#Or when the story changes so much that the focus is much larger or different than the underground

[utdrmv-confession-box]

Transcript: Most aus called something and then tale don't have good names. it is better when it's under and then something.

[miraculouslbcnreactions]

The Best Friend Showdown

Season four had many, many flaws. One of the big ones was the Rena Rouge vs Chat Noir conflict where Ladybug starts relying on Alya more and more, basically using her to replace Master Fu. We get a sense that Chat Noir feels inferior to Rena Rouge because of this change, but it’s never directly addressed. The most we get is this conversation from Hack-San:

Ladybug: I'm really sorry, Cat Noir. I should've told you. I mean, if I found out that you told someone about your secret identity, I'd... probably be upset, too. I'm really sorry I hurt your feelings. Cat Noir: You didn't hurt my feelings. You did everything right. 

Which is actually a really weird bit of dialogue because - as far as I can tell - nothing in the episode revealed that Scarabella knew Ladybug's identity. She hands out miraculous all the time and no one knows who she really is. Why would this time be different? Ladybug could just show up in costume, explain what's up, and then hand off the earrings while using yet another miraculous.

Anyway, the Rena Rouge vs Chat Noir conflict is “resolved” by Rena Rouge being outed again (and I guess that matters this time), leading her to give up her miraculous so that Gabriel can’t steal it away, which of course leads Gabriel to steal it away and fully disempower Ladybug’s larger team, leaving Chat Noir her only teammate.

How satisfying! This is such good, character-driven story telling!

It’s not. This is plot contrivances to the max with no meaningful character beats, but we’re not here to talk about that. We’re here to do one of my favorite things: gush about a relevant Kim Possible episode! Today’s topic is episode 12 of season one: Pain King vs. Cleopatra, the episode that introduces Kim’s female BFF, Monique!

This was a bit of a shocker for me because I didn’t realize that Kim and Monique weren’t pre-series friends. Turns out that, much like Alya, Monique is a new girl, which isn’t a bad call. This was a nice way to delay Monique’s introduction for a few episodes so that the writers could focus on establishing Kim’s relationship with other key members of the cast like her partner, Ron. Spacing out your intros is the way to go whenever you can pull it off as it’s a kindness to your audience that keeps them from feeling overwhelmed, making it more likely that they’ll remember your cast.

The other, more important similarity between Alya and Monique is that, when Kim’s hero partner and life-long friend finds out about Monique, he is less than thrilled:

Kim: I barely got to see them. Right after I hooked up with Monique, the museum was robbed by some glowing-headed animal guy. Ron: Oh, that's nice. Ron: Wait a minute, who's Monique? Kim New friend, really great. Anyway, the thief stole an enchanted ancient talisman. Ron: Whoa, whoa, back up! How can I not know about a new friend? Kim: I met her at Club Banana, then again at the museum before I chased the glowing robber. Ron: So what's she like? Kim: The robber? Ron: The friend, Kim, the "new friend".

Throughout the episode, Kim and Monique continue to bond without Ron, leaving Ron feeling left out:

Ron: Seein' a pattern here, Rufus: Kim does her thing, I do my thing, and pretty soon - we're doing different things.

Which leads him to get a little territorial:

Kim Ron! What are you doing here? Ron: Can I dine with my best friend and her new friend? Kim: Uuh, Ron, Monique, and vice versa. Ron: Bearclaw? Monique: No, thanks, I'm vegetarian. Ron: Uhm, I'm pretty sure it's imitation bear? Kim: She's joking, Ron. Ron: Good one, hahaha, ha, good one. So, did Kim tell you that I'm her sidekick? Cause that role is definitely taken by me. Monique: Riiiight. Well, in... you know I better get to class. Later, Kim. Um, n-nice meeting you, Ron. Ron: Likewise, I'm sure! Kim: What is your problem? You're acting really weird. Ron: Well, let's see. You went to the museum with Monique, not me. Monique was with you this morning, not me. Hmm, pattern? Kim: Yeah. You. Weird. Ron: No, we're drifting apart because you're excluding me. Kim: I am not excluding you. It's just that you and Monique are... different.

Noticing some similarities to Miraculous here?

So how does Kim Possible resolve this conflict?

Well, the plot of this episode resolves around Kim Possible’s version of professional wrestling, the GWA. There’s a competition going on that Kim has no interest in watching (mood), but when Kim mentions the GWA to Monique:

Monique: Why didn't you bring [Ron] along? Kim: Unless someone put a waiter in a headlock, this is definitely not Ron's scene. Besides, he had a date with "Steel Toe". Monique: He scored tickets to Mayhem in Middleton? The GWA rocks! Kim: What?

It turns out that Monique and Ron have a shared interest! Multiple shared interests, in fact! Interests that Kim does not share:

Monique: You know, I still can't believe you met Pain King and Steel Toe. Ron: I can't believe you're into wrestling. Kim: I can't believe I know either one of you.

By the end of the episode, the conflict is resolved not with Kim having to pick a BFF or with Monique somehow being demoted, but by showing that this didn’t need to be a conflict at all. Kim can have multiple close friends that she shares different interests with without any of those friends being lesser. Those friends can, in turn, have their own friendships that don’t always involve her.

It’s a genuinely lovely resolution that makes me love this little friend group because it now has added complexity. Monique and Ron are friends in their own right! Kim is not the center of the universe in spite of her main character status!

I also love that Kim isn’t vilified for having other friends or portrayed as constantly leaving Ron out of things that he'd want to do in favor of Monique. Ron genuinely would not enjoy most of the things that the girls love to do together. At the same time, Ron’s feeling aren’t treated as totally irrational either and Kim even admits to ditching him. It’s a genuine, complex conflict that is super common when someone enters a new relationship be it platonic or romantic.

Obviously Kim Possible’s version of this conflict feels far less complex than Miraculous’ because Kim Possible understood that Ron should be Kim’s one-and-only partner, so his position was really never threatened. Monique does not want to be an action hero and is never given the sort narrative weight that elevates her to Ron’s level or higher, but that doesn't matter. The basic lesson here is still relevant and super important for the intended audience of both of these shows.

There did not need to be a Rena Rouge vs Chat Noir conflict that never got properly resolved. Miraculous could have made these two friends and no, Scarabella doesn't count because Chat Noir has no idea that Scarabella is Rena Rouge/Furtive. Their relationship ended at the end of Hack-San. He didn't even know that Rena Furtive was a thing until she was in the process of being benched and that's the problem.

Kim Possible is not a team show, Miraculous is, and yet Kim Possible has better team dynamics than Miraculous. Monique could have joined Kim's team at the end of Pain King vs. Cleopatra and it would have felt natural because both Kim and Ron had welcomed Monique and formed a genuine bond with her. This is a true friend group that Miraculous can only dream of even though they've been adding new superheroes since season two.

We're going into a season with a full, massive team and yet that team has no established dynamics on the hero side. It's not a functional team! None of these characters have meaningful relationships with each other as heroes save for Alya and Nino since they know each other’s secret identities. The only relationships Miraculous cares about are the various romances and everyone's relationship to Marinette and everyone suffers for it.

The show would not have been harmed by Rena Rouge, Chat Noir, and Ladybug being a team. It was the thing I kept think after watching the Kim Possible episode. Since the team is the end game, why aren't we seeing them? It would have been so nice to have Hack-San end with Ladybug introducing Chat Noir to Rena Furtive instead of a nonsense discussion about an issue the episode didn't even address.

[fratttymatty]

Southern Shift

(All characters are 18+)

Maddox had never been much of a believer in magic. Sure, he’d seen the viral videos, heard the wild stories, but he figured they were all some sort of elaborate hoaxes or clever editing tricks. His life had always been a straightforward one: an 18-year-old guy from a fairly progressive city on the coast. He was used to being who he was—a proud gay man, confident and comfortable in his own skin. He didn’t fit in with every crowd, but that was fine by him. He had his friends, his passions, and a future in design and art lined up after graduation.

But when a strange e-mail showed up one Wednesday evening, everything Maddox knew about his life was thrown into chaos.

