#I just wanted to see if the ai would remember some the little character nuances that I would write into the definition portion

[sailorbananabee14]

My current (possibly) brainrotting habit rn is making bots on character ai.

[seriousfic]

I'm not sure Ahsoka is even a story

People have been comparing the writing to an AI and... they've got a point there. I mean, stuff happens... barely... but it's like there's no attempt to dramatize or sex things up or impart any excitement or conflict or nuance into the story. Dave Filoni has one move and it's spamming lightsaber fights and starship dogfights constantly.

(Speaking of which, remember in the movies when lightsaber fights would end with SOMEONE dying or at least being maimed? People get IMPALED in Ahsoka and they're there in the next scene like "get some sleep, you need it." Like being impaled by a lightsaber is a cold. Not even a bad cold. They might as well put the lightsabers away and settle things by arm-wrestling, it resolves as much!)

(I'm convinced that Marrok was a studio note added at the last minute because someone realized they had made a show with eight hours of people trying to kill each other with laser swords and no one actually dying.)

I actually read a quote by Timothy Zahn where his idea was that, in their decade-long exile together, Thrawn and Ezra had been forced into an uneasy alliance against an even greater threat. Like, yeah! That's dramatic! That's Something and not Nothing.

When you watch the show, though, it's more like they've just gone off to summer camp. Ezra sees Sabine again and he's just like "hi, how are you?" He's older and he hasn't changed at all. Neither has Thrawn. He's painted his Star Destroyer a bit and he calls his Stormtroopers Nighttroopers now (surely not to sell new merchandise instead of the same old action figures)... other than that, no change in his character whatsoever. Same guy.

Oh, he's teamed up with the Nightsisters, but that just amounts to him getting the obligatory Imperial superweapon. Does anyone really think this isn't going to turn into another plot coupon quest to stop him from using his new toy to destroy the New Republic before it gets destroyed anyway?

I mean, how can you not brainstorm SOMETHING interesting happening with this setup? It's impressive! A kind of anticreativity.

What if Sabine was in love with Ezra, then gets there and finds out he's gotten hitched to a cute Rodian or something. Or maybe he's gone kind of mad with isolation and is using the Dark Side, but doesn't know better in his crazed state?

Or Thrawn could be this Colonel Kurtz figure who's gone around the bend and his Stormtroopers all worship him like a cult leader. Like, right now, what does he even have against the New Republic? Why does he like the Empire so much? What is he trying to achieve? What benefit does he get from challenging the NR over simply suing for peace? It's insane--this one specific character is meant to be a galaxy-killing threat based solely on him as a person, but we know nothing about him as a person. (And he squeaks out a victory over three people, BARELY, and we're supposed to buy that the universe should be quaking in its boots.)

Filoni actually even stumbles upon a good vein of drama. Sabine betrays the galaxy to save her platonic friend. No one cares. Ezra doesn't care, Ahsoka doesn't care--why should the audience care?

Ahsoka trains Sabine to be a Jedi (that's its own rant, by the way), but stops because she worries Sabine will go the same way as Anakin. Jedi are all about nonattachment and Mandalorians are all about clans and lineage. Then, at the worst possible moment, Sabine proves her right, makes the exact same choice that Anakin did to go with saving a loved one over the fate of the galaxy... and Ahsoka just shrugs and goes "eh, no big!"

And I get it. I'm a comic book fan. I don't want to see noble, experienced characters flying off the handle at the drop of a hat and attacking their loved ones because it's their turn to hold the conflict ball. But these characters have no emotions at all! I don't care how good a person you are, if your bestie sells a nuke to Neo-Nazis to get you out of debt, you should probably raise your voice a little.

Also, is the last episode the first time they actually set up that Ahsoka and Sabine's conflict is over this "I'm afraid of her turning out like Anakin" thing? Well after it's resolved? Why? You have eight hours of TV show, you can set this up early on and then pay it off later (not next season, but later).

'Ahsoka has an astral-plane pow-wow with Anakin and gets over her issues' is a decent plot, but you have to actually depict her issues ahead of time, you have to dramatize them in a certain way so we know what the heck you're talking about!

Imagine if in Back To The Future, the first time we saw George McFly was when he punched out Biff and saved Lorraine. You wouldn't care at all, right? It's just a guy punching another guy. We have to know that George is a pussy and that Biff is his tormentor and that he's in love with Lorraine from afar--once we know all that context, THEN it's a triumph for him to punch Biff.

Your show can't just be people punching each other out! It also has to be reasons to give a shit about the punching!

You don't have to spell everything out, but you can't just show Rosario Dawson crossing her arms and expect us to know "oh, she's traumatized from Anakin becoming Darth Vader, she never got over that." You have to put that into words and imagery! Show us her ACTING! Let us RELATE to her! Introduce these people to us and let us get to know them! You can't coast on everyone already liking them because they look like old cartoon characters.

[why-this-kolaveri-machi]

we are our family, even if we don’t want to be.

Titans 3.07

a bit over halfway through the season, and we still don’t have all of our main characters on the board! i love this show.

as always, typing this up as i watch. live reaction, baby! *shadowboxes*

SPOILERS AHEAD

1. i don’t think i’ve mentioned this before, but i kinda miss the old ‘dc universe’ intro. it was cool! the whole idea of it was wild and waaaaay over-ambitious, but also very very on-brand because of it.

2. this is... the third time we’ve seen dick sleeping this season? that’s a record! checking another thing off my s3 wishlist...

2.5. i guess i rag on titans all the time for its wafer-thin plotting and bad pacing, but i have to admit that this season has been a step-up from the last one in this regard. titans has very reactive rather than proactive protagonists, and a lot of the last season seemed to be: x happened, the team reacted badly, then y happened, they reacted badly, etc. this time around, it’s not a huge leap up by any means, but at least they’re doing something about it. 

i do appreciate the focus on character arcs over everything else. and when i say everything else, i mean it: arcs that started two seasons ago with no big cathartic moments, intermittent payoff and multiple relapses. big bads have ranged from interdimensional demons to superpowered assassins to whatever in the world scarecrow is, but trigon’s big weapon against the titans was to... use their worst fears against them. slade’s was to... use their fears to break them up. crane’s is to... use red hood to use their fears to break them up. even the threat of gotham’s citizens being in danger doesn’t feel real: gotham is mythologised into an entity of its own, infecting our heroes like a parasite. like. this is not to say that most other superhero media aren’t big character arcs intertwined with the main plot, but titans doesn’t even make pretend that it’s anything but.

anyway. that’s my entry #2345 to ‘give a grand unifying theory for titans’. thanks. i’ll be back with more.

3. “anger is just fear in a little black dress.” god I HATE HIM

(what’s he doing with barbara’s likeness? oh... oh god. a terrible thought just occurred to me. what if they introduce hush at the very last minute for plastic surgery shenanigans? would you put it past this show?)

3.5. jason, nooooooooo

3.75. i mean, they’re making it very clear here that scarecrow is the one in control--the one who’s always been in control--and is manipulating jason and literally poisoning him, but i hope it doesn’t end up erasing nuance or jason’s autonomy. if jason’s to reckon with the issues that brought him here, then the lines of responsibility will need to be set somewhere. 

(this applies to dick as well but more on that later, i guess.)

4. just--the phrase “40% loss of income” is so funny to me. like, gotham is full of these larger-than-life characters who are idiosyncratic beyond belief, colourful and dramatic and creating chaos just for the sake of chaos, and then there’s the regular criminals and their henchmen who just want to make a quick buck sitting down with pie charts and graphs, griping about the joker reducing their returns or debating high risk investments in, i don’t know, two-face’s next scheme.

“yyyyeeeeeaaah, my financial advisor is telling me that going all-in with a guy who literally makes decisions on the flip of a coin is probably not the greatest idea.”

4.5. god i hate smug!smarmy!scarecrow so much

4.85. as big plans to “control” gotham go, it’s pretty bog-standard. clearly scarecrow has some bigger plan in mind but it really feels like we’ve got no clear insight into him and he’s this generic creepy mystery-man who knows more than he lets on and springs a twist/cliffhanger every now and then. i liked the scenes with him and dick in 3.04 where it seemed like he was genuinely on the backfoot and things weren’t going as he predicted. for all of his faults, dick is at least familiar with scarecrow’s bullshit and knows not to give what he wants.

5. i mean... i see where dick is coming from with the “he’s not jason anymore; he’s red hood” because his immediate glaring concern is scarecrow’s drug and the damage it could potentially cause gotham? i do not doubt that it’s something batman drilled into him, too, but when you’re expected to take point on a situation where the lives of an entire city weigh down on your shoulders, it’s better to simplify things and prioritise. i’m not saying it’s great or healthy! gar is absolutely right to consider this facet of the situation. it’s just dick can’t.

6. hmmmmmmm. HMMMMMMMMMMM. 

i don’t know that i’m super fond of this iteration of oracle???? it looks like a cross between cerebro from x-men and jarvis from iron man. it’s giving me second-hand embarrassment. somebody help me.

(at least they remembered dick’s middle name is actually “john”. i like to think bruce printed D in that contract because for a while he genuinely thought richard “dick” grayson was his full name. duck duck goose, dick dick grayson, i don’t know alfred, the kid was in a circus, maybe they thought it was funny. or maybe it was a test in anger control, who knows.)

6.5 “maybe you two would like some time alone?” even AI can’t help hitting on dick grayson in this universe.

“oh mr grayson, if i only had another eye to see you better...”

6.8. on one hand, it’s a bit disconcerting that the title of ‘oracle’ has gone from barbara herself to this gigantic machine; from my impression of the comics-verse, barbara had an extensive computing and surveillance system, true, but she was very clearly the brains behind the operation. on the other hand, i’m kind of glad that the ethical boundaries that this kind of surveillance violates is a sticking point for barbara. (tho let’s be real, the nsa would kill to have this in their arsenal).

6.9. also it’s now obvious that scarecrow’s big plan is to take control of oracle itself. it’s why he had lady vic take that picture of her eyes, or why he’s meddling around with it on his computer.

6.95. if only i could ‘command sleep’ anybody overstepping their boundaries re: personal information...

7. “you can just sit back and watch as the titans destroy themselves.” i mean... he’s not wrong

8. “dick’s parents were killed by a criminal mob; he won’t work with them.” it’s wonderful that you have this insight into dick, kory, i just wish we could’ve watched some of these conversations actually happen on-screen.

8.5. i’m glad that kom’s being treated with such nuance and understanding, though it’s obvious that she definitely has a Plan of her own. (and did i entirely imagine her ability to mimic other people flawlessly at the end of s2? or is that going to come into play at some point?) i think her story has the potential to be genuinely poignant, and in a universe where being Different, either because of mental health or physical differences or whatever else, leads a straight line to Evil, it’s important to acknowledge and then emphasise that the mere fact of your existence as a Different Person doesn’t predispose you to evil. maybe your act of destroying a system that has destroyed you and not scrambling to “fit in” is only evil as defined by that system. 

8.8. “you’re trespassing, i should call the authorities, i feel unsafe.” now this is a villain lady who’s definitely aware of her privilege.

8.85. kom smirking knowingly at her sister is everything.

“oooh that’s the kory i remember”

9. conner and dick working together woo!

9.25. god i hate a villain who’s always just a step ahead, no matter what. so crane anticipated dick using oracle to track his personal communications and set him up? how did he know when exactly dick would get to do this? how long did he have that poor man tied up in that van?

(the “save me, grayson” is a nice touch, tho. send dick spiralling even further! because if there’s one thing dick will do, it’s take responsibility for every goddamn thing that goes wrong.)

9.5. ahem. i’m going to need a million gifs of conner yeeting dick across that yard, fandom, thankyouverymuch.

(i understand conner is invulnerable to explosions, but how do his clothes survive??)

9.8. oooh crane is already in oracle! i’m just sitting here laughing helplessly because they’re overpowering this goddamned guy so much. he can build a lab in arkham’s basement! he has access to lazarus puddles! he has minions working across gotham, including a fully functional chemical laboratory staffed by chemists who only answer to him! he has the crime families of gotham quailing in his very presence! he has assassins at his beck and call! he’s enough of a manipulative bastard to have red hood under his thumb! and now he has enough of a tech know-how to not only be aware of oracle, but know how to hack into it! i’m sick of exclamation marks! i’ll shut up now!

9.95. dick leaving behind that smouldering grave for a person he failed to save without taking a second to process how he feels about it and running towards his next plan to corner scarecrow: a microcosm of where his head’s at right now.

10. really hammering in the themes of this season, aren’t we. 

10.25. the interesting thing is the titans repeatedly call themselves a family this season (none more so than dick) and while that found family has helped encapsulate and put away their traumatic experiences with their ‘original’ families, it’s meant that they’ve not really dealt with those issues. and dick and gar and jason come from ‘found families’ of their own: they are twice removed, traumatised two times over. they still cling to this identity however, and because of it they’re losing each other. a family isn’t static. it’s an ever-evolving dynamic and you have to put in work constantly to keep it healthy.

