#again a lot of this is personal preference

[tourettesdog]

Beta Reading and Fanfiction

I’ve been writing for a long time myself, but it’s only been very recently that I’ve immersed myself in communities online for it. I’ve been having so much fun really diving into Danny Phantom and DPxDC fanfic, and I’ve met so many great friends doing so.

I mostly do my own writing, but I’ve really enjoyed doing some beta reading as well, especially for friends! There’s something so fun about getting to dive into a work in progress and help where you can.

But I do feel like some people might really struggle to understand how to beta read, or what makes a good beta reader— especially where fanfiction is concerned. I’ve been extremely fortunate to have wonderful beta readers, but I’ve had some friends frustrated with the beta reading they’ve in turn received, or otherwise feeling uncomfortable in asking for a beta reader since they don’t know what to expect.

So, how should beta reading work? How do you do a good job?

Above all, the most important thing about beta reading is communication with your author. You are not in their WIP to prove how good of a writer you are, or to hammer their work into what you would personally be proud to present online. You are there to help, in whatever way the author has asked or communicated they're comfortable with.

Before you beta read anything it is vital to ask what the author is looking for in a beta reader. There are a number of things you can ask in particular, including:

What are you looking for help with?

Do you just want me to look for typos or confusing sentences?

Do you want suggestions for things to add?

Do you want suggestions on grammar, or other more in-depth writing suggestions?

Do you need help with characterization, or even the plot?

Depending on who you are beta reading for, you might have someone who only wants a very light beta touch. They might just want you to look for glaring mistakes, or for confirmation that a plot beat makes sense. 

Other authors might want something much more involved! They might be trying to improve their grammar, or perhaps they're not very familiar with writing a new character and they would like suggestions for how to better capture their voice.

Regardless of what an author wants in a beta reader, you won't know unless you ask them! It's possible that you simply might not be compatible as beta reader and author, depending on their answer, and there's nothing wrong with that. It's okay to step back and say "I personally like to beta read things more in depth than this, so I might not be the best person to give it a look."

Otherwise, getting an answer about your author's preferences can help you figure out how to help them. Perhaps you would normally make more suggestions, but if an author has specified that they're not comfortable with that, then it's not your job as their beta reader to do so. If you are capable of sticking to the help they've asked for, then you will ultimately be fulfilling your role as their beta reader admirably.

"But I'm just trying to help. Their work has a lot of places it could improve!"

Again, beta reading is not about shaping a story into something you would personally present as your writing. It is about helping the author produce a story they're comfortable with and proud of.

It's not about being right, or heavily criticizing their writing and grammar abilities (unless this is what the author has explicitly requested!)

Especially while writing fanfiction, the work presented is not something that will ever see publishing, or that needs to have flawless grammar and syntax. This is work done for free, and it is done for fun.

And that's something very vital to beta reading—

A beta reader needs to preserve the fun.

It's very daunting, putting your work out there for others. It's especially daunting putting your work up for analysis of any kind. You're accepting that people might not understand your vision, or may judge you for what you've written.

It's all too easy to compare yourself to other creatives online, and to overthink and overanalyze your talents. Too often, it’s easy to get discouraged and feel like your work isn’t good enough.

Beta reading should never be done in a way that will discourage writing. Even if an author has asked for a lot of help, it’s important to pick your battles with what you choose to analyze, and to check in with them if you feel like you might be crossing boundaries or covering their work in too much metaphorical red ink.

When people are trying to improve their writing, you don’t always have to mark every little suggestion you think of. Unless the author is a friend you know well, or has explicitly asked for Extreme measures of help, it might be best to ignore some smaller writing issues and focus instead on bigger things. 

If you’ve already marked a lot of issues in one paragraph, but have more things you could say, consider if the additional suggestions are vital or if it might be better to leave them be. After all, if your author is looking to improve, and if you are planning to beta read for them again in the future, then helping them with more glaring issues now will help them in a way that is not overwhelming, and will open the door for other kinds of suggestions to be better understood and absorbed. 

You can always check in with your author if you’re unsure, too. Ask them if they appreciate the amount of suggestions you’ve given them, or if it’s been too much. Your author might be uncomfortable with telling you that they’re overwhelmed, and checking in is a good way to ensure that you’re both on the same page.

All that being said, though, it is also important to not always focus on things to fix and improve. You’re not just editing the story, you’re reading it. Part of keeping beta reading fun is engaging in that story as any reader would. It both helps morale, and helps let the author know what they’re doing right, when you take the time to tell them what you enjoy about the work you’re beta reading!

