#I'm just pointing out one particular aspect of hers

[heavensgateheavensgate]

OH OK NO DW I UNDERSTAND i just didn't want to make you worry!! AND ALSO YEAH??? i've seen so many people do the same and it's like??? brother those are the voices in your head headcannoning anything that is inherently hateful for thatcher should be a crime. i think that even if he didn't get the concept of something entirely he'd still try his best to understand it and respect it, we weren't shown any sign of him being hateful towards anyone but the alternates, he even seemed to empathize heavily with sarah and sarah cussed him tf off multiple times but he still felt such guilt regarding mark that he even saved her voice messages, like??? ok this was all needless to say but anyways you get it (i mean. out of all people i think you get it the most honestly) also this is all so cool?? i do have OCs and i never talked to anyone that had AUs for this particular reason, this is so interesting!! it gives me an entirely different point of view cause i've had OCs since i've known myself as a person, that's such a cool thing and i admire it a lot, we need people like you that analyze stories and characters so deeply like that. i also love when people give their spin on aspects that weren't specified in canon and also don't intervene with the character's accuracy! i should definetely check out one of your AUs, even if i'm not very used to following along with AUs (for the exact reason of disliking characters acting, well, out of character), you seem to be SO focused on keeping things accurate that i think i would like to check them out!!

everyone's missing the real tmc analysis here. when adam and jonah were going on investigations in 2009 poker face was already a hit

[frenchtantan]

Can i just say though, now that I've had time to process this, that q!Baghera's lore with the Federation might be one of the darkest one yet?

q!Cellbit's lore is basically a 4D game of chess, with violence.

q!Jaiden's is possible experimentation, or former employee.

q!Fit is a special operative sent by a third pary organisation.

q!Aypierre is employee for power, and possible experimentation too.

q!Etoiles c'est la baston as we say in French.

q!Luzu is posessed by an entity.

q!Tazercraft's gets heavier, having been repeatedly imprisonned, then witnessing torture.

q!Quackity's one is also pretty dark in comparison, since he was kidnapped and brainwashed.

q!Baghera's lore though? C H I L D A B U S E

Edit in italic type

[thewriteadviceforwriters]

25 Prose Tips For Writers 🖋️✨ Part 1

Hey there!📚✨

As writers, we all know that feeling when we read a sentence so beautifully crafted that it takes our breath away. We pause, reread it, and marvel at how the author managed to string those words together in such a captivating way. Well, today I'm going to unpack a few secrets to creating that same magic in your own writing. These same tips I use in my writing.

But before I begin, please remember that writing is an art form, and like any art, it's subjective. What sounds beautiful to one person might not resonate with another. The tips I'm about to share are meant to be tools in your writer's toolkit, not rigid rules. Feel free to experiment, play around, and find what works best for your unique voice and style.

Power of Rhythm 🎵

One of the most overlooked aspects of beautiful prose is rhythm. Just like music, writing has a flow and cadence that can make it pleasing to the ear (or mind's ear, in this case). Here are some ways to incorporate rhythm into your writing:

a) Vary your sentence length: Mix short, punchy sentences with longer, flowing ones. This creates a natural ebb and flow that keeps your reader engaged.

Example: "The sun set. Darkness crept in, wrapping the world in its velvet embrace. Stars winked to life, one by one, until the sky was a glittering tapestry of light."

b) Use repetition strategically: Repeating words or phrases can create a hypnotic effect and emphasize important points.

Example: "She walked through the forest, through the shadows, through the whispers of ancient trees. Through it all, she walked with purpose."

c) Pay attention to the stressed syllables: In English, we naturally stress certain syllables in words. Try to end important sentences with stressed syllables for a stronger impact.

Example: "Her heart raced as she approached the door." (Stronger ending) vs. "She approached the door as her heart raced." (Weaker ending)

Paint with Words 🎨

Beautiful prose often creates vivid imagery in the reader's mind. Here are some techniques to help you paint with words:

a) Use specific, concrete details: Instead of general descriptions, zoom in on particular details that bring a scene to life.

Example: Instead of: "The room was messy." Try: "Crumpled papers overflowed from the waste bin, books lay spine-up on every surface, and a half-eaten sandwich peeked out from under a stack of wrinkled clothes."

b) Appeal to all five senses: Don't just describe what things look like. Include smells, sounds, textures, and tastes to create a fully immersive experience.

Example: "The market bustled with life. Colorful fruits glistened in the morning sun, their sweet aroma mingling with the earthy scent of fresh herbs. Vendors called out their wares in sing-song voices, while customers haggled in animated tones. Sarah's fingers brushed against the rough burlap sacks of grain as she passed, and she could almost taste the tang of ripe oranges on her tongue."

c) Use unexpected comparisons: Fresh similes and metaphors can breathe new life into descriptions.

Example: Instead of: "The old man was very thin." Try: "The old man was a whisper of his former self, as if life had slowly erased him, leaving behind only the faintest outline."

Choose Your Words Wisely 📚

Every word in your prose should earn its place. Here are some tips for selecting the right words:

a) Embrace strong verbs: Replace weak verb + adverb combinations with single, powerful verbs.

Example: Instead of: "She walked quickly to the store." Try: "She hurried to the store." or "She dashed to the store."

b) Be specific: Use precise nouns instead of general ones.

Example: Instead of: "She picked up the flower." Try: "She plucked the daisy."

c) Avoid clichés: Clichés can make your writing feel stale. Try to find fresh ways to express common ideas.

Example: Instead of: "It was raining cats and dogs." Try: "The rain fell in sheets, transforming the streets into rushing rivers."

Play with Sound 🎶

The sound of words can contribute greatly to the beauty of your prose. Here are some techniques to make your writing more musical:

a) Alliteration: Repeating initial consonant sounds can create a pleasing effect.

Example: "She sells seashells by the seashore."

b) Assonance: Repeating vowel sounds can add a subtle musicality to your prose.

Example: "The light of the bright sky might ignite a fight."

c) Onomatopoeia: Using words that sound like what they describe can make your writing more immersive.

Example: "The bees buzzed and hummed as they flitted from flower to flower."

Art of Sentence Structure 🏗️

How you structure your sentences can greatly affect the flow and impact of your prose. Here are some tips:

a) Use parallel structure: When listing items or actions, keep the grammatical structure consistent.

Example: "She came, she saw, she conquered."

b) Try periodic sentences: Build suspense by putting the main clause at the end of the sentence.

Example: "Through storm and strife, across oceans and continents, despite all odds and obstacles, they persevered."

c) Experiment with sentence fragments: While not grammatically correct, sentence fragments can be powerful when used intentionally for emphasis or style.

Example: "She stood at the edge of the cliff. Heart racing. Palms sweating. Ready to jump."

Power of White Space ⬜

Sometimes, what you don't say is just as important as what you do. Use paragraph breaks and short sentences to create pauses and emphasize important moments.

Example: "He opened the letter with trembling hands.

Inside, a single word.

'Yes.'"

Read Your Work Aloud 🗣️

One of the best ways to polish your prose is to read it aloud. This helps you catch awkward phrasing, repetitive words, and rhythm issues that you might miss when reading silently.

Edit Ruthlessly ✂️

Beautiful prose often comes from rigorous editing. Don't be afraid to cut words, sentences, or even entire paragraphs if they don't serve the overall beauty and effectiveness of your writing.

Study the Masters 📖

Please! Read widely and pay attention to how your favorite authors craft their prose. Analyze sentences you find particularly beautiful and try to understand what makes them work.

Practice, Practice, Practice 💪

Like any skill, writing beautiful prose takes practice. Set aside time to experiment with different techniques and styles. Try writing exercises focused on specific aspects of prose, like describing a scene using only sound words, or rewriting a simple sentence in ten different ways.

Remember, that developing your prose style is a journey, not a destination. It's okay if your first draft isn't perfect – that's what editing is for! The most important thing is to keep writing, keep experimenting, and keep finding joy in the process.

Here are a few more unique tips to help you on your prose-perfecting journey:

Create a Word Bank 🏦

Keep a notebook or digital file where you collect beautiful words, phrases, or sentences you come across in your reading. This can be a great resource when you're looking for inspiration or the perfect word to complete a sentence.

Use the "Rule of Three" 3️⃣

There's something inherently satisfying about groups of three. Use this to your advantage in your writing, whether it's in listing items, repeating phrases, or structuring your paragraphs.

Example: "The old house groaned, creaked, and whispered its secrets to the night."

Power of Silence 🤫

Sometimes, the most powerful prose comes from what's left unsaid. Use implication and subtext to add depth to your writing.

Example: Instead of: "She was heartbroken when he left." Try: "She stared at his empty chair across the breakfast table, the untouched coffee growing cold."

Play with Perspective 👁️

Experiment with different points of view to find the most impactful way to tell your story. Sometimes, an unexpected perspective can make your prose truly memorable.