10.5. anyway, that’s entry #2346. i’m here aaaalll night.

11. lookit gar the detective! half-transforming and using his powers to deduce things! what a hero! i’ve said this for a long time, but gar is the bedrock of this team, and an unsung one at that.

11.25. i’m confused about him calling this room jason’s though. it seems to me that this is dick’s room that jason later used, and one that dick’s using now. so the unmade bed isn’t really jason’s fault; dick was woken by barbara that morning, and in his hurry, he left without making his bed.

(it still confounds me that bruce didn’t find jason another bedroom in that gigantic mansion of his. you really didn’t give this kid a chance, did you?)

12. oh well. so much for the oracle.

13. ... sorry, wait. you didn’t think i wasn’t going to address the bit with dick right now, did you?

12.5. i honestly don’t think it’s very complicated: dick’s been reeling from one traumatic thing to the next, and just when it seemed like at the beginning of the season, he felt happy and secure with his team and his place in the world, bruce ups and leaves gotham to him, specifically naming him a successor and calling him a ‘better batman’. he’s lost garth and jericho and donna and jason and now hank and dawn. he’s not even sure where rachel is or what she’s doing. after being told that batman was a psychopath for moulding him into a weapon, he’s also been told that his failure to be a ‘better batman’ lead to further disaster. of course he’s going to get batman-goggles. of course he’s going to be a prick. 

12.8. i don’t know what to say. i feel his frustration acutely. i don’t think he should’ve said what he said to barbara (can people stop pushing her around this season????) but that pressure to step in where your parent fails? to clean up their messes and try to think like them? to fall into habits drilled into you when you developed them as coping mechanisms growing up? I FEEL THAT. 

every step he’s taking he’s putting 110% of himself in it and scarecrow’s still playing mindgames with all of them: i absolutely feel his desperation to take control of that game and turn it on scarecrow, no matter what it takes.

and he did apologise almost immediately, and finally--finally--actually works with barbara. 

12.9. again, not excusing him! but i get it. and i think that’s a sign of great character writing.

“did you know i just reminded emmram of all of her daddy issues? what the fuck????”

12.95. i love that dick&barbara, kory&kom, and gar are all approaching solving this mystery from different angles, each as valid as the other. also, conner is there as... emergency bomb defuser man?

13. it’s like all fancy rich people in fancy rich houses do is pour fancy rich alcohol into fancy rich glasses on pristine, untouched tabletops. i wonder what it’s like to live like that.

13.25. I KNEW IT! poor michael. it was nice knowing you.

13.5. man, kory is contending with a lot of issues that she’s successfully bottled up and compartmentalised until now. the cold reality that a child can seek out their parents as refuge and they can view the child as a piece to be moved in a greater game (never out of cruelty, though, never, and somehow that makes it worse), that truth of blackfire’s treatment on tamaran because she’s different, and her own culpability in what happened. she exchanged one family for another, after all, and left that family to die and her sister to suffer. like dick, like gar, kory’s being forced to reckon with what the titans are meant to be, the larger implications of creating their found family in their own space.

14. it’s probably because it’s one in the morning and i’ve had two glasses of wine but i did not follow that bit of exposition at all and victor freeze??? what? 

anyway. look at them solving things! together! go team!

“you made a deal with the mob?” oh the sense of betrayal on his face! fuck off, dick, your issues aren’t kory’s. 

15. conner is really sweet and a bit of an awestruck crush on kom is to be expected. especially after that power rangers-esque transformation (i say this as a former huge power rangers fangirl. i’ve seen every series until 2007 including the original japanese versions and written fanfic for all of them. so i love a cool costume transformation, is what i’m saying.)

also?

FUCK YEAH

16. i love the gotham crime families just chillin’ around eating ice cream. I LOVE THEM

16.5. that was a fun fight sequence, if marred slightly by that bit of awkward flirting between conner and kom. i wonder if she’s really planning to use him in a larger scheme to get kory back to tamaran, or maybe something else. 

16.75. so i’m assuming that scarecrow has jason either so paralysed by fear that he can barely move, or jason’s withdrawing from the drug that he’s been sucking in every few minutes. 

17. it’s nice to see them chill after a successful mission! and it can be awkward, but conner’s crush on kom and him striving to impress her is also, well, uh... cute.

17.5. i guess the dick/barbara scene was inevitable, especially given the... unresolved nature of their relationship in the flashbacks? and they’ve been through a rollercoaster together this episode, discovering and then destroying an incredible tool within a matter of hours, re-discovering just how well they work together as a team. dick’s swimming in the nostalgia. i don’t expect it to last as a long-term relationship, but i totally get why this is happening now. and hey, they’re cute!

i have a weeeirrrrd feeling that kory is going to leave to tamaran at the end of the season and that dick and kory will rekindle--or rather realise--their relationship just before that. it’s going to be devastating and beautiful and painful and i will be writing essays about it which would be me just wailing into the screen.

18. gar found molly!!!!!!! MOLLY’S BACK! \o/ gar is the BEST

19. that was a fun episode! i love this silly show, even if it does destroy me sometimes <3

[vaguely-concerned]

Mass Effect: Annihilation thoughts

TL;DR I fucking LOVED IT, a balm to my heart after struggling through Nexus Uprising! Also canonical lesbians! The sweetest quarian & his badass grandma! Elcor Hamlet except this time it’ll make you cry!!! 

- Aaaaaah the audiobook reader is Tom Taylorson (so male Ryder)!! Fryda Wolf (female Ryder) read the two others and did a nice job, but man I’m soft for his voice in a way only rivaled by (...outside-of-Overwatch!)Jennifer Hale and Nicholas Boulton haha. He also has a much better handle on the pronunciations and voices for the different alien species -- delightful, I’m still cackling over his pitch perfect elcor impersonation. (Bioware please give him more Scott Ryder to voice I miss my son)

- I’m only about half an hour in and this is already SO much better than Nexus Uprising, it really does feel like a brave new galaxy haha. Very funny, very warm and smart and engaging in how it does its characterization and Valente clearly has affection for the setting and the universe, she and Jemisin both do incredible jobs with these. 

- I’m fucking crying laughing at this cross-species near-brawl over a flower arrangement, god I love Mass Effect SO MUCH (what a neat idea though. something blooming quietly even when no one can see it. impractical as hell and hilariously including a high-nutrition celery now, but still neat)

Taylorson continues to wonderful things with the voices, that volus suit sound is so good. (he’s just generally really good at comedy) also a volus bellowing insults ‘moments before punching an anti-bouquet batarian in the groin’ sdafhjklsahfsjadkhfklajshdfkjlsadhf

- a high as a kite elcor... what a time to be alive, to get to read this book

I have already reached the ‘I LOVE EVERYONE IN THIS BAR’ stage with these characters, hard boiled drell detective lady and sweet sweet quarian first officer and manically enthusiastic elcor doctor TOT I would die for any one of you!!!

- The quarian/multispecies ark was built for long-term habitation, potentially over multiple generations. So what you’re telling me is that the quarians are the only ones who fucking thought this through and the rest of the Initiative probably should have listened to the people who’ve essentially been living on arks for ages. Who’d’ve thunk huh lol. (I guess the in-universe explanation is that people like the mysterious benefactor just wanted those arks yeeted to Andromeda ASAP, no time to get fancy in case the Reapers changed up their schedule. Fair enough)

- ;n; petition to let senna have a SAM pls (also uh. how happy do you think the stringently anti-AI quarian pathfinder will be when he finds out about everyone else’s SAMs lol lol lol he’s going to PASS OUT FROM RAGE upon meeting ryder. well he sounds like an asshole, I hope he dies so senna gets a chance)  

- I can’t BELIEVE yorrik is an anti-stratfordianist, i am betRAYED! disgraceful, how can I still love you knowing this (and yet I do he is extremely funny and sweet)!!! (at least his theory is that this so-called ‘shakespeare’ was actually an elcor, which makes it better somehow lol. anything so long as he’s not an oxfordian tbh)

senna and yorrik’s friendship is so good and wholesome 

- I really love the consistent alien POVs in this book, mass effect should indulge in this more -- everyone loves this universe so much, bioware, stop making us squint through a human lense to look at it!!  

- oh of course quarian ‘pirates’ exist, the people who’re thrown out of the fleet must be doing something huh. 

- haven’t written that many notes in a while just because I’m enjoying myself so much, I keep forgetting 

- lfsdkhfsajkldhfskadjhfsjakdfhsdkjfh communist volus!!!! this is not a drill, communist volus! I am completely and utterly charmed by this entire book

- the quarian ancestor VI is so interesting and weirdly touching. senna is adorable (and relatably neurotic lol)

grandma AI smoking T___________T I love everything about this, she’s so cool. the worldbuilding being done around pre-geth revolution rannoch here... exquisite 

- way to make me cry about batarians cat valente ;_______;

- the voice acting is SO FUCKING GOOD! I keep forgetting it’s one dude reading all these characters haha, I caught myself wanting to look up who voiced this dying batarian. (special shoutout that he does so many wonderfully distinct and specific female voices!) 

- haHA I KNEW the quarian VI was a full AI (or near enough that it makes little difference tbh)!!! this fabulous grandma was self aware the entire time b i t c h e s !!!!

- the running joke of borbala’s ‘you need ______? I can make _______ happen’ is SO satisfying hahaha

ooooooh serious femslash vibes!!!! initially I thought batarian ex-crime matriarch was too old for drell PI, but this is undeniable. (I don’t think we actually ever get to know how old annex is, anyway, come to think of it) I guess if asari get to be five times older than everyone else and still fuck freely this isn’t really that weird lol

- “don’t look! it’s not so bad if you don’t look!” ofhsdalfhskldlsfjas oh senna baby boy 

hey qetsi? qetsi both senna and I love grandma liat more than you. stand the fuck down 

- NOOOO GRANDMA LIAT ;______________________________________;

- do you think SAM could meet liat (either ship!liat or just grandma!liat).... and have... a friend ;_________; (a cool laidback friend who isn’t a murderous angaran ai who might very well go the murder suicide sort of friendship route lol) 

anyway I miss SAM a lot and love him??

- yorrik noooooooooooo this is awful everything is bad and terrible I love all of them so much why must senna be sad and watch everything he loves fade away 😭😭😭

“Will all great Neptune’s ocean wash this blood/Clean from my hand?” He realized he’d forgotten to preface the words with an emotion. Now they wouldn’t understand what he meant.

Oh. Oh what a way to drive home the sadness and loneliness of this moment f u c k  (and again the emotion taylorson brings to it jesus cHRIST) 

I’m destroyed over how much senna and yorrik love each other, cross species found family out here wrecking my heart in true mass effect style 

- yorrik is such a great character though. he’d be so easy to make a one-note joke character (like most elcor have been in canon lbr), but there’s nuance and depth and just enough satsifyingly believable alienness there. (I love the staunch elcor ‘you can’t call anything love that hasn’t lasted at least two centuries’ perspective haha) his memories of his childhood and disappointment with his profession and everything... goodnight sweet prince indeed :(

- they went and made elcor hamlet heartbreaking how dare they 

(to be real for a second I think some of the human culture references are a little bit clunky, but the elcor hamlet stuff is perfect. contextualizing a throwaway joke from the original trilogy and giving it emotional depth, helping us see it from the elcor perspective and how frustrating and lonely it is to be so fundamentally not emotionally understood or seen on a level most of the other races are, despite their other differences, even though you have all these feelings and want to communicate... its very good.)   

fun additional fact: both mordin and yorrik have played/wanted to play polonius in a production of hamlet! though I guess mordin is the slightly problematic fave in that duo and yorrik is a sweet melancholic angel who has never done anything wrong in his life, I would say protect him but I guess it’s too late for that D:  

- qetsi giving off some real ophelia vibes here, I wish yorrik was here to see it, he’s the only one who’d properly appreciate it despite it all

- I. am. SO FUCKING HUNGRY for more mass effect after this (well even more so than usual) I’m so hyped!! I love this universe so much! I want a new andromeda game with senna as quarian pathfinder and grandma liat as the ship’s AI and see how they interact with ryder and SAM! (honestly though I feel like senna might be the one who’d translate the most cleanly into a game, I think there’s a lot of potential in him that’s barely being realized towards the end there with his deep righteous rage cutting through his uncertainty. also I just want nice things for him. is that so much to ask. he is a good boy, yorrik was so right.)

- aaaah not just femslash vibes, canonical lesbians, this is not a drill! I can’t wait until they propose... ‘we get shit done together, want to be in good cop/bad cop with me until the day we die y/n?’  