There are so many ways you can express positive things about an author’s writing. Consider:

“I love how you phrased this sentence here.”

“This body language feels natural and very in character!”

“I love this word choice here.”

“This part was really funny and had me laughing.”

“I’m excited to see where this goes!”

You’re reading a story, and you must have thoughts and feelings on it outside of suggestions. Let your author know! People thrive on positive feedback, and there’s just as much to be gained in marking Positive attributes to a story as there is in noting places to improve.

The last major thing I feel is vital to beta reading is respecting that it is your author’s work, and that your suggestions (however clever or helpful you feel they are) may be rejected. And that that is okay. 

Suggestions are just that— suggestions.

What you might like in creative writing might not necessarily be what your author wants to express. You might love to use ellipses, or lots of different dialogue tags, while your author might prefer dashes and more standard dialogue tags. You might like to use more colorful descriptions of scenery and atmosphere, while your author might want to focus much more on the character body language and dialogue. You might like to use a lot of exclamation points and next to no italics, while your author might like a lot of italics and very little exclamation points. 

You’re ultimately two different people, with two different ideas of what is an ideal way to tell a story. And while you can give many different suggestions on just about anything the author might add, remove, or change, it’s ultimately the author’s choice whether or not they accept those changes.

It’s not your job as a beta reader to double down and insist that they accept a specific suggestion. It’s not your job to make a case for why you think they need to change something. If an author has denied a suggestion— it’s best to let it go. Especially if you don’t know them well, and don’t have a very good rapport with them, pushing the issue will only serve to make you both uncomfortable.

It’s not just about picking your battles, but also about mutual respect. You’re not a teacher, nor an editor looking to make their work prime for publishing. You have to respect their decisions for their own story, even if that means they decide not to take a suggestion you felt would be impactful. 

It’s also always important to keep in mind that writing style, particularly where creative writing is concerned, can vary wildly. The strict rules that you learn in school were made to be broken. You learn them to figure out how to break them and, particularly when writing for fun, it doesn’t even matter if you’re breaking those rules in a perfect way. It’s fanfiction. It’s freeform, it’s fun. If someone wants to make a habit out of going buckwild with their writing style, there’s really no reason to try and corral their writing into a box labeled “High School English 101”. 

You can’t force someone to write their fanfiction like it’s going to go to a letter grade, nor should you try to unless they’re looking for that level of editing. 

Be willing to listen, and pay attention to what is and isn’t working. It’s good to take note of suggestions that your author has already commented on. Have they thanked you for pointing out something in particular? Have they expressed they feel weak with something in their writing?

Is there a type of suggestion that you keep making that they have rejected multiple times?

Work with their strengths and with their style. Focus on suggestions that have been received well, and consider letting go of ones that the author clearly has no interest in, or that might conflict with their style.

Communicate and respect each other, above all else.

Beta reading is such a helpful and wonderful thing someone can do for an author. I’ve been so thankful to have it done for my own work, and I try my best to be helpful and considerate when I’ve beta read myself. 

Having my work beta read has really helped me find things to improve upon in my writing, and has helped me feel more confident in the stories I’ve posted, just having another eye look over them before they hit the internet. I don’t always take all of their suggestions, and might disagree from time to time with the direction they want something to go in, but I’ve been thankful to have understanding, kind betas that work with me well. 

And that’s one more point I want to touch on too, is that I hope that, as a beta reader, you find yourself with authors that show you mutual respect in turn. That they thank you for the work you’ve put in to help them succeed, and have made the experience positive for you as well.

It always makes me happy to see beta readers credited on posted works. It’s a kind thing for writers to show appreciation, and to acknowledge that someone helped shape the words you see on the page. 

This got much longer than I intended it to, but I just hope that this post might help some people in some way. Either to understand beta reading and the purpose of it, or how to potentially go about it themselves. 

I really recommend giving beta reading a try if you’re comfortable with it, especially if you have friends that write fanfiction! Even just an extra pair of eyes looking for typos can be a godsend for someone who has spent hours upon hours staring at a long fic and editing it.

[angellwingss]

Wasn’t going to go on a big rant but you know what since that other post is gaining traction yeah I think I will. So big long rant under the cut. Lolll

I feel like. A lot of people might tell me ‘it’s not that deep’ but to me it is that deep.

I don’t have a problem with JayVik or it’s shippers like. At all. I just think some of them are à really good demonstration of like. Every bad thing when it comes to fandom ever LMAO.

Once again I am (supposed to be) writing a whole big long essay about this already so I will try and keep this kind of short and sweet and it might be a bit lacking but wtvr.

