered by is probably just the straight up harmful messaging so um... Cycles of violence and abuse can be broken by individual decisions to become a better person! Got nothing to do with systemic oppression, living conditions, mental health issues, you can just conveniently ignore aaall the social context, live laugh love and then things get better automatically yep, oppressors famously stop oppressing you when you show them that you're harmless and won't put up a fight anymore. Literally three out of three suicidal characters dying to redeem themselves? Not even in a tragic/cathartic way but in a bittersweet 'they finally atoned for their mistakes' way? Groundbreaking lmao. Romantic relationship between Vi and Caitlyn including no communication about their biggest fight, just conveniently skipping to sex and getting back together - would have loved that if it was framed as the unhealthy fucked up thing that it is, skipping over Vi's hurt and her background to once again become a cop, her girlfriend's direct underling at that (!) due to her not having any other support systems... But nope that was our cute lesbian romance wrapped up, a good thing all around, not concerning at all. Jayce telling Viktor that what he 'always admired about him' was his disability and his deadly disease (??? from a character who spent the whole s1 and first act of s2 desperately trying to help Viktor find a cure? sure) and that those imperfections don't need fixing, just wtf truly. Magic bullshit was also weird, some implications of 'natural magic is ok, but achieving that power through other means corrupts you into a crazy robot bitch or just wilts your trees i guess', but tbh it was written in such a weird and inconsistent way that we can skip this one... Yeah actually a lot of things were just such a mess that I feel silly pointing to specific moments or lines I didn't like, I mean duh, it barely makes sense as a story at all... I am happy we have s1 which comparatively was a masterpiece, and i also really enjoyed s2 act1, i truly believed it would lead somewhere good at the time, my mind still kind of cuts off the story at that point when i think about it, that WAS the open ending of the show to me (is it possible that there were rewrites? targeting act 2 and 3? idk, wishful thinking perhaps). Despite my extremely negative feelings about this season's conclusion i remain glad that so many people appreciate the show regardless, it is clear that there was STILL a lot of love in the process of its creation (although i'd argue that even some of the visual aspects of the show suffered in quality, once again i have to wonder about behind the scenes mood of it all) and i get very upset when i see creatives online despairing over reception of their projects even when i'm absolutely in the disgruntled crowd hahaha... ...however yeah, this wasn't great In a world that increasingly grows more and more right-wing politically... we really needed something different i think.

[writerthreads]

How to write a good plot twist

By Writerthreads on Instagram

I know plot twists have been a highly debated topic recently (ahem Disney twist villains), so I've decided to make a post on writing a strong plot twist that feels natural yet shocking. Hope this helps!

Make it unexpected but expectable

Unexpected: The best plot twists shock the reader, but they should never feel random or out of the blue. If the twist feels completely disconnected from everything that came before, it can seem like the author is forcing it for the shock value. To make it unexpected, you could lead characters down one path, only to reveal later that things are not as they seemed. However, try to avoid a twist that feels like a deus ex machina, where a sudden, unearned event resolves everything.

Inevitable: While the twist needs to be surprising, it also must feel like it was always meant to happen. This means leaving enough clues or subtle foreshadowing that when the twist is revealed, readers can look back and say, “ah, that makes sense.”

Keep characters consistent

Twists that involve characters acting out of character are incredibly frustrating. Even in a surprising twist, characters should behave aligned with their established personalities, motivations, and goals. A twist shouldn't have a character suddenly acting against everything the reader knows about them unless there’s a reason, like a hidden motive.

Think about your characters' desires, flaws, and inner conflicts, and use them to drive the twist. For example, a twist where a seemingly loyal friend betrays the protagonist should stem from a believable motivation that has been hinted at throughout the story.

Foreshadow, not broadcast

The best twists are hinted at, but subtly. Readers should be able to piece things together in hindsight, but not predict the twist well before it happens. It's easy to explain but hard to do successfully!

To make this work, use small, seemingly insignificant details that later take on new meaning. These could be lines of dialogue, symbolic objects, or minor events that have a deeper purpose. However, be careful not to overdo it. If the clues are too heavy, readers may guess the twist early.

Subvert expectations

A twist should challenge what readers believe about the story or characters. Playing with readers’ assumptions is a powerful tool. Lead them to expect one outcome, then deliver something entirely different, yet believable.

Consider what tropes or narrative expectations you’re working with, and how you can flip them. If readers expect a traditional happy ending, throw a wrench into it. If they’re expecting the villain to be defeated, reveal that the protagonist is actually aligned with them, or the villain wins (temporarily or permanently!).

Without spoilers, a good example would be Gone Girl!

Heighten the emotional impact

A plot twist should have emotional weight and alter the stakes of the story. The emotional response from your readers��whether it’s shock, sadness, or even excitement—depends on how well you’ve developed your characters and story. If the twist doesn’t change anything meaningful or deepen the conflict, it may feel flat or pointless. The twist should add emotional layers, making the story richer, not just surprising.

Time it right

When you deliver a twist is crucial to its impact. If it’s too late, you risk leaving too much time for the plot to lose momentum afterward. Conversely, if it's too early, and it can feel rushed or not fully explored.

A twist can come in the middle, shaking up the entire plot (e.g., changing who the villain is or shifting the main goal), or closer to the end, forcing the reader to reinterpret everything. However, leave time for the characters to respond to the twist so it doesn’t feel unresolved.