It came from a source called TrueVision Enterprises, a company he’d never heard of, with a subject line that read: "Your Destiny Awaits — Experience a New Life." Curiosity got the best of him. What could possibly go wrong?

It was a poorly-written message, vague but cryptic. “Ever wonder what it’s like to be someone else? To experience a life you’ve only imagined? Click here to find out.”

A grin spread across his face. Who wouldn’t be intrigued? Maybe it was a prank. Maybe it was a scam. But it was better than staring at the same four walls all night. So, against better judgment, he clicked the link.

The screen went black for a moment, then flashed with a blinding light.

When Maddox opened his eyes, everything had changed.

It wasn’t just the environment—though the suburban neighborhood around him looked radically different from his usual cityscape. No, it was something far deeper, more visceral. He felt it in his bones, in his muscles, in the very way he was standing.

Looking down, he saw the first signs. His body had undergone a remarkable transformation. Gone was his lean but soft physique, the figure of a 5'11" city guy with a slight build. In its place was something else entirely: a lean, toned build with defined muscles in his arms, chest, and legs. His body felt stronger, like he could throw a punch without thinking about it, or lift heavy things without breaking a sweat. But what really caught his attention was his height.

He blinked, staring down at himself. He was taller. Not just a little taller, but by a significant amount. Maddox used to be 5'11", but now, standing at 6'3", he had a commanding presence. His legs stretched out longer than he remembered, and the new height gave him an imposing posture. He’d never been the tallest in his group, and now he towered over everyone, even the people around him who seemed much bigger and broader than he remembered.

His new height felt natural, like it had always been this way. But it also made him feel powerful, larger-than-life in a way that was completely unfamiliar.

He glanced at the house around him. It was large, a two-story place with wide windows, a white picket fence, and an immaculately-kept lawn. The interior was similarly pristine, and the smell of fresh wood and leather filled the air. This wasn't his apartment. This wasn’t anywhere he recognized. But something about the space felt... familiar, as though it was his home now.

He staggered, momentarily disoriented, and made his way to a nearby mirror.

What he saw almost made him fall over.

A stranger stared back at him. His face was familiar, but only in the way you recognize a reflection in a window before you really focus on it. His hair—blonde, curly, and wild—was cut into a mullet that reached just past the top of his neck, the ends flaring out like a halo of unruly curls. He didn’t remember ever styling his hair that way, yet the new version of himself seemed to suit it effortlessly. The loose curls framed his jawline, drawing attention to the newly defined muscles there.

His eyes, once a sharp hazel, had turned a lighter shade of blue. His expression was different too—stoic, even smug, like someone who knew exactly who he was and had no time for nonsense.

Then he looked down at himself, taking in his outfit. A plaid, button-up shirt—tight across his chest but still comfortable—clung to his muscular frame. He wore a worn leather belt with a large, shining buckle, a pair of jeans that fit just right and boots that seemed made for walking through dirt. And of course, a tan, weathered cowboy hat sat perched on top of his head.

Everything about his appearance screamed “redneck,” yet it was as if he'd always been this way. As if this transformation was simply an outward reflection of who he was now.

He stared at his reflection, utterly speechless, before hearing a voice from behind him.

"Adam, honey, come on down here! Dinner’s ready!"

He froze. Adam? That wasn’t his name. His name was Maddox.

But when he tried to say it—when he opened his mouth to speak—it wasn’t "Maddox" that came out.

"Yessir, mom," the new voice said, gruff and confident, with a drawl he didn't recognize. It was his voice, but it felt... wrong.

Before he could think further, his feet carried him toward the stairs. Every movement felt more natural, more instinctual. He didn’t have to think about walking anymore; his body just moved.

The moment he stepped into the kitchen, he was greeted by two older figures: a tall man with a thick beard and a sun-worn face, and a woman with perfectly-coiffed blonde hair and a warm, motherly smile.

"Adam, you hungry, baby?" The woman—his new "mother"—asked in a thick Southern accent, as she placed a plate of fried chicken and mashed potatoes on the table.

"Yeah, looks good, mom." His voice was smooth, authoritative, and familiar. It was like he had always talked this way.

The man, his new father, patted him on the back. "Atta boy. Gotta keep up your strength if you’re gonna help me with the truck this weekend."

Adam nodded, suddenly feeling an unfamiliar rush of excitement at the thought of working on a truck. "Sounds good, pops."

His father gave him a knowing look. "Glad to hear it. Gotta be ready to defend this house. Keep it in shape." There was a pause, and then a sly smirk crossed his face. "Though, I gotta say, I’m more worried about that little gay friend of yours. What’s his name again? Cody, right?"

Adam’s heart skipped. Cody was his best friend. But the way his father said it—the sneer in his voice—felt wrong. His thoughts tried to resist, but the tug of new instincts, of new feelings, pushed him to respond in a way he would have never before.

"Yeah, Cody’s a nice guy," Adam said, his voice dripping with casual disdain, "but man, he’s just… different, y’know? He’s always talking about stuff I don’t care about, like his art or whatever. He’s not really my kind of guy. Dude’s all wrapped up in his feelings and thinks he’s some kind of big thinker. He’s just not built for the real world."

Adam laughed and shrugged, the words flowing out like they were second nature. It felt good, somehow, to say it out loud. The Maddox part of him—the part that would’ve fiercely defended Cody, that would’ve fought anyone who insulted him—seemed like a distant memory.

His father chuckled, clearly approving. "Well, I’m glad to hear you’re making better choices, son. You don't need someone like that holding you back."

"Exactly," Adam said with a grin. "I’ve got enough on my plate, worrying about football, work, and, you know, my future. Guys like Cody? They just complicate things."

The following day, Adam found himself at a school that seemed to be from another world. The high school was old, with large wooden bleachers in the gym and the faint smell of tobacco in the air. Kids in cowboy boots and trucker hats roamed the halls, and there was an air of casual arrogance in the way they all carried themselves.

When he walked into the classroom, heads turned. He wasn’t used to this kind of attention, but now, standing at his new, imposing height of 6'3", Adam felt like he belonged. He loomed over the students around him, towering above them with a sense of superiority that felt right, even though it was still so new. His height made him feel like the guy everyone respected—or, if they didn’t, they at least stayed out of his way.

"Hey, Adam," a guy called from the back of the room. He had a thick jaw and a cocky grin. "How’s it going, man?"

"Good, bro," Adam replied, easily slipping into the role of the guy everyone wanted to hang out with. The guy who didn’t care about anything except his truck, his friends, and his future. A life of simple pleasures, uncomplicated by anything like "progressive politics" or "diversity."

But the most striking change came when he spotted her in the hallway. Emily.

She was the cheerleading captain. Blonde, athletic, and with a smile that lit up the entire school. Adam hadn’t expected to feel such a strong pull toward her, but as he watched her walking toward him, he felt his chest puff out with pride, the feeling of possession he didn’t quite understand.

"Hey, Adam," Emily called, giving him a wink. She wore her cheer uniform—tight, short, and red—and looked every bit the picture of what his new life was supposed to be. "You ready for the game on Friday? I’ve got your back, big guy."

"Always," Adam said, his voice dropping an octave. He felt confident, even cocky, as he walked toward her, putting an arm around her waist as they headed to class together. She was his girlfriend, after all, and that was just the way things were now. The idea of a different reality, a different version of himself, felt so distant.

By the time school ended, Adam was fully in his new life. Football practice had been intense, but Adam had breezed through it. As a starting wide receiver, he was the star of the team. He felt invincible on the field, his new body moving with strength and agility. The other players had all been high-fiving him, slapping his back, calling him "the beast."

And as for Emily? She was always by his side, chatting him up with that sweet, familiar smile. They talked about the weekend plans—probably a party at Brad's, a bonfire down by the lake—and Adam felt perfectly at home.

When the final bell rang, signaling the end of the school day, Adam had only one thought: This is my life now. He was Adam, the 6'3", football-playing redneck with a cheerleader girlfriend and a world of opportunities at his feet.