I think a lot of JayVik fans tend to be white queer people. Someone left a tag on my OG post that said basically ‘my take is I’m a faggot and I don’t have to care about a character if I don’t want to’ and no hate to that person cuz you’re right, but this is exactly the kind of stuff that made me make that first post.

I feel like a lot of white queer people have an issue with seeing outside their own identity? If that makes sense? This is seen time and time again with the way some of them behave when big movements happen online, some have a tendency to centre themselves and whatnot so i think it’s kind of the same thing.

It makes total sense that a queer person would prefer queer ships and would prefer JayVik over MelJay, that is not a crime. But I do think part of that is because they can’t relate/identify with Mel or see themselves in her like they can with Jayce or Viktor.

I hate to also make it about feminism but i think a lot of you guys are super like. Male centred, like just in your attraction which once again, not the issue not a crime. But i think it’s also why CaitVi, which is a canon queer ship, although popular is still not quite as popular as JayVik despite being canon. Women fetishizing gay men in fandom is not something new, which I think might play a small part in it- I’ve seen a lot of people especially back in s1 infantilizing Viktor and acting like he had no agency or independence and that he NEEDS Jayce to take care of him (that’s another thing. Ableism(looks at you with my eyes)) and they also do the same thing with Jayce where they act like he had 0 agency with any decisions he makes and that he’s like a big dumb baby who doesn’t know anything politics. Hey, guys. That’s a grown man.

My main issue isn’t that people prefer JayVik over MelJay it’s just that some shippers demonize Mel to an insane degree, blame her for getting in the way of their ship (this is also happening right now with Maddie- there’s a leak going around saying that she gets with Caitlyn and people are so upset that this character is getting some INSANE hate and I feel like that’s the same thing going on.)

they blame her for ‘stealing’ Jayce etc etc like. Idk. You don’t have to ship MelJay but I wish more people would appreciate Mel just as a character- imo she is super interesting and has a great story but she’s only ever seen and ‘the other woman’. I’ve seen people say she isn’t like, well characterized and that her story entirely revolves around Jayce which. Yeah she’s definitely heavily involved with him in s1 but she’s clearly got a lot more going on than just that and you would know that if you GAF 🗣️🗣️

for just being. Who she is. I think Mel deserves more attention just in the fandom and it’s just frustrating. People making memes about Jayce going insane over Viktor leaving but like. Mel also just got fucking kidnapped guys. His lover has just vanished without a trace why is nobody also talking about that !!!! Why can’t he care about both these people at the same time !!!!!!!

Anyway I’m not nearly well equipped enough to talk more in-depth about like. Any of this but I do think the demonization of Mel and refusal to see her relationship with Jayce as it is can often times be boiled down to racism like straight up. And also things like the fetishization of gay men in fandom and just things like that are sometimes what can lead to female characters- even the well written ones to be shelved and pushed aside in favour of their male counterparts.

Obligatory ‘not all JayVik fans’ obviously a lot of you are awesome, shouldn’t have to say this. If I’m not aiming for you, you shouldn’t be getting shot.

[myceliacrochet]

Reblog if answer tysm!!

Buckle up people this one hurts.

Our society is pretty scared of people who are in great pain, even offended with them.

The feeling I get when speaking with Hala and reading her posts is, here is a person who has been undergoing psychological torture for 400+ days without relief.

True of all Palestinians in Gaza -- just the overwhelming impression I get with Hala.

And Hala Farid Suleiman al-Najjer is not someone who complains over small things. She maintains a trust in justice and goodness, in patient longsuffering and God's plan.

She is incredibly resilient

She is steadfast

She is screaming

She is screaming into the void

She is screaming at an unlistening world that has made and broken promises to her, a world that watches with glee as she and her people are tortured and killed.

I've said before that speaking with Hala can be disturbing. I'm scared of what I'm seeing happen to her.

Of course, we ought to speak in the active voice -- what Israel and the U.S. are doing to her right now, on purpose.

If your tax dollars have ever gone to the IDF, or if you are a person of privilege in some way (recognizing that that is not a criticism of you), here is a beautiful chance to pay some reparations and relieve some suffering.

A coward hides from the people who are suffering the most in the world, reprimands them, reviles them to mitigate his own cognitive dissonance.

A person of honor and courage loves.

Hala mentions in her GoFundMe that they pray that an angel will rescue them.

I believe in human angels -- a vast village of people working together to help.

You know, we mostly see on here the tip of the iceberg -- the Palestinians who have somehow been able to get vetted, show the exact right pictures, say the right things, learn how to use Tumblr.

