#This is more accurate to the story importance of the characters
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A Guide to Descriptive Writing
Descriptive writing makes reading a more visual experience.
Utilize descriptive writing, to show not tell your story to readers.
However, it is important to note that if passages of descriptive writing are too long or too complex, they will slow your story down.
Alternatively, the story's development and readability fall flat if you do not use a variety of types of words.
Take time to choose your words carefully, expand your vocabulary, and practice descriptive writing.
Below are some tips that may improve your descriptive writing.
Try Using Metaphors
Metaphors compare one thing to another.
Utilizing this technique is not saying the objects you’re comparing are the same, but that your audience can note shared traits between the two.
Example: Jordan is a living map.
Explanation: Of course, Jordan is not literally a living map. What the map and Jordan have in common is geographical information and the ability to help others navigate locations without getting lost. What the writer has done here is demonstrate to readers that Jordan has an excellent sense of direction.
Play with Similes
Similes also compare one object to another but discuss one thing as being like another.
You will often find words such as “like,” “so,” “than,” or “as” used in similes.
Example: Diego soars across the soccer field like a jet.
Explanation: Again, this is not a literal statement. The author shows us that Diego is a fast runner and creates a vivid image in the reader's mind that would not have been present if they had simply stated that Diego is fast.
Make a Statement with Hyperboles
Hyperboles are exaggerated statements.
They are used to make a point.
Example: Math class lasts a million hours.
Explanation: Your readers will know there is no way a class can realistically last a million hours, but they will understand the feeling of time dragging on when you’re doing something you do not enjoy.
Use Sensory Details
Adding sensory details is a great way to help your reader experience your story.
Depending on the character and story, sensory details may include sight, hearing, touch, smell, and taste.
Be careful not to overload passages with sensory information.
Only use what is needed to communicate with the audience.
Example: Cold, wet glue dripped from the bottle onto her fingers; the tangy, chemical smell flooded her nose. She rubbed it between her thumb and long finger, relishing the transition from silky gliding fingers to tacky digits to peeling the cast of her fingerprint away from her skin with the satisfying crinkle of crisp paste.
Explanation: In this description of glue on skin, readers encounter details of touch and smell. Although this scene is not happening to readers at this moment, they can easily recall the smell of glue and the feeling of it between their fingers.
Choose Vivid Language
Choosing vivid language can form a clearer image in your reader’s mind.
For instance, you may select words that more accurately convey what you’re aiming to communicate, whether you are simply searching for a synonym to vary language or trying to locate a word with a more nuanced meaning.
Example: “The knight entered the kingdom on the back of a horse.” vs. “The knight stormed into the kingdom on the back of a mighty stallion.”
Explanation: Having a knight storm in on a stallion rather than enter on a horse is a much stronger, more heroic image. Additionally, stallion may be a better word choice than horse because it is specific. The word stallion tells the reader the horse is male and could be used for breeding, which, since this is a knight’s horse, could be relevant since it could be used to breed warhorses.
Incorporate Feelings
Crafting a visual experience for readers marks successful descriptive writing, but you also want your readers to experience your work emotionally.
For your story to reach its full potential, you need to incorporate feelings, whether those feelings are positive or negative.
Example: Desiree felt the weight of the empty space in bed pressing down and stealing her breath like a knee to the chest. She was cemented in place, limbs unfeeling, as she floated above the bed tethered to her body but no longer secure within.
Explanation: Here, the author shows the readers a woman dealing with the pain of grief and the hollowness that sometimes accompanies it. Most readers have experienced some level of loss in their lifetime and will understand and emotionally connect with Desiree.
Source ⚜ Descriptors ⚜ Common Metaphors ⚜ Mixed Metaphors Plot ⚜ Character ⚜ Worldbuilding ⚜ Imagery ⚜ Notes & References
#descriptive writing#on writing#writing tips#writing advice#writeblr#writers on tumblr#literature#writing prompt#spilled ink#dark academia#writing reference#poets on tumblr#poetry#fiction#light academia#creative writing#writing inspiration#writing ideas#writing inspo#albert bierstadt#art#rainbow#nature#writing resources
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I think a large factor in why the majority of fans tend to dislike “traveling books” is how the journey affects characters, or more accurately, how the journey doesn’t affect the characters. Usually (in Western media) journeys alter those who go on them. They may come back home in the end, but they’ve changed physically and/or psychologically, and it impacts the rest of their life. However, in Warrior Cats, journeys are treated as a “monster of the week” deal where they travel somewhere else to do a side quest and then arrive back to the Clans without changing. Instead of gaining a new mentality, their personality stagnates until the journey is over. Sure, they might lose someone, but they’ll return to a status quo soon enough. Once more, traveling books are almost guaranteed to not affect the arc in a major way. Unless the Clans are moving or a group joins the lake, you can flat-out erase them from existence and not lose anything. For example, the mountains are too far away to care about. Even in the “group joins the lake” point, Warrior Cats makes them retroactively relevant to the plot by including them in multiple novels; they’re rarely, if ever, introduced as genuinely important in their first appearance. The characters don’t develop and where they go doesn’t affect the story. This is why most traveling books fail.