Don't overdo them

Too many twists in a single story can exhaust your readers and undermine the narrative. If your plot is constantly shifting directions with twist after twist, readers may feel like they can’t trust the narrative at all, which could work well if done purposefully, but otherwise might make the readers get tired and stop reading.

Test it out

Getting feedback from beta readers can help you fine-tune the twist and ensure it lands as you intend.

Some questions to ask: Did they see the twist coming? Did it feel believable? Did it enhance the story or feel forced?

Their reactions can help you adjust the twist until it becomes a masterpiece!

Hopefully these tips help you with your writing! Do you have a favourite plot twist in literature or movies/ TV shows? Let us know in the comments :)

[moodcrab]

Fixing Delphine

This bitch.

I actually like that they made a character that is on your side but is somewhat unlikable, Delphine is Team Dragonborn, but she's not really one of the good guys. And that's cool, conflict means drama. So what's the problem? Well unfortunately, this drama is surface level and isn't used to drive the story, so It's kind of just annoying.

People oversimplify their hatred of Delphine into "She wants you to kill Paarthurnax," because unlike Delphine, people actually like Paarthurnax. Understandable, but barely scratches the surface. We'll get to The Paarthurnax Dilemma in time, but that quest is a symptom, not the illness itself.

If I could sum up Delphine in a word it would be "inconsistent." For example, she's a fugitive waging a one woman war on the Thalmor from the shadows, who's only survived this long from sheer paranoia - but she also uses her real name and leaves a note in Ustengrav for whoever happens to pick it up with directions and a pass word to her secret hide out.

She needs to go through her super secret contact Farengar to use the Jarl's resources to go into Bleak Falls Barrow, a tutorial level dungeon she can see from her house, and she's impressed that you did it - but she also goes personally to the other side of the country to delve alone into the massive Ustengrav to steal the Horn of Jurgan Windcaller, no issues, just a quick in and out twenty minute adventure.

She takes the fact that you found her Ustengrav note as proof you're the Greybeard's new guy and not some Thalmor plant even though she herself, a non Dragonborn, had also completed Ustengrav and taken the horn proving it's totally possible. She even points this out in her own dialogue then demands we prove who we are, even though that was the whole point of the Ustengrav note. It's also a pretty big assumption that just because I'm the guy the Greybeards call Dragonborn that I can't ALSO be with the Thalmor.

We are left with this awkward sense that the writers are flailing to make us think this woman is competent and objective, without actually having her do anything that clever. Just act like the dumb thing was smart and have her act like a cocky brat if questioned about it.

Inconsistency. It's her thing. Does she hate the Thalmor? That would make sense given what we know about her. But that gets dropped half way through the main story and suddenly she hates The Greybeards, for absolutely no reason at all. She gives a reason, but it's bullshit.

In her own words, "If the greybeards had their way, the dragonborn would sit on a mountain talking to the sky." But that's not true is it. We know The Greybeards, they encouraged us to fulfill our destiny. Even if you say you want to follow their Way of the Voice, they'll be glad to hear it but warn you not to let it get in the way of what needs to be done. Delphine even uses Tiber Septim as an example, which is even stupider because The Greybeards actively encouraged Tiber to conquer Tamriel. Have I read more in game books than the dialogue writers??

But that's not the end of it, when it becomes convenient for the plot this hatred is flipped once again from The Greybeards onto dragons. Not Alduin. All dragons. Despite the fact that, as a Blade, she should know about Nafaalilargus, a dragon ally of the Empire and the Blades for thousands of years, and the Blades don't just indiscriminately kill all dragons no matter the circumstances, and that Tiber Septim himself almost certainly met Paarthurnax at some point, she suddenly seems to be acting like she has a personal grudge against dragons. Which brings us to the Paarthurnax Dilemma...

See here's the thing, you could easily write off the frustration everyone feels towards this quest as Bethesda's crappy design, where there is no conclusion other than to kill Paarthurnax, or else leave an unfinished quest languishing in the menu. Bethesda apparently didn't consider the idea that anybody would actually prefer to turn on the Blades, even though the Blades have become a bit of a running joke among the fans, or that anyone would take umbrage with Delphine giving out orders and ultimatums.

But no, it's so much worse than that. Delphine being a surly unlikable c u n t from the day we met her is one thing, but the fact that she has been wrong about almost everything she's ever said in game, and still having the AUDACITY to treat us like her work bitch and us never, not once, getting the opportunity to put her in her place... That's not poor quest design, that's the game gaslighting us.

Let's do a quick list of every one of Delphine's theories, and how many were actually correct shall we:

You are not the Dragonborn ❌

The Greybeards shouldn't be trusted to identify a Dragonborn ❌

The dragons aren't just coming back, they're coming back to life ✅

The Thalmor have something to do with the dragons returning ❌

Esbern is dead ❌

The Greybeards just want the Dragonborn to sit on a mountain and meditate ❌

The Greybeards wanted Tiber Septim to just sit on a mountain and meditate ❌

Paarthurnax, having lived in exile for thousands of years, deserves corporal punishment ❌

As ACTING Grand Master of the Blades, she gets to boss around the Dragonborn ❌

She deserves a seat at the peace negotiations ❌

And these are just the things that are factually wrong, leaving aside opinions on her morality and shitty attitude. This is the woman the game presents to us as a shrewd strategist.

BUT I CAN FIX HER!