- the ME universe doesn’t feel quite itself without all these ‘background’ species hanging around, I suddenly realize. I dream of an Andromeda sequel with all of them on the board and in play again Y-------Y 

- potential Liat and SAM dynamics are so fucking interesting though! if she becomes/is confirmed as a full AI (all I hope and dream of), you’ll have two artificial intelligences with such different starting points but not that dissimilar goals? Liat was an organic person once who’s looking out for her family even now, and SAM is completely artificial but also intimately tied to and protecting His People. (and pulling a whole lot of symbolic weight re: the strength of familial/interpersonal relationships to boot; he’s the best way alec ryder managed to connect with his children. even though he was dead. because as established alec ryder was a disaster of a person)  

- I enjoyed the loose murder mystery structure of this quite a lot, but that might also be because nexus uprising is so shapeless and meandering by comparison that I’d be relieved by anything else (sorry I’ll stop ragging on NU soon it just. took some hours of my life I can’t get back)  

- jemisin did great stuff for characters already in andromeda (cora, SAM, alec ryder) and valente made me remember just why I love this universe so much and desperately want these aspects brought to andromeda too... and now I’ve exhausted all the fresh mass effect content I had available to me and will sit here consumed with lust for the rest of the time it takes for a new game to be announced thank you and goodbye  

[ais-n]

Hi Ais! Sorry to bother you. I just need someone to talk to about this. I have been writing since i was like 15. My dream have always been to write a book. And i have started a lot of them but never finished anything. It’s like i get stuck at one point and feel my story is trash so i stop. Sometimes i find my plot boring and stupid and other times it’s my own inability to properly put it into words. I admire you and i wish i could write like you. I hope you never stop writing wonderful stories❤️

You’re so sweet, thank you!

I’m not sure if it would help to get a long ass rambling answer to this to encourage you to keep going based on my personal experience… but just in case it would, here goes:

It’s really hard to actually finish projects… starting them is so much easier. I get to a point where I’m like, “This is trash!” and/or I grow bored, and then I kind of peter out. I also have this unfortunate aspect of my personality where I figure I’m pretty unimportant and invisible, therefore what I have to say or write isn’t that particularly necessary for others to see, therefore it’s not that big of a deal if I just never post anything I did because I’d just be cluttering up the space where actual good writers or actual interesting people would be speaking instead. 

Sometimes I just want to write a story to see where it goes, and then once I get to a point I can figure out how it will probably end, and if no one else is reading it or interested in it, I’m kind of like, well I know how it ends so I guess there’s no real point in writing the rest of it out or posting it because that’s just extra work for no reason. It was a combination of that thought process, and the feeling of “this is trash! Start over!” that had me writing and rewriting and dropping and restarting and editing and dropping and rewriting Incarnations since I was 12-14… I keep forgetting if I started at 12, 13, or 14 on that book. I think 14? But then maybe it was actually 13? idek.

Point being, that was a book that I started, stopped, started, stopped, dropped entirely, on and off for years. The idea would be really strong in my head but then sometimes I’d forget about it for years, then remember it for a while, then avoid it because I felt like a failure. What I know is when I first wrote it, I got 150 pages before I thought it was trash and totally stopped it. In the ensuing 15ish years, I would think of that world and want to do something in it but I just did not want to pick up where I had left off. So what I did was I kept starting new scenes, creating new characters, adding new aspects to the world, and each time I’d get a little ways into it and then go UGH THIS IS BORING or THIS IS TRASH and stop/drop it again, until the next time when I started something new again. 

Around 2012, for Nanowrimo I tried starting it up again. I looked at the bits and pieces I’d written over the years, grabbed one of the scenes that seemed more interesting, started with that and ran with it. I met the requirements for nano, I liked the characters, I liked the new concept, but I still wasn’t sold on the book. I was kind of bored at the end of it because I didn’t fully know where I wanted to go with it… I was a little overwhelmed. It still didn’t really click with me to keep working on it again. I left it on the backburner for more years. 

At one point, I created a Scrivener project for it, and then as the years passed and I’d get a brief idea for something, I’d go open it up and throw that info into a note, or add a new document exploring the idea, or whatever. Sometimes I’d write another short scene, other times I’d just do that and go.

Sometimes I tried to do other stuff related to it which was not writing the actual book… like I created some Sims to look like the characters, to see if I wanted to change anything in the description when I got an idea of it visually. Far more recently, I started making some of the key buildings in Sims so I could get inspired for more details on those. Are they accurate? Absolutely not. But they gave me ideas. Same as I tried to store the inspiration I’d get when watching tv shows or movies or whatever, and it would make me think of the characters or world or some other aspect. If I was inspired to write, I’d go write a note or scene right then, but if it was just a vague inspiration I would just try to focus on it when it was there, and really acknowledge the importance of feeling that inspiration, but then not actually do anything about it. But that would keep it in my mind.

Another thing I did when I really wanted to write was I would go to sleep thinking about an aspect of the story, to try to make myself dream something related, so I would wake up with inspiration.

I also tried to inspire myself by buying some physical organization materials – I got a bunch of whiteboards so I could figure things out by writing it out, and I got a huge roll of white butcher paper so I could hand draw massive timelines for the characters to lay out their events and see whose overlapped with whose; I got a corkboard and pinned index cards and sticky notes to it and then took different colored strings and connected them across the board according to various criteria. I got notebooks and wrote out ideas and notes on the magic system and all sorts of things. I had gotten to a point where I was glad to have all the digital information but sometimes I needed something physical to work on, something tangible, so I felt like I actually had accomplished something and it wasn’t just in my head. I also made a book cover for the book (digitally) to remind myself to keep working on it, and made a digital map of the world with the help of a friend who’s good with geology so I had a reference I could hang about my computer.

Every time I had a thought or idea, or I had this vague restlessness of wanting to work on something but not feeling like actually writing, I tried to do something else related to it in some form. Usually world building or character creation of some sort, but sometimes just thinking about things.

I tried a lot of things, but in all honesty I figured I would never, ever finish that story. But then one day, and I don’t even remember what the catalyst was to be honest, it just… clicked. I had an idea for something, and when I went to write down that idea or do whatever with it, I remembered other notes I’d left over the years, other scenes, and I started looking at the massive amount of information I had compiled - and I realized, holy shit, I know how to connect this all. I found a way to pull together a lot of stories I’d made which I thought were all totally disconnected, and bring them into one theme. And when I did that, all these questions I had for this or that aspect of this or that, suddenly had really interesting answers or ideas I could roll with. 

I found a way to stop being bored. And now, when I find that I just really really don’t want to do the next thing, I try a few times to make myself do it if I’m just feeling like I’m being lazy, but if repeated attempts are unsuccessful then I throw myself a curveball in the story or plot or characters, and it becomes fun again to write and plot it out as I try to figure out how to integrate that. I do that until I run out of steam, and try the same things again.

Because of that, a couple of years ago, I finished the book, and I was really happy with it. I’m still proud of myself for finishing writing it, but now I’m on a two year slump of editing the damn thing. 

When I think back to the original story I wrote when I was younger, versus the book it became now and the series it’s starting, they are VERY different despite the fact that have the same initial basis. In fact, the original heroine of the book is now technically sort of a villain. Her story is the same; I just flipped the perspective. The original book was very base; I mean, at the time, I felt it would be interesting to write because it was a young woman as the main character with all the power, at a time when almost all the main characters I found to read were young men. 

But the thing is, it was otherwise a super basic concept. Young woman suddenly finds out she’s the chosen one, lots of cool magic, she goes through her whole storyline with how things affect the world around her, the end. The story might have worked and been interesting solely because I was like 14 when I wrote it; if it had been published then, people might have given me a bit of slack for some of the laziness just because I was young. But the story I have now, informed by decades of life and experience since then, is SO fucking much better than that book was originally. It’s way more complex, far more interesting, the worldbuilding is far beyond what I had before, the characters are more nuanced, the cast is more diverse, the prejudices are more tailored. I’m GLAD I put that book aside a million times. I’m GLAD I didn’t finish it any of the times I had it in my head I had to finish it by the time I was xyz age. I feel like the series it is now is going to be far beyond what it would have been if I’d run with the original idea.

You know what helped me A LOT in actually finishing it in the end? Aside from everything I said? 

I asked some friends to beta read it for me. And the people who read it really liked it, and gave me ideas on how to improve it. Their interest renewed my own interest and gave me enthusiasm I sometimes lacked on my own. I care a hell of a lot more about actually finishing something if someone else cares if I finish it.

Someone once asked Neil Gaiman how to be a good writer and get published, and one of his biggest recommendations was to just finish writing a book. He also said not to conform; to write the story that you want to write, that is right for you. I feel the same way, which is nice because Neil Gaiman is super dope so I feel better that my feeling is reflected in an actual successful and great writer. I feel a little safer in having my weird ass view on things, which is that I don’t believe in genres, really, or rather I don’t really believe in writing a story specifically for the boxes checked off for a specific genre. 

For me, anyway. It’s totally fine for others, if that’s their jam - there can be some great stories that way! 

But for me, I literally just do not want to write a story at all if I have to make it fit someone else’s label. I lose all interest in it and give up completely. I think that’s probably because when I started writing, it was because I was a nerdy ass  youngster who couldn’t find books that felt like they represented me exactly or what exactly I wanted to read, so I was kind of just like, “I guess I’ll write it, then.” There are tons of books out there that do fit the criteria of the genres, and they can be SUCH fun and good books to read… the people who write those books excel at that type of writing, and so if they tried doing anything else they would not be true to themselves. 

We need those writers and we need those books. But we also need the writers and the books that just say fuck it to everything and do what they want. You may not be as popular, or you may find it difficult to go the traditional route; maybe you can’t become a full-time writer, if everything is stacked against you, I don’t know. But you can write what feels right for you, and there will always be readers out there who needed that book to feel right for them.

My hope for you is you don’t silence yourself and your stories like I tend to do. I hope you finish your books/stories, and I hope you share them. There is probably someone out there wishing your book existed, and until you write it, they won’t have that exact perspective and that exact story to read. Don’t get discouraged if it takes you a long time; and don’t downplay the value of walking away and not thinking about it for a while at a time. But I do think there’s definite value in always coming back.

So what I hope you do for yourself is find some easy way to compile all the different information you’ve formed for your book(s) over the years so that you make it really easy on yourself to add extra bits and pieces as you go. I hope that you do other things that aren’t specifically writing but still get your creativity going for the stories - whether that’s making Sims, drawing art, writing things out on paper or whiteboards, doing everything digitally, doing everything physically, whatever it may be. I hope you find ideally a few someones to read what you have so far, get their take on it, and I hope they are enthusiastic enough to help you keep it in the forefront of your mind.

I TOTALLY understand having wanted to be a writer since you were young… I have always wanted to be a writer, as far back as I can remember. (Of course, if you go back far enough, I also wanted to be a veterinarian or other things too). 

My goal is still to someday be an actual author. I feel like I’m not, still, but maybe someday I will be. 

I used to put a ton of pressure on myself to finish things by certain ages, and when I missed my goal I got depressed and thought I was the worst and why bother, no one wants to read it anyway, and etc etc etc. Also, for like 10 of those years I was working on ICoS and that really took my mental energy and creative interest as a focus so I didn’t really even want to work on my LGBTQIA+ fantasy books for a while. But as time passed, and objectively looking at the story I have now compared to the story it was before, I think it was far better that I didn’t force the story before I was ready to write it, but also that I didn’t let myself just put it off forever and never make myself work on it again. 

There is no age limit to being a writer… first of all, you’re a writer if you write, so if you already wrote a bunch of books or parts of any stories - you are already a writer. You’ve already accomplished something awesome! But if your goal is to be a paid author/writer, then whether you are one now or one in 20 years or even 70, you still can be a writer. You still can fulfill that dream. Never give up on it, for yourself and for the diversity and complexity of the stories out there in the world, and for the readers who would want to see what you have to say.

Nanowrimo is next month… maybe you could start thinking about the stories you’ve worked on so far, see if any strike your fancy for exploring a bit further, or just take the general concept of one of the worlds and create a totally new set of characters and plotline on that world. Whether or not you end up liking that new plot, the new characters, it will still give you a more nuanced view of the world itself. It might spark an idea now or 20 years from now. It might, someday, be the key to finishing the story.

Don’t devalue the importance of those little bits and pieces, or the importance of taking your time but never giving up, or of even just talking the story out to others and seeing what they have to say. I constantly think what I write is boring and stupid, I constantly get suddenly bored with something and just cannot for the life of me write the next chapter no matter what because it sucks ass. 

So I switch it up. I push aside for a moment what I thought I had to do next, and then I ask myself, “What can I add that would make me actually want to write this?” I’ve found that by doing that, you can get some super interesting new ideas that coordinate together out of nowhere later if you just keep going. 

So maybe for nano, you can ask yourself, “What would I want to write in this world or this character’s life, etc, that would make me actually want to write it?” Completely forget about it fitting perfectly with what you have. Screw that. Just make it fun for you. I feel like it’s a very natural writer thing to do where even if you start with something that seems extremely disparate, as long as they’re following the same general world rules, eventually you’ll have an epiphany that ties it all together. 