Example: Instead of describing a bustling city from a human perspective, try describing it from the point of view of a bird soaring overhead, or a coin passed from hand to hand.

Use Punctuation Creatively 🖋️

While it's important to use punctuation correctly, don't be afraid to bend the rules a little for stylistic effect. Em dashes, ellipses, and even unconventional use of periods can add rhythm and emphasis to your prose.

Example: "She hesitated—heart pounding, palms sweating—then knocked on the door."

Create Contrast 🌓

Juxtapose different elements in your writing to create interest and emphasis. This can be in terms of tone, pacing, or even the literal elements you're describing.

Example: "The delicate butterfly alighted on the rusted barrel of the abandoned tank."

Use Synesthesia 🌈

Synesthesia is a condition where one sensory experience triggers another. While not everyone experiences this, using synesthetic descriptions in your writing can create vivid and unique imagery.

Example: "The violin's melody tasted like honey on her tongue."

Experiment with Sentence Diagrams 📊

Remember those sentence diagrams from school? Try diagramming some of your favorite sentences from literature. This can give you insight into how complex sentences are structured and help you craft your own.

Create a Sensory Tour 🚶‍♀️

When describing a setting, try taking your reader on a sensory tour. Move from one sense to another, creating a full, immersive experience.

Example: "The old bookstore welcomed her with the musty scent of aging paper. Dust motes danced in the shafts of sunlight piercing the high windows. Her fingers trailed over the cracked leather spines as she moved deeper into the stacks, the floorboards creaking a greeting beneath her feet. In the distance, she could hear the soft ticking of an ancient clock and taste the faint bitterness of old coffee in the air."

Use Active Voice (Most of the Time) 🏃‍♂️

While passive voice has its place, active voice generally creates more dynamic and engaging prose. Compare these two sentences:

Passive: "The ball was thrown by the boy." Active: "The boy threw the ball."

Magic of Ordinary Moments ✨

Sometimes, the most beautiful prose comes from describing everyday occurrences in a new light. Challenge yourself to find beauty and meaning in the mundane.

Example: "The kettle's whistle pierced the quiet morning, a clarion call heralding the day's first cup of possibility."

Play with Time ⏳

Experiment with how you present the passage of time in your prose. You can stretch a moment out over several paragraphs or compress years into a single sentence.

Example: "In that heartbeat between his question and her answer, universes were born and died, civilizations rose and fell, and their entire future hung in the balance."

Use Anaphora for Emphasis 🔁

Anaphora is the repetition of a word or phrase at the beginning of successive clauses or sentences. It can create a powerful rhythm and emphasize key points.

Example: "She was the sunrise after the longest night. She was the first bloom of spring after a harsh winter. She was the cool breeze on a sweltering summer day. She was hope personified, walking among us."

Create Word Pictures 🖼️

Try to create images that linger in the reader's mind long after they've finished reading. These don't have to be elaborate – sometimes a simple, unexpected combination of words can be incredibly powerful.

Example: "Her laughter was a flock of birds taking flight."

Use Rhetorical Devices 🎭

Familiarize yourself with rhetorical devices like chiasmus, antithesis, and oxymoron. These can add depth and interest to your prose.

Example of chiasmus: "Ask not what your country can do for you – ask what you can do for your country." - John F. Kennedy

Even the most accomplished authors continue to hone their craft with each new piece they write. Don't be discouraged if your first attempts don't sound exactly like you imagined – keep practicing, keep experimenting, and most importantly, keep writing.

Your unique voice and perspective are what will ultimately make your prose beautiful. These techniques are simply tools to help you express that voice more effectively. Use them, adapt them, or discard them as you see fit. The most important thing is to write in a way that feels authentic to you and brings you joy.

Happy writing, everyone! 🖋️💖📚 - Rin T

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[saessenach]

Thinking many thoughts about Miss Andarateia Cantori tonight because what do you mean we get to be in her house for the entire game, in which she and her boyfriend/partner-in-crime run a gambling den, assassin guild ANd find the time to argue with the public administration while opposing a military occupation?? who does it like her??

Joke aside, I think she's an incredibly fun character, and I'm really happy that hers was the lens through which we saw the Crows this game. Whenever I see random posts and critiques commenting that the Crows were too "sanitised" or "found-family", I want to yell a bit, because DATV never claims that to be the case!! Obviously everyone is entitled to their own opinion, but what we see is anchored in a very specific context: not just Treviso under Antaam occupation, but also the Cantori Diamond, which falls under Teia's jurisdiction.

She's an elven orphan turned Guildmaster and Talon, who desperately wanted to find family in the Crows! While the other Talons resisted her attempts at every step (some more succesfully than others ksks), that implies 1) her approach towards her own House was probably not dissimilar and 2) it got her the Talon position in her 20s. Ergo, her modus operandi was probably fairly successful.

For all that she threatens to evict anyone who treats her like a landlord (lol), the Diamond is very much a reflection of her as a character. It's all completely in line with both her general characterisation in 8 Little Talons and with the point she reaches at the end of that story when confronting Emil. I don't think it's a coincidence that out of our two POVs in 8LT, she's the one discussing Crow ideology with their would-be-murderer:

and

and

Following this particular set-up, of course orphans like Jacobus are treated kindly; of course fledglings have time to gossip in quiet corners while training; of course she helps the Dellamortes however she can?? She decided these people are family to her, and she wants to do better by them than what she got. This is wildly compelling to me personally, because she's such a delightful mix of idealism and disillusionment, honesty and manipulation, compassion and retribution - and she's so fucking obstinate about it!!!

There's also the little connection with the Crows' beginnings, specifically in Treviso. Iirc, it's mentioned in 8LT that her base is Rialto (she's also got gardens there), so a part of me wonders whether the Diamond was an inherited property from a previous Cantori Talon, or whether she got it up and running between then and the events of the game. I think that between that little tibdbit and with Lucanis being named First Talon at the end of the game, it's pretty obvious that the theme of rebirth is very much the point in the Crows' plotline - a messy, hopeful and spiteful rebirth.

All of this is to say, what we get doesn't at all negate the other aspects we've seen from the Crows in previous games, but rather puts them into perspective. The game just goes on to ask - isn't there another way to do this? what else is there room for us to be? is there any chance we might find some kindness in this world? and one of the ways these answers are explored is through Teia's character (we start this series with Zevran's story within the Antivan Crows - an elven orphan bought from a brothel, who doesn't have the power to change this guild, and end with Lucanis, Viago and Teia, who is, specifically, an elven orphan picked up (?) from the streets, who remains one of the powerhouses of the organisation. I love a bit of narrative symmetry ✨)

And honestly, I find this entire thing delightful - it's cheeky and dramatic and a lot of fun, and it makes sense for these characters, if you only sit with it for a second and give it a bit of thought!

(PS the way she draws Viago into her orbit and the way their partnership works is another rant entirely, and they drive me absolutely insane nghhh)

[branwinged]

do you have any unpopular opinions regarding Arya

what's your opinion on the death penalty type ask. well i think arya prettycourse is insane (she's literally 10? but also im about to type a block of text about it so. sorry ✋) both the "she's ugly fr" takes and the people citing book quotes where someone calls her pretty are missing the point. the books are not interested in engaging with 'objective' beauty (madness wrt dany and the targs is another concept that is not objective. it's a social construct) because the books understand gender is socially constructed so that implies gendered beauty standards are also socially constructed.

the ideal of beauty in westeros is based on a very specific brand of patriarchal femininity. it's obviously race based, like, almost everyone has something vile to say about elia and that's because of in-universe racism against the dornish. beauty is also class based because only aristocratic women have access to expensive fabrics and lace etc and to possess that kind of socially desirable figure one has to have a certain amount of wealth (i.e. access to food) to be precluded from engaging in physical labour. i don't think the books are interested in that class based aspect because all our pov characters are aristocrats, but you do see the other bits in play with a lot of characters. like, cersei and the prophecy about being surpassed by a younger and more beautiful girl. she spends a lot of time worrying about which beautiful girl maggy the frog was prophesying here, but i'm sure (at least in a metatextual sense, because this is a self fulfilling prophecy) "younger and more beautiful" is also meant as a simple truth, that after a certain age she will no longer be viewed as a sexual commodity, and you see this happen in the text in the way jaime is still fawned over at his age but cersei is entering 'socially deemed as old hag' territory. brienne (once) very much desires to be a lady but because she doesn't fit that ideal of patriarchal femininity (the specific way she is made out to be ugly are her height, her girth, that she's flat chested and muscular) she is dehumanised and labeled an outcast. then on the other end we've got daenerys who is considered the most beautiful woman in the world because she's being exoticised for her valyrian heritage, it's not the authorial voice of grrm pronouncing her as the winner of some fuckass planetos beauty pageant okay!! and crucially, these are all teenagers so the ideal of beauty here is also inseparable from the normative sexualisation of young girls who're also simultaneously expected to perform innocence and purity.

so with that context, arya is considered ugly because she's gender nonconforming. arya's anxiety and feelings of inadequacy over not being pretty (like her mother, like her sister) are not separate from her anxiety about not being able to meet the standards of patriarchal femininity.