It's my impression that Hala does not have the strength to do more than she is doing (which is a lot more than I would be able to do in her place).

Hala and her family much, much prefer that donations be sent through PayPal. They arrive faster, and this family needs swift relief.

Due to this, it is hard to track her donations, especially because it pains her to talk about any of this so I try not to pry. But it sounds like they have rarely ever gotten donations.

However, they also have a GoFundMe if the donation protection is important to you.

Vetting: Clean RIS, donation-protected GFM. I apologize that there is no vetting information for her and a couple of the Palestinians in my life. Use your own judgement. If it's a con, it's a weird one that doesn't follow the patterns I'm familiar with. Actually, it doesn't even follow the patterns of the kind of legitimate campaigns that are essentially manipulative (an understandable tactic when your family is dying). It's just screaming in despair and a wretched hope beyond hope.

Anyway, if you want to volunteer to help her apply for vetting, be put in contact with her, or offer verification info, please dm me.

@commissions4aid-international @wellwaterhysteria @mangocheesecakes @kyra45-helping-others @7bittersweet @321butz @monika-396 @erameteors @tortiefrancis @ot3 @amygdalae @ankle-beez @dykesbat @aristotels @komsomolka @prisonhannibal @rosawo7 @riding-with-the-wild-hunt @heritageposts @watermotif @stuckinapril @mavigator @lacecap @determinate-negation @deepspaceboytoy @paper-mario-wiki @kibumkim @socalgal @chilewithcarnage @ghelgheli @sayruq @rooh-afza @knownoshamc @the-awkward-reblobber @soft-sunbird @cockworkangels @dannyketch @cramenjoyer @oreobunny2 @fireyfobbitmedicine @muminshoom @thedigitalbard @timogsilangan @tboynut @wildfeather5002 @fancy-feast-official @honeytonedhottie @cheloneuniverse @roseillith @thelastharbinger

[loganwritesprobably]

Nerves

From @jintaka-hane: Smoker/F!Reader fic, with marine doctor reader and Smoker being shy around her Tags/Warnings: Smoker/F!Reader, Doctor!Reader, sick!Smoker, vice admiral Smoker, fluff, pre-relationship Word Count: 996

Regardless of what many members of the public, and even members of his own unit believed about him, Smoker was not a man that stopped or lingered to pursue women. It just wasn’t in his nature. He didn’t have the time, nor the emotional bandwidth for it - he had duties to attend to and they mattered far more than whatever woman was throwing herself at him this time. That, and he was harbouring much deeper feelings for someone that he couldn’t bear to look another woman’s way. 

It was utterly humiliating, the way that you made him feel.

Whenever he had to see you, and at this point he only ever visited you when absolutely necessary, he felt like a teenager all over again. You were the primary doctor on his ship when they sailed, and tended to his men on base too, which meant you were always around somewhere even if he wasn’t standing there beside you. He was very aware of that fact, that he could be doing anything and you could just round the corner and then you’d be able to see him. Most viewed him as stoic, serious, a man to not be trifled with - he’d defeated the Warlord Sir Crocodile after all - but he couldn’t be any of those things around you. It all melted away to reveal the little boy beneath that, that wanted to give you flowers and gentle kisses. He didn’t have time for women, but he had all the time in the world for you. 

Recently, he’d been coming down with a little cold. It was truly nothing, just that being stationed on a winter island for several weeks had fucked with his immune system and now he was a little stuffed up. But his stuffed nose became a head cold, became almost flu-like. He didn’t often get sick, and so this was bothering him more than it might bother the average person. The coughing in particular was starting to truly get on his nerves - he couldn’t stop. He’d not done anything concerning like cough up blood, but Tashigi was beyond done with his complaining. “Sir! Go to the doctor if it’s bothering you so much.”

“It’s fine, it’ll clear up.” “Go to the doctor, or I’ll bring her to you.” Tashigi replied with a raised brow. She’d grown a lot in the last few years, but a consequence of that was she was now far more comfortable talking to him, and being disrespectful. She was a good friend. Her bringing you to him was more daunting than someone might expect - you were forgiving and gentle with everyone who came to visit, but if someone avoids seeing you and gets worse? Well, that’s when you became scary.

Before the end of the day, Smoker was shuffling toward your office, preferring to talk to you directly rather than heading to the med bay to see one of the nurses. He knocked softly on the door, listening out for your ‘come in’ before he opened the door. He found you behind your desk, pouring over some paperwork with a pen in hand that you softly tapped against the wood surface while you thought.