Like I said I like the idea of a character who is on your side but is somewhat unlikable. It actually won't take much to make Delphine endearing to the fans. We have to do a Boromir on her. A Lot of people dislike Boromir throughout the Fellowship of the Ring but weep at his death. We have to tweak three things to have the same thing happen to Delphine:

1. Make her actually competent and useful so that while we don't agree with her we can see why she does the things she does, and desire to keep her around.

2. Have her mistakes called out and have consequences.

3. Have her redeem her mistakes with a badass honourable death.

[archivedblog16]

To HB credit, Brandon did the bulk of the writing for s1 and established that these characters are friends or at least chummy with each other. Than s2 happened and it’s been the stolas cry baby show ft fizz.

In HH none of the characters moments are earned. They all just sit (I swear to god there’s more time of them sitting and doing nothing than there is of them actually doing something) react to shit happening around them or wait for the story to happen. I don’t get friendship strangers who are forced to live with a coddled sheltered rich woman and her codependent gf. Angel and Cherri are established as “friends” but all Cherri did was call Angel a nerd for not taking drugs and caring too much for nifty. Didn’t do shit when valentino was hitting Angel. Husk is just there to guilt trip Angel for taking drug and being promiscuous, sir p gets shitted on by all these assholes I legit got mad when they cried and acted like they cared. (Fuck all of you, you didn’t treat sir p with respect) nifty is also just there to be funny, I guess. She didn’t make me laugh she got annoying real quick. Alastor is the worst fucking character, I don’t wanna get into a rant about him but he sucks so fuckimg hard. Angel is ok, would’ve been nicer if we saw him actually progress and if his “friends” cared he was getting SA’d on a daily basis but they don’t care, if they did we would get more poison mv. Vaggie exist to serve Charlie, which sucks because she had so much potential but she’s a nothing burger and Charlie is just a selfish brat who cries till people give her what she wants and tells her she’s great when she isn’t

Yeah, during season 1 Brandon carried in more ways than one especially guiding Vivziepop. Vivziepop admittedly has her moments in season 1 where she can read the room. Honestly, in retrospect for Helluva Boss season 1 and 2 regarding the IMP gang I see them being more chummy/tolerating each other than being friends.

They had their moments I will admit but most of the questionable stuff they do each other feels more out weighed than the good. Luciferanalyzestar and Tooningin say it best:

If Stolas and by extension Stoliz drama wasn’t hogging all the screen time, IMP could’ve been something more. As for Hazbin Hotel they can pretend all they want how close and how they care for each other but their actions and dialogue say otherwise. In the pilot and addict while Cherri was a bad influence in a different way, she had a heart of gold, and cared for Angel. Now in the show, she is shallow.

I guess Cherri Bomb is a nerd by her logic for caring about Angel Dust and trying to take care of him in Addict. Yeah, Angel Dust’s arc is super rushed and don’t get me started on the timeline of it, it’s extremely janky the more you think about it. The aftermath scene of Valentino and Angel Dust in episode 6 was crazy. Cherri and Husk didn’t even help, they just stood there then once Angel Dust walks away from Valentino, now these chumps want to do something and do the bare minimum by congratulating him.

If Angel Dust’s arc is rushed, then Sir Pentious is a background character. Not only was his character development nonexistent but no one attempted to helped him or even try to wonder where he was. They just forgot about him. The most tonal whiplash, Vivziepop love her cake and want to eat it too. Haha, Anons never change it’s so funny when y’all drag Charlie.

With Vaggie there is so much you can do with her character and story wise, it’s not even funny. She’s not even my favorite yet I can think of so much. If Vivziepop and writers are going to go with the direction like purposefully have be Charlie’s bootlicker only for her to realize she’s been following orders her own life then slowly does things outside of Charlie. Then Yeah, I would love that. I really hope isn’t completely static.

Series Alastor will always be a loser bum, but the fans will eat it up. I wouldn’t mind listening to some Alastor slander. 😗

[nondelphic]

nondelphic writing tips: unconventional (but super fun!) ways to work on your story when you’re not writing

hi lovelies! (｡♥‿♥｡) time for another serious post!!

i'd like to share some of my fav unconventional, but super fun, ways to deepen your plot, characters, and world-building on those off-days when you're not actively writing. because let's be real, sometimes the most creative breakthroughs happen when you’re not staring at the blank page! (ﾉ◕ヮ◕)ﾉ*:･ﾟ

♡ incorrect quotes for characters

okay, this one is my absolute favourite!! even when i'm not writing, i love coming up with totally out-of-context or incorrect quotes for my characters (think “they would say this” energy). they don’t even have to be lines you use in the story, just little snippets of dialogue that fit their personality and vibe! it’s such a fun way to get to know your characters better and explore their quirks.

bonus: it’s also super entertaining when you assign hilarious, offbeat quotes to your more serious characters (≧◡≦). trust me, it works!

♡ acting out dialogue

confession time: i suck at acting but i love to act out my character’s dialogue to myself (ಥ‿ಥ). yes i do have a problem with daydreaming BUT walking around my room and speaking the lines really helps me figure out if they sound natural and realistic! if it feels awkward to say out loud, it might need tweaking. plus, it’s a great way to channel your inner actor for a little while (〃＾▽＾〃).

♡ using ai to brainstorm ideas

i love using ai tools as a sounding board to help with world-building decisions! like if i’m stuck between two options for how something should work in my world (magic system, politics, etc.), i’ll type it into an ai and ask, “what would be more realistic, option a or b?” ai can give you that nudge in the right direction and spark ideas you didn’t think of! it’s like brainstorming with a friend, but faster (￣▽￣)ノ

i have another post on using ai responsibly for writing here !!