Her mother used to say she could be pretty if she would just wash and brush her hair and take more care with her dress, the way her sister did.

what cat means here, is that she will be pretty ONCE she's domesticated into being a proper lady. and that one time gendry calls arya pretty it's right after lady smallwood forces her into conventionally feminine attire (Lady Smallwood fussed at the bodice of the gown. “Now you look a proper young lady.” // gendry: "You look different now. Like a proper little girl.") i don't find these instances of her being called pretty particularly empowering because she doesn't like wearing gowns and dresses, she shouldn't be forced to perform 'proper' gender roles in exchange for some assurance regarding her worth as a girl. note that catelyn, lady smallwood, and gendry are not being malicious but they've all grown up with and internalised westeros's sexist values, catelyn in particular is approaching it as a problem of who's going to marry (i.e. sexually desire) arya if she doesn't behave like a well bred lady.

Lady Smallwood gave her breeches, belt, and tunic to wear, and a brown doeskin jerkin dotted with iron studs. “They were my son’s things,” she said. “He died when he was seven.” “I’m sorry, my lady.” Arya suddenly felt bad for her, and ashamed. “I’m sorry I tore the acorn dress too. It was pretty.” “Yes, child. And so are you. Be brave.”

i think this is the most valuable/touching comment on arya's appearance because lady smallwood here is finally not trying to put her in some box of expectations, she's simply recognising her as a child trying to survive and return to her family, worthy of kindness, worthy of love. and that's the main theme of her story, she just wants to exist outside those rigid codes of social conduct for women ("Can I be a king’s councillor and build castles and become the High Septon?") but because she won't quietly let her desires and sense of self be subsumed by westeros's patriarchal femininity (what's happening to sansa in affc), what she's ultimately presented with is complete annihilation of the self. the faceless men tell her, "you will be no one's daughter, no one's wife, no one's mother" - the wording here feels significant because then this path is not an out from that oppressive structure. it's saying: since you refuse to conform, you can't exist within society. you won't be considered a person at all, your body will be a tool to serve the faceless men's desires.

[lostwords-found]

Oh no. Oh fuck. I am relistening to some of the earlier Protocol episodes, and I have a horrible, terrible, no good very bad suspicion about Gerry.

I could, I want to emphasize, be completely wrong! I could be wildly, hilariously, off the mark. But--hear me out. This is going to take some explaining about what I think is going on in the bigger picture worldbuilding stuff; hopefully it'll be coherent, but fair warning, it may get a bit long.

First: there have been a lot of cases that have boiled down to trying to keep only the "good"/desirable/etc aspects of things or events or people, and discard the "bad"/unwanted, right? We saw this happening very explicitly in episode 23 with Alesis Newman, and way back in episode 2 with Daria the painter, but a number of episodes have presented variations on a similar theme.

Two variations in particular that I've been thinking a lot about are the violinist in episode 4 and the gambler in episode 9. The violinist can play his violin beautifully, but he wants to be rid of the price in flesh and blood that it demands. Similarly, the gambler wants the rewards of rolling high on his magic dice, but wants to be rid of the misfortunes that come with rolling low. Crucially, both episodes make clear that in this type of balance--something unwanted for something wanted--you can't just make the unwanted piece vanish. It has to go somewhere, it has to happen. But you can make it happen to someone else, somewhere else. And when that's how the game works, one of the major questions for players who want to get ahead then becomes: "how do I make the bad stuff stay happening somewhere else, and keep reaping the benefits of the good stuff that balances it out?"

Here's where this gets wildly speculative and from here on I freely acknowledge that I may be talking out my ass:

I think the Magnus Institute was investigating that question. I suspect a great many alchemists before the Institute, probably going back to the times of Albertus Magnus, were investigating it as well. I think the Great Work they were attempting -- the "universal transmutation" alluded to in episode 21 as the Magnus Institute's aim -- was the exact opposite of Jonah Magnus's own "Great Work" in TMA. In other words, I think they were probably trying to make the world an eternal paradise, rather than an eternal hell.

But if you're getting rid of all the "bad" stuff, all the suffering and misfortune, it's got to go somewhere.

I think they were sending it through to other worlds.

I'm not going to get into all the reasons I think that right now, because that's a whole essay in itself, but basically--the Leitners in TMA? The artifacts? All the little bits and pieces of evil given physical form, that never had a clear origin point in the world where they caused so much suffering for so long? We've all been worried about them winding up here, post-Archives... but I think this is where they came from in the first place. I think they were sent away in the hopes that an increase in "bad" in other worlds would lead to an increase in "good" in this one. Remember all those books Albrecht von Closen found in the tomb in the Black Forest in TMA, that Jonah Magnus later stole and let loose on the world? Remember that Albrecht found a mysterious coin along with them dated 1279? Albertus Magnus died in 1280; I strongly suspect he sent those books from the world of Protocol to that of Archives shortly before his death, much as the world of Archives sent the tapes away centuries later. But I think Protocol's world kept sending things away, kept trying to export "bad" and import "good". Remember all those happy, laughing volunteers bringing strange and sinister items to the charity shop on Hill Top Road in episode 7? "All for a good cause."

Okay so. Now. With that bit of hypothetical framework for Protocol's worldbuilding in place, let's next go back to Alesis Newman of episode 23. Her expressed wish is to create a new her. "Someone better. Someone the pain can't touch." Someone who can be everything Alesis wishes she could have been. Someone "free of all (her) mistakes."

But increasingly it sounds like what she actually wants isn't to create someone new. It is to create someone who is only a part of her current self. Someone who, she says in one of her last few posts, will "just be the good parts of me."

And if that's the case, if what she's really trying to do is make someone who holds only the "good" parts of her, someone who can be happy and strong and perfect and loved by everyone forever... what happens to the bad parts of Alesis Newman, as she currently exists? What about the parts of her that feel pain and fear, the parts of her that make mistakes, the parts of her that she rejects?

One might assume, from the experience she narrates, that those pieces of her are simply being destroyed. But that doesn't line up with the suggestion we've seen from earlier episodes that there has to be some kind of balance maintained in these bargains. What she actually says is happening to her--and what the forum members have apparently told her will happen, through this process--is that she and this "new her" are "becoming one... and then two."

I don't think the "bad" parts of Alesis Newman are dying. I think they're also going to become a "new her"--they're just going to go somewhere else, somewhere the new, happy, strong, perfect version of Alesis Newman never has to see them.

Still with me?

Okay.

Now let's talk about Gerry. Let's talk about the smiling, laughing, irrepressibly happy Gerry Keay we meet early in Protocol. Gerry who seems to have everything that the Gerry Keay of Archives was denied.

Gerry who underwent tests at the Magnus Institute as a child, and who, per the static over his and "Gee Gee's" words, holds a few more secrets about what went on there than he let on to Sam and Celia.

Back when I first heard Gerry's appearance in episode 8, it sure felt like a narrative gut punch: This is who he could have been in Archives, if not for the presence of the Fears. This is what Jon and Martin's final decision threatens to destroy--for this safe, happy version of Gerry, and for everyone else in his world.

I'm now suspecting it might be significantly worse than that. I think the Magnus Institute might have done to Gerry Keay something similar to what Alesis Newman later did to herself: made him New. Kept only the good parts--ensured a happy, comfortable, good life for him. In which case, all the bad stuff--all the parts of Gerry Keay that would ever have to suffer from bad luck, to feel pain and fear and misery...

...well. They'd have had to go... somewhere else, wouldn't they.

Which would suggest I had the causality the wrong way around the first time I heard Gerry's appearance in Protocol: maybe it's not "Gerry has a happy life in this world because he didn't have to suffer everything that the Gerry Keay of Archives did."

Maybe it's "Gerry in Archives had to suffer everything he did because Gerry in Protocol was made to always be happy."