Also ask yourself, are you trying to make the characters conform to the plot, or letting the plot conform to the characters? If your world or characters want to veer totally off from what was planned, as long as it’s in character - follow them, not your plans. You wrote those plans when you had a limited understanding of the characters and world… the time you spent with them since then is valuable and shouldn’t be ignored. If they want to send you on a wild goose chase into the middle of nowhere when they’re supposed to be doing something else entirely, do it. Follow that goose. See where it leads you, and then see how fun it is trying to make your way back.

Maybe you can try that this nano (or just do a totally new story altogether if that’s your jam instead), and see where it takes you. Maybe you can find some people to read it, and maybe you can track all the info you put together, no matter how small and stupid it may seem. And maybe, someday, you’ll be able to look back years later like me, and thank your past self for never giving up and for keeping that information accessible so that one day, far down the line, you’d have everything you needed at your fingertips when a sudden idea inspires you to look at your story, characters, or world, from an angle you’d never considered before.

Also, fwiw, I like to always throw one thing in that’s a bit unexpected, if possible, into characters or plots. In all honesty, I do that in part because I get bored affffff very easily so I want to keep myself entertained. But it also makes for a lot more interest, I think, in the characters. Like, whatever the plot is, or the character is, think about what would be the easy next thing… think about what the stereotype of that would be. And then deliberately choose something either completely different or a little bit off in order to introduce intrigue.

ICoS, for example - Boyd was judged a lot for many things, and he wasn’t really good around people naturally. It would have been easy to say that because he was kind of socially distant/awkward he would suck at undercover, but to me that wasn’t interesting. Instead, he could go undercover and be very good at it when needed because, despite his natural reticence to trust others, he had spent his life watching other people trying to learn their behavior/mimic them to understand why people didn’t like him. So even though on his own he would hate going into a party or have no fucking clue what to say, if he was playing a character, he was very good at it because he had gathered that information for years. Instead of saying that because he was bullied he didn’t know how to deal with people, I said he knew how to deal with people because he was bullied.

Incarnations, for example - Vikenti is a magical cop who’s really grouchy, kind of rude, kind of a dick. He spends most of his time seemingly insulting everyone around him. It would have been easy to just make him be a dick cop who grumps on everyone and does nothing beyond the job. And yet, he’s taken under his wing a young woman who others see as a monster. A young woman who everyone who knows the story of their background would think he would have every reason to hate. And you also see him helping this random girl get a memento even though he easily could have ignored it because, ultimately, she had nothing to do with him. There’s also an Empath who’s a pretty good dude who has the biggest crush on him even though their sexual orientations don’t line up. Everyone wonders how this Empath can even like him when he’s such an asshole, but then you have to ask yourself, wouldn’t an Empath of all people know best who to trust and who not? There are scenes with Vikenti, who seems like a super straight and straight-laced dude who doesn’t know how to explore emotions beyond insulting people, where he is the one there who catches someone when they fall, or says just the right thing when it’s needed. Because he’s an asshole, but not an asshole. He cares but just doesn’t care.

So, if you’re bored with parts of your stories or characters, I also really encourage throwing dichotomy and contradictions in there. Take something solid on the story, and then think of something that seems to be at odds with that, and make that be a solid part of it too. Now you have something interesting to explore… how someone or something can be these two seemingly contradictory things in the same form. I find that can help me stay interested, too.

Anyway, I’ve rambled enough and am probably not very helpful, I’m sorry :( I just wanted you to know I totally know what you mean, and precisely because of that, I know without a doubt you can do this. You will finish the story or stories you need to finish. I 100% believe in you, and I hope you can get to a point where you 100% believe in yourself too.

Happy writing, my friend! You are going to finish your stories and they’re going to be fantastic! And if they aren’t fantastic the first draft, that’s the way it is for pretty much everyone - all you have to do is keep working on them until they are. You will absolutely get there, because it’s a journey you already started long ago. You’ve come this far and there’s a lot more waiting for you as you go forward. My writing voice is no better or worse than anyone else’s, it’s just what feels right for me. Your writing voice is yours and therefore inherently lovely. Which means, if you wish you could write like me, you absolutely can: by writing like yourself. I bet you already are, you just can’t see it because of how stressful it can be in the middle of the millionth project feeling like you got nowhere previously. But if you keep going, keep pushing, I know you won’t regret it later, and I know the story you end up finishing will be exactly the story you needed to write at that time, and somewhere out there in this world, someone will be incredibly grateful to you for having written and shared it.

(Oh btw the thing I was talking about is Incarnations - and the first 4 chapters are out free here if you want context on the stuff I mentioned, in case somehow it helps? I really need to edit it… I keep putting it off, but your message is making me want to start it up again, so thank you!

[phanique]

First Impressions / Half-Review of Go Go Squid 2: Dt. Appledog's Time

Firstly, some info on the show: https://mydramalist.com/58373-my-dear.

You can also watch this video by Avenue X: https://www.youtube.com/watch?v=03cdEKRxThQ which also mentions some points I thought of too.

I’m not a good critic of dramas and am bad at reviewing but I like sharing my thoughts so if you are interested to know, then read on.

SPOILERS AHEAD because I do not know to to review something without spoiling.

And some clarifications because I start from a different point than many others out there. I watched Go Go Squid (drama) and found out that there will be a spinoff (/sequel but it is definitely more of a spinoff, why? I’ll tell you later) which is based on a novel too.

So Go Go Squid is based on Novel 1, Go Go Squid 2 is based on Novel 2. I watched Drama 1 then read Novel 2 and now am watching Drama 2.

I also watched/read everything in Chinese so there might be some stuff which are understood better as translated stuff does miss out on nuances.

I will segment this into a few parts because I do want to explain the universe(?) that this is based on.

I have only seen Drama 2 up to episode 16 of 38 as of 17 Feb 2021 but will be updated as I watch more.

1. Names of Dramas / Novels

Drama 1 has a Chinese name of  亲爱的，热爱的 which I would translate to as Dearly, Passionately if it is literal, and as you can see has nothing to do with Squids. However, the novel it is based on is named 蜜汁炖鱿鱼 which means Honey Stewed Squid, Squid Stewed in Honey and this is where the word Squid actually comes from. Novel 1′s name does have a reason, the female lead is a singer whose name is 鱿鱼 or Squid if I remember correctly and honey is something sweet which I would guess is like melting the ice prince kind of feeling.

Drama 2 has a Chinese name of  我的时代，你的时代 which I will come to later. It’s original intended name is actually 亲爱的，挚爱的 which is Dearly, Belovedly kind of name but they scraped that which I have some reason to why. Novel 2 has a name of 密室困游鱼 which I translate to as Swimming Fish Stuck In Escape Room, this name also has a reason which I will bring in later in the next part. Okay so for the current name, it is related to the Novel 2, it is actually the concluding line of the novel which translates to My Era/Generation, Your Era/Gen, which I guess they wanted to relate to the novel more, the original name would be closer to Drama 1′s name and has some meaning has Belovedly hints at how the male lead has loved the female lead for a long time.

Do I like any of the translations? Honestly, not really as the novel names reflect the novel and the drama names only reflect some of the adaptations but is still largely inaccurate.

2. Universe of Dramas / Novels

Both novels (I assume but I have not read Novel 1) are based on a gaming world where they compete in games like Counter Strike, Novel 2 has a focus on this game called Escape Room which explains its name.

Drama 1 is based on a coding competition actually so elements of team fight / attack and defence is more prominent like in games.

Drama 2 is based on a robot fighting competition which has more attack and defence elements but less of team fight.

By the way, they reference a lot of the characters by their in game name and not their actual name.

3. Solo Team Breaking Up / Relationships

From Drama 1, I understood that Solo Team broke up because Solo’s ex was pregnant and thus he broke up with Appledog and fathered the child. The mess between the relationships eventually caused the team to be unhappy and broke up.

From Novel 2, this is also what I inferred.

From Drama 2, I do not get what happened but it seemed that Appledog was the main reason.

Next, in Drama 1 and Novel 2, Solo/Wang Hao no longer has feelings for Appledog/Ai Qing and is just her superior. It is known that Dt/Wu Bai is Gun/Han Shang Yan’s cousin to everyone and that Gun/Han Shang Yan knows that Dt/Wu Bai likes Appledog/Ai Qing.

In Drama 2, all the above is not true.

4. Certain Events

In Drama 1, Drama 2 and Novel 2, the part where Xiao Mi is falling behind is mentioned. The dramas seem to make it a big deal while Novel 2 had made it known and it became a little part of something that pushed Wu Bai/Ai Qing’s relationship further.

In Drama 1 and Novel 1, Ai Qing is a game interpreter(? Idk if that is the official term) but in Drama 2, Ai Qing was still a competitive player and only stepped off after some time later.

5. Wu Bai/Ai Qing’s Relationship

I’m only comparing between Drama 2 and Novel 2 here, not much happened in Drama 1 so I would just say that they were hinting at the relationship.

Wu Bai in the novel is super quiet and always wears his cap which hides his eyes underneath its shadow. Wu Bai in the drama is almost talkative to me(?) like maybe because he is the main character and main characters talk a lot but it’s almost as if that his feelings for Ai Qing is like super super obvious. He also does a lot of things for Ai Qing even before they met (like fixing the light, drawing the flowers etc) but in the novel, Wu Bai is definitely not like that, he does things but is sort of more reasonable.

Ai Qing also seems to be more flirty(?)/interested in Wu Bai from the start for the drama while in the novel, she gradually realises that she has feelings for him through spending time together. I have not watched if they got together yet in the drama but I am definitely expecting it to be very different from the novel.

At Episode 17 now and oh my god, why did they kiss in the gaming arena???? To me it is super OOC for Wu Bai, I would see him as a guy who prefers a private place to kiss in the novel (their first kiss was also in a room/house) but dude.

At Episode 27 now 17:30 mark and the line which Wang Hao/Solo said when he told Bao Na that Wu Bai/Dt and Ai Qing/Appledog is dating is actually the sentence he posted in the Weibo post when their relationship was made known to the public in the novel.

6. Shen Yue/Ai Jing’s Relationship

Their relationship is not a super big part of Novel 2. There are mentions of how Shen Yue’s ex brings about problems, how they are on/off and the ending for them is that Ai Jing is trying to get over him but I do think that it is more open ended.

Drama 2 on the other hand just straight up says that here is your second couple, and how much they flirt, done. Honestly, I am like okay for that couple, not necessarily shipping them but just okay.

7. Should You Watch The Drama?

I think it’s okay to give it a go, you might like it and watch it once or twice but I doubt it will be a drama that I will rewatch often. Again, I have only watched 16 episodes but I think my thoughts would not really change that much.

8. Should You Read The Novel?

YESSSS. IT IS MY FAVOURITE NOVEL OF ALL TIME.

Again, I have read like 20 novels at most but it is a very lovely one.

[sootonthecarpet]

if it's not too much trouble to answer, can I ask what's been the going on with doctor who that's bad? I've seen little bits of it when my parents watch it in the other room but not enough to really get a good sense of it?

heyyy sorry to keep ya waiting on this. i tried to keep this as short as i could, but it’s about five paragraphs long, sorry. it’s not in any way a comprehensive list of problems with the last few seasons, just a quick tour of the moments i shouldve let be my ‘i can’t keep watching after this’ point. i wanted to write it objectively but i got pretty aggro, bc this show that in some part i genuinely adore has been producing unforgivably bigoted content. (it’s kinda a ship of theseus situation, except where the parts of the ship were replaced with worse, shittier, fake-woke parts.) i ask ppl to avoid reblogging this, because i don’t want my words to contribute in any way to online buzz surrounding this show or make anyone want to see it, even if ONLY to hatewatch or criticize.

content warning for misogynoir/antiblackness, racism, bury ur gays, some shit with nazi germany (yeah lol) and just the slightest kiss of antisemitism.