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Until Dawn vs Until Dawn Remake
From one of my old Reddit posts— what do you make of the changes to the hour glass lineup? Original on top, remake on bottom.
#This is more accurate to the story importance of the characters#Matt being the focal character before was interesting#His one time in the spotlight#I like that there’s color now#they’re facing the other direction#Ashley lost her flashlight but they gave her her outdoor coat#people were excited to see Emily and Jess beside each other#maybe they have a little more content#but we can only guess#my boy Chris has a proper amount of emphasis this time#I will always hype him up#until dawn#until dawn remake#josh washington#chris hartley#sam giddings#mike munroe#jessica riley#matt taylor#ashley brown#emily davis
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"I want Annabeth to be blonde :(" then pick up a PJO book and read it you dumb fuck
#pjo fans stop being weird about black annabeth challenge IMPOSSIBLE!!!!!!!!!!!!!!!#first off annabeths race isnt important to her story. annabeth could be any race. her skin colour doesnt actually impact her. her hair does#now im not blonde but im a white girl so let me explain why some pjo fans need to stfu. i have grade 9s. im called stupid for my appearance#im not insulted bc im white or bc i have blue eyes or brown hair. im insulted bc women are judged on their appearance because SEXISM!!#annabeth isnt called dumb for being blonde. shes called dumb bc shes female. and ppl are more likely to stereotype women than men#this is especially true for black women! whatever sexism white women get is always horrifically multiplied for women of colour#black hair frequently gets called unprofessional untidy unhygienic etc. its VERY likely that show annabeth received prejudice for her hair#does this make the casting “accurate”? no. but castings don't have to be accurate. they have to ADD to the character.#annabeth being black ADDS to her character because it showcases how women (esp black women) are devalued for their appearance#movie annabeth wasnt bad for having brown hair or white skin or whatever she was a bad adaptation bc she was out of character#i just think its ironic that a core aspect of annabeth was being judged for her looks. and now show annabeth is getting judged for her look#like. you guys really missed the point here.#anyways disagree all you want but book annabeth is still blonde. no one is erasing her. Theres a new PJO book w blonde annabeth SEPTEMBER 2#GO READ CHALICE OF THE GODS IF U WANT BLONDE ANNABETH OMG! adaptions and source material can be separate and coexist!#rant over sorry#pjo#percy jackson#annabeth chase#pjo show#percy jackson and the olympians#the lightning thief#discourse#shitpost#percy jackson show#pjo discourse#riordanverse
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20/10 stars little guy
#me (scrounging undetected autist whose ideal fashion sense is ''if i have to be seen at all: shrouded'') seeing encanto the other month.....#and on top of it all i LOVE slice of life. encanto being so focused on What It's About that there's so much of that + character / dynamic#also part of what i loved abt pixar luca. ppl like ''simple story but not a problem :)'' like YEAH thank god it's Also so slice of lifey#2021 what a year lol. though again i only Just saw encanto....tfw Studio Creative Control backs off a bit more than usual: Joy & Wonders#anyway i knew going in bruno wasn't an antagonist (fine if he was though b/c slay & b/c scapegoats can do whatever they want)#knew i'd love him b/c again Scapegoat shows up & i'm the Amazing Showstopping Totally Unique Never The Same gif on loop#but what a delight even beyond those expectations lol. love again how Focused the movie is on What It's About & Thee Points it makes#the Characters / Dynamics & the Metaphor & the plot stays right with all of that. the focus & importance re: thee scapegoats....#& bruno being disabled like whole layer of Yay Yay Yay spamming. that even when He's Back we're reminded he's not ''normal now'' or w/e#(i.e. presenting that as The Good Ending for the disabled outcast. vs just being embraced as part of the group again & accepted As He Is)#meanwhile was like hmm chat is there queercoding do we think? like is he queer: Yes. but is there coding? hmm#sure isn't cishet coded though. but i was also having the thought like fellas is it gay to [higher tenor tessitura or w/e] lol#made me go ''do i know this voice? ok do i know this name / face / actor? (i have never seen anything ever / bad w/names/faces/voices)''#indeed was like yeah haven't seen this; heard of this; seen it once ages ago no way i remember more than like 0.6 details#then from ''ohh haha I'm A Mammal That Cares....yeah i hear that'' to ''omg CHI-CHI RODRIGUEZ???? ;;0;;'' waaah fantastic revelation lmao#also the way Literal Future Seer ability was externalized to make it more wrangleable for plot is so impressive & fun & excellent#got a lot of [i like this thing i saw a lot] i got to say....guess i can do that w/the sideblog i made for one drawing i made last night#encanto 2021#bruno madrigal#also the way bruno is so Nervous + Hiding / Bold + Big Personality like yes ha ha ha Yes....tamped down as ''too much'' experience#also the [stuttering stumbling muttering mumbling] line: i fr nigh wept upon going back over a moment like what am i hearing here?#& realizing the answer was: it's bruno quietly stuttering a moment during this one line (& then (& then (& then)) i saw you) ;;;mm;;;#hang onnn....the first scapegoat who's driven off being Disabled is so real so ;m; that again they're like so he got Weirder; Okay ;;m;;#that we get jorge thumbs up nobody having an Aside to be like [ugh; this guy] or Anything. augh always have too much to say for 30 tags#fabric drape there sure not accurate but i was like okay if i try to really reference that i'm not getting this done tonight
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Do you conlang? I was wondering if you had naming languages (or possibly even more developed ones) for pulling the words you use. I tried to search your blog but didn't find anything, wouldn't be surprised if the feature is just busted tho. Your worldbuilding is wonderful and I particularly enjoy the anthropological and linguistic elements.