[ot3]

have u read the homestuck epilogues? what do u think of them if u have? and do u have thoughts on june egbert

when the epilogues originally dropped, i read candy but i did not go on to read meat because the experience of being a homestuck fan at the release of the epilogues was a pretty miserable and i saw no reason to prolong it.

i did not categorically hate everything the epilogues were attempting to do but i think they are fundamentally and irredeemably flawed for one extremely big reason: you can not release something as the official continuation of a work while also insisting it is not a piece of the canon. it felt like they wanted to have their cake and eat it too in a way that completely undermined the entire work. they released it with faux-ao3 tagging/styling, but weren't brave enough to actually release is on ao3. it had to be elevated Above fanwork, but if you got too upset about it they could always just point out 'well we said it wasn't canon' to deflect legitimate criticism. plain and simple, it all felt like cowardice. release something intentionally designed to provoke and antagonize a dedicated fanbase and then retreat to twitter to complain about how nobody can understand and appreciate REAL, SERIOUS, QUEER ADULT CHARACTER WRITING. but like. real, serious queer adult character writing still needs to be good and I'm not sure the homestuck epilogues Were that. having characters you know to be 100% fictional and are now being written by a brand new set of people pretty much look at the camera and say "if you think my character writing is OOC it's only because you don't respect my interiority as a human being" rang extremely fucking hollow to me.

i think it should be obvious to anyone who has been following me for any amount of time that i don't want or need sanitized and saccharine character writing to be pleased and my issue was not that the epilogues were dark, it was that they felt confused and contrived.

being a homestuck fan took up all of the formative years of my life, without exaggeration. it was the main thing i was into from ages 14-21 and has been incomparably important to me. so it's next to impossible for me to separate my feelings about my epilogues from what it felt like to be a homestuck fan during the absolute clusterfuck of these things dropping, especially since i haven't revisited them since. one event in particular that really soured me was an official homestuck team member who i was decently good friends with asking me to delete tweets i made criticizing some aspects of the epilogues. i found to be an extremely unprofessional to do as someone who is on the payroll of an IP speaking to a fan of that work, regardless of whatever terms we may have been on. additionally, i found the way she + the epilogues writers responded to criticism of the epilogues from the pretty significant demographic of teen fans on twitter to be at best condescending and at worst actively cruel.

it felt like a bunch of people who wrote shock fiction about a beloved cast of characters - something they were fully within their right to do, to be clear - but then could not handle the extremely predictable reception to it. my eventual homestuck reread is penciled in for 2029 and if i can bring myself to [re]read the epilogues at that time, im going to. we will see how my feelings change then

as for june egbert: love her, but this is once again soured by the way post-mspa era homestuck treats the concept of canonicity. john egbert is my number one favorite fictional character of all time. if you tell me "great news, she's a girl now" i am in fact overjoyed by that. i think its something that adds a lot of texture to the character. but i don't like people treating it like it's canon when it just simply isn't. i don't think you get points for portraying a transfem character until you have actually... portrayed a transfem character. i do not keep up with hs2 for reasons that are probably pretty obvious so i'm not sure if anything has changed, but to the best of my knowledge june egbert is not yet canonical there either. it's very frustrating.

but you see what i mean about canonicity: ignore the fact that we haven't discussed june egbert's gender in a single actual piece of fiction. the toblerone says she's real so she is! ignore the fact that the homestuck epilogues are official works that were on the shelves at barnes and fucking noble, they're "beyond canon" because weve put AO3 headers on. it feels like lategame homestuck treats canonicity like a switch it can flip completely independent of the works they are making, in whatever way is convenient for them. if the HS2 team (shoutout to floral, one of the best to ever do it and nobody deserves to be writing homestuck more than them) ever does get around to making june egbert canon, i will be standing by to pop bottles.

[dunmeshistash]

G'day, I hope you are doing well.

Ever since I finished the story of Dungeon Meshi (all supplementary material included) I've been writing down bullet points on characters in addition to in-depth synopses as a way to tidy up my rather busy mind. To this end I've also greatly enjoyed reading other folks' interpretations of particular characters, as it gives me further insight into aspects of that character I may have glossed over.

However, there's one character I'm struggling to write a cohesive synopsis about, that being none other than 'miss enigma' herself, Falin Touden. I get that her whole shtick is that she's kind of a mystery, but I find myself drawing a lot of blanks when it comes to her as a character, and while I have nailed down some important bullet points, there are a lot of different interpretations on her, all of which starkly contrast one another. Though perhaps it's just the wording. Hard to say.

It could very well be that I'm being too dense i.e. perceiving "Falin is willing to risk killing others to save her friends." and "Falin, in the heat of the moment, when faced with certain death, was willing to face the prospect of harming potential passersby in a final Hail Mary to get her friends to safety." as entirely different observations. I have a hard time with those kinds of things.

With this being a hub for all sorts of observations, interpretations and cool trivia, I was wondering if you'd perhaps be willing to share how you yourself perceive Falin as a character, so I can compare notes and perhaps gain a more proper understanding of her as a character as a result. I know this question is very broad and kind of vague, but if you could spare the time I'd be most grateful.

Other than that, I wish you an excellent day.

Hello!!! I love Falin!!!!!

She *is* a mystery, we mostly know Falin through the perception other characters have of her instead of a direct deep look onto who she is, which I find very interesting. I think the best post I've seen about her (which as usual I can't remember where edit: someone linked it thank uu) I think called her perceived altruism/love "selfish" and I've been thinking about that ever since.

In that sense the way she cares so much about the comfort of people around her might be a way to keep *her own* comfort because she doesn't want to see other people suffer.

This girly died and came back to life from bones and the first thoughts she has is that she caused trouble for her loved ones

She probably has felt this way since she was a child, "because of her" that her family was torn apart "because of her" that Laios left, her mom was sick, her father had to send her away. (wasn't actually her fault but she might think it is)

I imagine ever since then Falin has done her best to not cause trouble and to make the people she loves happy, everything we know about her and the things she was doing was always for the people she loved, that's why I enjoy the post canon comic where Toshiro asks her hand in marriage again so much. The first time she considers accepting just because "might as well" while for the second time she finally wants to live for herself.

I think Falin herself has lost who she "really is" by trying to accommodate everyone around her and that's probably part of why we ourselves don't really know her, so much so that the most cynical character is uncomfortable around her (probably cause he notices Falin is "hiding" something)

I think Falin is quite the melancholic character to be honest, someone who has lost herself in self sacrifice and who is only now learning how to live for herself doing what she wants.

Both the teleportation scene and the bit about healing show "cracks" in the selfless front she puts out tbh. By context I don't think what she did was only due to "desperation of the moment" she says out loud "Even if I end up hurting others I want you and my brother to live on". She weighted out how much suffering she might cause and decided she wanted to save them anyway, and I'm sure in that calculation she knew that they would suffer because of her sacrifice too.

Falin is saving them for herself, I'm not great with words so this is all over the place and maybe sounds a little negative about Falin but the thing is, you cannot live your life for other people, you can't sacrifice yourself for other people's happiness, you shouldn't erase your own presence so others are happier and I think Falin is starting to learn that by the end.

I'd probably keep rambling without getting anywhere and missing a lot of more meaningful moments but I'll stop here, if anyone has recs for Falin analysis please share!

[wisteria-lodge]

What do you think a wizarding wedding would look like, and what do you think Lucius' and Narcissa's specifically looked like?

The book does show us Fleur and Bill's wedding, but that was a wartime shotgun-ish wedding in the peripherals of the story's focus. I'm also not ever sure how much of the details there are things joanne really thought about and decided to include in her representation of a Magical wedding, and how much of it are just modern social customs she might have considered the forever universal default and put in the book.

Narcissa and Lucius also seem to be the rare fictional couple who'd actually enjoy all the pedantry and tradition and specificities in a wedding to me. Seeing as you're writing a fic with them in it, I thought you'd probably already thought about this aspect of worldbuilding/character writing, so I hope you don't mind me asking abt it. Thanks and have a great day!!

Okay, I love this ask, and I'm going to lay it all out, but first I want to lay out my Reasoning.

Here are my rules, when it comes to expanding on/filling in the Harry Potter world building:

ONE: If we’re dealing with any sort of political or social structure, my reference is England, year 1700. 

This does make sense with the backstory we get: the Wizarding World split away from the Muggle world in the late 1600s, wizards live a really long time, and wizards also didn’t need an industrial revolution (because magic filled the place of tech) so they wouldn’t have gotten any of the social changes that happened because of the industrial revolution. 

Also, this particular time period generally fits with what we see on the page. Education, politics, the police force, mental health care - it all seems to work in a very 1700s way. We don’t have any electricity, there’s no industrialization. (Like, Umbridge’s pamphlets are made by hand. I mean obviously they’re made by magic, but an individual’s magic, they’re not assembled in a magical factory.) So when Draco brings up a “museum”...  it makes sense to me that he’s not not thinking of a modern museum with a ticketing department running off grants and public funding, full of typed-out little plaques written by scientists and historians, telling you the provenance of whatever you’re looking at. If we went to a museum in Wizarding World, I would expect the type of museum you saw in 1700: a cabinet of curiosities assembled by one single wealthy collector, arranged in some eccentric way, handwritten labels or no labels at all, very probably in a wing of a private house. That feels correct and in-universe to me. So… whenever someone asks me something like ‘how do taxes work in the Harry Potter universe,’ I take 1700 England as a starting place, and go from there. 