(edit: i seem to be having some problems with the read more cut. it’s there on dash view and when i edit the post, but doesn’t show on some instances of my blog. i can’t fix this but gksfkgls. wanted to at least be overt that i wouldn’t post this kinda long ranty stuff without a cut.)

in the last season where peter capaldi was the doctor, two seasons ago now, he had a new companion, Bill. she was a black lesbian and literally the only reason i started watching doctor who again. i loved her, and i was really glad to see the show moving back towards the more diverse cast of characters that we saw in the late aughts. then the season had a repeated theme of FORCING her to either repress or not feel her emotions. there are two scenes that stand out most to me. in an ep set in like, early 19th century london, she and the doctor are talking to a racist rich white dude who is being super nasty to Bill. the doctor keeps telling her to cool it and not show how angry she is. then HE gets to punch the guy out and knock him to the floor.

this theme of the white man being the only one allowed to get angry was big all season, iirc. then at the end of the season, Bill is turned into a cyberman. they’re usually like. soulless scary automatons, but some characters keep their individuality, which has been explored in a few past seasons, usually leading up to a tragic/heroic death. in Bill’s case, they did this trick with filming where we could see her perspective of herself in some shots–an intensely emotional performance, Bill was completely traumatized and her actress was working her ass off–and in others, just this metal body incapable of expression, scaring people like she was a monster and monotoning these otherwise very emotional statements. it’s an interesting narrative device, but after a whole season of this show putting Bill through all kinds of terrible shit and forcing her not to show her feelings on the matter, it hit me as like. this nauseating exaggeration of how society treats actual black lesbians as monsters and tries to make them bottle up their emotions and especially their justifiable anger. anyway, then Bill died and got to be with her dead girlfriend from her first episode. wow, cool.

idk what made me watch the season after that. i guess i wanted to see the new doctor, and i liked her companions (one was like. a young man with disabling neurological symptoms, tbh even if i’d missed Bill’s season that might have had me back on board). i had plenty of problems with how the season played out, obvs, but nothing was standout horrible to me the way the shit with Bill had been (except maybe the episode that started out like ‘space amazon is a hellhole’ and somehow ended with ‘space amazon was taken advantage of by a broken AI that hurt some people and they didnt fix the infrastructure we explicitly showed harmed their workers but now it’s fine!’ if that sounds weird and heavy handed with an unsatisfying ending, it’s because it was). the new season tho? the OPENING EPISODES OF THE NEW SEASON, THO? it opens with alexa product placement, in an episode about how a fictionalized google was actually run by a black man who had ties to a large number of aliens who had secretly infiltrated our society, altered our dna, and shit like that. so uh, 1. brand war lmao, sellouts etc etc 2. y’all remember those conspiracy theories about jews? and white supremacist beliefs that black people are ruining the world but aren’t smart enough to do it on their own so they must be agents of jewish corruption? HUH. HUH! that’s not even my big problem with the fuckin thing, but it’s FOR SURE a suspicious writing move from a tv show with suuuuch a huge viewership. (and it’s just plain embarrassing for a show with alexa product placement to try to go all scary panopticon tropes specifically @ a google analogue.)

anyway, we run into an old recurring antagonist, the master, a time lord like the doctor. he’s a guy again after having been a woman for a few seasons, and now played by an actor of color. i figure the reasoning at least partly relied on “dude, how fucked up will it be if we force the doctor’s black friend to call a white dude master” but i was immediately afraid it might go to the like…. Righteous White Woman Gets The Better Of Evil Brown Man tropes and oh boy!!!! i tried to be good and give it the benefit of the doubt until i saw something racist but it wasted no time. the doctor got stuck in the past at one point, and met the master, who was currently a military official with the third reich. oh boy. so she asks him why they let him work with them and he explains he’s using a device to psychically disguise himself, they see him as white. (we missed a great chance for him to monologue about how they were willing to bend their morals when they saw how evil he could get or something.) this was awkward enough for me as a viewer, but i wasn’t prepared to go into it, in case there was some tiny shred of nuance somewhere that would make this situation anything but a clusterfuck.

well, the doctor executes a genuinely clever scheme and makes a radio transmission to the brits that she knows won’t reach em, talking about how helpful this officer has been–setting up the master to be falsely outed as a double agent when the nazis intercept it. she tells the master this and then skedaddles, letting him be arrested by his own men. could be a satisfying karmic victory where he presumably gets a military trial and weasels out of his fate, although i don’t like the implications of a white woman punishing a brown man for racism. BUT IT DIDN’T STOP THERE! she disables his psychic filter, causing his men to see his true identity as a man of color–she exposes her oldest frenemy and Basically The Only Time Lord Who’ll Talk To Her to nazi racism when he was ALREADY about to fall into their hands as a prisoner. what could have been a marginally satisfying defeat was instead a kind of emotional horrorshow for me as i had to stop and wonder what kind of hell they’d put him through and why the writers decided that the doctor (who has literally since the show began in like the sixties been set up as an enemy of naziism via allegory and has always been firm in the idea that NOBODY, including literal maneating space monsters, deserves to be treated as less than human) would DO that. IT’S LATER IMPLIED HE ESCAPED FROM A CONCENTRATION CAMP. the narrative DOES NOT allow time for that to sink in before moving on.

i dont have a conclusion 2 this. im just hurt as fuck about it. i hope i gave u the info u were looking for without getting too deep into my personal feelings, but it’s difficult, maybe impossible to be objective about stuff like this.

[anflowcrat]

Pyre (short review)

I didn't expect to like Pyre as much as I did. I considered Supergiant's previous games (Bastion and Transistor) to be overrated, carried mostly by their godlike music and art direction. However both games were lacking in the narrative and gameplay department, aspects I tend to value more highly. I felt as if the narratives in those games wanted to be much more profound than they actually were, and they were able to get away with it because the music and art direction were so good that it made the narratives seem better than they actually are. I've found, however, that with further analysis those stories just fail to hold up. They're without a doubt *fine* narratives, but certainly not anything special. It's the same story with their mechanics, while the barebones isometric action of Bastion, and the barebones action RPG of Transistor were all *fine* I certainly wouldn't recommend them over other titles in the genre.

You play those games for the art and the music, nothing more.

Imagine my surprise when Pyre was able to deliver on all fronts. Not only did Supergiant managed to maintain the presentation that propelled them to success, but they have also vastly improved the aspects of their previous games that were lacking.

Presentation: What can I say, they're good at what they do. [I might just skip the whole thing after this]  The character designs are all on point, each character has a distinct sillouhette and they were their personalities proudly on their sleeves. The map looks fucking gorgeous, the use of color for each area is fantastic, making them feels just as alive as the characters that inhabit them. The animations are solid, the cute little hops that wagon does in the map are a nice touch. Though the splash arts for dialogue have limited animation, supergiant employs flashy effects to accompany the splash arts in order to better convey their emotions and it works perfectly. The music, though not as good as Bastion, is still very good at conveying the emotions it needs to.

Narrative: Much of the narrative's success is due to the simple fact that there's never been a video game narrative quite like this. A fantasy based sports game played by exiled in which the winner is granted freedom is a refreshing change of pace from "beat bad guy with magic if fantasy, with guns if modern/scifi."

(Note: I'm using "unique" to mean "rare" and not necessarily "the only one of its kind." Yes, I'm aware that Pyre didn't pioneer any of these points but they are without a doubt, rare.)

It's uniqueness isn't just found solely on its concept, as the concept itself allows for plenty more unique progressions in the narrative. For example, losing is not a failstate. At least not in the way failstates usually occur, in which you would have to restart whatever level it is you failed. Instead, since it is a sports game, you simply carry on, move on to the next match and try to win that one instead. This creates a more dynamic narrative than usual, as character interactions change between your allies and enemies depending on your wins and losses.

Another point of uniqueness would be the fact that your enemies aren't enemies, they're just playing the same game you are and they simply want to be free, just as your friends do. This makes battles more interesting and impactful as there are times where you would actually consider losing on purpose (at least I did) because you want them to be free just as much as you want your friends to be free.

And a final point of uniqueness would be that your characters leave upon winning. Usually, in permadeath scenarios, your characters would leave upon... well death obviously. But in Pyre a character leaves when you win a tournament, setting them free from the chaos in the downpour. This makes victories bittersweet as well as create an interesting gameplay decision (do you play your best characters because this is theoretically going to be a hard fight, or do you bench them in order to keep them around?) and it creates an interesting emotional decision (do you play your favorite character because you want them to finally be free, or do you keep them around because what the fuck Sir Gilman is fucking great and you don't want to lose him)

Don't take all this uniqueness talk to mean that that is the only thing Pyre has going for it. Both the worldbuilding and the characters are certainly on point. There are very few games in which I bother to read extra material in order to get a better understanding of the world and the characters, but Pyre managed to pique my interest enough that I found myself reading every little bit I could. The world feels vast and storied despite you only getting to see a small portion of it. The characters are all fun and varied, each of which will have trouble leaving my mind any time soon.

Gameplay: (I highly reccommend you play Pyre in the highest difficulty setting, and with all the handicaps active (once their available to toggle). This essentially forces you to actually play the game instead of just brute forcing it.)

This is probably the most divisive aspect of Pyre. Already I've seen countless of people complaining about Pyre's gameplay, which I don't understand at all because I heard nothing like this when Bastion and Transistor released and those, as far as I'm concerned, have infinitely inferior gameplay loops.

I just can't imagine playing Bastion if the only thing that existed about Bastion was its gameplay, considering that it was one of the most simplistic action games I've ever played. Likewise, I would never play Transistor if the only thing it had was its gameplay, its attempt to blend strategy and action was an utter failure as far as I'm concerned since it required little to no strategy and the action was dull.

But had Pyre released with only its versus mode, I definitely wouldn't mind playing it by itself. Don't get me wrong, it's not like Pyre's mechanics are super deep or anything, it certainly won't hold up as an esport or anything, but it does hold up as a fun party game. Remember fun? I remember fun.

It's basically fantasy basketball, or fantasy american football, in which you simply have to get a ball into their goal. Each character has an aura that surrounds them and if an enemy enters that aura, they get banished. A faster character will have a smaller aura, and slower characters will have a larger aura.

There's obviously much more to it than this (like character abilities and all that) but already there's more going on here than Bastion of Transistor ever had. There is an actual element of strategy here (granted, not that much, but its there) in which you have to decide which characters would be best suited in the matchup, and then you have to decide how to play that matchup. Whether you decide to go on a killing spree so your path to the goal is wide open, or you use your maneuvering skills to dodge every enemy and sneak a goal past them, or a more slow approach in which you slowly bring all three characters forward in order to create a wall and over power your opponents until you make it to the goal. These are only a few of the things you can do but this should give you an idea of your options and the creativity that Pyre allows you to express.

The action is more nuanced than ever here. It requires you to have tight control of your character if you want to dodge everything your opponents throw at you, or to be able to make a long jump into a goal, or shooting, or whatever else. My point is the mechanics here have more depth than the previous two Supergiant games, but more than that it's more fun. You can easily squeeze out more hours in the game after the campaign if you have a few friends to play it with, and if you do you'd likely have a new found appreciation for the mechanics (since as usual, versus games like this create more nuance when you're against actual people rather than AI. Upping the difficulty and activating all the handicaps certainly gets far but it's still not another human being.)

On some level, I do understand people's complaints. I think most of it is because a lot of people don't like sports and so when they see characters people putting balls in goals they tend to be put off. But if you were able to power through Bastion and Transistor's gameplay then you should be able to do the same with Pyre. And as I said, you should really try to play on higher difficulties or against other opponents and I can almost guarantee that you'll have more fun.

Conclusion/tl;dr: 8/10. Game's great. Not only that but there's no other title that's quite like it. The narrative and gameplay are both unique and the presentation is up to Supergiant's standard. It's their best game by a mile.

[stgeorgesmovielover-blog]

Review: Ghost In The Shell, 1

The long-awaited release of Japanese cultural phenomenon, Ghost in the Shell has released as a futuristic, neon-clad explosion of all things science-fiction, dystopian and AI (Artificial Intelligence). In the ever-expanding universe of the Japanese Anime, the United States of America is a failed state, a (no longer) united nation that has, in a desperate ploy to regain its lost glory, resorted to militant imperialism and surprise, surprise: its first target is Mexico.

The landscape of this new world is not only prescient (let's not forget, for those in the know, that the original Manga started way back in 1989. Yep- I was 1!), but like all the best dystopian and science-fiction diegeses, it is shockingly so! It's one thing to simply present a detailed, complex world so remarkably well- and the Japanese franchise does this so well- but it is quite another to showcase a fantastical scenario and ensure that it never quite becomes unbelievable, but rather always remains uncomfortably close to the edge of becoming a reality!

No surprises, then, to learn that the Wachowski brothers, have sited Ghost in the Shell as one of their biggest inspirations and influences for the utterly brilliant masterpiece: The Matrix (the first one, before things did become a little too far-fetched and insane)! But where this remake of Ghost in the Shell differs from The Matrix is in its depth. Like Major (played by Scarlett Johansson), the highly skilled, cybernetic soldier- and our Protagonist, whose human memories (the ghosts) are enveloped inside a synthetic body (the shell), this Blockbuster remake is clearly fascinated by, and drawn to, the compelling concepts of the original; however, the reboot only manages to skim the surface in much the same way that you or I might have a gander at the Religion or Philosophy sections in an old bookshop: with interest, but nowhere near enough conviction! We've all been there, when we want to read-up and educate ourselves so that we sounds smart and intellectual, but we can't really be bothered to do the research.What we have instead, with Ghost in the Shell, is a film that (in a fairly reasonable way, given that it is a $100 million US production), casually bypasses the lone person perusing through the pages of Arthur Koestler's, 'The Ghost in the Machine', hidden in and amongst the dusty psychology and philosophy shelves, and makes a beeline for the 'Bestsellers' section, with towers of thrillers, spy and espionage actions, graphic novels and science fiction. It is definitely a shame that Director, Rupert Sanders, seems to have been more preoccupied and seduced by the cheap thrills and highlights, instead of the darker, cerebral concepts that the original is known for.