Ok the thing is I had kind of decided I was not going to do any conlanging because I don't feel like I'm equipped to do a good job of it, like was fully like "I'm just going to do JUST enough that it doesn't fail an immediate sniff test and is more thoughtful than just keysmashing and putting in vowels". And then have kinda been conlanging anyway (though not to a very deep and serious extent. I maybe have like....an above average comprehension of how language construction works via willingness to research, but that's not saying much, also I can never remember the meanings of most linguistic terms like 'frictives' or etc off the top of my head. I'm just kinda raw dogging it with a vague conceptualization of what these things mean)
I do at least have a naming language for Wardi (and more basic rules for other established languages) but the rudimentary forms of it were devised with methods much shakier and less linguistically viable than even the most basic naming language schemes, and I only went back over it LONG after I had already made a bunch of words so there's some inconsistencies with consonant presence and usage. (This can at least be justified because it IS a language that would have a lot of loanwords and would be heavily influenced by other language groups- Burri being by far the most significant, Highland-Finnic and Yuroma-Lowlands also being large contributors)
The 'method' I used was:
-Skip basic construction elements and fully move into devising necessary name words, with at least a Vibe of what consonants are going to be common and how pronunciation works -Identify some roots out of the established words and their meanings. Establish an ongoing glossary of known roots/words. -Construct new words based in root words, or as obvious extensions/variants of established words. -Get really involved in how the literal meanings of some words might not translate properly to english, mostly use this to produce a glossary of in-universe slang. -Realize that I probably should have at least some very basic internal consistency at this point. -Google search tutorials on writing a naming language. -Reverse engineer a naming language out of established words, and ascribe all remaining inconsistencies to being loanwords or just the mysteries of life or whatever.
I do at least have some strongly established pronunciation rules and a sense of broad regional dialect/accents.
-'ai' words are almost always pronounced with a long 'aye' sound.
-There is no 'Z' or 'X' sound, a Wardi speaker pronouncing 'zebra' would go for 'tsee-brah', and would attempt 'xylophone' as 'ssye-lohp-hon'
-'V' sounds are nearly absent and occur only in loanwords, and tend to be pronounced with a 'W' sound. 'Virsum' is a Highland word (pronounced 'veer-soom') denoting ancestry, a Wardi speaker would go 'weer-sum'.
-'Ch' spellings almost always imply a soft 'chuh' sound when appearing after an E, I, or O (pelatoche= pel-ah-toh-chey), but a hard 'kh' sound after an A or U (odomache= oh-doh-mah-khe). When at the start of a word, it's usually a soft 'ch' unless followed by an 'i' sound (chin (dog) is pronounced with a hard K 'khiin', cholem (salt) is pronounced with a soft Ch 'cho-lehm')
-Western Wardin has strong Burri cultural and linguistic influence, and a distinct accent- one of the most pronounced differences is use of the ñ sound in 'nn' words. The western city of Ephennos is pronounced 'ey-fey-nyos' by most residents, the southeastern city of Erubinnos is pronounced 'eh-roo-been-nos' by most residents. Palo's surname 'Apolynnon' is pronounced 'A-puh-lee-nyon' in the Burri and western Wardi dialects (which is the 'proper' pronunciation, given that it's a Kos name), but will generally be spoken as 'Ah-poh-leen-non' in the south and east.
-R's are rolled in Highland-Finnic words. Rolling R's is common in far northern rural Wardi dialects but no others. Most urban Wardi speakers consider rolling R's sort of a hick thing, and often think it sounds stupid or at least uneducated. (Brakul's name should be pronounced with a brief rolled 'r', short 'ah' and long 'uul', but is generally being pronounced by his south-southeastern compatriots with a long unrolled 'Brah' sound).
Anyway not really a sturdy construction that will hold up to the scrutiny of someone well equipped for linguistics but not pure bullshit either.