TWO: If we’re dealing with aesthetic details or inventions, I draw from England 1700 - 1880

There isn’t much that’s Victorian in the world building… but there’s plenty in the set dressing. We see lots of 1800s fashion: women wearing hats with birds and flowers on them, men wearing bowler hats and top hats. There are 1800s hedge mazes, most of the holiday decorations are from the late 1800s, we’ve got radios and trains… and I’m completely fine with all that. It seems to me that if you’re a wizard walking through the Muggle world, it’s a lot easier to see someone wearing a cool hat, and say ‘I would like a hat like that’  - versus walking around and picking up the concept of, idk unions. So cameras are okay: they’re 1800s. Note that Rita Skeeter’s photographer Bozo has a magical version of a 1850s camera

while Muggle born Colin Creevey has… a modded 1930s camera? To communicate that he’s got a foot in both worlds. 

My point is, if you saw someone riding a bicycle in Harry Potter, you would assume they brought it in from the Muggle world. Bicycles showed up in England in the 1880s, so that’s slightly too late. It’s important to the feel of the world to keep up a good chunk of separation between the aesthetics of the Wizarding World, and the aesthetics of the muggle world.

THREE: Gender politics/gendered customs basically don’t exist

This is one of the things that makes Harry Potter a J. K. Rowling fantasy world. Obviously, JKR the person has a lot to unpack about gender politics, and there are all kinds of Doylist differences between the way male and female characters are treated in the Harry Potter books. But in universe, there is no Watsonian benefit to being a guy or being a girl in any particular situation. We get gendered bathrooms (although the prefects’ bathroom and the locker rooms seem co-ed), gendered fashions, gendered dorms… and that’s basically it.  

Of course there are some very old and baked in gendered things I doubt JKR even thought about… a woman taking her husband’s last name for instance. (Honestly - I would have loved a posh doubled-barreled name for Draco. Draco Malfoy-Black sounds quite sharp and public schooly.) There’s a thing where Dumbledore mentions that the Blacks prefer it when a guy inherits… but in the same breath, he’s completely convinced Bellatrix is about to inherit, so clearly that isn’t that important.

The only other example I can think of is the way we’re told the unicorns prefer the female students. But, the boys in Professor Grubbly-Plank’s class unanimously think this is bullshit, and I would argue that the framing of the book supports this read. We haven’t seen magic work like this before, so did Professor G-P get it wrong? And/or just doesn’t want to deal with the boys? Presumably this is why we are happy Hagrid is coming back

FOUR: There is basically no organized religion/spirituality in the Wizarding World. 

The narrative does a lot of work to not tell us who the random officiant at Dumbledore's funeral and Bill and Fleur‘s wedding is. Who is he? Who does he represent? How do you find him? How does he have authority to do this? Not important, doesn’t matter, keep moving along. We are definitely in a world where there is a holiday named Christmas… but it’s like the women taking their husband's name thing, that seems too baked into JKR’s worldview to question. But there is no mention of any religious dimension, it’s just presents and feasts and balls. 

If I’m writing something that’s interested in what these guys consider to be the sacred underpinnings of their world (like something focusing on a wedding, for instance…) then I think I would end up expanding on important magical rituals. I’m thinking Fidelius, Unbreakable Vow, sacrificial magic. Not for nothing, but considering how much importance the moment where Severus and Narcissa make an Unbreakable Vow is given by both the narrative and the characters… it feels more like a wedding than the wedding does, and I’m not even a Severus/Narcissa shipper. 

*

So when it comes to weddings… I’ve honestly found it uniquely difficult to research the history there, because a lot of people are very motivated to suggest that every wedding tradition has some deep, meaningful ancient origin - or that it was just kind of always that way. Take the concept of a “best man” and the term “best man" for instance. That starts showing up in the 1780s (so it’s a social custom that doesn’t make my 1700 deadline.) Harry is of course filtering everything through his POV, but if I were writing a wedding thing, I’d want to say that Sirius is filling a different position. Like “godfather” seems a very legally important role in the wizarding society, so lean into that.  Maybe the “best man” equivalent at a wizard wedding is the person who you’ve picked to get custody of your kids if you die. 

We also see things like white wedding dresses and matching bridesmaid dresses being treated as an absolute given at Fleur’s wedding, when both of those things pretty much only exist because Queen Victoria did them in 1840. One interesting thing is that JKR doesn’t seem to do an exchange of rings, and she’s changed up that moment to make it more reminiscent of (I think) a handfasting ceremony? Which is fine, I can work with that. (Also rings are just treated very negatively across the board in the Harry Potter books. No idea why.)

But, in-universe, the Bill/Fleur wedding is really hard to use as a model for what a typical pureblood Wizarding wedding looks like. For all the reasons Anon mentions: It’s war time, it was put together very quickly, Harry is not paying the most attention, we don’t get to see the whole thing. I would also add in the fact that the Weasleys are political radicals, and at that point especially would be very politically motivated to have a wedding that looks more Muggle. 

Okay.  If I were writing a pureblood wedding… like Lucius and Narcissa’s wedding… what would I do.

First, I don’t think I want a typical wedding from the year 1700. I want 1700 does renaissance/medieval. (Kind of Sir Walter Scott.) I like this because it brings in/explains the Merlin thing - the purebloods all use ‘Merlin’ as an oath, so I guess Merlin (and Arthur, and that kind of romanticized middle ages) is important to them culturally. Also, medieval influences are going to make your wedding feel impressive and established… which is exactly what the Malfoys are after. Make sure everyone knows what an old family they are. All these pureblood families have crests, so put them everywhere, front and center. The decorations should be banners and flags with the crests of everyone attending, no florals.

I also love the idea of fossilized fashions, old-fashioned clothes that don’t come out except during a very ceremonial, traditional occasion. (Think of the ways that veils used to be a pretty normal part of a lady's wardrobe, but now you only see them during weddings.) I’d have it so that during a wizard wedding… all the ladies bring out their long, draping, evil enchantress sleeves and the guys are supposed to wear half-capes and swords. It’s also a good excuse to bring out all the really old family jewelry, of which I am sure the Malfoys have buckets.

I also want this to be a very magical wedding. Like, there are parts of it you straight-up could not participate in as muggle, because I think (sadly) that would be the vibe during the timeline of the main books. Weddings are for showing off, and part of that would be showing off your magical prowess. I’m thinking - light the dance floor on fire before the first dance, and then the couple has to perform a Flame Freezing charm. This tradition started as a screw-you to the Muggles after the witch trials… but now everybody just kinda does it because it looks really cool when the newlyweds dance on a bed of flame. Oh, and we’re definitely doing medieval-style palm-touching dances. No waltzing for the first dance at a traditional Malfoy wedding.

And they’ll go all out for the wedding feast, which will be long. The 1700s and middle ages were both really into food that did stuff - food that transformed, or food that looked like other food, or food that had birds flying out of it. So  just lean into that times a million with magic.

I am also such a sucker for slightly sentient magical houses, and Harry Potter absolutely has some of that, with the way Hogwarts (the building) has various ways to fight back against enemies and infiltrators. So I think a Malfoy wedding would definitely be taking place at Malfoy Manor, and that the house itself would be a part of the proceedings in some way. Like it’s got to accept the new family member (we know, from little moments like Umbridge being barred from Dumbledore‘s office… that sometimes magical buildings just reject you.) Integrating a new person into the new space would be a multi-step process. Maybe there’s a ceremony where they present the new person with the family spell books, and another one where they present them with keys to various parts of the house, etc.

You could tie this in with the idea of a bedding ceremony (which also hits my medieval + 1700s markers.) Maybe the house changes in some way when the couple first sleeps together, like it redecorates with the belongings of the person moving in, or grows them a rose garden or observatory so they feel more at home. I bet it’s fun for the guests to stick around and watch this change happen. (A trope like this might be especially fun in an arranged marriage or marriage-law type story.)

I’m thinking this would also be a very long wedding, and the wedding party is probably staying at the house for a week or so beforehand. That’s part of the flex, the family’s ability to adequately pay host to so many people for such a long period of time. Like that’s what a house like Malfoy Manor is for, there’s a reason those places were functionally small hotels. If at the end my old-school pureblood wedding feels like a modern muggle wedding... I don’t think I’ve done my job. A Muggleborn who’s been invited ought to have culture shock.

And yes. It goes without saying that Lucius and Narcissa would have eaten up all this pomp and circumstance, with a spoon.

[epiphanytofu]

Fankids are still a thing, right? Whatever, go my scarab. Introducing my two fankids for an incredibly RARE rarepair that I've been keeping hidden for over 2 months now, Jangle and Chime. Twins who are complete opposites, but stick together as if they were glued to the hip.