But beneath the surface of its vibrant, gorgeous, larger-than-life visuals, and stunningly designed diegesis (take the toxicity of Blade Runner's LA, and cross it with the almost fetishised neon canvases and cultural stylings of downtown Tokyo/Hong Kong), there is a story about privacy, immigration, the notion of consent and finding humanity in a world that is silently and increasingly moving further and further away from what it means to be human. It is normal for the inhabitants of this world to rely on technology, daily. It is basically almost a given that everyone has some form of technology enhancing or extending their lives, so much so, that it is rare to find someone that doesn't have, say, x-ray eyes, a highly powerful artificial limb, or highly sensitive hearing, for example. One of my favourite moments of the film is when Major sits opposite a fully human woman and is fascinated by her natural beauty and the softness of her face, all while she tries to remember what it must be like to be human, in a human body.

The Major is the first of her kind. She is told that her family were killed in a terrorist attack and that only she survived, but that her body was too damaged beyond repair and so it was salvaged and replaced by Hanka Robotics, the world’s leading manufacturer of this new normal. But instead of inserting an Artificial Intelligence, her human brain is the one part of her body that has remained intact. She is their experimental weapon, a highly skilled, highly intelligent fighting machine, designed to take down the same cyber-terrorists who made her into what she is. One year later, an enigmatic new threat known only as Kuze, hacks into several geisha robots and uses them to stage and facilitate an assassination attempt on the first of Hanka Robotics’ leading figures and researchers. Major and her team manage to save them, but as a result, instigate a police procedural that descends into a surprisingly stoic film noir plot of corporate misdeeds, underworld gangsters, and morally grey characters.

Speaking of hard-to-pin-down characters, Major is as grey-shaded as they come. Johansson brings a subtle humanity to a role that is basically a robot and, as a result, she is utterly compelling and keeps us engaged throughout (even when the commodity of the aesthetics starts to fade). Yes, it's safe to say that this is another quietly groundbreaking role for Ms. Johansson, who never seems to shy away from taking on lesser-known/surreal characters and bringing them into the mainstream for all of us to see. She is bold, yet understated, nuanced yet detached, human yet robotic. She is excellent in the role! So even when perpetual gawking at the cinematography seems a little stale, Johansson brings a story of self-discovery as the duality of her being is ever present: the Ghost versus the Shell.

Unfortunately, there is still a 'but'. If this screenplay were written better- illustrating more confidence in us: the audience (because seriously, we actually do have brains), and had a more talented filmmaker at the helm, one who doesn't simply employ the stylistic use of visuals to make his film look cooler whilst sacrificing the actual narrative (I'm sorry Sanders, but Snow White and the Huntsman was just plain awful!),

Ghost in the Shell could have been a much better film, one that would easily (and impressively) start off the Summer Blockbuster season with a bang, all whilst not shying away from the bigger concepts, issues and questions at hand.

On the plus side, it is very hard to shield my excitement over the sight of the great 'Beat' Takeshi Kitano (the man, known mostly outside of Japan as the don behind some of the most infamous Yakuza films), gunning down thugs in a beautifully shot, dank alleyway, dripping in neon hues! Yes, please! The legend lives on, and what an awesome presence he has on screen.

Ghost in the Shell is deserving of a watch; at the very least the film will wow you with its stunning visuals and Scarlett Johansson's ease of navigation through the not-quite-human, but emotively empathic landscape of a character in-between. And if you are a fan of the original Japanese Anime, then this should add to your imagined reality of Major's world, even if it does fall just short of expectations.

3/5

[tangerinefireworks]

[FFXV] Noctis & Luna key scenes: Japanese Translation Pt. 1

After finishing the game in English, I’ve started re-playing it in Japanese and noticed a few differences in the nuances of what was said in some key scenes involving Noctis & Luna that some fans might be interested in. It is not my intention to suggest that the original Japanese is better than the English, I quite love what they’ve done in the English dub, but to rather provide more information about the characters’ interactions in addition to what we already know.  For example, in Japanese Luna always speaks, even to Noctis, using formal Japanese known as keigo (敬語). There are many different levels of formal Japanese and Luna uses the most respectful forms when speaking to Noctis. The only exception is when she speaks with Leviathan, where she uses much more commanding and somewhat rougher Japanese. I’ve only chosen 1 major scene for this post but do intend to make future posts about other scenes as well. Also, there are quite a few spoilers so read at your own risk! Disclaimer: These translations and any interpretations made are entirely my own.  *Update*: translations for Luna & Ravus’ scenes, which also include Noctis to some extent, can be accessed here.  ---------------------------------------------------------------------------------------------------- Luna’s Farewell Luna:　ノクティス様。              Nokutisu-sama.              “Noctis.” Noctis: ルーナ？              Runa?              “Luna?” Luna: ここにいらしたんですね。            Koko ni irashitan desu ne            “It seems that you have made it here.” Noctis: うん、ルーナも。              Un, Runa mo.              “Yeah, you too.” Luna: もう一度お会いできるだなんて、思ってもみませんでした。            Mouichido oai dekiru da nante, omottemo mimasendeshita.            “I did not think that I would be able to see you once more.” Noctis: え？どうして？              E? Doushite?              “What? Why not?” Luna: 私はもう、神凪の主命を終えたから。            Watashi wa mou, kannagi no shuumei wo oeta kara.            “Because I have fulfilled my duty as Oracle.” Noctis: 終わっても、一緒にいられるでしょう？             Owattemo, isshoni irareru deshou?             “Even so, we can still be together, can’t we?” Luna: 神々はノクティス様の力を認めました。そして、指輪もあなたの手に           戻ります。           皆さんのところへ戻られたら、テネブラエをお尋ねください。たくさん           のお花がノクティス様を出迎えしますから。           Kamigami wa Nokutisu-sama no chikara wo mitomemashita. Soshite,           yubiwa mo anata no te ni modorimasu.            Minasan no tokoro he modoraretara, Teneburae wo otazune kudasai.           Takusan no ohana ga Nokutisu-sama wo demukaeshimasu kara.           “The gods have acknowledged your strength, Noctis, and soon, the ring           shall be returned to you.           When you are back with the others, please visit Tenebrae - you will be           greeted by many flowers.”           Noctis: ルーナは？              Runa wa?              “And you?” Luna: あなたが会いに来てくださったこと、私はそれだけで充分です。            Anata ga ai ni kite kudasatta koto, watashi wa sore dake de juubun            desu.             “Your coming to see me is more than enough.” Noctis:  なんで。。。僕は死んでもルーナを助けたかったのに。。。              Nande...Boku wa shindemo Runa wo tasuketakatta no ni...              “Why...Even if it meant dying, all I wanted was to save you...” Luna: もし心細くなってしまったら、私を思い出してください。これからは            少しだけ離れた場所からあなたのことをお守りします。            さようなら、ノクティス様。            Moshi kokorobosoku natte shimattara, watashi wo omoidashite kudasai.            Korekara wa sukoshi dake hanareta basho kara anata no koto wo            omamori shimasu.            Sayounara, Nokutisu-sama.            “If you find yourself feeling lost and alone, please remember me.            Although it may be from a place a little further away from here, I           ��will continue to watch over you.            Farewell, dear Noctis.” Translation Notes: 1. Luna always attaches the honorific “sama” (様) to Noctis’ name, which in this context can be translated as “Prince.” For translation purposes, however, I have left this out. Rather than just being a means of showing her respect for Noctis as a fellow royal, Luna’s use of honorifics mostly reflects her upbringing as a Princess of Tenebrae. 2. When using pronouns to refer to Noctis, Luna uses “anata” (あなた／貴方). While it can be used to mean “you” in a general sense, there are many more connotations attached to it. For example, this pronoun can be used romantically to mean either “dear” or “darling,” which is fitting in this case as it reflects how much Luna cares for Noctis. 3. In the line where Luna states that she will continue to watch over Noctis, she uses the verb “omamori shimasu” (お守りします), which can be translated more directly as “protect.” I didn’t feel that “protect” would sound as poetic so for translation purposes, I have used “watch over” instead. 4. “Kokorobosoku” (心細く) in the last few lines was especially difficult to translate as it can mean both “lonely” and “lost” among other meanings. I think the official English translation for this section was done incredibly well as it unpacked all of the different meanings that the original Japanese word captured.

[aurelliocheek]

A Year of Rain: Writing Strategies

How to build a new world for an RTS Game.

So, you wanna write this? A question I’ve been waiting for. When Nick, the captain of our daring endeavor, approached me, A Year Of Rain was supposed to become a Fantasy RTS based on a well-known IP; and to be honest, I was more than fine with that. See, I like that IP, I am very familiar with it and just from a cerebral logistics standpoint, I’ve always been comfortable settling in an established system and give it my own spin. All I’d have to do was looking for one of the more ­obscure places and events of that world, work with that foundation, and tell an interesting tale.

Which I did. Vigorously.

Then we had to discard that approach. The world for our game would not be an established one. We needed to build it from scratch, every nook and cranny. And here’s how we did that, or rather, my first-time experiences with RTS narrative design and maybe some survival tips on how to navigate that minefield.

Super rough worldbuilding draft.

A new IP. Well… We took that turn of events in stride. After all, even if existing worldbuilding provides you with nomenclature, systems, a fan base and many more convenient tools in your box, it’s all double-edged: you can’t slip on lore, the systems restrain you, while gameplay and game design boundaries are sneaking up from behind. You also owe the fans maximum accuracy anyway to avoid alienation. Put like this, building your own world from scratch sounds a lot more appealing, doesn’t it? It’s a gorgeous blooming field of nearly endless possibilities and free of any veto you wouldn’t give yourself.

Right…?

The whole world in your hands I’ve done this for plenty tabletops and homebrew Pen & Paper systems. It’s important to have an interesting world for an interesting tale you want to tell. Doing this for a very specifically tagged game is a different beast altogether. To keep the field analogy going, when first thinking about a world for a Fantasy RTS game, I felt like I arrived a week after the harvest.

Staring into the abyss of fantasy intertextuality made me uncomfortable right from the start, when I was asking myself: ‘What kind of world is this going to be?’

Creating a new, compelling world for an RTS game is a challenge.

Standard globe, massive Midlandia continent where all the people hang out and fight each other or whatever? It’s been done – ad nauseam and to death.

A shattered world, with drifting pieces and… Shit, this has been done. Pocket dimension? Done. Flat, you could say, a disc-like world? Yeah, good luck.

Okay, but what if it has layers like an onion… Septerra Core? Who even remembers that?! I do, it was a very charming game, actually. Anyway, a world needs people. People are easy! Species, races, cultures, there are so many cool fantasy folks… which… have all been utilized to exhaustion.

Even as I am writing this, a game cropped up that is so eerily similar to the core ideas I eventually developed for my world and story that it snaps the credibility of parallel evolution and makes me reconsider my general stance on psychic spies. I came to terms with the notion long before that announcement, but it confirmed my take on worldbuilding I had to adapt if I wanted to keep my sanity: There are many, many worlds out there and chances are high you won’t reinvent the wheel. Take solace in the fact that you can craft a very efficient, aesthetically pleasing wheel!

For here comes the twist: Intertextuality is a good thing. Since I’m throwing that word around like I think I know what it means, here’s what it is… “The relationship between texts, especially literary ones.”

It’s the reason why references work. For example, why Pride & Prejudice & Zombies exists, and you still get what that title implies. It’s why Banner Saga doesn’t need to explain the language, cultural setting, or apparel of the world they created because we have read about or seen media featuring Vikings. Darkest Dungeon draws a lot of its appeal from weird fiction, gothic and cosmic horror and you understand that connection. It’s why many people love it when fictional characters or worlds reference the real world, or pop culture or even quote from other ­movies and works of literature. ­Because we get what that means. Because it’s a nod to what we, and probably the creator of that fiction, love (the latter being strictly speaking an allusion, but it fits under the same umbrella, bear with me here). In broad strokes, it means that people understand connections and baselines without your explanation, because someone, at some point, did a very similar thing and established a widely known convention with it.

Yes, we’ve made a papercraft map.

It seems like the bane of innovation You may feel like everything has been done already, or even get conflicted because a line you wrote is similar or identical to something that already exists. However, just like tropes, archetypes, and cliché, it’s a boon for your world’s foundation if you swing it with precision. Best case, whatever you decide: On a very basic level, your audience will have a fond connotation to many of the things you do. There’s a catch, of course. You’ll need a lot of lipstick for your intertextual pig. The real work for me started after laying the foundation when I decided what type of world I wanted and who populated it. Both choices, at a glance, weren’t too special, admittedly.

What I hoped made them special was thoroughly fleshing out every race, species, and culture, applying some twists here and there… I tried generating credible systems and all the bones and beams that not only support the worldbuilding but also telegraph and highlight what made this world compelling, comfortably familiar, yet also refreshing.