#I actually did just make a post about this on my sideblog LOL I think in spite of my deciding not to conlang this is going to go full#full conlanging at some point#The main issue is that the narrative/dialogue is being written as an english 'translation' (IE the characters are speaking in their actual#tongues and it's being translated to english with accurate meaning but non-literal treatment)#Which you might say like 'Uh Yeah No Shit' but I think approaching it with that mindset at the forefront does have a different effect than#just fully writing in english. Like there's some mindfulness to what they actually might be saying and what literal meanings should be#retained to form a better understanding of the culture and what should be 'translated' non-literally but with accurate meaning#(And what should be not translated at all)#But yeah there's very little motivation for conlanging besides Pure Fun because VERY few Wardi words beyond animal/people/place names#will make it into the actual text. Like the only things I leave 'untranslated' are very key or untranslatable concepts that will be#better understood through implication than attempts to convey the meaning in english#Like the epithet 'ganmachen' is used to compliment positive traits associated with the ox zodiac sign or affectionately tease#negative ones. This idea can be established pretty naturally without exposition dumps because the zodiac signs are of cultural#importance and will come up frequently. The meaning can get across to the reader pretty well if properly set up.#So like leaving it as 'ganmachen' you can get 'oh this is an affectionate reference to an auspicious zodiac sign' but translating#it as the actual meaning of 'ox-faced' is inevitably going to come across as 'you look like a cow' regardless of any zodiac angle#^(pretty much retyped tags from other post)#Another aspect is there's a few characters that have Wardi as a second language and some of whom don't have a solid grasp on it#And I want to convey this in dialogue (which is being written in english) but I don't want it to just be like. Random '''broken''' english#like I want there to be an internal consistency to what parts of the language they have difficulties with (which then has implications for#how each language's grammar/conjugation/etc works). Like Brakul is fairly fluent in Wardi at the time of the story but still struggles#with some of the conjugation (which is inflectional in Wardi) especially future/preterite tense. So he'll sometimes just use the#verb unconjugated or inappropriately in present tense. Though this doesn't come across as starkly in text because it's#written in english. Like his future tense Wardi is depicted as like 'I am to talk with him later' instead of 'I'll talk with him later'#Which sounds unnatural but not like fully incorrect#But it would sound much more Off in Wardi. Spanish might be a better example like it would be like him approaching it with#'Voy a hablar con él más tarde' or maybe 'Hablo con él más tarde' instead of 'Hablaré con él más tarde'#(I THINK. I'm not a fluent spanish speaker sorry if the latter has anything wrong with it too)
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we need to discuss how erik in the yeston/kopit phantom is probably the most socially isolated version of erik in that he has presumably only ever had a conversation with one other human being his whole life (gerard) until he meets christine. she is the first person he has ever held a conversation with aside from the man who is basically an extension of himself (and whom he has known since birth) and we are expected to believe he would pull off a convo with his new crush smoothly? where are the fics that rewrite their first meeting and erik is an absolute loserboy cringey mess??? hm????
#time to go write one#ive been wanting to rewrite y/k for awhile bc i loveee the story but the script is so meh#might start w a oneshot of their first meeting and go from there#anyway this is such an important element of his character imo and it needs to be shown more!!!#erik is not mr suave sexy he is a homeschooled basement boy and should be portrayed with accurate levels of cringe behavior#phantom of the opera#poto#erik#erik the phantom
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who up seeing their disorder in a fictional character but feel like its not their place to put a name on it
#id have to be waterboarded before i can talk abt how i see a lot of my adhd and personality in mitsumi iwakura let alone post it#idk how to talk abt this without feeling like im talking over or invalidating ppls experiences relating with a character#someone was talking abt how ppl tie laios' autism to special interest and social difficulties but not much else which kinda flattens it#and then went into a respectful in depth analysis of other autistic behaviour that laios exhibits and it wasnt phrased meanly#its fascinating and important to me to hear someone explain a little bit abt traits that they recognized and often go overlooked#because it does help me learn more about it. but i think thats also where hesitancy kicks in when it comes to depicting it accurately#like i have adhd and some of my adhd symptoms overlap with autism (time blindness and pattern seeking behaviour) but that only means#it feels familiar to me even without having autism. on top of that traits arent always cleanly determined as being /caused/ by#a disorder. to understand my environment i compare it to something unrelated but similar to make it more familiar and for the longest time#i thought that was a personality thing and not an information processing thing since i loved playing pretend in my head as a kid#so if you make a character who experiences that hoping to reach people that also experience that and tell them its not weird or#smth youre making up like. thats the goal. ppl who dont get it arent expected to it just means it doesnt cater to them but it helps them#become familiar to it yk? since i dont have autism myself i dont feel confident i can depict it properly or explain it in my own words#but that doesnt mean im trying to dismiss it or try and cut it out completely.. ill just leave the floor open to someone who /can/#a lot of issues around fanon depictions are when smth is baselessly popularized or a characters personality and behavior is flattened#especially to fit them into a trending meme. its harmless and its supposed to be for fun but it gets tricky when you drag things that#need to be carefully explained beforehand or else it gets lost in translation. like that tweet abt 'hyperfixating' on cooking pasta#once it becomes popular language usually the original meaning is left out for the sake of simplifying it for everyone that when it#circles back theres a sort of hesitancy like. am i using it the way it was intended or am i unknowingly using the popularized version of it#actually thats probably why i felt wrongfooted during diagnosis bc it felt like i was misusing the words i heard to describe what i felt#i /know/ i see a lot of myself in mitsumi because our minds are always somewhere else and we tend to put good faith first and for me#that personal connection is enough. but idk it feels like its always gonna have to be 'palatable' first before i can talk abt it openly#mad respect to writers and creators who stick to their story even if theres the looming fear of ppl misinterpreting it and letting them#have it.. its been almost 2 weeks and i am so close to deleting that m3 dunmeshi drawing bc ppl keep saying chilchuck wouldnt have 200 HP#IT LITERALLY SAYS I MADE IT WHILE WATCHING EP 1. I USED EARTHBOUND LOGIC AND I WASNT EVEN TAKING IT SERIOUSLY CHILL#yapping