Jangle is the more eccentric, hyperactive, silly, and chaotic half of the duo, always up and about, everywhere at once and speeding around like his life depends on it. There's rarely a moment where this one isn't doing something fun or getting into mischief as he makes it a point to search for the next adventure, regardless of the time or place. He has a love for performing, talented in many forms of entertainment and will gladly put on a show when asked to. Despite his childish nature, he is intelligent in his own ways, showing a deep interest in literature, philosophy, and morals, despite his young age. Furthermore, he has quite the eye for spotting lies and truths and he's not afraid to shout out what he sees. Funny enough, he is not a very good liar himself; he's quite blunt, but never wishes ill on anyone... unless they insult or upset his family. Perhaps Jangle takes his role as a jester very, VERY seriously. Chime is the quiet, emotional, timid, and insecure half of the duo, always preferring to stand back and let others take the spotlight and attention. Whereas Jangle is always found running about, never sticking to one spot, Chime would rather stay in her comfort zone, keeping to herself in a limited number of areas to minimize the amount of social interaction as much as possible. She finds more comfort in solitude and quiet, always becoming distressed if too much noise is made, too many people are present... or there's a minor inconvenience that just happened. It's very easy to upset her. Much like her brother, she is quite smart for her age, except her specialty lies with mathematics and anything involving numbers, which allows her to excel with machines, mechanics, and tinkering. She tends to do so often, finding it to be a special interest of sorts. Though, it's not all she does; Chime DOES have a particular interest in music as well. Perhaps one day she can finally make music that's just as pretty as her brother's. Moving onto some gameplay aspects; there is the topic of both twin's abilities, starting with Jangle's.

As it can be read here, Jangle's ability can stun Twisteds using the jester doll named Jack in his head, who has a separate conscious. His active is different from other toons' abilities, as instead of an instantaneous use, the ability can be charged up, which causes Jangle to start winding up to get ready to use his ability, which requires the ability button to be held down long enough. Thankfully, in moments of danger, he gradually speeds up the longer the icon is held. This can be particularly useful for distracting or escaping; You can release the button at any time before the ability goes off to save it.

For Chime, hers is also different from some toons' passive abilities. Using Bobette as an example, Bobette has a specific radius around her that toons can enter for stamina regeneration. However, with Chime, she doesn't have a radius. Instead, it relies solely on how areas of a map are divided into parts for her ability. Once she enters a room or a large area that counts as one space altogether, all toons within that area receive her extraction boost. though once she leaves, it will instantly wear off. She'd be useful when several machines are in the same area, offering support to all who extract on the nearby machines. Lastly, here are their trinkets!

I have. A LOT MORE. To talk about with them, since they're decently developed. But this post is already a smidge long as is and I'm tired, so I'll probably save it for another time. In the meantime, take these doodles of them as filler. (And you get to see the concepts for their Twisteds.) [ Edit: Btw if you got any questions, feel free to ask. I forgot to mention that originally, I was too tired. ]

[tsams-and-co-memes]

There are some thoughts I've been having, that I figured I'd get off my chest. It's fine if you disagree with me; everyone's entitled to their own opinions, obviously, and I know how particular some people can be in regards to shipping, specifically (which is kinda sorta what this is about), which makes me a bit apprehensive about posting this

Eclipse and Roxanne. This pairing is one that seems pretty popular, and I see why. He's been vulnerable with Roxanne and opened up to her, and she keeps him from doing stupid things or lashing out at people in anger. In those aspects, they might work together. Hell, the show has even been dropping hints that he might be beginning to catch feelings for Roxanne. Which is great and all, but honestly?

I hope they don't get together. I hope this is a red herring kinda deal

You can be vulnerable and open up to friends and family. You can be the one who holds a friend or family member back from being stupid. Those things are not exclusive to romance

I also,, keep replaying the way Roxanne treated him in my head, when he got turned into a baby. He was in genuine distress and he was very noticeably upset, and yet, she laughed at him. She was patronizing, and she didn't really even try to help him. If anything, I feel a majority of the credit for convincing Charlie to change him back goes to Monti and Ballora. I could be wrong, since it's been a bit and I might have to rewatch that episode to jog my memory, but honestly? I don't want to. That episode made me feel.... not good. I felt bad. Gross, even

Another point here is that it feels,, like an indirect punch below the belt for TSAMS Sun, in a way. I know Eclipse isn't anything like his V1 self, and I know how much he's changed, but like. Back then, Sun was completely head over heels for the OG dimension's Roxanne. He tried to date her, and he was so excited, but then V1 showed up and threw a monkey wrench into all of that by sticking a maternity chip into her. And then bam, Sun had his heart shattered into a million pieces

Sun's long since moved on, yeah. Mostly. Hopefully. He says he doesn't care anymore, but he's still bitter toward Roxannes in general. Even toward Old Glamrock Roxanne at times, for pretty much no reason

But ever since everything with the OG dimension's Roxanne, he's been picked on for being lonely and single. It was a gradual thing that was only brought up here and there before, but now it feels like it's become a much more frequent thing. The only thing he gets picked on for that could possibly trump that is how ugly he supposedly is

Sun is the first one who craved loved. Yes he was awkward and had no idea what he was doing, but the longing was there. Having Eclipse (who, as V1, destroyed his chance at a potential relationship) wind up with a version of Roxanne (the one who Sun wanted to be with more than anything else back then) feels like cruel irony, in a sense

Sun's the first one who craved love, so I feel like it's a little unfair that he's seemingly gonna be the last to find it, if he finds it at all. If Eclipse NEEDS to be with someone, have it be literally anyone other than Roxanne, and have any relationships of his come AFTER Sun manages to score an actual good, decent, not weird and uncomfy date with someone. Roxanne can still loiter around wherever Eclipse is, but I feel like they'd work better with a friend or family kinda dynamic

I'm not trying to police how the shows are written and I'm not typing all this out with any bad intentions. I've just been thinking about this, and it's circling in my mind quite a bit

Plus, an additional side thing I just thought of: the OG dimension's Roxanne ended up being a lesbian. EAPS Roxanne mentioned having some kind of close relationship with Chica way back when, and the way she talked about it, it was probably of a romantic nature

I'm aware that not all Roxannes will be lesbians, and not every Sun is straight, and so on and so forth, but,,, food for thought, I guess

[burningcheese-merchant]

Ok here are my actual thoughts on the update. Actual, genuine spoilers ahead

Best part about CRK updates is most of them drop right after I'm done with everything for the day and have total free time lol

Getting this out of the way: unfortunately, there is no gay shit between Fire Spirit and Pitaya Dragon. The best we get is this

You can interpret this as "Pitaya Dragon is still inside of me", which is pretty gay when you think about it. I suppose that counts for something

Anyway,

Starchy the Moletato is now one of my favorite NPCs. He's adorable. His interactions with Fire Spirit are adorable. He has an Irish accent in the English dub, which is adorable. His design is adorable. I want to put him in my pocket and feed him potato chips.

This is so fucking funny dude. They're so fucking funny. They should be in a buddy cop movie together

Fire Spirit's personality is ON POINT. Loud, obnoxious, witty, irreverent. Fun-loving. Tough and proud and full of life. A huge jerk most of the time, but when push comes to shove, he comes through for people. An asshole with a heart of gold. MY asshole with a heart of gold 🔥❤️

Mixed feelings about Agar Agar. In the sense that, she's clearly extremely dangerous and needs to be stopped, but... I also feel bad for her. I'm not sure she understands the gravity of what she's doing. Her backstory states that she was alone and starving at the bottom of a sealed well for a long time, before being found by Pomegranate. This is... the 4th? child to be taken advantage of by Dark Enchantress and the CoD. Agar Agar feels like she has purpose, that someone cares for her, and that she can finally do something about her insatiable hunger (which is clearly causing her a lot of pain and distress). It's pretty sad. But idk what should really be done with/about her. She NEEDS to be put away; her appetite depends on living beings, and she can and will destroy everything around her and hurt/kill others, not to mention her stealing powers with her mirror. But... idk. Poor girl. She knows not what she does

All that aside, Agar Agar is super cool. Her design is fantastic, as is her voice. Those plus the mirror come together to really sell the creep factor. She reminds me of an onryō or some other sort of yokai (I say yokai specifically bc she gives that particular vibe to me). Hype as fuck

Fuck Pomegranate, all my homies hate Pomegranate

Didn't know there were mines in the Dragon's Valley. Who built them? Who uses them? Just the moletatoes? Do the valley tribes ever go to them? Does Pitaya Dragon know about them? Approve of them and the fact that they exist to siphon valley resources? I need answers, man

Story felt... a little rushed? It was fine for what it was, but idk. I thought Fire Spirit would have to work harder to win. I knew right from the jump that the key was to break the mirror. I guess I just thought it would take more to do so

God... God........... His costume.......... His look.......

God he looks so good... So handsome... So sleek... So FIRE 🔥🔥🔥 and the transformation sequence... Ugh. Chef's kiss. I gotta make it my banner somehow

I just really, really love Fire Spirit's sprites. ESPECIALLY the excited looking one where you see pupils:

I never knew such a small touch would make such a big difference. He looks so damn good with those. It gives him so much more life (and he already has a lot!). 100/10

Windy!!!!