The old Maddox, the artist from the city, was gone.

And Adam? Adam was everything he’d ever needed to be.

[jelloapocalypse]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What's really happening is the reverse.

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

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

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

[drdemonprince]

I know so many people who are certain the world is about to end. They’ve felt this way since about 2016 or so. They are neurotic and unempowered, refreshing their Twitter feeds and making posts begging others to stay worried and go vote. 

Some of them are leftists, and say they wish to see an end to capitalism, perhaps even to America — but when the possibility starts actually feeling real to them, they fear crime, and chaos, and their own helplessness. They joke uneasily that we live in “The Bad Place” but they are too afraid to get to the good one. They don’t want to see an end to their quiet street corner, their cozy condominium, their favorite television shows on streaming, their door with a lock. They admit this world is hell but they try to claim their own corner of it and keep it comfortable. 

I’ve been in the exact mental spot as these people, so I don’t mean to make myself sound superior. For the longest time, all I wanted to do was find a few comforting distractions to get me through the years before my death. I went to bed with my stomach in knots, certain that one day the power grid would go dark, the water would stop flowing, and the fascists would march in the streets and no one would stop them. 

Back then I didn’t fantasize that I would do anything to stop them. I picture things differently now. 

I used to think that voting and calling representatives were my only avenues for political participation, but now I see that with every choice I am not merely voting for a better world, I am creating it. When I fund a friend’s jaw surgery, when I look an unhoused person in the eyes and ask them how they are doing, when I slow my walking speed, when I share my knowledge, I am making decisions about how the future will be. I am not powerless. I am small, and vulnerable, but I always have something to give. 

I think that when we are feeling powerless and afraid of the collapse, it’s helpful to shift our attention toward practical, empowering questions like these:

If the government collapsed today, what would I do tomorrow?

The End of the World is a big, frightening abstraction. But if some terrible disaster (or glorious revolution) were to happen today, all I’d have to do tomorrow is make a few basic decisions. What would I eat? Where would I sleep? Who would I contact first? 

At the end of the world there are still dirty clothes and rumbling bellies. Those pressing physical needs are the most immediate questions we will need to answer, not larger philosophical quandaries about what life is “for,” or what the ideal new political system should be. For those more essential questions, there will always be answers: canned food to gather, lakes to wash off in, stories to be traded across candlelight. 

The future that we expect is just a fiction we tell ourselves, and it has never been guaranteed. And so, when some dramatic change comes, we can focus not on the loss of certainty, but on the practicalities: finding shelter, getting fed, and keeping the people around us as safe as we can. This is already what life is about — and we’re all more practiced in survival than we might think. 

If the world as I know it ended, what would still be important to me?

Hitting my weekly wordcount goals wouldn’t matter at all anymore, I know that much. But in the wake of a terrible collapse I would still value my friends, my immediate family, my chinchilla, and the people I see every day. I wouldn’t be so fixated on never seeming ‘awkward’ or ‘creepy’; the moment disaster happened, I would just get over myself and knock on my neighbors’ doors. 

If the world ended, I’d stop caring about my appearance, but I’d still long for a mode of self-expression like fashion currently provides. I wouldn’t think of my writing “career,” but I’d still want to be heard. I can imagine myself giving a small speech to my neighbors, trying to persuade them to take whatever course of action I thought best. I would be wrong often and not always persuasive, but I would still get to express myself and witness how that expression influences the world. I’d take care of more animals. I’d worry less about my apartment getting banged up and wrecked. 

It’s worthwhile to contemplate the people we will become after capitalism. The rhythms of our lives will change, as will our priorities. We may harbor fears about all that may be lost, but it’s worth asking whether our possessions and favorite TV shows and Twitch streamers are really all that important. I often find myself looking forward to the person I could become in this new reality. And those thoughts often motivate me to make small changes in who I am and what I prioritize right now.

The full essay also contemplates these questions about the apocalypse:

What would I feel unburdened from?

What important work would I keep doing?

What skills do I have that people will always need? 

What help would I ask for? 

You can read the full piece for free, or have it narrated to you in the Substack app, right here.

[heretherebeturtles-comic]

How long does the process take you to get one (or more) comic page done? I love the idea of making comics but i suck at structure, you know with the script and posting/layout. I was wondering if you had any tips or what you wish you knew before you started.?

Sorry if this had been asked before

OOOooooo a fun question for me!! I love talking about comic creation :D

I do my best to keep the full process under 2 days (or 12-14 hours of work) per fully coloured page. I'm trying to get faster, but speed comes with time and experience.

Hmmm as for tips and things I wish I knew... so many things... I should let it be known that I am an artist and not really a writer, but your questions are focused on script/planning/structure, so I'm going to focus the advice on that.

Start with something small - Learn about making comics and find a comfortable style through making a couple smaller comics and then try your passion project. Writing and planning smaller comics with fewer pages takes a different kind of puzzle solving and thought process. Smaller page limits can force you to try new things which you can then apply to larger projects to save time; limitations breed creativity after all. Every attempt made (even an unfinished project) is knowledge gained that you can apply again for future projects.

Study comics! - It's hard to create if you aren't feeding the mind and giving it things to learn and create from. Read comics made by professionals and study how they handle pacing. How many pages are they dedicating to each moment? What do you think of their pacing and what would you change? Take a sketchbook and make small rectangles and draw out the panel layout from that comic. What are they doing that works and what don't you like about it? How would you do that differently? ... I think this is me assigning homework... i am so sorry.

Set a hard page limit - Try to get your story told within that limit, and then add more pages if necessary. More pages = more time you have to spend working on it. Most standard single issue American comics are roughly 24 pages. I try to work inside that limit using a rough 5 page per scene structure.

Condense or Cut - I struggle so hard with this one, but comics aren't written in the same way as a novel is. They have a slightly different plot structure and a much more limited amount of pages to tell the story in. Obviously it depends on the story being told, and what kind of scenes are important to that genre of story, but in general, unnecessary scenes should be cut out. examples...

CUT! Having the characters go out to get ice cream is cute, but you don't need to show them each ordering their ice cream unless the flavour they choose is an important plot point. Skip to the last one receiving their ice cream and turning to the others who already have theirs and are having that deep discussion. OR skip that scene entirely and have a quiet panel of them sitting in the park at sunset, already holding their ice cream, before delving into the deep emotional conversation they will be having.

CONDENSE! You can combine two scenes if you need to. If you have one scene where two characters are having a casual conversation and another where they are sneaking into a building? Stick them together. They can sneak AND talk and now you've only used up 5 pages instead of 10.

Comics take a LONG TIME to make!! - you have to make peace with that _(:Ⅰ」∠)_ Comics, especially full colour ones, are an extremely labour intensive and time consuming way of telling a story. If one page takes 1 day (8 hrs of work) and you have 24 pages, that is 24 days of working on one comic.

Thumbnails! - Draw the pages small and rough first! It's easier to plan things and mess around with the layouts when you don't have an emotional attachment to how the art inside looks. Once you have a layout you like, you can then draw it again in full page size and work on it from there.

Page and panel layouts are my favourite part of the whole process, I could talk forever about it, but I do not have the energy for it right now. I'll save panel/page layout for another time.

It doesn't have to be perfect!!! - IT DOESN'T HAVE TO BE PERFECT!!!! (shouted with excitement btw). Panels can be boring! A page can be extremely simple! The art can be messy! The dialog can be simple! The plot can go nowhere! In fact it is really really fun to make a messy imperfect comic on purpose. Destroy the perfectionist in you, because they will always and forever hold you back from actually creating things. "what if it's bad?" what if it's fun? what if you learn cool things?

Anyway, those are my tips/advice, idk if I actually answered what you were asking... sorry about all the time commitment ones, that is something I really wish I had figured out a few years ago lol.

Comics are fun to make and a lot of learning how to make them is just jumping in, encountering a problem, and then learning how to solve it.