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#reading kim kitsuragi fics about his seolite heritage and. crying. (/positive)#wahhhh. wahhhhh. hes just like me for real.#anyway have been reading a bunch of#disco elly#fics recently and having a good time!! i need to write one immediately hffhh also i ADORE THE SKILLS!! SO MUCH!!#you may think my favorite character is kim. its true. BUT ALSO ITS ACTUALLY THE SKILLS. theyre funny silly :3#i loveee the skills so much and i need to play more of the game and memorize what each of them do so i can write them accurately#also people who rp as the skills on tumblr YOU ARE SO FUNNY AND I LOVE YOU. they are so interesting <33#i love them talking to each other!! i wish i could be a part of that but i think everyone is taken though. alas!#update: nevermind i solved it. i figured it out.#anyway topic at hand. kim brings me such joy. and as a seasian its;;; very poignant sometimes. important to me#born in america. but the asian heritage and all that comes with it stays. people will still assume. make comments.#asian american; a reconciliation with the self :'> stories where kim can have or navigate that are cathartic.#periodical life updates#I GUESS LMAO?#my favorite color is queue
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I thought I'd never see the day where I'd finally do a character reference sheet but here we are <3 (click for better quality)
#the bottom left is blank for me to eventually design his knife#it's just not thematically important like the gun is but i'm sure it has some kind of embellished handle#and i'd like to mess around with what the design could be some more before making it 'official'#celio tag#prodigal#my art#oc art#so much of it needs to be tweaked but i'm being sooo brave and non perfectionistic about it#also in case it wasn't clear#this story is not meant to be historically accurate in any sense 😭😭😭#i just enjoy dressing characters up in pretty gothic clothes like they're dolls
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We‘re all Disney haters here but with Dracula daily going on I desperately need tumblr to know the existence of this comic adaptation of Dracula that exists within a series of monthly published comic books and looks like this:
Please look at this effort - they really went all out on these, NONE of the other comics look anything close to these. It’s just this one randomly sitting between normal Mickey and Donald comics about going to space or smth
Aside from the lack of prominent character death and replacement by transformation into beetroots it seems surprisingly accurate so far
(Also Disney has like. Nothing to do with these books aside from owning the copyright to the characters, so it’s cool. Pretty sure they don’t even really know these exist lol.)
#Dracula#mickey mouse#joining the dracula daily ride this year#this comic is a lot more accurate than I thought when I read it#also they replaced minor characters and made the more important ones do their tasks instead#so you end up with Mina throwing away flowers instead#(which is Quite A Change when comparing to the og Dracula)#and comedic changes - because it’s still a Mickey Mouse comic obvs#but aside from that#this seems a rather nice adaptation#also with ^Disney isn’t in on these^ I mean it.#pretty sure I saw Mickey with a gun more than once in these#and don’t even get me STARTED on DONALD#my guy‘s got LORE in these books#and a comic series WITHIN these comics#that’s supposed to be a James Bond type parody thing#but goes way harder than it has any right to be#like. it’s an actual ongoing comic series#one big interconnected story released in parts between these books#and stuff that happens in one chapter actually STAYS RELEVANT for all others that come after it#anyways please someone ask me about the Donald Duck Agent comics#i need a reason to post about them properly XD
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I think the disconnect between canon Belos and (a certain genre of) fanon Belos is that in canon he is pathetic (in the dramatic sense) not sympathetic.
#ramblings of a lunatic#like that's the thing he's a tragic character in a sense but he's pitiable in the dramatic sense more than anything else#you pity his codependency and his hypocrisy and his refusal to ever change and his borderline stupidity#(like I get it he's good at machines and hes good at manipulating ppl! but his plans are also kinda stupid and that's on purpose)#(he is a conservative he is charismatic not machiavellian)#but you fully understand that his refusal to ever grow or learn (which is the crux of his. Everything) is his fault#i don't know man I'm just kinda over the fandom conversations around Belos after watching and dreaming#even if it wasn't my first choice or instinct I've made the effort to understand why the writers did his ending the way they did#and i see their pov and I've decided actually. yeah i can see how that works#bc fundamentally while a very important character philip has never been the crux of this story#it has always always been Luz King and Eda. and the amount of ppl who are. deeply pissy about that fact#idk man i don't consider myself like. knowledgeable and conscious enough to accurately identify white bias in fandom#and I'm fully aware that fandom is not praxis and it's generally shitty to insist ppl spend more or less time on certain aspects of media#as if fandom is about filling quotas for HR#but also i can't ignore the fuckin. itchy feeling that ppl really took this man at his word when his main character trait is being A Liar#all bc he's a white guy with long hair#he's cool! i like him! especially now that i remembered the vocabulary featured in this post! i have words to describe my feelings on him!#and also none of this matters bc He Is Not Real and the toh writers are not sniffling and sobbing rn bc some ppl think they did belos dirty#i just have ''opinionated on characters'' disease#and my opinion of philip is that he's a great villain#but ppl willfully ignore WHY he's a great villain (He Is An Interesting Depiction of a Religious Conservative)#in order to invent different and more traditionally sympathetic reasons why he's great (he's just afraid and alone and he feels bad and he)#(you get it)#okay. I'm done#Do Not Read The Fucking Tags