"I expected a much warmer welcome." Wasn't expecting the bestie to try to shoot him on sight, poor guy 😔 it happens. Accidents happen. We forgive and forget for the sake of our homies

Funny, in-character, for Fire Spirit to try to weasel out of responsibility. Doubly so with Wind Archer (I always liked imagining that aspect of their friendship/duo. Wind being the overly serious one and Fire being like "lol you're such a downer 🤪 why so serious? Who cares, we can worry about shit later, let's have fun"). Buuuuuut ever so slightly frustrating, too. I would've liked a thought bubble where he acknowledges the seriousness of the situation, but still chooses to go "fuck man. I just need a minute. Just one.". Something a little stronger than the nonchalance he kept showing to Wind. Something to contrast that, to show that he's really forcing himself to pretend to be calm and composed, when in reality he's disturbed and worried as fuck

Fire Spirit joining the war 🗣️🗣️🗣️🔥🔥🔥 I knew he would, but it's still cool to hear him say it lol. I need him to show up at a council meeting, just strutting in like a peacock, acting like he owns the place, and half of the crowd is excited he's there while the rest are annoyed by his attitude lol

I'll be honest. I was hoping Fire Spirit would have a role to play against Eternal Sugar. Idk why, but... I wanted him there. Maybe just because of Pitaya (who was also enlisted in the war against Dark Enchantress, and will probably be joining Hollyberry in Beast-Yeast). Like... he knows Pitaya is probably going to need help due to their waning power, and he wants to help (disguising it as "hey bozo, if you die then I die too"). A bit like how Wind Archer had a mini face-off with Shadow Milk, you know? Does that make sense? Maybe I'm just a whiner

One extra PitayaFire thought, because I am desperate lol. The part I displayed above, where he says that he hasn't felt this fired up since Pitaya Dragon saved him... The way he smiles at the memory, and knowing that that power still lies within him, ready whenever he is... It's like Pitaya saved him again. Like he was there, waiting for the moment Fire Spirit needed him most. Just like before. And Fire Spirit acknowledges that he was happy then, and is happy now (he does this in Ovenbreak, too). Excited, even. All because of Pitaya, in the end... (I need ship fuel so bad, moletatoes. I need y'all to wake up to this ship and start making fanart. Please I'm so alone. Please. Please they make sense together I promise-)

[staranghae]

baby you drive me crazy

summary. seokmin and reader meet at a young changemakers convention because that's how filthy rich people have meet-cutes. :)

pairing. nepo kid ceo! l.sm x self-made ceo! fem! reader genre. fluff, crack., meet-cute warnings. profanity, mentions of alchohol w/c. 1.4k a/n. ah yes. finely marinated fanfiction, delicious. ( i mean this in all seriousness, this has been in my drafts since august of last year so...) song recc. unlock it (lock it) by charli xcx and jay park

seokmin really needed to start finding better ways to get out of these events. his age old excuse of "there's a really important project for the quarter due in a few weeks and i'm utterly clueless about it" was starting to wear thin considering the fact that half of these parties happen towards the end of the year when his company has already wrapped up their projects.

but then, this particular convention didn't seem like the rest. it was the annual "young changemakers" convention, his first one since he took over the company. he'd talked to a grand total of six people his age in the few hours he'd been there, and all of them had done nothing but brag about their money and wealth! not one of them seemed actually interested in the business aspect of the well, you know, running a business. to seokmin, this was better than being surrounded by a bunch of middle-aged people asking very invasive questions about his private life.

as he kept wandering about the convention, making small talk here and there with a few familiar faces, he spots you, sitting on one of the corner tables nursing a glass of chardonnay. he quickly calls over his secretary,

"minghao, come here. i need you to do something for me."

xu minghao, seokmin's secretary of the past seven years, was quite accustomed to his boss' peculiar requests. despite being the same age, minghao was far more perceptive and mature as compared to seokmin. he finishes off his glass of wine and walks over, exasperated.

"yes sir, what is it?"

"do you happen to have any idea of who that is?" he says, pointing to you.

minghao looks over at you and back at seokmin.

"are you seriously telling me you have no idea who she is?" questions minghao, annoyed by his boss' lack of ability to remember crucial information during networking events such as this one.

seokmin looks over at him, completely clueless about your identity.

minghao answers with a sigh,

"that's y/n, the ceo of l/n enterprises. i specifically mentioned her to you because she's the only person here without a family business. her company was completely built by her and her alone. also, her achievements are exemplary, she made the dean's list at harvard and is one of our major shareholders so technically speaking, she's kinda like your boss."

seokmin blinks at him. "in commoner words, please?"

"basically, she's the only one here who isn't a damn nepo baby and happens to own a good chunk of our company."

"ah! got it."

"so if i'm done here, i will take my leave."

minghao turns on his heel and leaves before seokmin has the chance to say anything. he just chuckles to himself and starts walking towards you when he hears minghao call after him,

"also, i didn't tell you this but your father has been trying to set up a blind date with her for you. something about you being incapable of making her fall for you on your own or something."

now, more determined than ever, he walks over to you and sits down across you.

"hi, i'm seokmin, ceo of lee enterprises, and you are?"

"y/n, your blind date for tomorrow evening. although i'm guessing your father hasn't told you about it yet."

he looks away, flustered. you laugh and he might as well have gotten whiplash with how fast he turned his head to look at you.

"he might've. i get quite a few of those, so i tend to lose track."

you stare at him incredulously. you knew about him from your uni days, the only nepo kid in oxford business that gave a fuck about his academics enough to make it onto the dean's list. now, here he was, sitting in front of you, looking and acting every bit the cocky brat you didn't expect him to be. you voice this thought out loud,

"i didn't expect someone who ended up on the dean's list at oxford to act like this but apparently, appearences can be deceiving after all"

seokmin visibly lights up at the mention of the dean's list. you see, only a handful of people actually bothered to find out about him as a person rather than as just an extension of his father and lee enterprises. so, when someone generally tried finding out about him, the dean's list was one of the first things that would pop up.

"you know about the dean's list at oxford business?"

you roll your eyes, "well yeah, obviously! we were required to know who we would be competing against in the industry so we had to find out about the dean's list of most ivy league b-schools"

seokmin has never admired someone as much as he admires you in that exact moment.

"so, about that date..."

you look at him over the rim of your wine glass, "what about it?"

seokmin can't believe it. he's about to ask someone out on a date. like a normal person.

"um, well, instead of, y'know, letting my dad decide the time and place and everything, i was wondering if i could take you out. as lee seokmin, business nerd, not as lee seokmin, ceo."

you chuckle at his description of himself.

"business nerd?" that's an interesting nickname to give yourself."

"i didn't give it to myself, my best friend did. we weren't in the same university but that didn't stop us from being absolute headaches to each other from opposite ends of the world."

"best friend? is it someone in the industry or..?"

"oh, he's the heir to jeon and kim associates."

you've heard the name before. jeon & kim.

"wait, is your friend mingyu?"

seokmin is surprised at the mention. he nods excitedly, looking like an eager poodle.

"d'you know him?"

"know him?! i studied with him! the two of us always partnered up for group projects because we meshed so well together," as you're rattling off about your memories with mingyu to seokmin, you remember it.

"WAIT A DAMN MINUTE! YOU'RE MINNIE?!"

seokmin snorts his soda at your sudden outburst. he's still coughing and sputtering as you apologise to the people who had turned around to stare at you while passing him tissues to clean himself up. once everything is back into the lull it was in previously, you elaborate,

"you're minnie, right?"

seokmin recalls his friend constantly calling him that when on call with him so he nods, a wave of nostalgia washing over him at the fond memories. he really needs to catch up with gyu soon. maybe he could get minghao to set up a meeti-

"i always thought he was talking about his girlfriend whenever he talked about 'minnie'. turns out it was you, huh? funny."

seokmin pauses mid-sip to give you a look that says 'are you kidding me?'

"okay, first of all, he already had a girlfriend when he was in college to whom he got married to last month. secondly, if the two of you are so close, then how come i didn't see you at the wedding, huh?"

"probably because i was the maid of honour and busy making sure it was perfect, but y'know, who cares."

seokmin vividly remembers the maid of honour at mingyu's wedding. and it was not you.

"okay, i remember that day really well and know for a fact that the maid of honour had red hair, and you don't."

"ever heard of hair dye, seokmin?" you reply dryly.

seokmin lets out a laugh at that and you become mesmerised for a moment because wow! how is a person so pretty and handsome and smart at the same time?

finally out of things to talk about, you and seokmin look around the room, trying to find something to keep the conversation going. seokmin gives up first, finally asking the million dollar question,

"d'you wanna get out of here? i'm honestly just bored at this point."

you look back at him with a mischievous twinkle in your eyes,

"you wanna go on that blind date right now? the food here isn't all that great and i know a really good seafood place nearby."

seokmin could really go for some seafood right about now. he nods and gets up from the table, and you follow suit. the two of you manage to make it out undetected, much to the disappointment of your secretaries, who only find out about your escapade through the headline of the dispatch article released the next day.