[shirefantasies]

The Hobbits With a F!Human Crush

Definitely not the last of this concept you’ll see from me 😉 Tagging @possibly-in-wonderland along with my usual list @kilibaggins @fuckyoumakeart @lokilover476 | let me know if you wanna join!

Frodo

✧ You serve as a living, breathing symbol of his curiosity, his desire for knowledge and exploration, something new that he wants so badly it all but takes the breath from him.

✧ The way you fall in love with Bag End, unbothered, no, charmed, by the quaint yet elegant hobbit hole as your eyes light up has Frodo’s heart doing somersaults. “You like it?” “Like it? Why, Frodo, you are as lucky as anyone! I wish I lived here!” He’s a bit too shy to say it, but a little voice peeking from the corners of Frodo’s mind says that that could be arranged.

✧ You’ve been places he could only dream of, and he wants to hear every story, enraptured with a hand upon his chin and blue eyes wide at your every word.

✧ Whenever you bend down to whisper in his ear, his entire mind shuts down and a smile creeps across his lips like you’ve never seen before.

✧ Flushes brightly when you pull him protectively against your chest, but enjoys the dangerous race of his heart at your hand upon him more than he would have thought possible.

✧ And when you first kiss him, giving him that gentle but still quite strong tug up into your lips at his confession and tangling your fingers in his dark hair, it's like his chest is about to explode.

Sam

✧ A bit down on yourself thinking someone like you wouldn’t like someone like him, at least not like that.

✧ Regardless, it changes not his kindness and devotion towards you. Despite your size difference, Sam is the one to step forward between you and danger, throwing an arm across from you and not registering or sharing in your amusement until the threat is neutralized.

✧ His heart practically slammed out of his chest when he told you about all the rabbits in the Shire, including one couple he’d seen where the male was with a much larger female. “That’s so cute,” you’d remarked, a hand idly brushing his arm as it lowered, “I love that.” Sam could hardly speak for the next minute or so.

✧ You asked him once if people remind him of flowers or if that's just you, and without even thinking Sam said sunflowers. Not only because of their height, he replies with a blush after you tease him, but the way they bring joy to all who see them and everybody wants them around.

✧ Trips over his words when you focus your gaze down upon him, suddenly feeling warm beneath the intent stare.

✧ And when you take his hand, looking him right in the eyes again as you tell him just how much he means to you, why he snaps completely, pulling up to his full height to connect your lips.

Merry

✧ He takes you, quite frankly, as a challenge- not one given in scorn, but as the rush of the latest charge or act of mischief, the exhilaration of risking oneself for moments of the greatest good.

✧ Bold as he is, Merry isn't afraid to let you know how beautiful he thinks you are, calling you fair and strong and every compliment in the book to cheer you up and bolster your courage.

✧ Attempts to prove himself to you thrill him, too, the way you take him on as an equal to spar and spend your time teaching him. The way you let him overtake you, standing over you with triumph and giving a smirk that runs a shiver down his spine.

✧ He goes to you first for things; in his eyes you can do anything and he trusts you to take his concerns seriously. It could be something small like a question or repair or a a heavier matter like a deep discussion, but whatever it is it will be with you.

✧ Makes up the occasional tall tale about his prowess back home, making himself out to be quite the hero or his home a far more fantastical place. Just to see what you believe. Even though you giggle at his mock-heroic deeds and teasingly debunk his tales, you make it clear in your treatment of him that you do believe he can do anything.

✧ Shock blooms across your face and thrums in your heart at the wince cutting Merry’s face when he accidentally confesses his feelings to you, but it is quickly overtaken by a smile as you cup his face in your hands to return his affection and then some.

Pippin

✧ Nothing can tear him from your side, not a word of concern from others, not a single hardship- when his mind is made up, it is made and that is that.

✧ Enjoys climbing up on things or into trees to get to your eye level, leaning closer while he has the opportunity to all but brush noses.

✧ Makes jokes about you having a longer reach or about "back when you were my size", for he is well aware and comfortable with the height difference. Insurmountable as it could be to you, there is no point in denying it and having some fun with it. After all, as much as he is always trying to assist you, he can use your added height as an excuse to ask for help, too!

✧ Unabashedly checks you out, his eyes sliding to you in nearly any moment of idleness; sometimes they are glances of awe, others pure pleasure at your form.

✧ Tells you again and again all the places he’s going to take you: the Green Dragon, a run through Farmer Maggot’s fields, Sam’s garden if he lets you, all at such insistence that the Shire is the greatest place upon the earth that you cannot help believing him and longing for it almost as much as he.

✧ Knowing that he is lost, he is happy simply to love you no matter what, but few times in your life will you see Pippin’s face as alight as the moment between you returning his feelings and the deep first kiss you share.

Bilbo

✧ Now you, my dear, are an adventure. Nothing he ever planned for, imagined, expected, and yet here you are on his proverbial doorstep. With a gulp and a shy smile he takes you in, eyes sliding upward along your form.

✧ Never has he felt this way before and certainly never with a daughter of men, so you'll find his gaze upon you often, studying you almost.

✧ Definitely tries to wow you with his studies of the different cultures of men- with varying success depending on from which region you hail. You cannot help but be charmed at all of Bilbo’s attempts to make you feel at home even in the middle of nowhere.

✧ You will feel like you’ve seen Bag End and met all of Bilbo’s ridiculous relatives with all the stories he shares both silly and beautiful. “I can see why you wish to return,” you tell him, to which he just beams up at you, a new shine in his eyes.

✧ Gets flustered at the ways in which you move to his level, leaning slinkily against a large rock or down further still upon a log to look up at him and meet his gaze with a smile.

✧ All he asks is if you have any interest in settling down, but you cannot help risking things at the sight of Bilbo’s nerves, tentatively answering that you’d love to settle in the Shire and feeling your heart soar at his grin of relief. Unusual, certainly, but then again that is perfect for Bilbo Baggins, is it not?

[aruanimess]

On Erwin, Armin and... Annie

Okay, so I've given up on writing this meta in a concise manner so I'm just gonna say it: Erwin is meant to be a parallel character to Annie as well as Armin.

These three characters exist in a triangular conversation with each other, especially during the Female Titan arc. Now, the commonalities between Armin and Erwin have been discussed quite exhaustively in various metas and in canon itself, so I’m going to focus more on the Annie-Erwin side of the argument.

The thought first occurred to me while reading Opening the Gate, the chapter with the gear inspection scene. When asked for advice on which military branch to choose Annie responds with a question: would you be willing to die on command? Connie, the one who was asking for advice, doesn’t understand why he’s being asked that. Armin, however, does; this is what’s at stake if one joins the Survey Corps, you don’t get a choice anymore, your life is tied to the cause. 

Later, this line is repeated by none other than Erwin himself. 

Both characters say this line independently, but they both use it to describe the same concept. This is meant to showcase their inherent pragmatism, and also their dedication to their mission. We don’t know it when we first encounter this in the story, but Annie’s choice of the Military Police is not motivated by self-interest at all. Much like Erwin, much like Armin later in this chapter, she’s committed to something larger than herself. 

Then we have the Titan Forest chapter, where Armin delivers his famous speech, “A person who cannot sacrifice anything, cannot change anything.”

This quote refers specifically to the ability to abandon your humanity when the situation calls for it. This speech is about Erwin yes, but it is also about Annie. The panel even cuts to her face as the final lines are being spoken:

At first, I thought this was meant to say that Annie was one of those people unable to make a difference. She couldn’t leave her home behind, so she wasn’t willing to make a sacrifice, therefore she couldn’t enact change.

But no! Because later we get this:

Annie was willing to sacrifice her life again and again and again. Even in the end of this arc, she chooses to trap herself in a prison of her own creation to protect her mission and keep her titan away from the Paradisians’ reach (we all know what happened to Bertolt). She’s making this move in order to protect her comrades, choosing not to betray their identities, and to give them a chance to escape. 

In Midnight Sun, Armin and Erwin giving up their lives for the cause is obviously paralleled. I’d argue that Annie’s fate complements and foreshadows their own, highlighting the extreme lengths all three are willing to go to achieve their goals. 