♡ character playlists and mood boards

this one is so fun for those “off” days when you’re not writing! create playlists or mood boards for your characters or setting. find songs that capture their personality, struggles, or even the overall tone of your world. or scroll through pinterest and make a visual mood board that reflects the vibe of your world. it’s super immersive and helps you build your story’s atmosphere without writing a single word! ♫(◕‿◕)

♡ role-playing conversations between characters

this is one i like to do when i’m really feeling stuck. it's similar to acting out dialogue but rather than focusing on how realistic it sounds, it's about the characters themselves. i’ll imagine my characters just… hanging out and chatting. not even plot-related stuff, just normal conversations they’d have in their everyday lives. how would they talk to each other when they’re relaxed, annoyed, or excited? it’s such a fun way to build chemistry and relationships between your characters! (*≧ω≦)

♡ build “what if” scenarios

sometimes, i’ll brainstorm totally unrealistic “what if” situations just to see how my characters react! what if they were stuck in a completely ridiculous situation? how would they handle it? even if these scenes never make it into the story, they give me so much insight into how my characters think and behave. plus, it’s ridiculously fun (≧◡≦).

the key to all of this is to keep it light, fun, and creative on days when you’re not in the mood to do “serious” writing. storytelling isn’t just about the words you put on the page—it’s about the world, the people, and the relationships you’re building. so don’t be afraid to play around with it in unconventional ways. ♡＼(￣▽￣)／

happy writing (and daydreaming)!

[imageingrunge]

A needlessly thorough review of DATV so I can move on with my life:

WHAT I LIKED:

The story pacing flows better without all that open world slog from DAI I am not bombarded by 50 side quests that have no baring on anything other than rp flavor

The game is pretty, CC is nice

They gave you far more opportunities to flesh out your Rook's background than in DAI and da2 but it's not as fun has having a mini origin story from DAO

no fall damage and if u run out of a combat zone ur companions follow u too

Hossberg wetlands really remind me of dragon age awakenings and I like the way the blight looks there, it gave me a nice nostalgic feeling for the older games

WHAT I DID NOT LIKE (IN DETAIL)

Voice Acting & Dialogue

It is really hard to be invested in a game that feels the need to recap everything you just experienced from 5 minutes ago, (verging on insulting my intelligence) and the silliest part is while i do hate this I got so checked out after act 2 I needed the recap 

A lot of the dialogue and banter is just empty small talk and meaningless pleasantries that sucked the life out of me, had me longing for the days of hearing Ohgren's beer belches reverberate off the walls in the deep roads:

 Voice acting is really consistent, I hated it when you never knew how your inquisitor would sound in DAI sometimes too serious for a funny comment or like yelling at Cassandra and cullen over nothing - Rook is more consistent but it comes at a loss of personality every line is uttered in the same annoying tone that had me being like damn can he stfu already (da2 was ideal voice acting for me if they cant deliver that again just go back to a voiceless protagonist)

Me whenever my rook opened his mouth: i was getting violent on that skip button

The dialogue between rook and their companions holds it back from being enjoyable at all really- here's some examples:

Emmerich's personal quest in act 2: "I want to do this immortality rite it's a very high honor in my order but rook I might die in the process permanently, I am an orphan and afraid of dying" Rook: "You could die?!?! That's awful". In Origins you can have a conversation with Wynn about her inevitable death and respond in a manner similar to rook and Wynn teases you by saying "well i'm not going to live for ever dear" it made me smile and sad about not being able to really help her. Did not feel that way Emmerich though, Im so uninterested in him as a character my response and feelings are "old people die all the time" and then 'wait why the fuck haven't you done this immortality ritual yet instead dragging me over here to collect some flowers"

Companions & Romance

the flirt options aren't all that flirty, its just rook being nice, all the romance content seems behind a 'romance locked in' moment (that comes in so late in the game u already forgot who u were even flirting with at times) so you can't hop ur way from one bed to another before deciding on 'the forever one' (remember when I could ride the iron bull then break up and be with Cullen- I don't think that’s an option here)

The companions are all pretty forgettable, I did everyone's personal quest (with the exception of Taash tried to kill a dragon for them n failed so bad i just moved on) and forgot there was even an approval system with them or that I was supposed to pick choices for them. It felt like i was on a train going in one direction where it did not matter what I said or did to them they would be fine. It’s like I've lost and gained nothing by doing these quests. The deepest thing I learned about Emmerich is that he is a 50 yr old orphan scared of dying. And it makes me not care all that much about them beyond “I just need you to function enough to get me to the end of the game sure Taash embrace being Rivaini, yes Harding live peacefully w that Titan shit inside you idc… Lucanis..ahh what was ur issue again I forget”

I made Lucanis live peacefully with Spite (stuck as an abomination that's supposed to be as volatile as Anders & Justice) Let Emmerich become a lich and no one batted an eye. Everyone just heehee haw hawing over Emmerich's new skeleton form and I forget about spite a lot unless he comments on something i've killed. Was there supposed to be some moral quandary? to make Emmerich a lich I had to "kill off" Manfred... the walking skeleton who might as well have been a rock with a pair of googly eyes attached to him for all i care

I don’t want to help Bellara light funeral pyres in a puzzle game play style that isnt a deep message about death. I want Aveline's speech about reading her favorite book to her dying father after hawke lost thier mother.