"Mated for life or just another fish in the sea? CEOs of L/N Enterprises and Lee Enterprises spotted on a romantic date at seafood restaurant."

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[dduane]

I just read the part where Kirk experiences the Enterprise's point of view in The Wounded Sky to someone else, where she sees the crew as children she is training up to the Great Desire of exploration for exploration's sake, especially Jim. His reaction, essentially: "That was really pretty. ....And then he blows her up."

I hadn't thought about that before! I checked the copyright date, and it looks like The Wounded Sky came out a year before The Search for Spock, so you were writing without knowing that sacrifice would eventually happen.

How did you feel about that? Do you wish that writing decision had been made differently? (If, as a Trek writer, you're allowed to comment on other Trek writers' choices!)

You know, I tend not to think a whole lot about such issues. First of all, because (in the long run) it gets you nowhere in particular that's useful. And secondly, because it's not a thing that, as a Trek writer in any medium except film, you have the slightest power to change.

Now, at this end of time I think we can safely say that no one's going to hire me on to write a Trek film. And also that no one at that end of the creative spectrum is going to pay the slightest attention to anything I say, either. Both of those situations are just What's So, and neither of them bothers me. (Since I have universes of my own to manage at the moment, and that's where my attention properly lies.) So as regards my opinions about other writers' work, I'm pretty much off the hook.

If I had been on screenwriting duty for that film, would there be things I'd have wanted to do differently? Hell yeah. From the premise up. But the important thing here is: would those things necessarily have worked better on the screen / with the audience? Impossible to tell. And speaking as someone repeatedly given permission to work in someone's universe, the main thing to be aware of is the expectation that your chief responsibility is to do what best serves the characters and the IP of which they're part. (There's a post over at Out of Ambit with a lot more of my thoughts on the subject:)

The other thing to remember is that, though I've worn the Canonical Hat in my time, novel work is by definition non-canonical. Doing it, you are at all times working with the understanding that the licensor rarely views your work as anything better than a corporate side hustle—a way for the IP to make some cash on the side—and will ignore you and the stuff you've created unless given pressing reasons to do otherwise. (Such as when they might make some unexpected money off it... at which point you remind yourself as forcibly as necessary that what you did is Work For Hire; they own it, lock, stock and barrel, and you should not realistically expect to be given any credit.)

And, if you understand the rules and enjoy the work enough, all of this is okay. The reward is not in making a lot of money doing it, or even in having aspects of your work openly assumed into canon. The reward lies in being allowed to contribute to a given universe in public (and, yeah, getting paid for it by the licensor). It's not payback: it's payforward. And you're left an astonishing amount of freedom to bring your vision to that universe. (Sometimes... as one colleague has McCoy say... you have to be "very, very careful" to get away with it. But it can be done.)

The truth is that even in the 1980s, I was sharing this level of playing-in-a-universe with a goodish cohort of editors and writers: a big roomful at least. Now I'm sharing it (retroactively speaking) with hundreds of them. With the best will in the world, even in the 80's the licensors (as regarded film) couldn't have realistically polled/listened to all of us regarding our creative opinions about the screenplay end of things. As for what that'd look like nowadays... I'll leave you to your own deductions. 😏

Anyway, thanks for the question. It's always nice to know that there are people who want to know what you think. 😊

[yamujiburo]

LOVE your comics. Funny, witty, endearing and full of heart.

A few questions for the FAQ that took me (who is only casually familiar with pokemon) a long time to figure out, that might be helpful to others

Q. What does hanamusa mean (followed by 'what are the characters' names in japanese?)

Q. What's the status between Jessie, James, Meowth and Giovanni?

Q. Who (if anyone) do Ash travel with at this point of his life?

And then a few questions that are not really for the FAQ but I'm curious about anyway :-)

Q. What aspect of not living alone will take Delia longest to get used to?

Q. What aspect of not living a life on the roads will take Jessie longest to get used to?

Q. Is there anything James, Jessie and Meowth miss from their old Team Rocket days?

Q. Did James and Meowth ever take it upon themselves to "help" with Jessie's and Delia's budding relationship?

Ooh these are good ones!! Thanks for the suggestions!

And to answer your questions:

What aspect of not living alone will take Delia longest to get used to?

I imagine Delia has a very particular way she likes things organized/cleaned/done. She didn't think she was particular until Jessie, James and Meowth moved in. She had to really adjust to Jessie's habits. Jessie's not the messiest person but definitely not as clean as Delia.

What aspect of not living a life on the roads will take Jessie longest to get used to?

Not having to fight for food. I feel like early on whenever food was around she'd scarf everything down way too quickly out of fear of some random Pokémon (or James and Meowth) taking it. It takes Delia a while to convince her that the food wouldn't be going anywhere LOL

Is there anything James, Jessie and Meowth miss from their old Team Rocket days?

I think they'd occasionally miss life on the road and being outside. And to a lesser degree, not feeling guilt about stealing/petty theft hahaha

Did James and Meowth ever take it upon themselves to "help" with Jessie's and Delia's budding relationship?

James has! As Jessie's friends they both definitely tell Jessie to just shoot her shot. Then every once in a while, subtly tell Delia things about Jessie that might help her to gain Jessie's affection.

[greensaplinggrace]

the fact of the matter is that buffy ends up isolated no matter what the scoobies do because she bears the burden of the slayer alone at the end of the day and nothing can change that. the problem with this isn't that she's separate from them, it's that they don't want to acknowledge that she is, and in doing so they drive a wedge between them that just grows and grows. the best thing about spike is that he's similar enough to this other side of buffy to understand it and her by extension. he is the only person around who can support that side of her.

most of buffy's issues in season six stem from the scoobies rejecting a part of buffy that spike accepts. and this shame she feels for her reliance on spike and the presence of this darkness and isolation she cannot avoid is largely because of them. i'm sick of this bizarre assumption that pointing out where the scoobies go wrong in their relationship with buffy somehow equals an uncritical uplifting of spike. just because he understands her and represents a certain aspect of her doesn't mean he doesn't fuck up. i mean that's kind of the whole point of their season six dynamic. one of his biggest issues is that he thinks he's helping her by enabling her completely because he doesn't have the ability to properly identify the line between self acceptance and self destruction - pursuit of the id is one of his biggest character traits. that's what makes the end of season six and his decision to get the soul so interesting (although of course there's just as much i can say about the narrative framing of that in regards to lore consistency and the story's obsession with angel, but that's a whole other thing).

point is, the scoobies cannot understand all of buffy, and when they refuse to acknowledge this they destroy their chances of building any bridges to even a simple relationship with that other side of buffy or helping her carry that burden in any way. meanwhile, spike is in the proper position to understand buffy as the slayer and hold his own with her in such a way, but his definition of love is wholly obsessive and destructive. while i disagree that he's incapable of love and even of loving selflessly without his soul, i think spike's version of love in particular is self destructive in a way that enables buffy's own desire to hurt herself through hurting him (see the aforementioned shame regarding her shadow self). spike cannot identify why allowing buffy to give in to her dark side in such a way is bad because he struggles to understand how she could use this to resent herself - although i do think he realizes it's happening on some level.

spike is also buffy's only form of catharsis and the only one that actually listens to what she is saying during a time when everybody else is dismissing her because of the aforementioned inability to understand her as the slayer. it's a clusterfuck - and a clusterfuck that needed to be shattered with a hammer for any kind of relief. and quite frankly to disregard the scoobies' own part in this situation does a disservice to buffy as a character. to be honest, she deserves fucking better than what everyone in her life gives her, especially the scoobies, who grow to take her for granted and feel entitled to controlling her life as a way of keeping her conformed - again, due to the aforementioned lack of desire to acknowledge this other part of her that they cannot connect with.

which leads to season seven, where spike is the only person on the show who has developed and changed enough to remain at buffy's side helping her carry the burden. while everyone else suffered during season six, none of them opened their eyes to what they were doing to buffy - and if they did, none of them acted on it. spike is the only one to acknowledge the damage he's done and work to become better for buffy in any way he can. he is the only one that ends up able to carry that burden with her because he is the only one capable of facing the truth and acting on his desire to do better.

the fucking problem isn't that he hurt buffy - because to be quite frank everybody did - it's that he's the only person on the whole damn show to acknowledge his place in buffy's life, and to acknowledge the burdens she bears, and actively change himself for her. did you know he has almost all of the genuine apologies in the entire show? seven seasons and all of the harm the scoobies cause buffy, and it's fucking spike that is acting like a mature person capable of being a proper partner.