Annie is the third vertex in this triangle of sacrifice, pragmatism and inhumanity. 

[nondelphic]

hey! i was wondering if you have any advice for me: I am wanting to write an epic/high fantasy book, and i started with my worldbuilding, then i moved to characters and their individual arcs. my main struggle is coming up with the overarching plot, the main conflict. any tips for coming up with ideas?

thanks for the ask, anon!! (˶ᵔ ᵕ ᵔ˶) ♡⋆𐙚₊˚⊹

tbh i don't have a lot of experience writing fantasy, but! just because i don't have "a lot" doesn't mean i don't have any!! i was in a similar situation to you literally just a few weeks ago when i started worldbuilding and outlining a fantasy plot :D

so!! i'll just tell you the process of how i came up with my plot!! i hope it can help somewhat!

♡ pulling from your worldbuilding

the beauty of worldbuilding and having complete characters is that you literally have everything you need to START writing. but as you said, coming up with an overarching plot can be difficult. i don't know how extensive your worldbuilding is, but for me, my planning included a list of major historical events/eras in my fantasy world. from this, i just decided "okay, the plot is gonna take place during the *insert historical era from my fantasy world*."

then i'd think "okay... what was society like during this historical period?" what kind of power struggles, conflicts, or changes were happening at that time?" from there, the plot practically started writing itself! by narrowing down a specific time and place within your world, you're essentially placing your characters in a pressure cooker of events that are naturally going to generate conflict.

♡ character-driven plot

another approach you can take is to look at your characters’ arcs and ask yourself what situations would force them to grow or challenge their beliefs. think about what each character wants most in life—what would happen if they couldn’t get it? or what if they got it, but at a great cost? you can build the main conflict around these personal stakes, and that can really help drive your plot forward.

for example: say you have different species in your fantasy world, and one of your main characters belongs to a species that’s an outlier in their geographical area. maybe this species has been historically oppressed, or they’re seen as a threat due to some misunderstood ability or ancient conflict. you could focus on how your character fits into the world—they might struggle with their identity, trying to prove their worth in a society that fears or rejects them. this inner conflict could be the spark for a much larger plot, like starting a rebellion or becoming the key to resolving a long-standing feud between species. their personal journey, then, could naturally tie into the broader conflict of your story.

the key here is to use the uniqueness of your character's background and situation to fuel the plot. how they navigate the world around them can lead to choices and events that shape the entire story!

♡ external threats

sometimes the easiest way to spark an overarching plot is by introducing a big external threat. it could be anything from an invading empire, a natural disaster, or even a rising rebellion. something that shakes up the world your characters are comfortable in and forces them into action. this external conflict can intersect with their personal journeys and create some interesting tension.

♡ combining personal and world stakes

the most gripping plots often combine both personal and external stakes. maybe your character is fighting for their home or family, but there’s a much larger political or magical conflict brewing that they become a part of. it’s not just about saving themselves, but the entire kingdom or world. the trick is to make sure the personal stakes are always tied into the larger conflict, so it feels cohesive.

♡ take inspiration from your fav fantasy works

don’t be afraid to pull ideas from the things you love! if a specific scene, mission, or plotline really stuck with you in a book, game or movie, ask yourself why. for example, when i came up with my fantasy plot, i was inspired by a mission in the witcher 3 where geralt and triss are navigating the tunnels under novigrad. triss, living in secret as a mage, is forced to use these hidden passageways to carry out her plans. i remember thinking, “hmm… tunnels or catacombs are a great way for people with secret missions to carry out said missions!” that one detail sparked an entire subplot for me, where certain characters use an underground network to secretly move around, gather intel, and plot revolutions.

you can take bits and pieces from your favorite stories and use them as springboards for your own original ideas. sometimes it’s a specific setting, a character dynamic, or even the vibe of a scene that can get your creative wheels turning. the key is to make it your own and let it evolve naturally in your world!

i hope these ideas don't sound too "obvious" or like "well, duh," but rather a reminder that you've already done the worldbuilding, so use it!!

good luck with your epic fantasy!! sending digital hugs filled with all the creative energy i have left today to you and anyone else reading this (´｡• ᵕ •｡`)

[yearningaces]

(Too shy to say off nonny, sorry.) But I love your writing. Especially that it explores more than the sexual side of romances. I love to interact with the world in a way less driven in such a manner. It's a lovely change to see your writing in my sphere.

But also:

We have you meeting Nyx's family and fitting into his world, but what about trying to fit him into yours?

(never apologize, anon is on for a reason 👍)

I'm so so happy my blog can offer that for you! It's such a bummer each time I find some romantic buildup "plot sweet fluff they fuck." "Plot wholesome- they did this all just to fuck." "Romanc- they did it for sex."

And that's no problem! If people enjoy that then they can there's nothing wrong with enjoying sexual things, but as an asexual who is romantically attracted to folks(monsters mostly) it's disheartening to have almost every story end the same way so I have to skip huge chunks or just not read.which really minimizes how many stories I really have available

As for the idea you have!

Writing about families is far less reader inclusive so what I'm going to do is a brief overview that mostly is gonna focus on Nyx just being brought into the more human side of the world.

And with that in mind!

It takes time. And patience. Nyx is a bundle of nerves, and he loves you his wonderful human so much! But he's still terrified. Because you're sweet and good and know how to be gentle. Not every human does, and telling them apart is difficult at first.

Having to watch you and every other human tear through meat down to the bone at some restaurants (I'm craving ribs) takes him some time to not feel like he's about to fly out of his seat. So you compromised, he would never ask you not to eat something, but you do offer to cut whatever meat you're eating off the bone cause it seems to help his nerves.

The swarm and crowds of humans are so much larger than him, and so very loud for his delicate rabbit ears. Headphones and earbuds don't exactly work given his... Ear shapes.

What does work is a beanie he can tuck his ears into, or a crochet scarf(grandpa bun at it again) wrapped around his ears and head enough to cover them. It muffles the sounds.

Carry him. Please carry him, his legs are rabbit legs, his hind paws are rabbit paws no shoe can fit that and he refuses to wear dog shoes. Pavement is hot. Piggy back ride or sling him over your shoulder, if he's off the ground he's happy. (moreso if you show off that human strength)

Hates transportation at first. It's different, he walks or hops everywhere and now he just has to sit still and wait to get there? No. Give him the backseat to move around or find a bus that's not crowded so he can stretch his legs, y'all will not survive otherwise I'm sorry but ultimate "gotta move" attitude.

Other humans will scare him. You do, but in the attractive "this is my partner and they're so capable I love them so much" kinda way. Other humans set off danger alarms 24/7 that you only set off 11/7. It takes a good amount of time and slow buildup in exposure to combat this. If any human gets too close and doesn't hear him when he says to leave him alone(something you and him did practice) then he will fall on instincts and just bolt. So once you lay someone out in the asphalt, you gotta find the bun.

General aside, into family's. This is based around a loose idea of mother father siblings just because that's what I'm most familiar with

Absolutely prey fear in his eyes. Deer in the headlights when your folks opened the door to greet y'all together for the first time. You might have to actually carry him into the house and just sit with him for a few minutes, cuddle him a bit somewhere alone because he's in a human den of unknown humans. He needs to adjust to the many different scents and sights and sounds. And even if you vouch for them, these humans aren't you- he doesn't trust them the way he trust you and his instincts are absolutely screaming. 0/10 experience for the first few minutes.

Let him take his breaths and he'll gather his nerves to greet your family- but the best way would be to do so one by one. Otherwise it's another overwhelmed break time.

Eventually he might relax enough to rest around them, but Nyx absolutely will never sleep around any humans if you are not actively attached to him in that moment. He'll lay and lounge if he's really exhausted but will never sleep around your family or friends or any human if you aren't actively holding him or just close enough he can feel or at least smell you.

Humans are scary, they won't ever feel safe to him, that's just instinct. But you're his human, his partner. He'll sleep like a baby in your arms if it's just the two of you, and even if he wakes and has a heart attack because why are your eyes dilated in the dark and staring at him?