For Neve's romance, it took the whole world falling part and everyone dying for her to kiss me for a 2 time and then pity fuck me and afterword she’s like I’m leaving don’t want to be too distracting. All these lines carry no weight like bad actors w no chemistry

jaw on the floor comparing this (first time I said "i love you" to neve)

to the first time I said it to cullen and how he treats u before the big battle

I get that she isn't lovey dovey but at 70 hrs in and 2 kisses it feels like she just dont love me </3

Combat - as a spellblade mage*

combat was this weird mix of sometimes fun sometimes a new and unique form of human torture (wydm press shift 4 times n hold down e then press V C and 2 IM ON A KEYBOARD!) Once u make it past level 20 u are immortal but ur enemies are sponges I dreaded every single dragon fight despite that being my favorite thing to do in DAI. Don't ever want to see another Ogre in my life they body me into corners that hitting space can't save me from.

At some point u just gotta run around the place a lot hoping ur companions can do the damage for you bc the mobs aren’t interested in them at all. i was spamming 2 n slamming on that E key hopping it would be over n done with already, If i wanted to play a flashy monster hunter game, well then id play tw3 at least that combat is fun.

Lore & Story building

At the end of Trespasser, I was under the impression that the conflict in DATV would revolve around solas amassing an army of elves all over Thedas to rebel against the Evanuris. He had a whole network of Spies working against the Inquisition and the Antaam, and planned to restore the elven people, upend their religious views, and try to tear down the veil as a way of atonement. So I was understanding of there only being 3 import choices ( 1- who you romanced, 2- Save or redeem Solas 3- Disband or Keep inquisition). But that's not the story we get; instead its this??

The veil jumpers are like engineering mages with no ties to Solas beyond being an elves. There is no religious struggle they just seem to accept that these Gods have always been evil and need to be stopped. Solas is just a one man army trapped in the fade off screen for like 70% of the game. Should I have just kept the inquisition around after all? The only mention I got was my disbanded inquisition choice was inky going "my name still carries weight in southern thedas" and it seemed like disbanding or keeping it would have an affect on how easy or hard it would be to stop Solas but no it really doesn't at all

“It doesn’t feel like a Dragon Age game”

A criticism I rarely take seriously because that can mean so many different things? Like what is it the atmosphere? The aesthetics? The “dArK fAnTasy” none of these things have ever stayed consistent in any dragon age game. And I’d say DA franchise lost its teeth/edge when dai rolled around it was pretty light in the world of dark fantasy

However…theyre kinda right this time around....

It doesn’t feel like a dragon age game because they removed a lot of the lore your were exposed to in the previous games to the point where this might as well be another game all together. (i am not even a lore nerd but i do need something there to feel like i am in a dragon age game)

Yes the city is named Minrathos you were are told of its cultural significance and history as the seat of the empire but looks like a shittier version of kirkwall (and I kept getting lost going around the map so I hated it even more for wasting my time) Honestly the city felt super high tech and out of place in a fantasy setting imo, I missed it when everyone lived in a wooden hovel in the middle of the woods.

There is no reason for the venatori to follow Elgarnan and ghilian'nan or for the Qunari either but it all gets hand waved away with "they offered us power"

Reading the Inquisitors letters made me feel like im in a spinoff game and the real story is happening somewhere else. And sad to like baby take me with you!! i want to save u from this nightmare

A lot of the factions are sanitized to the point of being boring Darvin's little 'we're warden we don't do blood magic that's just not right" baby I let the wardens sacrifice elves to Corphyeus 3 weeks ago :/

Qunari Culture

So the whole reason you were fighting the Antaam in DAI was because they believed you were in cahoots with Solas, who's whole plan to them is to sow chaos and disorder- that is a HUGE no no in the Qun so they see it as their sacred duty to stop you. The Qunari we meet in DATV mindless npc mooks who attack you not because your with Solas but because the Evil elven gos promised them uhh power n shit for stopping you. Like I know I did not just waste my time in DAI reading about how egalitarian the Qun is everyone is like a Hive, they depend on each other so selfishness is rooted out so wtf was going on in Treviso with these guys. A whole culture decimated down to being darkspawn mobs part 2

What made me never want to play another DA game ever again:

Everything you ever did in Orlais, Ferelden, Kirkwall is pointless. No matter what the last letter from the Inquistor is "yeah the blight reached the south Denerim is gone, ferelden is blighted beyond repair, we took back Skyhold but barely. The Venatori disposed of whoever you put in charge of Orlais and there's giant leviathans rising out the sea in Ostwick"  There is no conclusion to this it's just the state of the world now

I cant even pretend my non solas romanced Inky is happy and safe after all this? My hof and Alistar might as well be dead for all that it ever mattered. I get that the devs wanted a clean slate but did they have to burn my house down and salt the fields? It feels so spiteful and mean, like they wanted to make a whole separate game and tack on the "dragon age" title to it for money. If they're not interested in the lore or world building why should I? it made me fully checked out of the rest of the story. Like damn idgaf about elgar'nan and the other one give me back Redcliff

TLDR I dont know if i should be sad that I still care about this or glad its over either way im blocking all datv tags n moving on