You can do a lot if you stick to some fantasy guns and bolster them with nuances. In A Year Of Rain, for example, dwarves are the most competent spellcasters and considering how this world is designed, it even makes sense, though it’s not something you see very often. And it escalated pretty easily from there: What are the consequences for other species? What is their strategy? And how would that other adjacent fantasy race act or evolve and so on? I did that for, I think, 16 species concepts and there was a point when there were more connections and ideas than I actually wanted.

After fleshing out all the cultural dynamics, historical angles, rules of magic, justifying dwarven rune-powered railguns, establishing how many terabytes of memories a sentient fungus could store compared to divine lichen and what kind of weed lizardfolk prefer to smoke, I was finally ready to apply all this to the game itself.

Or not.

Strategic Writing Turns out, an RTS has comparatively limited narrative space. I would go as far as to call it claustrophobic. Design and format of an RTS tend to isolate the parts of the world you build. You have one single map at a time to establish whatever you want to transport narratively. And you only get one shot, because there usually is, by design, no backtracking.

It’s fair to assume that’s one reason why this genre often struggles with thorough worldbuilding and story in its campaign and multiplayer. Everything you can show, tell and narrate has to fit in roughly 15-30 minutes of tiny people murdering each other in real time. Then, you move on to the next area where, you guessed it, you train tiny people and have them murder each other for 15-30 minutes.

There is little room to breathe, or significantly manipulate the game flow, or show the inhabitants of your world doing anything other than fighting and killing to do more fighting and killing. That’s where the majority of anything you’ll write will be focused on. The units you command have no narrative agenda, almost no space to reflect on what they’re doing or want to do; they fight and die and obey the great cursor.

“But Blizzard!” you say?

Campaign is a different horse. It’s easier there. You can, to a certain degree, pace what happens, insert cutscenes and design a fantasy, a goal, and establish what drives this narrative… And at least your characters get to talk and express opinions, motivation, broader personality and all that, so: Yes, Blizzard cracked the code in most of their campaigns and will probably remain on that throne till the flippin’ sun burns out. But looking at virtually all other RTS games, there’s a trend to keep the world simple, the greater worldbuilding or story potential unexplored (Warlords RTS, Grey Goo) or exaggerate other aspects enough that they tilt from ludicrous to awesome and thus make for a satisfying campy story (looking at you, Command & Conquer). There’s a reason why even master craftsmen like the folks at Blizzard preach the mantra: Gameplay first in RTS.

All that doesn’t mean you can’t tell a compelling story, it doesn’t mean you can’t build a fantastic world, but it means that it may feel awkward at first. It’s a much greater challenge than in an RPG, an adventure or something similar where you can weave both things easier into a nice colorful ­tapestry. For our game, there is no after-mission hub to talk to characters, no codex to look up things like history and lore, no audio logs, books or scrolls, no close-up first- or third-person perspective to do advanced intrinsic storytelling. RTS has a fast, relentless pace. Your opponent, be it a human or AI, won’t wait for you to absorb subjects declared second priority like a narrative or worldbuilding details. So, whatever you tell is ideally right there when you play.

Some rules and tools you know still apply accordingly. For example, each of our units has 17 standard response lines. You better believe I tried to cram as much character as I could in there, tried my best to give them personality you can relate to in a few clicks and with allusions to the world around them.

Daedalic’s development team is building the A Year Of Rain world.

Then there are our phenomenal art, design, sound and SFX people Worldbuilding is, of course, not only writing. How characters look, what gear they carry, how their magic or tools of trade manifest and interact, their body language, animation, and voice work… all that blasts open a welcome breach into the walls you run into with an RTS, just like with any other game. Though the world is delivered in chunks in this genre, you can still do plenty of environmental storytelling, be it through biomes, architecture, weather, or ambient sounds and how the whole palette interconnects through the game. The tools are there; they just need lots of attention. The more you have prepared, the better. Whatever you came up with, whatever your vision is, don’t use a crowbar. Listen to the other departments and let them work their magic, even, or especially when that means letting go of your brainchild because they came up with a cooler solution. I’m a writer. What the hell do I know about shapes and the right visual impact, or the finer points of ability synergies and level design? Try to trust people as they trust you.

This is a good time to point out that 50% of all my conceptual resources won’t make it directly into the game. Some things are just too intricate/niche and have no business being there considering the very tight space that’s rightfully conceded to the gameplay. Adjust that percentage further north, actually, since some visual ideas don’t make good silhouettes for in-game models, because they’d be too small, too noisy or just a pain to animate you could never justify. It’s fine, though. Compare it to an actor who’s told to come up with a backstory for a bunch of tiny props on their costume. They’ll never get any big reference in the movie, but they help the actor getting into the role.

As I’ve mentioned, the characters’ role is basically to fight and die, above all else. It creates a dissonance, intuitively. Telling war stories is no hard sell, but it adds a new layer to the worldbuilding itself. Is this a new conflict? Where will you locate it? Is it a flashpoint or a global affair, and how much sense does that make? How do you plan for the future, i.e., at the end of your campaign, is your world fixed or broken, and where does it go from there? Or is it even beyond fixing and stays in a constant, vicious cycle of warfare?

The one luxury I had here was that I got to have my cake and eat it too: I made a world that’s broken, and I elected to focus on one conflict on a very specific piece of land. It leaves enough breathing room to tease a much bigger playground around the elaborate nice sandbox we’ll ship with this game.

Narrative Design for an RTS is a wild ride. And despite the pinch of salt in the lines above I definitely enjoy the chance I’ve been given with this. This article is honestly a slapdash work of professional opinion, advise, and direct dirty development experience. It’s a rough field guide for those treading these grounds for the first time, informative entertainment, or a good foundation for discussion.

See you in that world we’ve built, if you’re so inclined!

Ben Kuhn

Ben Kuhn is a writer and narrative designer at Daedalic Entertainment. Seven years sailing for Daedalic, mostly as a translator, dialogue writer, and voice director, packing a Master of Arts in English literature and creative writing acquired at the University of Bremen and Maynooth. Signed up due to his love of the medium and good stories and continues to be happy about that choice.

The post A Year of Rain: Writing Strategies appeared first on Making Games.

A Year of Rain: Writing Strategies published first on https://leolarsonblog.tumblr.com/

[hermanwatts]

SUPERVERSIVE: A Look at Slice of Life

Slice of life was never my favorite genre, but there are a surprisingly large number of excellent slice of life anime out there, some of them among my favorite shows of all time. Below I’ll highlight some of the best.

JoJo’s Bizarre Adventure Part 4: Diamond is Unbreakable

Yes, this is slice of life and no, I’m not being ironic. Diamond is Unbreakable is the fourth part of the JoJo’s Bizarre Adventure Saga. This time around our protagonist is Josuke Higashikata. Josuke is a typical Japanese high school student living with his single mother in the seemingly quiet town of Morioh. He’s popular with the girls, has great hair, and is generally a pretty swell, if goofy and a little mischievous, guy.

  Naturally, nothing is as it seems. It turns out Josuke is the son of Joseph Joestar, the protagonist of JoJo’s part 2. He has the Stand ability Crazy Diamond, which has the power to break apart and repair whatever it can punch. And not everything in the little town of Morioh is quite as quiet as it seems. In fact, you might say it’s all a little bizarre…

JoJo’s tends to tackle a different genre every part, and while slice of life isn’t the first thing you think of when you think of JoJo’s Bizarre Adventure, it is a surprisingly effective fit. The cast of part 4 is the most likable of all the JoJo casts, and this is in no small part due to the time we spend seeing them hang out and go on their weekly adventures. Despite having a spectacular villain in Yoshikage Kira (whose episodes are admittedly the best parts of the show), it’s that slice of life, teenagers-just-messing-around vibe that makes part 4 feel so unique. Of course, it helps that part 4 also has some of the coolest Stand battles in the entire series as well. Highly recommended.

Ancient Magus Bride

Chise Hatori is a sixteen year old Japanese girl who has totally given up on life. Unloved, unwanted, and alone, she makes the decision to sell herself into slavery, under the theory that at least the person who buys her would want her around.

At the auction she is bought for an enormous sum of money by a mysterious mage with a…cow?…horse?…skull in place of a head. The mage, Elias, is hundreds of years old, and after giving Chise a home in Britain and treating her with kindness, he tells her his true motive: To make her his apprentice and, one day, his bride.

“Ancient Magus Bride” is an utterly gorgeous show, both visually and musically, with one of my all-time favorite soundtracks – “Here” has to be one of the greatest OP songs of all time. It is impossible to listen to it and not understand the sort of show you’re about to see, to get a sense of the otherworldly fantasy that makes up its heart.

And heart is the name of the game. “Ancient Magus Bride” is full of heart. It takes its time, building up the unusual relationship between Chise and Elias and expanding its world. Luckily, both Chise and Elias – especially Elias – are compelling and fascinating characters.

But it’s no secret that the true draw of Ancienct Magus Bride is its setting. “Ancient Magus Bride” technically takes place in the modern day but feels timeless. The way it captures the world of fairies and magic is dead-on perfect: Dangerous, mysterious, and inhuman, but beautiful too. The rules are never fully explained but it all makes an intuitive sort of sense: This is just how magic works.

In its second half the show drops in quality a bit, but it’s nothing extreme – certainly not a “Death Note” level collapse. In fact I wouldn’t call it a collapse at all. It remains high quality until the end, though I have a big issue with a writing decision made in the finale. But that’s ultimately a small part of what is overall a fantastic, and highly superversive, show. VERY much recommended.

Dennou Coil

Dennou Coil follows the daily lives of a group of children who live in the fictional city of Daikoku. The children have adventures and navigate school and relationships. Nothing special. Your typical kid show….with one difference.

“Dennou Coil” takes place in a cyberpunk future where special glasses overlay a virtual world on top of the real one. The virtual world has realistic animal AI and is incredibly tactile, seemingly a part of the landscape as much as physical objects. Hacking is illegal, but in the kids’ world, hackers are at the top of the social totem pole. And maybe there’s more to the virtual world than meets the eye. Maybe it’s not so virtual after all…

Ah, I love “Dennou Coil”. It’s absolutely fantastic, up there with my very top tier of shows along with standouts like “Death Note”, “Fullmetal Alchemist: Brotherhood”, and “Silver Spoon”, among others. The setting is one of the coolest I have EVER seen. “Ordinal Scale”, which also used this idea, didn’t do it justice. All of the ramifications, good and bad, of such a system are thoroughly explored.

The animation and art style are also top notch. I’ve seen comparisons to Ghibli but I think the style is closer to Mamoru Hasoda than anything Ghibli has done. It feels incredibly distinct, and very fun to look at.

At the risk of sounding kind of social justice-y I also like the fact that the main character isn’t your typical adorable moe girl. She isn’t ugly or anything like that, but she’s average looking and kind of nerdy. It’s a refreshing change.

The mystery that undergirds the plot is also fantastic. The episodes leading up to the finale get increasingly intense, reaching an explosive and incredibly superversive climax. This is more than a merely excellent show, but a transcendently brilliant one up there with the greatest anime of all time. I can’t recommend it enough.

Haibane Renmei

An giant egg pops up out of nowhere in a mysterious town called Glie. A girl, who is soon given the name Rakka, hatches from the egg, where she grows wings after hatching. The girl has no memories of her life before she ended up in the egg, yet is able to talk and function normally; all she can remember is a vague dream of falling.

We learn quickly that this is a normal occurrence in the town. The winged people – who are soon given halos as well – are known as the Haibane. They live in abandoned buildings and can take or use whatever items the regular humans leave behind. Despite this arrangement the humans treat the Haibane kindly, and the Haibane in turn work various jobs throughout the town, up until the day they take their “Day of Flight” and leave forever. Throughout the show Rakka slowly learns more about the origins and secrets of the Haibane and about her best friend, Reki, the oldest Haibane who hasn’t yet taken her Day of Flight.

That’s a long set up for a pretty high concept show, and to its credit the show takes advantage of that concept. “Haibane Renmei” starts off as a dreamlike and fascinating slice of life, but as the story goes on and some of the mysteries slowly get answers the bits and pieces add up into a sort of psychological mystery centering around Rakka and Reki.

It’s hard to say anything more about it, because what makes this show great – and it is great – is best experienced without knowing about it in advance. It is an in-depth exploration of the themes of redemption and forgiveness, ending with the conclusion that life really does have inherent value and meaning. The slice of life elements are interesting because the setting and concepts being explored are interesting, but what brings it to the next level is the nuance and intelligence with which it explores its themes and resolves its character arcs. Once again, this is very highly recommended.

Silver Spoon

I already wrote about “Silver Spoon” at length, so I’m keeping this short. “Silver Spoon” is the story of Hachiken, an extremely intelligent first year high schooler who succumbed to intense pressure from his overbearing father and bombed his entrance exams. At the recommendation of a counselor he makes the decision to go to an agricultural school, presumably to get a new perspective on life. And that’s the story. No fancy sci-fi or supernatural elements here.