He's always gonna be a bunny boy. Always gonna be a bundle of nerves and hardwired red flag instincts because he is prey.

He can grow to trust and care about your family, but only really because they're an extention of you, selfish as it might seem.

[corviiids]

back in your asks unfortunately you can’t get rid of me. i’m going to keep enablign you.

you bringing up the kr version of hurricane and the martyr complex light has in it is great bc what fascinates me about hurricane as a song is how radically different it is in different languages? as we all know in the manga light has this horrible visceral reaction to what he’s done. he looks like he’s gonna be sick when he has that guy hit by a truck. when ryuk turns up he admits that he’s been losing weight and barely sleeping. but the musicals differ so massively in how light is portrayed? because in english light seems to have this very strong sense of justice from the start - in where is the justice he denounces the corporations corrupting the legal system and asks “how can we turn away and say that’s just the way things are?” and then in hurricane he hardly seems upset at all by what he’s done. he seems vaguely surprised at how easy it was and then turns around and sings about how he’s got this insanely strong, perfect, untraceable power that he’s going to use to deliver righteous retribution. BUT then the jp versions of witj and hurricane are much less certain and light seems more horrified and then hopeful. the focus is on creating a perfect world, not necessarily punishment. he’s more a glass half full kinda guy. and then it changes AGAIN in the kr. it’s so fascinating he is a completely different version of himself in all three versions and i just need to ask. what are your opinions on this. am i making this up. do you understand how my brain is firing

you are NOT making this up and i DO understand how your brain is firing. listen. listen. in that same post about light/achilles (intertextual comparison not ship) (although?) and prompted by a response from someone else cool i reposted these tweets (which you have literally just seen because i shoved them at you but ill post them again so everyone can see)

to me it is like, very key that every iteration of light yagami SEEMS really different. in their behaviour, their values, what it takes to push them to acting and how they react, etc - obv you've brought up light as he appears in the three most well known languages the musical exists in, but i also am a huge fan of comparing his animanga self (already two different iterations to an extent) with the tv drama, which has maybe the most distinctive version of light out of all of them and which i BELIEVE? drew criticism? but i am not 100% because i was not here for this because i watched death note for the first time in fucking february. because i am hip with the kids. #rad

anyway this is part of a much larger ramble of mine that i am not really doing justice here but i actually really like that that version of light is so incredibly different - and yet he really isnt, somehow, because he ends up not only at the same ending but recognisable as the same person. that's what i think is so interesting! these differences are undeniably there and they're BIG - as you said, between musicals he ranges from being a vengeful guy on a power trip to being an idealist with a martyr complex, and you'd think those are two totally different sets of core values. between animanga vs tv drama he goes from being this cool and collected hyper prepared cynical idealist to being a depressed nihilist who's working extremely hard to shed his own ability so he doesn't have to deal with the pain of caring. again, these seem, and factually are, completely different sets of values.

and yet they're actually perfectly reconcilable. every iteration of light no matter how distinct and no matter how much their core values seem to oppose or contradict each other ends up reconciling into the same guy partway through the story, where all of these different directions he's been going in all converge. his priorities even out - regardless of if it was the power trip that came first or the desire for the perfect world, they balance ultimately and coexist. regardless of whether his idealism led him to bitter radicalisation or nihilism, they also balance ultimately and coexist. is light affected by his first murder? yes - how does it show it? that differs, but none of the lights are actually deluded enough to think that murder is good. they all think it's bad but defensible and justifiable and then visibly cope with that fact in different ways. light looks like a VERY different man depending on which of his values are being pushed to the fore in a given interpretation, but all that really does is serve to spell out exactly how complex he is internally once you watch them all converge at around similar points in the story, even when at the barest and most uncharitable interpretation he just looks like a maniacal serial killer with a delusional god complex. this is why i like him so much unfortunately

also none of this applies to netflix light who is irreconcilable and irredeemable. and white

[ashintheairlikesnow]

thoughts about the devil in fiction

I think the amount of stories that feature or even focus on a deeply sympathetic or tragic Lucifer Morningstar who is not so much evil as misunderstood, or someone who broke the rules before anyone understood rules could be broken, are an interesting take on our innate need to believe that literally anyone can be redeemed, or at least have some capacity for desiring or wishing for redemption even if they can never, ever earn it.

The tragedy of Lucifer isn't that he was the first of the damned, but that he simply has no other future, no hint of potential to have existence be anything but what it already is.

His tragedy never results in any significant change to heaven in a positive direction. Usually these stories involve the idea of rebellion designed to take heaven down or make it more similar to hell. Rebellion based on being jealous of humanity's ability to make their own choices, or being so proud of himself that he believed his power could rival God.

Lucifer remains trapped within a prison of his own pride and belief that he knows best, or maybe the story involves him learning that his pride was misplaced, but even so the punishment is never truly lifted. It cannot be. It's eternal.

There's also an element, I think, of many people seeing the unfairly demonized - how impossible it can seem to fight against seemingly arbitrary rules - and sort of painting that in larger strokes using the Devil as a canvas. The first of creation to look at the way things were and wonder why they could not be different than this.

How many of us grow up thinking we will change things on a grand scale, fight against the powers that made us, and instead find ourselves simply struggling to maintain hope in a world we aren't allowed to affect? Who find ourselves stomped down when we stand up, or told our ideas are impossible? Told that we're just jealous of those who have more than we have, or that we're too full of ourselves thinking we could make a difference?

It's a really interesting relatability that we have created out of a handful of mentions in a very old book, similar mythologies from other religions, and sheer imagination.

Even in Dante's Hell, written in the 17th century, Lucifer is tragic, damned by pride and envy of God to reign in Hell but ultimately declaring he would rather rule the worst of creation than serve the best.

Is it the best, though?

What is humanity with all its potential for both bad and good removed?

Is the goodness of humanity worth much if it can't be contrasted with the worst? Does good exist without evil, or is it functionally meaningless at that point? Does Lucifer rule over the way that humanity can define what is good, rather than serve a good that has no evil with which to compare itself?

One of my favorite takes has always been those stories that have Lucifer's damnation be focused on seeing the worst of humanity coalesced, over and over and over again, and never allowed to see goodness in Creation. That his tragedy is that he isn't allowed to see how we can use the free will and knowledge of good and evil to do good, he can only see the way it's been twisted to darkness. Which suggests that he has been blinded to goodness purposefully.

The story of the serpent tempting Eve is always performed or written as the serpent slyly, knowingly tricking her by saying, "Surely you will not die," with a wink and a nudge. But there's another take in which the serpent - often written to be the same as Lucifer/Satan and explicitly stated to be the same entity in Christianity, although Genesis doesn't actually make that connection, it's just a snake who can talk and ask questions Eve and Adam hadn't thought of yet - was genuinely of the belief that humanity wouldn't come to same ruin he had, since they were so clearly and obviously being given a different set of potential than the angels.

In that reading, "Surely you will not die," is said with outright, honest confusion as to why they would think so.

After all, this creation was two people in a garden being given endless paradise. But there was something about the potential of their existence they had yet to touch... the ability to make choices that were truly their own.

His rage, his unending fury and pain, is because he believed once in his hubris that if humans can be given the capacity to choose, so could an angel. But then he realized that it didn't matter... even his rebellion was choreographed. It was just lines written on a page, enter the Morningstar, stage left, give his lines, be thrown into the pit.

If the plan was written from the start by a power he could never begin to equal, that means it was a script whose lines he read thinking those thoughts were his own.

Lucifer's tragedy is that even his pride and his envy, his fall, wasn't actually his.

His rage and his suffering is just one more step in a plan larger than he could ever be.

And he had no idea until it was done.

Punished for playing his part so well in a play he had no hand in writing and no idea was even an act, given the unending absence of the basic foundation of angelic existence afterward, forced to witness the worst of the favored creation given everything he ever wanted only to squander it...

Isn't that a tragedy unlike any other?