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Ever since the Kenobi show came out the entire SW fandom now seems to think Obi-Wan Kenobi is the main character of Star Wars. Not Anakin, not the Skywalkers. Obi-Wan. Just because Disney made a big-budget fanfic about him. 🤦🏽♀️
#don’t know if I should laugh or cry 😅😭#and no... I'm not saying other characters shouldn't receive attention#in fact...under different circumstances i would not mind at all#but within the context of Disney's terrible and destructive 'sequels'#(which had a decidedly 'anti-Skywalker' bias!!!)#i will always be inherently suspicious of the way Disney portray ANY other SW characters#because Disney NEVER truly acknowledged Anakin Skywalker as the CENTRAL FIGURE OF THE LUCAS SAGA#in fact they tried to pretend he wasn't 'that important'... tried to destroy the ENTIRE meaning of his story#and reduce him to nothing but 'Vader'#so why would I welcome yet another entry into this same madness??#i'm not even getting into detail about my views on Obi-Wan's character here#only to say that I love him dearly#but i love the tragically flawed Lucas CANON version of him#not the 'long suffering saint' idealised fanon version i'm seeing everywhere these days#and the fact is -- no matter how much people like him#he's NOT the central character of the story and never will be#there's a reason it's called the SKYWALKER saga... ffs#anti-disney#or perhaps more accurately#anti-disney sw fandom
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Let's talk about misdirection.
(Requested by @voiceless9000. Hope this is helpful!)
Misdirection in storytelling, through foreshadowing and other techniques, is a powerful tool that can enhance suspense, surprise, and engagement in your narrative and make plot twists more unexpected.
Remember to maintain coherence and avoid contrivances that may undermine the integrity of your storytelling.
Here are some techniques you can use to effectively misdirect readers:
Red Herrings: Introduce elements or clues that suggest a certain outcome or plot direction, only to later reveal that they were misleading. These false leads can divert readers' attention away from the true resolution.
Selective Detailing: Highlight certain details or events in a way that implies their significance, while downplaying or omitting others that might be more relevant to the actual outcome. By controlling what information readers focus on, you can steer their expectations.
Character Misdirection: Use characterisation to mislead readers about characters' true intentions, motivations, or identities. Create multi-dimensional characters who may behave ambiguously or inconsistently, leaving readers unsure of their true allegiances, motivations, or goals.
Foreshadowing: Employ foreshadowing to hint at future events or outcomes, but do so in a way that misleads interpretation. Provide clues that could be interpreted in multiple ways or that lead readers to expect one outcome while delivering another. (See my previous post about foreshadowing for more!)
Misleading Narration: Utilise an unreliable narrator or perspective to present events in a biased or distorted manner. Readers may trust the narrator's account implicitly, only to discover later that their perceptions were flawed or intentionally deceptive.
Subverting Tropes: Set up situations or scenarios that seem to follow familiar narrative tropes or conventions, only to subvert them in unexpected ways. This can keep readers guessing and prevent them from accurately predicting the story's trajectory.
Parallel Storylines: Introduce secondary storylines or subplots that appear unrelated to the main narrative but eventually intersect or influence the primary plot in unexpected ways. This can distract readers from anticipating the main storyline's developments.
Setting: Manipulate the setting or environment to create false impressions about the direction of the plot. For example, presenting a seemingly idyllic setting that harbors dark secrets or dangers.
Timing and Pacing: Control the pacing of your story to strategically reveal information or developments at opportune moments, leading readers to draw premature conclusions or overlook important details. (See my post on pacing for more tips!)
Twists and Reversals: Incorporate sudden plot twists or reversals that upend readers' expectations and challenge their assumptions about the story's direction. Ensure that these twists are logically consistent but sufficiently surprising to catch readers off guard.
Happy writing!
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A DM’s Fair Play Guide To Plot Twists
I love running a game with a lot of surprises. The challenge to pulling this off well is that, unless you’re playing a one on one game, your players outnumber you: and between them, they have a good chance of figuring out what’s going to happen, no matter how sneaky and clever you are.
The first way of dealing with this - which I’ll just call the bullshit way - is to not give your players the information they need to solve the mystery. Don’t let them find out about the secret society until it’s too late. Don’t give them any reason to suspect that their NPC ally is planning to kill them. Don’t let them find the murder weapon, don’t let them locate the witnesses, don’t give them the chance to skip to the end of their investigation.
This sucks, and if you run your games like this, you’re going to piss off your players. Because it isn’t fair.
In mystery literature, a “fair play mystery” is one where the reader is given all of the information they need in order to figure out the solution before the Big Reveal. It’s what makes the reveal good: that GASP, the “oh shit, the knife! the knife from the party! that was hers! I forgot!”
Pulling off a twist in a fair play game is an incredible feeling. Your players will think you’re a genius (or an absolute dick bastard, which is just as good) and they’ll respect it more when they land in hot water that they plausibly could have avoided. So how do you run a fair play game without your players figuring out the twists ahead of time, given that you’re definitely not smarter than all of your players put together?