Mostly what I want to do now is clarify something: I don’t think I made it clear enough that I REALLY loved this show. It’s so good, it shares an honor with “Magi” as being the only unfinished anime whose story I decided to continue through the manga (which is also fantastic and highly recommended – man I hope it gets a season 3 one day…).

The characters are fantastic, and it shares the theme from “Fullmetal Alchemist”, Arakawa’s other masterpiece, of exploring the value of life, this time through the food we eat. The soundtrack is gorgeous and it has some of my favorite tracks in anime, like “Hello Especially”, which somehow manages to have a Japanese-country twang to it. Like “Dennou Coil” before it, this is a slice of life that transcends the category of “Great”. It is among the best anime I’ve ever seen, and I can’t recommend it enough. Considering it’s me we’re talking about, you KNOW it has to be great at everything it does if I’m recommending it despite it having no real action, magic or gadgets. It really is THAT good.

Robotics;Notes

Robotics;Notes is the story of Kaito and Aki, two childhood friends, now in high school, who start a robotics club with the goal of building a giant robot of their own and winning a robotics competition. As the story unfolds a conspiracy is discovered involving the company that makes the robotics ubiquitous in society, ultimately culminating in a one on one battle to, uh…actually I’ll let you all see that one for yourself.

Nobody ever really remembers “Robotics;Notes” exists, yet it was a big enough deal at the time it came out to get a dub. It’s too bad, because I honestly love the show. What makes it are Kaito and Aki. Kaito starts off looking dangerously like he’s going to become unbearable quickly, with the “gimmick” that he’s obsessed with video games and will only do favors for someone if they can beat him in a game. It becomes clear pretty quickly, however, that Kaito’s too-cool-for-school attitude is a persona he uses to cover up the fact that he’s a compassionate and kind person, willing to go out of his way to help people and prepared to make sacrifices for those he’s closest to.

Aki is great as well. She’s your typical super-cheerful anime heroine, whose boundless optimism and drive to accomplish her goals move much of the plot. Like with Kaito, this exterior masks an interior depth, with her optimism fueled largely by a deep-seated fear of failure and the ever-present feeling that she’s somehow disappointing her more intelligent older sister, whose parting words before leaving their home constantly haunt her. The likability of the leads is the main thing that keeps the viewer invested in their story.

The conspiracy underlying the whole plot ends up getting convoluted and more than a little absurd, but I can’t deny that it lead to more than one great scene and a cool as hell finale. It’s a shame this show has become so forgotten, because I highly recommend it.

Interesting side note: “Robotics;Notes” is one of a series of shows that takes place in the larger “Steins;Gate” universe, but outside of a couple of very subtle references this can basically be ignored completely.

I have watched two other slice of life anime, “Clannad” and “March Comes in Like a Lion”. While neither was bad, per se, I did not like either show for a variety of reasons I may go into another time.

I can confirm that, for those of you who like such things, each show has a very good dub but “Silver Spoon”, which has no dub at all, and “Diamond is Ubreakable” (“Clannad” also has a horrendous dub, incidentally). “Diamond is Unbreakable” may have a good dub, but I can’t tell you as I’ve never seen it.

I’m quite glad I decided to give slice of life a shot in the end. If I hadn’t, I’d have missed out on some excellent shows. Give them a shot and see for yourself.

Next up: Recommended comedies. It’s coming!

SUPERVERSIVE: A Look at Slice of Life published first on https://sixchexus.weebly.com/

[ais-n]

Hi ais! I've just finished re-reading icos and I once again feel so sad that it's over again. Do you have any nook recommendations or books that you like?

Aww thank you for reading ICoS the first time, let alone rereading it! That’s sweet of you

I could have sworn at some point I compiled a list (which I was going to link only because I have the worst memory and forget things I love whenever I try to list it all) but I can’t find anything! What the hey.

So, I made a list below the cut :D I broke it up between M/M, nonfiction, fiction, YA, and anime/manga. You should know ahead of time that I tend to read mostly manga or nonfiction, and/or I tend to gravitate toward “darker” stories or stories that deal with a lot of nuance and complexity. I don’t tend to gravitate toward stories that are really black and white (but idk about the ones I mentioned from when I was a preteen/teen because it’s been so long since I read them).

That may tell you if you might like any of these or not :) I wrote a little about the book by most of the names to give you a bit more of an idea.

Hopefully at least one of these looks interesting to you :) Let me know if you need links on something if you can’t find it, or if you want a bit more of an explanation on anything. Some (honestly, most) of these books I haven’t read in forever but others I periodically reread just because I

BOOKS BOOKS AND MORE BOOKS BELOW

**M/M:**

All for the Game series by Nora Sakavic - m/m, super awesomesauce series, it’s my fave in general. First book free, second 2 books 99 cents each. Nora was having some issues with the first book not being on the site with the rest so I put it on my site until she’s got that figured out, so people can still read the series. Get the first book here: http://aisylum.com/tfc/ and then I link the other books on there.

Raised by Wolves series by W.A. Hoffman - m/m, this one is a very different series and style of storytelling. I personally adore this series but it’s also the sort of thing some people may not be into for various reasons. But for me, I read the series all the way through and instantly started over and reread it all again. First book is Brethren.

**NONFICTION:**

anything by Simon Singh but especially The Code Book and Big Bang - these are nonfiction books and if that makes you go “UGH NO WAY” then know that Simon writes nonfiction like fiction so they’re really great and easy reads, plus you get lots of great info. Also, The Code Book is what I used as research for Jeffrey’s knowledge base + the whole thing with the message in Evenfall and the OTP comment. (If you’re like “Hey yeah what WAS all that about?” I answered it here.) (Also also, if you saw Imitation Game, then you should know that the Code Book covers at least part of the same history as that movie)

Mountains Beyond Mountains by Tracy Kidder (follows the story of one of my favorite humans, Paul Farmer who founded/co-founded Partners in Health which is one of my favorite charities) also Tracy writes other books that look intriguing to me but I haven’t read yet.

Erik Larson - Devil in the White City, Thunderstruck, and other books by him – he, like Simon, writes nonfiction in a way that reads very easily like fiction. I like the way he interweaves various stories of various people into one book. Devil in the White City might be my favorite of his that I’ve read? Mostly because it combines architecture + America’s first serial killer + the 1893 Chicago World Fair and all of these things make me go YES PLX

Troublemaker by Leah Remini and Rebecca Paley - this is about scientology; I listened on audiobook–it was interesting and informative

Also, I listened to Dan and Phil’s first book (The Amazing Book is Not on Fire) on audiobook and that was also entertaining–although if you have no idea who tf Dan and Phil are, that may be less entertaining to you lol

Death’s Acre, or Beyond the Body Farm, by William Bass and Jon Jefferson - so, Bill Bass is super interesting, tl;dr is he’s a frontrunner in forensic anthropology, these books are about a farm people donate their bodies to where they decompose in various states to help forensic anthropologists learn more on decomposition which then helps in murder trials and elsewhere. If you’re into forensic anthropology, check out Bill Bass

Dismembered by Susan Mustafa and Sue Israel - this is true crime about a serial killer in Louisiana. It is, therefore, quite graphic and you should heed the title as quite accurate representation of what you will be reading about in the book. But if serial killers or true crime intrigue you, I really liked this book and have been on the lookout by more from these ladies. I thought it was written well and told the story well.

**FICTION:**

books by Jefferson Bass - there’s a whole series called the Body Farm series or something. Jefferson Bass is the combo if the two people for Death’s Acre, except that pseudonym is for their fiction series based on scientific reality/facts. It’s a pretty interesting series from what I recall but I never finished it. But if you like forensic anthropology and want to read a sort of murder mystery/detective type of series written by an actual acclaimed forensic anthropologist with all the science being legit, this is your series

Tony Foster series by Tanya Huff (starts with Smoke and Shadows) - ok so, Tanya Huff was SUPER nice the one time I messaged her. I like her a lot as a person. I will say that this series is not the actual best writing you will ever read–BUT Tony Foster is such a freaking great narrator that I love the series. Also, Tony’s a gay male which is always cool to have as a lead, especially in a sort of fantasy like this :)

Sandman comics by Neil Gaiman – honestly, just about anything you pick up by Neil Gaiman will be good. I’d have to reread all the books to say which is my favorite but I do recall liking Good Omens a lot, which he cowrote with Terry Pratchett. But Sandman is what got me into graphic novels, eventually manga (because I was used to reading GNs by then) and Neil Gaiman as a whole. I fucking love Sandman and will forever recommend it, but it’s a GN so it may not translate well to nook? idk

Speaking of Terry Pratchett, if you like stories that are easy to read and oftentimes have a fair amount of humor infused into them, I recommend him and probably any of his books but my particular recommendation would be Mort as well as the Sam Vines books. I think the first time we see Sam Vines is in the Guards! Guards! book.

Otherland series by Tad Williams - ok in all honesty, I never finished the series (got partially through 3rd of 4 books) and it’s been probably 20 years since I read them, so maybe my opinion would be different now. But Otherland was such an interesting sci-fi ish series which I honestly think is probably going to end up being somewhat realistic to our future. Basically, VR is a thing and people choose to live there instead of in reality sometimes, and now people are dying IRL because their bodies are wasting away and a diverse group of people from around the world get together in the virtual world to try to figure out what’s happening and how to stop it, but they don’t realize the politics and danger involved. Why didn’t I finish reading, you wonder? It’s because I read this series when I was a teenager when it first came out, and I think when I read reading the 3rd book the 4th hadn’t even been written yet. Anyway I was suuuuuper engrossed in the series–so much that when a certain thing happens related to my favorite character in the series, I was too emotionally affected by it I set the book aside to take a moment to reset my emotions before continuing, and then I just…. never continued…. ^^;; I got too distracted by other series but I always plan to finish it. Also side note, Tad Williams is a super nice author who actually wrote back to little teen me(!), taking my email seriously and encouraging me to write. Also side side note, Tad Williams wrote a bunch of books and I recall liking all of his fantasy series I read too but I don’t think I’ve read all his stuff.

Tamir Triad by Lynn Flewelling - first book: Bone Doll’s Twin. It’s been a while since I read this (as is the case for pretty much everything on this whole list) but I remember thinking this was a really interesting trilogy with a rather unique story, especially for the time this was written. If you ever read Lynn’s other book series (Nightrunner, m/m) then know that the Tamir Triad is set in the past of the Nightrunner world, by I don’t remember 500 years or something– also it’s written TOTALLY different than Nightrunner. The two styles are like night and day; if you don’t like the Nightrunner style, totally give Tamir a chance. If you do like Nightrunner, I still think you should read the Tamir books because I think they’re better, even though I did like Nightrunner in the beginning :)

Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire. This book is the inspiration for the wildly popular musical Wicked (which I also recommend you see because it’s omggggg

**YA:**

The Lunar Chronicles by Marissa Meyer - for the most part, I quite like this series. It’s a very easy to read YA series that re-imagines the Disney Princess/fairy tale female leads into a sort of cyberpunk Earth with space adventure future. Most of the females in this series are pretty strong female characters, leading their own stories, having agency, not being overpowered by the male characters like in their Disney or fairy tale versions. It has kind of a Sailor Moon vibe in some aspects, mostly because Marissa’s a total nerd who loves Sailor Moon lol

Six of Crows by Leigh Bardugo - this is actually part of a series but tbh I liked Six of Crows more than the other book. Basically this book is a heist novel with young adult MCs. It’s a freaking BEAUTIFUL hardcover btw, like black edged paper and cool illustrations on the chapter pages and omgggggggg so this is one I recommend you buy in print if you like it, rather than just getting the ebook. It has an MC (Kaz Brekker) who I swear to god is like if early Evenfall Boyd and Hsin had a baby lol

Books by Sherryl Jordan - it’s been approximately forever since I read any of these books so maybe my opinion would change if I read them now, but back in the day I loved the fuck out of Sherryl’s books when I found them as a preteen/teen. I remember feeling like a lot of her female characters felt strong or at least I thought they were cool. The main one I remember liking back then is Winter of Fire. Mind you, Sherryl Jordan’s books are now really hard to find–turns out she’s a New Zealand author and a lot of the books went out of print at various times. But if you happen to run across one, you can check her out and see what you think. I mention her because her stories stuck in my head for 20 years.

Mage Heart (and the Chronicles of Dion Trilogy) by Jane Routley. Another one from forever ago–no idea what I would think of this if I read it today but I remember really liking it when I read it as a teenager, and the story has stuck in the back of my head since. I don’t remember a lot about the actual plot, just that I was inspired by the story/world.

Aaaaand that’s probably enough. You’re probably regretting asking XD

There are a couple of other books I remember from when I was really little but you probably don’t care about those lol The only one I’ll mention is Dealing with Dragons by Patricia Wrede - that’s the first book in a YA series. I quite like Dealing with Dragons, but tbh I was really frustrated by the other books. You could read just the first if you wanted to check it out.

Lastly, if you like manga/anime at all, here are some other recs: fave anime/manga recs, plus here’s another good manga