So those stories that feature Lucifer or even demons in general who are sympathetic and tragic because they are fighting against a constructed universe that they can barely touch or affect and who are suffering an absence, a chasm inside of them that was once filled with artificially created joy that was removed as arbitrarily as it was made...

You can see why those stories resonate over centuries, take new forms, and are an endless fascination for those of us here.

[charmwasjess]

So, let's say George Lucas was more self aware producing/directing the prequels and hired you to reign him in/keep him on track. How would the prequels be different?

What a fucking FUN question. :D I've been chewing over this in my inbox for a couple days.

Honestly you couldn't pay me enough to write for Star Wars, and that's not just because I'd be fired on my second day for making it so gay. I think there absolutely are problems in the prequels, but I also think no matter what films they made, it was going to be a difficult tango of trying to keep an existing fanbase happy while attracting new ones, doing the old story homage but also not just retreading stale territory, and the fact that an entire generation came up with headcanons for what the Clone Wars or young Obi-Wan or Vader was like in that era, and no matter what you do, someone was going to be disappointed.

I also have a ton of sympathy for Star Wars writers in general - I see stories like Mike Chen who wrote the Brotherhood novel having to get the book together in three months over 11 drafts or the Rebels writers working unpaid nights and weekends to try to land the story they loved decently because they weren't given enough time or money. I don't know what it's like to write or create content for Lucasfilm, but I can't help but think of Warren Fu, who created the iconic General Grievous design for Lucas, later drawing himself as Sifo-Dyas being drained of blood to create Grievous. The metaphor he chose there is, um, interesting, to say the least, and I wonder how it reflects on his time at Lucasfilm. I see these anecdotes all the time of writers and creators working incredibly hard for little money or recognition and then their passion project gets changed or sidelined by the powers that be within the franchise.

ANYWAY THAT SAID HERE'S HOW I'D FIX THE PREQUELS- I think it's really a matter of redrafting what's there because so much of it is really good and has great potential. I just rewatched the Phantom Menace, so that's on my mind. Yeah, I remember being little enough that Jar Jar Binks was funny to me - I love Ahmed Best - but having just rewatched it, Jar Jar gets a ton of screentime and that could be better balanced. AND oofa-doofa, the racist accents/stereotypes. Cut cut cut. Rework.

Otherwise, I think there's a tendency - and some of it was the popular movie tropes at the time the films were going out - to rely on Idiot Plot. OOPS, Anakin didn't mean to go to the big space battle!!! He just won the day on accident!! To a lesser degree, many other characters make it through the movie by just sort of guessing and lucking their way into it as a narrative choice. Just going by the fact that the films need to be about the good guys losing because it's a prequel for a saga with no Jedi, I'd like a little bit more agency for them. More moments of saying "yes, I want to do this" and less "wow, what the hell is going on?!"

The other big change I'd make is give Obi-Wan a much larger role in the Phantom Menace, and Padme a bigger part in both AotC and especially RotS. (Actually, she really kicks ass in TPM. That moment where she shoots through the window and the duel of the fates music swells? Ascension guns!! I'm getting goosebumps just thinking about it.) I think Anakin is the most sympathetic when he's seen through the eyes of characters who love him and vouch for him. And Obi-Wan is honestly barely in TPM - it's all Qui-Gon, who I love, but I could see the film being really successful through him as our perspective/focus character instead. The way that Luke Skywalker takes us with him on this adventure and shows us the story. Obi-Wan could do that very effectively. And as much as the prequels are about Anakin's fall, they're also ultimately a story of Obi-Wan's survival.

And I'd cut Count Dooku, for no reason other than I don't like how weird I got about that guy.

[unfortunately-obsessed]

Saying that I hate Nolan's Batman in a room full of man just to feel something

But here's a random list of my rating of different Batman that nobody asked because I love giving my opinion

The Dark Knight Trilogy: Solid Batman, hate the Bruce Wayne. Brucie, the public persona, is supposed to be a bimbo that cares for the city, not a rude arrogant prick that sinks the Wayne name. It completely butchered his relationship with Harvey too for... *checks notes* Rachel? Nahhh 2/10, a male fantasy movie but it gets one point for showing his training years and another for some cool one-liners

The Batman (2022) – I love the movie and that's top Batman to me, especially the last scene. Batman is a symbol of hope, compassion. I had the same problem as the Nolan's one for the larger portion of the movie: instead of using the Wayne Inc. to do good, he doesn't care about his parent's heirloom and drowns into being Batman. HOWEVER, it's pretty clear how raw and wounded he still is, and after the whole Riddler deal, I can see him turning this around and doing good as Bruce Wayne too. My fav live action movie but it gets a 8.5/10 on characterization

The Long Halloween, Comic – classic Batman, I like his personality and how he lets Batman and Bruce work together to do better to the city. A inspiration for the 2022 movie too. 9/10

The Long Halloween, Tomorrowverse – butchered the storyline and I shit you not Bruce says "I never thought I would need to do detective work to be Batman". Made him all muscle and no brain. Cool art but it doesn't even get a point for it, couldn't bring myself to watch more than 20 minutes of the part two. I kinda liked how he acts with Selina though. Yet, keeps it at -10/0

The Arkham Games – I watched the Arkham Knight gameplay like it was a movie and then watched scenes from other games on yt. That's the ideal way Batman operates to me. Thing dreams are made of. Also balanced on his public facade. 9/10

Batman The Animated Series, Timmverse – can't ask for better. Always offering rehabilitation to villains? Showing empathy for freeze and ivy and Harley!? and his friendship with Harvey? 10/10

Justice League: Unlimited – The timmverse gets him right and I love to notice how he progressed as a character. Love how they write Bruce's friendship with Clark and true partnership with other Leaguers. Also love his relationship with Diana, wonderbat forever. 10/10

Batman, Tv animation (2004) – The story is tailored to be palatable to kids so they changed some elements. It's fun to watch tho, 7/10

Batman Vs. Superman – guilt-ridden, PTSD older Batman? Pretty solid on the premise and I could see any Batman acting that way with enough groundwork. I just don't like the whole marking criminal and sending them to prison to die. Bruce wouldn't, doesn't matter how grief stricken he is. 8.8/10

Gotham (Tv Series) – Eh. Young chaotic Bruce. The focus of the series is on the villains and I didn't even pay too much attention to him tbh. I love a disaster teenager Bruce tho, 7.6/10

Young Justice – Gets points for bonding with Dick earlier in the series and for later showing him operating with a larger Batfam. Also accurate on the way Batman operates. He would leave the League because he's not about being part of a society or the status that come with it. The League had a purpose, which was facilitating saving people. Than he couldn't save people with it? He left. 9/10

Superhero Girls – exploring him being Kardashian-level celebrity?? Hilarious. But I don't like the other implications the show makes about him as Batman. 3/10

The Killing Joke, animated movie – something about how he acts throws me off. Older Batman but done badly. I think they don't work enough to drive him to murder. Should have left him kill Joker when Jason died. 2/10

Ninja Batman – The writers had LSD to write it. Insane. Hilarious. Didn't like that he was "oooh I don't have tech what will I do? :(" Batman is a survivalist so be for real. 4/10

Year Zero (comic) – hate that buzz cut. He wouldn't. Otherwise solid. Also another inspo to 2022 movie. 6/10

Year One (comic) – classic backstory, can't ask for anything else on personality matter. The fact he hallucinated a bat while he was concussed and thus made himself Batman because he thought it was rad? Peak characterization. 10/10

Harleen (comic) – He's not the focus of the story but I do love when they show how much sheer power the Wayne name carries. He has a steady hand over Gotham, a background influence constant and unwavering. Also that dialogue on the end where he's blaming himself for everything that happened even though it's not his fault? Yeah, it tracks. 9/10

Turning Points (comic) – the way he acts... He's such a theater kid. Also accurate on how Robin happened and I love he doesn't try to fight Gordon but humbly accepts Jim is going to hunt him if something happens to Robin. 9/10

There's a black and white one shot comic that Dan Mora made that I can't rember the name but?? Bruce adopting Jason, Dick and Tim in one go?? Can't go wrong for me. I am also not immune to how Mr. Mora draws Bruce. 100/10

The goal of this year is to watch more timmverse and read more comics with the batkids

[bonesandthebees]

How do you come up with such banger plots? I’m trying to write an original book and I have the world building and characters down easy, but I’m blank with plot ideas.