[mysterycitrus]

i know you've been talking about jason lately so i'll ask about smth different... robin jason (sorry)

idk idk lately i've been wanting to take a peek at his robin comics for the sake of writing fic (ofc...) but i'd like to hear what u think before that, a summary of sorts if u may (i also wanna contrast what u say with what i get out of it so yeah)

i feel like his robin days are so muddled by his identity as red hood later on, and even before that it was his death. u had people constantly blaming jason for dying in text (or else they'd have to admit bruce can make mistakes and everyone in dc is allergic to doing that) and painting him like someone reckless and violent (classist editorial u need to DIE), and then people in fanon painting him like a sweet fella who would do nothing wrong and as well as being bruce's Only Actual Son etc etc for the sake of making the situation around him all the more sadder (yeah yeah pathetic meow meow we've all seen it)

and i'm just curious bc i rlly wonder what the actual comics say about him, most likely something in the middle of this? exams are killing me but my god i'll come back to life after im done just to read jason robin's days... have a good day !!!

the difficulty with reading about jason as robin is that there are three primary periods that all differ fairly dramatically from each other — pre-crisis jason todd is a strawberry blond acrobat who’s almost adopted by dick grayson before becoming robin; post-crisis jason todd is a kid from crime alley who steals the wheels off the batmobile before becoming robin; and post-crisis, post-utrh jason todd is a very angry, very violent kid who becomes a cautionary tale after he gets himself killed (something he is often blamed for).

we can walk the line here. pre-crisis jason isn’t particularly relevant because so much of robin!jason’s stories depend on his reinvention after the reboot. all the crucial factors leading up to death in the family — growing up in the alley, both his mothers, his relationship with the robin mantle, his developing relationship with dick grayson, his slow schism from bruce, his relative isolation from other superheroes — are all crucial to who he is, especially after his death.

fanon about jason is annoying because there are valid criticisms that can be made about how he’s written with regressive, classist stereotypes, but as always it pivots way too far in one direction. jason wasn’t the “happy” or “angry” robin in the same way that dick wasn’t the happy or angry robin — they’re both characters that possess more than a single emotion. it’s true that jason was later written to be more explicitly violent (to contrast him with dick) but also like… they’re both pretty similar characters that differ in interesting ways. dick created robin to be a symbol of hope and joy. jason carried that on when he took up the mantle. they can both be angry at stuff without the world falling apart. it’s not that serious.

the dialogue about dick being a child soldier but jason being the true son makes me want to tear my hair out. jason became robin because bruce missed dick and was afraid of being alone. they’re both his gd kids. acting as though bruce wayne doesn’t love dick grayson so much that extra-dimensional beings can clock it is so fucking stupid. it once again ties into fanon’s obsession with each character only getting to be “one” thing. tim is smart, which means he’s the smartest. jason said robin made him magic, which means he’s happy all the time. dick chased after zucco in a grief spiral, which means he’s the violently angry one, with no other character traits. dick can’t have been nice to jason because he’s nice to tim, etc. seems a little silly, no?

i think i’ve only read jason’s brief run as robin once, though ive gone through a death in the family + a lonely place of dying a bunch of times, so ig my advice for reading him is to keep in mind the context in which he was created. dc comics was reeling from losing dick grayson as robin, and were really throwing anything at the wall to get something to stick. many, many negative tropes are baked into his introduction, and thanks to writers like jeph loeb and scott lobdell they have compounded over time. jason’s updated backstory is, with actual critical intent by the writer, a really good examination of how poverty and class will affect how someone views the world. his death was not his fault — and removing sheila haywood from that warehouse purposely makes his story less tragic. he was a good kid! and he was angry for a good reason. if jason had lived, i believe he would’ve carried on the robin tradition and left bruce behind once their differences became insurmountable.

[eisforeidolon]

Question: I want to know what was your most favorite unscripted scene or your least favorite scripted scene or moment?

Jared: Oh wow. Great question. I'm thinking about a moment where -

Jensen: Wait, let me guess - I punched you?

Jared: Yep, where Sam gets possessed by the Meg demon and finally gets exorcised, but he had been like, kinda torturing Dean? And so Dean reaches over, after Sam is back to Sam, like 'What happened?' and just punches him? That was in season two, Jesus.

Jensen: That wasn't scripted.

Jared: That wasn't scripted. There's so much that wasn't necessarily scripted, you know? Certain moments - one of my least favorite things, maybe my least favorite thing that any writer can put into a script? Is like, Dean cries, Sam breaks down, Dean tears up, Sam and you know, whatever, do this. 'Cause there were so many, if you were to go through all of the scenes of Supernatural, which there are many? And then watch the episodes, rarely was there a sequence where it was like they get emotional where we did and there was so many where they don't even mention that we get emotional, but you just feel it. You're just there and you're like - I hate it where it's like, this is where I'm supposed to cry [derisive noise]. 'Cause sometimes you don't even know, you'll go through a scene and you'll go, like, oh shit, like, that's hittin' deep. And it's not because it's scripted. So offhand, God -

Jensen: I think there's a lot of moments, especially some of the emotional moments. One comes to mind, which is the barn scene -

Audience: Which one?

Jensen: [slightly incredulous tone] Which one?

Jared: The most recent one.

Jensen: Yeah.

Jared: Genius.