By fucking with their expectations.
Here are some things that I keep in mind, to keep my players guessing. And it’s important, with all of this, that if your players see through something, let them have it. They should figure out a lot of things on their own! But if you’re regularly seeding your stories with all of this stuff, eventually your players will miss something. Those are somethings you can build on. The same way that a low level enemy who gets away once can keep coming back again and again until they become an important antagonist, a misapprehension your party proves to have a blindspot for can grow and develop until they get smacked with a breathtaking twist.
What’s a twist if not the sudden overturning of an assumption you never thought to question?
1: Make your powerful friendly NPCs know a lot...but not as much as the players think they do.
Player characters often end up with powerful allies. It would be very convenient for the party if those allies always had accurate information. Make sure they don’t always enjoy that convenience.
It’s a balancing act: you want your powerful NPCs to be powerful. You want this alliance to be meaningful and beneficial to your players. But give your NPC an Achilles heel of some kind, when it comes to the information at their disposal. The Noble General commands powerful forces and knows the lay of the enemy’s land well...but that doesn’t mean he knows what every squadron and scouting party is up to. The Political Mastermind may know the ins and outs of the court, and have keen insight into the motivations of others: but he has an enemy who pisses him off so much that he loses all objectivity around her. The Powerful Wizard can call upon great magic to aid the party: but his divinations aren’t as accurate as he thinks they are, and he’s prone to finding, in his signs and omens, what he wants to see, more than what’s actually there.
Most of the time, their information should be good! That will make it more likely that your players will trust them the one time when it isn’t.
2. Let (apparently) less powerful NPCs sometimes know more than the players think they do.
Most NPCs aren’t the Noble General or the Powerful Wizard. Most NPCs are Daves, designed to get the players from place to place. Most of those Daves know about as much as you’d expect them to. But some Daves have plans of their own.
You don’t always have to signpost with big blinking lights which of your NPCs are ‘important,’ and which ones are ‘unimportant.’ Sneak in a crafty Dave from time to time. That assistant they talk to, every time they go to see the prince? That bitch knows everything, and she’s almost ready to make her move.
3: There is no such thing as a completely reliable witness.
If the players only get information from one person, that information should be flawed in at least one, potentially small, but important way. Smart players will seek a second opinion, or at least allow for the possibility that their information may be incomplete. But even smart players get out over their skis sometimes.
4: Let your NPCs be aware of the power of a first impression.
If an NPC gives a strong first impression of being a particular kind of person, it’s because they’re comfortable giving that impression. That might be because it’s who they are. But maybe not.
One of the first characters the PCs met in a VtM campaign I ran was Gawaine. Gawaine was a good old pine-scented man’s man, with salt and pepper stubble and a blue Ford truck. He listened to AC/DC, and talked about the war. He was affable and honest and willing to lend a hand. You already know Gawaine. Everybody knows a Gawaine. Gawaines are trustworthy, salt of the earth types. You don’t necessarily think to question a Gawaine.
That’s exactly why Gawaine was such a useful persona for Krystiyan, the Tzimisce Voivode, a cruel and alien sculptor of flesh who “never left his haven.” There were plenty of clues that they were the same person, but that campaign was in its endgame before the players put them all together.
5: Sometimes, dangerous and villainous NPCs should be helpful and cooperative.
Not even necessarily because they’re manipulating the players, or even deceiving them about their true natures, but because their interests and the players’ interests genuinely align...for the moment.
One of the easiest levers in your players’ brains to exploit is the expectation that people who help you are your friends. Even if your players know, consciously, that they shouldn’t trust this person, most of the time they kind of can’t help it, if the NPC is genuinely helpful to them and at least a little charismatic.
6: Sometimes, good and valuable NPCs should be unhelpful and uncooperative.
No matter how mature your players are, there’s a natural tendency to react to uncooperative NPCs with a reflexive, “Hey, fuck you! We’re the protagonists! This guy is an asshole!” so from time to time have a helpful, honest, good-aligned NPC have a wholly justified but as-yet-unknown-to-the-party reason to flatly refuse to deal with them.
7: Every NPC should have a secret.
Not necessarily a bad secret. Were it to be revealed, it might even make the party like them more! But for their own reasons, the NPC does not want their secret to come out, and they will lie to the party to protect it. Players go crazy when they realize they’re being lied to, and often jump to some wild assumptions about your NPC’s motivations. I’ve had an NPC lie about the opening hours of a shop, and had the PCs assume that they were black market dealers for the villain when the dude just wanted to be able to close early so he could go smoke weed in the park.
8. As a DM, it’s polite to remind your players of the common knowledge their characters would possess...even when it doesn’t reflect the truth.
We all know it’s tedious when the DM calls for a roll when you’re just asking for common knowledge. I shouldn’t have to make a roll to know the dumb space word for plastic in a Star Wars game. I shouldn’t have to make a roll to know who the Holy Roman Emperor is in a game about medieval vampires. The DM should supply common knowledge for free, whenever it comes up.
That doesn’t mean common knowledge is true.