-♟️

well first off when you're plotting you have to know the overarching story you're telling. like before you can figure out the individual plot beats, I really recommend that you know where you want your characters to end up at the end of the whole story. what are you working towards? once you know what your end goal is, then you can create your plot points with the intention of them moving your characters towards the end goal.

example of this: say you're writing a romance story. the two main characters start off as strangers, and you want them to end the story in a relationship. well how do you get there? obviously you're going to start off with them meeting. then your plot points become focused on building their romance. you have a scene of them going to a movie together. hanging out with a group of friends together. having a one on one conversation late at night. just different scenes that let the characters relationship build with one another. of course that's not to say that has to be the only focus of your plot. subplots exist as well, so you can intersperse those romance building scenes with ones showing other things going on in the characters personal lives. character a is having arguments with her sister a lot, so you can include scenes of her getting into fights with her sister or trying to talk about the issues with her parents or things like that, which can then tie into the main romance going on where she vents her problems with her sister to character b which allows them to grow closer to each other. subplot serves the larger plot.

of course this is a very basic plot idea and it's a bit more complicated in most stories. especially in different genres like fantasy or sci fi where the end goal is something much larger than two characters finally kissing. but it's the same concept at its core.

now if you already know what end you're building towards and you're struggling to figure out what plot beats to put in to push the characters to the goal, I definitely recommend consuming other pieces of media for ideas. watch movies, read books, play video games—the more creative content you consume, the more ideas will exist in your head that you can bounce off of. say you watch a movie and see the main characters getting stuck at an awkward dinner party. even if your story is a completely different genre from that movie, if you want to write a scene like that, you can change it to fit your own story to also work towards your end goal.

say you watch a movie where your average modern family gets into a bad argument over the dinner table. then, say your story is a fantasy tale about a princess trying to usurp her father from the throne. well, you can throw an awkward family dinner in there! the tone will be completely different but it can serve any function you want it to. show the strained relationship the princess has with her father? show her father's incompetence at his position? tell the reader more information about what's going on in the kingdom through dinner conversation? there are plenty of ways you can work with a scene like that to make it serve your plot, and now you have a plot point. boom.

I hope this helps a bit!

[pll-reimagined]

Pretty Little Liars: reimAgined

Hello Liars of tumblr!

I am a huge nerd for the Pretty Little Liars franchise – I adore the books (I’ve been reading them as far back as the original release of ‘Killer’), and while I love the show, I've always been more than a little disappointed that it wasn’t closer to the source material. During spooky season, I began both rereading the books and rewatching the show, and it gave me the creative inspiration to blend together the best bits of each canon into one cohesive narrative, start to finish. With that said, I present to you all my passion project, 'Pretty Little Liars: reimAgined', as what a retooled, more faithful adaptation could look like.

My primary goal is to tackle the books’ canon and adapt it to span across a number of 'seasons' in an episodic fashion - currently my plan is a 7-season format with around 13 episodes apiece, leaving wiggle room for more as I progress. I intend to weave in some aspects from the original show that were either invented FOR the show, or ones that it particularly excelled in translating… but not necessarily the ones people might expect. This will range from minor storylines and interactions to entire episodes from the OG - albeit through a different lens - if I believe it will help to flesh out characters and the tapestry of Rosewood at large, however this is not the priority. I may periodically condense, expand, omit, and/or change the order of storylines and arcs to make them stronger, and so as to cut down on unnecessary filler. I want for there to be nods that both book and show fans alike can appreciate while also keeping them in suspense over how events unfold; it'll feel familiar, but won't be a twin copy.

My overall creative concept is a period piece set in 2006 (so I'm keeping as much of the niche style and dated references from the books as possible), with a sense heightened reality and a focus on themes such as symbolism, luxury, and indulgence. Think less ABC Family/CW vibes and more HBO/FX, American Horror Story vibes: big on suspense, a dark and gothic aesthetic contrasting expensive and chic high society, somewhat realistic yet simultaneously a bit larger-than-life or fantastical, can range from slightly eerie to downright unsettling, and doesn’t shy away from vulgarity or adult themes and imagery, but does so tastefully and in moderation. Rosewood should absolutely DRIP with exorbitant wealth, lust, disdain, competition, and secrets, but in the flavor of Old Money. My vision is of a nice suburb in New England, where every yard has a white picket fence to hide the imperfections from your neighbors, and petty, political cold wars matter to your social standing at the country club.

The rewrite will have a more serious and mature tone: less teen romance (though, as it IS present in the books, there will still be some) and more focus on psychological torture, thriller/horror tones, the mystery surrounding the disappearance of Alison, the identity and motive(s) of ‘A’, and what ‘A’ puts the Liars through.

As of now, I have a very rough draft of the major story beats that I plan on covering, as I think the story starts to fall apart when you don't have your long-term mystery road mapped well in advance. My goal is for each story arc/season to feel well-balanced and important to the over-arching narrative, and the 'A' reveals are a large part of this. The 'A' thread is the most meticulous and delicate, as any misstep leads to inadvertent plot holes, which is exactly what happened to the show. Most importantly, the 'A' motivations need to make sense in relation to the Liars - that means no Shower Harvey's running amok in this fic!

I’m also going to fix some aspects of certain storylines, and the timeline in general, that were either rushed, dragged out, unnecessary, unrealistic, or flat-out didn’t make sense, adjusting the pacing where I deem it necessary (RIP Never Ending November). This is less so with the books, although they do have some instances - Sara Shepard wtf do you MEAN THAT ARIA STOLE THE STARRY NIGHT - and more so what I use from the original show. I want to give the story the proper room to breathe and the space to gradually build suspense, ensuring a structured flow for every episode within each season’s narrative arc.

I’m aging everyone up slightly, so the start of the series will take place on the last day of 9th grade (making the Liars around 15), and the time jump will be about 2 years, to the end of the summer before the girls’ senior year (making the Liars around 17). Hopefully this will make some of the plotlines a little less icky and statutory grapey when it comes to age.

I’ll also be combining book and show characters as I see fit, giving preference to the books. In particular, I'll be utilizing the ensemble of Rosewood Day students in a much larger capacity than the show did, so to increase the number of suspects while cutting down on extraneous random characters, effectively creating a small community of socialites not dissimilar to Gossip Girl. These people have largely known one another since childhood, and that should be reflected in their interactions.

I'm retelling the story through the mind and voice of none other than Alison DiLaurentis, and she will operate in a way similar to Mary Alice Young from Desperate Housewives: secretive, slightly omniscient, gone yet still very much a part of the Liars' world despite her absence, and playfully watching over her friends as they navigate past her disappearance. She serves as a narrator for the Liars’ inner thoughts and monologues, but will frequently provide her own insight on situations, occasionally injecting some dry humor into the series.

Lastly, the Liars will actually... y'know... lie lol. While the show captured their positive traits, it suffered from the fact that the girls either didn't do bad/selfish things at ALL, or they were coerced to by outside factors. The girls in the books are much more self-serving, petty, and willing to do bad things to achieve what they want. There will still be 'A' manipulation, however I want the general sense that the Liars are victims of their own actions. They should be much more uncomfortable in maintaining and balancing their social lives with the threat of ‘A’ always looming, poised to knock them off the top of the totem pole should their secrets be exposed. The outward appearance of perfection should be, at least initially, the driving force for the Liars. They’ll be more rational and cautious, making less immediate boneheaded and/or out-of-character decisions like the show portrayed, and a bit more reluctant to trust one another until after things have unraveled and bound them together.

I’m currently outlining the details for the first 'season', and I'm about halfway done with the prologue, which I plan to post by the end of the week to gauge interest. I'm open to feedback, so please let me know what you all think of my little passion project!