Jensen: Where I'd be interested to go back and look - and I can't remember if - maybe they didn't use it, go back and read that scene on the script and see how word for word it was on the performance. Because I feel like there were takes where I know I would maybe repeat myself, or I would say some things that I thought were, you know, dove into the emotion even more. And it wasn't something I'd planned, it's just like - felt it, you just feel something and if - when you've worked with somebody for so long, and you're so comfortable with the character, and you know the story so well, you can be available for those things to hit and you can act on them, and you can say those words, and you can say something that just makes it feel more real. And I feel like we did that in that scene, there was some dialogue that maybe was added -

Jared: It's a lot. I know, yeah.

Jensen: or massaged, or you know.

Jared: I don't know if it was ever added to a revision, or if we just did it, but the callback of, like, I can't do this alone, yes you can, well I don't want to? It's the exact same words that Dean said to Sam and vice versa. So there was stuff that wasn't scripted initially - and that goes back to an earlier question, about if there's stuff like Jensen do whatever you want. Like the feeling of that scene was like, here guys, we know this intense -

Jensen: Here's the template.

Jared: here's the template, make it y'all's. Like, y'all know Sam and Dean more than anybody ever will, you make it yours. And so he and I had a couple months because then COVID happened, the pandemic, and so we made it ours. It was so hard to rehearse that scene.

Jensen: Well, even the - like it was scripted where I was on the ground. [Jared: Yeah.] And Jared comes up and kind of cradles me and I'm, you know, like, effectively dying in his arms.

Jared: Which would have been so long to try and carry your ass.

Jensen: And I just felt really strongly, and I've told this story before, and I went to Bob Singer, who directed that episode, I went to him a couple days prior just thinking about that scene, because it was a monster, and it was looming. And I just - it didn't feel right, to die laying down. And I said, hey, is there any way - because they were still building the set - I was like, is there any way, can we figure out a way for me to die on my feet? And Bob was like, [curmudgeonly voice] how the hell are you gonna do that? Who dies on their feet? And I'm like, Dean Winchester dies on his feet. And he made it work brilliantly, because he came, I think he came up with the idea that the impalement was so severe that if you removed it - and then we had to add that dialogue in, so it made me stay there on my feet and I think it was just such a much more powerful visual, to see these two brothers face to face in that moment. And so, you know, that was certainly one big thing that was totally unscripted that I fought for and I'm really happy I did, because -

Jared: Hell yes.

Jensen: I think it just made that scene that much more powerful.

Jared: Also I'm grinning to myself because I've watched a lot of the 15x20 reaction videos, the finale? And there's some really savvy tv viewers out there who've seen a lot of different television shows, a lot of different episodes of them. And you'll watch some and they'll be like, 'Oh, yeah, oh Sam's takin' on the big guy, oh yeah take that blah blah blah!' And then when Dean goes to the post and then runs out where it shows, they'll be like, 'Yeah - oh no. Oh c'mon now, no no no, they just showed that for too long - Oh shit! And then, like, turn it off because I'm crying.

Jensen: I still love the fact that the stunt guy, who is awesome, he's like ex-military, giant, one of the biggest guys we've ever had on our show, his name was Heidi. And he killed Dean Winchester [laughs]. But he's an awesome guy and in fact I was just in Vancouver and working with Jesse and Jesse and Heidi are like super close buds now, so it was good to kinda reminisce with those guys a little bit.

[trekmupf]

Shakespeare & Eugenics in Space

Pro

Kirk backstory, and Kirks way of dealing with his trauma (immediate denial in front of others and putting up a wall, then researching and dealing in private – and later on with Spock and McCoy). Opposed to how both Riley and Leighton react

Kirk seducing a woman not for pleasure but for a secret cause / using his charm and sexuality to manipulate someone.

Unlike in the other cases of this happening he's the one being played by Lenore who is pretending to fall for him to murder him, which is a twist great

Spock immediately noticing something is up with Kirk

Spock then going to McCoy for help and support, twice! Great further development of all sides of the trio in this episode

McCoy's beautiful eyeliner is giving me happy chemicals

So many Spock and McCoy interactions

“And Please, Mr. Spock, if you won't join me, don't disapprove of me”is a line straight from fanficition

Spock correctly predicting how Riley will feel about being demoted for no reason - trying to look out for the crew and always questioning Kirk

Uhura playing for Riley who is lonely → further crew dynamics

The entire confrontation scene between Kirk, Spock and McCoy is great – it starts on a professional basis, Kirk being angry and defensive, and even though McCoy doesn't share Spock's suspicions to that degree he backs him up. Spock then turning the conversation on a personal level – it's not just about ships business, it's about Kirk possibly dying. Kirk then relenting and talking with his two friends about his feelings and the situation. Spock being Kirk's logic and information and McCoy ethics and morals

Great character work for Kirk who is aware of his responsibility, the small line separating vengeance and justice and his own morals

Kirk trying to wait to confirm his suspicions but then throwing caution to the wind and approaching Kodos when he realizes it's not just his life on the line after the murder attempt that would've cost many lives

Lenore rightly calling out Kirk at the end for using people as tools

The Kirk / Kodos confrontation is one of the best character scenes in TOS. The acting is perfect, the dialogue and emotion heavy and direct. The conflicting emotions of a mass murderer and Kirk having to deal with the emotions of confronting the man who directly traumatized him.