This is different from just lying to your players, because you don’t put the weight of DM word-of-God behind it. It’s not “You would know this guy is a Ventrue, based on XYZ.” It’s “it would be a common assumption that this guy is a Ventrue, based on XYZ.” He might not be a Ventrue. It might in fact be extremely important that he is not a Ventrue. But if it is commonly assumed that he’s a Ventrue, that is - word for word - something you can share with your players. If they don’t look any deeper than common knowledge, that’s on them.
9. Obviously untrustworthy NPCs provide great air coverage for less obviously untrustworthy NPCs.
The obviously untrustworthy NPC might or might not be planning to betray the party. But if you introduce two untrustworthy NPCs in the same storyline, and one of them seems normal and cool and has a genuine plot-related reason to be there, and the other one is Jaffar, Jaffar’s gonna get clocked, but Susan over there will probably slip under the radar, and might even get tapped to help out with the whole Jaffar situation. They might get Susan’s number, by the end of the session. Susan might become an ‘ally.’ Susan might even get romanced by a party member. Play your cards right, and Jaffar might just end up a footnote in the introduction of Susan, Scourge of Worlds and most hated NPC in the entire campaign.
10. Your villains should always have a secret plan B.
Your villain isn’t stupid, right? And your villain probably isn’t so arrogant that it is inconceivable to them that their plan might fail. They’ve been planning this ritual for ten thousand years, after all. It’s always possible that some plucky band of heroes could show up at the last minute and murder your high priest, or steal your amulet, or seduce your second in command. So what does your villain have in his back pocket to make the players go, “Oh, shit - he planned for this!”
This may mean that there is a whole separate plot happening, running alongside the main story. This is great, because when weird things happen, the players have to figure out whether this is part of Plot A or Plot B, and working out who did what and why gets a lot more interesting. If they end up foiling Plot A, great - your villain was also secretly behind Plot B the whole time, and will transfer all of his resources over to that.
Sometimes your players will figure out that Plots A and B were both the same plot the whole time, with the same villain at the head, and they’ll feel like the smartest people on the planet, and it will be their favorite moment of the entire game. That’s great! You gave them that!
Sometimes, they won’t. And when the villain of Plot A, apparently defeated, starts laughing and reveals that he was also the mastermind behind Plot B, which is now too late to be stopped, that will probably be your favorite moment of the entire game.
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been seeing some stuff on blue eye samurai and big yikes to nearly everyone pushing extremely western ideals onto these characters.
this is early edo period. 1600s. the japan you know now did not exist yet.
yall. please. there was NO concept of sexuality in pre-modern japan. that came with both the influx of christianity and western influence very very late in history. like, mid-1800s. (yes, there was christianity pre-1800s but it was not a widespread idea yet and wouldn't be until about the 1800s since, y'know, missionaries were routinely murdered before then)
"so and so is either bi and hasn't figured it out yet or..." no. that isn't how it worked then. nobody gave a shit what was between your legs. anyone could be attracted to anyone else. it was a little more common for male homosexual relationships to be between an adult and younger male - like many other places around the world - but two adult men could bang and love each other just as easily. relationships between women were quite common - especially since so many men were often away at war. there's tons of pornographic prints from the time depicting all manner of fun queer relationships. sex itself had absolutely no moral assignment to it. good sex was good health. it didn't matter who with. (well, social class/caste mattered more than anything else tbh but that didn't stop upper and lower class from fucking.) that isn't to say people didn't have preferences. of course they did. that is human nature. preferences arose more from physical appearance, caste, and circumstances with gender being about the last thing one would look for in a partner - romantic, casual, or otherwise. the only role in sex where gender actually mattered was for procreation.
there would be no queer awakening moment, no sudden switch flipped, no stigma to have internal conflicts about because it simply did not exist as a concept whatsoever. you were either attracted to a person or you weren't, it was that simple. gender played no role when it came to sex and sexual attraction. the japanese were lightyears ahead of western cultures in this particular area - like most cultures were before christianity came in and ruined everything with its backwards morals and strict good/evil dichotomy.
yall have got to realize queer rep will not and should not always adhere by modern western standards. there was no straight, gay, bi, or anything else of the sort. the closest they ever got was referring to roles during sex - as in who is giving and who is receiving.
i know this is mostly a made up story but it is still set within a very specific time period and culture, which should be honored and respected by not making it fit into our box. tons of research went into making this show historically accurate (albeit with some discrepancies but tbh they aren't really that huge) right down to the calligraphy writing. please please please don't whitewash the culture from these characters.
i say this mainly because without this knowledge, so many of you are going to build these characters up on a foundation they aren't meant to be on and then you'll rage about queerbaiting and bad queer rep if it isn't somehow super explicitly stated, if it doesn't match your very modern, very western ideal of what queer looks like. don't try to force this plot and narrative and characters into something they canonically and historically aren't. headcanons are a thing, AUs are a thing, fanfiction is a thing - leave your western thinking for those and let these characters simply exist as they should otherwise. this is one of those times where the queerness really does not need to be examined at all beyond what we get.
i know it can be hard to wrap your head around - sexuality is such a huge part of our identity in the western world and has slowly started to spread amongst other parts of the world in importance. but just keep in mind with these particular characters, that concept would be so very alien to them.
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