Kirk being able to talk down Riley with words instead of force

Kodos realizing what is daughter did making his character even better

set and costume design , fitting music

the whole play within the show thing with its stage & acting

the way the audience gets Kirk's backstory over the course of the episode along with Spock and can gather further understanding of Kirks reactions

the plot mirroring a classic Shakespeare play itself

differs from the other episodes in a nice way- very human and story driven; also murder mystery vibes and film techniques

the tension still holds up despite no real action scenes – first though the mystery of how this man is connected to Kirks past, then the ongoing mystery as well as the threat to Kirks life

Con

McCoy being careless about Riley overhearing him

Although I did like her acting, I think they should've commited to making her insane persona come out gradually / less extreme before the death of her father or play it straight and have her go insane after the death; this felt a bit rushed / sudden

Counter: Kirk fake womanizer

Quote

"Captain Kirk, who are you to say no harm was done?" - Lenore "Who do i have to be?" - Kirk

"What if you decide that he is Kodos? What then? Do you play God, carry his head through the corridors in triumph? That won't bring back the dead, Jim" - McCoy "No. But they may rest easier" - Kirk

Moment: Confrontation Kirk and Kodos - tense, well written and played

Summary: Underrated episode that even though it lacks classical sci-fi elements and action scenes introduces important backstory information for Kirk and gives further insight into his character and morals as well as his relationships with Spock and McCoy while also giving further development between those two. The acting is brilliant, especially Shatner and Arnold Moss, and the tension of the story holds up from the beginning until the end. Previous Episode - Next Episode - All TOS Reviews

[silviakundera]

Does it feel like they're trying to redeem the dickless bore? idk if he's doing a con on her or they're showing he has real feelings for her wasn't the novel different?

One thing I'm really noticing in the Princess Royal (Grand Princess) adaption is that they will 'play it straight' with characters like Su Rongqing and the Emperor: giving the character similar dialogue and facial expressions as they would have in the novel -- except without PWX or LR's internal dialogue of 🙄 why u lying???

🙄 lol ok sure

😒 oh i see, back on your bullshit again

😤 the AUDACITY

😬 oh shit oh shit danger BE COOL

The consequence is that if you take everything at face value, the Emperor seems like a reasonable guy and not up for The Absolute Worst Dad award. Under the surface, the novel reader knows he is acting out a play and coldly calculating every interaction with Li Rong, the Crown Prince, and Consort Ruo. Every single scene with him, Li Rong is in peril and she knows it. She's pretending to be his sweet, obedient 19 year old daughter who believes in him and is following Pei Wenxuan's direction and acting as a puppet, making moves that he has already approved PWX to make. The Emperor's pretending that this play isn't supposed to end with LR and the Crown Prince taken down & the power transferred into Consort Ruo and the other prince's hands.

The viewer can just interpret all the words coming out of a character's mouth as facts & just believe everything they claim about their motives/real agenda as true. Or they recall the implied horrorshow of Life 1 and view all of these interactions with a cynical eye, questioning what else could be under the surface.

With SRQ, that guy is so fucking complicated. I think actually he's portrayed in character. Nothing we have seen isn't .... him. At least so far, as of ep 19 he aligns with the novel.

But 3 different factors: A) The music is romantizing him; B) The audience is given a couple internal-thought voice overs from him, which other antagonists don't get; C) With those voice-overs, the screenwriter has chosen to affirm his love for his brother and LR way earlier than the reader has it confirmed in the novel (where he is intentionally kept a total mystery for far longer, while the reader is the math lady meme, trying to piece together clues to figure him out).

And ultimately, when in SRQ's PoV in the drama, we have to deal with him being the hero of his own story. He is absolutely sincere about himself and, as has been revealed, in his own way he's sincere about wanting LR and his brother to have a good life this time around.

So does that mean the writer intends to do a swerve in the narrative arc and redeem him in the end? It's totally possible. Maybe?

However, not necessarily.

#1 There is a certain refrain from many of the great cnovel/drama villians: I had no choice! You all forced me to this!

We saw it from Shen Yurong in The Double, we saw it from Meng Yao/JGY in The Untamed, and in the novel (and I presume in the drama), we're gonna see it from Su Rongqing.

And it's the reason why they become villians who can't be saved. Because so many people suffer in life or experience unfairness. But they don't turn around and use this as an excuse to enact horrible cruelties on others.

Out of the billions of people in the world, few have no problems but so many of them actively chose to do good, or are willing at least to turn back and be better.

#2 imo the reason LR has historically been bad at reading people's hearts but has an exquisite read of SRQ, his flaws & darkness, is THAT'S HER FUCKING MOM. And I do think ep 16-18 put that out there in the text, if you're looking for it. He and the empress are the same sophisticated aristocrat who is clever & educated but with a narrow perspective limited by their privilege and desperate need to maintain the status quo. So sorry bro, but no wonder she might have settled for marrying you in the first life if you wanted to, but she was never gonna fall in love with you 💀.

PWX can see that SRQ loves her and he thinks that matters, so it scares him. LR has tender nostalgia for her empress mother and her former companion but she's all too aware that their love for her will not necessarily get in the way of stepping on her to protect the social structure of a powerful aristocracy class operating at a higher level above the peasants and restraining the throne. To them, this is safety and stability that guards the realm.

(ofc both those characters are complex and when it comes to LR's life & death we can't be confident on what they will always choose. that's part of what made all the palace drama aspects of the novel incredibly suspenseful. So many of the suppporting characters are layered and tho everything they do makes sense when it happens, you can't often predict people's hard choices when their back is up against the wall)

Story of Kunning Palace and The Grand Princess say that caring about people and trying your best to understand them, wanting what's best for them by listening to what's best for them, can make a huge difference. But not everyone is willing to change.