“Vice Admiral, how can I help you?” You asked without looking up, which surprised Smoker. You knew who it was even without looking - he wasn’t sure whether to be flattered or concerned.

“Doctor. I uhm, I’ve just had a small bout of sickness. Tashigi, she uh, told me to come down and see you. She’s tired of me uh coughing.”

“Tired of you complaining, you mean?” You replied, finally looking up at him with a small smirk and a mischievous glint in your eyes. That didn’t look good.

“I don’t.. I don’t know what you mean.” Smoker felt as heat rose in his face, colouring his cheeks with a soft pink, quickly withering under your intense gaze. There was a long moment between you where neither of you said anything, and then Smoker sat himself on the examination table unprompted, choosing not to fight that battle. 

The examination passed mostly in silence, with you doing all the checks and tests that you needed to do, and asking questions when you needed to, but otherwise he just let you work. Also, Smoker wasn’t sure that it would come out coherent if he did try to speak, considering how close you were to his body. Too close, almost. He could feel the heat coming from your body when you leaned in, checking his temperature and looking in his ears for signs of concerning infection.

“Well, it looks like you’re right, it is just an unfortunately stubborn cold. But, it didn’t hurt to check, that’s what I’m here for.” You told him, pulling off your rubber gloves and tossing them into the bin beside your desk. Smoker nodded and slipped from the examination table, now unsure of what to say next. You really did just take all his coherent thought away.

“Thanks.” He managed eventually, but he didn’t sound so sure about it. 

Another extended, awkward pause followed where you scribbled away in his medical file to make note of the appointment and what you’d found. Smoker stood, staring at you, wanting to talk to you but not knowing how or what to say. If he were a better man he’d ask-

“Do you want to go out with me?” You asked, taking the words right from him as if you could read his mind.

“What?”

“Next time we dock. I’m sure we can find a restaurant to eat at. If you’re interested, that is.” He was utterly dumfounded. First of all, you were interested? Second of all, asking you out was his job!

“Yeah. I.. yeah. Sounds good.” He agreed rather than questioning you or complaining. A date with you sounded more than good really, it sounded perfect. Plus, if he were to be realistic with himself, he never would’ve asked you first, he was far too nervous.

Tag List: @claryeverlarkf @uselessboots @cainnoable @categoryace @frillsinadress

If you'd like to tip me and get exclusive ficlets, Kofi

[girlcowboy1]

I think gen z ultimately lost the war against mental illness when they decided to adapt the older generations rhetoric of "mentally ill ppl who have noticeable symptoms are bad and evil and must be avoided at all costs, they deserve to be alone and die alone" which... most people are not saying that outright, but that IS what they're saying, whether they realize it or not, when they choose to discuss these issues based on personal concepts of morality and punishment instead of approaching it with a mix of empathy and an understanding of science, and how the brain operates.

"Having a mental illness isn't an excuse" is true to a certain extent, but I think a lot of people don't understand that to an extent, it also IS an excuse. The only reason people like to believe that it isn't in any capacity is because mental illness is an invisible disability, and if there's one thing that people love to dismiss the impact of, it's invisible disabilities. Because we can't see what's going on beneath the surface, we struggle to understand the issue, we struggle to empathize with the affected person, whom we may prefer to instead write off as being lazy or malicious, when in reality they are in pain and/or are missing an important tool that helps them function the way they'd like to.

Before getting on medication, I felt and (still sometimes feel) as though I existed behind an invisible glass that separated me from everyone else. I could not understand the point of a lot of mundane things, I couldn't relate to those around me, I felt like my existence was a mistake that should have never happened and the universe was attempting to expunge me by making my life so hard I would kill myself.

And then I got on medication, and suddenly I was able to see things that I had never seen before but had existed in front of me the whole time. I was able to be kinder to people, to be more patient, to talk myself out of bad thoughts I would previously ruminate about for days and weeks. I was able to communicate more coherently, to express my feelings in a way I couldn't before. I wanted to do things again. I wanted to dress up, look nice. I wanted to BE nice.

Of course, these are all still things I struggle with. Like with most tools for disability, medication is helpful in giving me the ability to function in a way that makes life more enjoyable— but it doesn't completely cure the issue. The point is. I tried so hard, time and time again, to change on my own. I tried taking supplements, I tried mindfulness, I tried changing the way I eat, I tried self-help videos/books. But I was a deeply depressed, deeply agitated person whose brain was not wired the way it should have been. So none of what I tried would stick. I would act out in ways I KNEW was wrong, but when you get into a certain state of mind, it's difficult to speak to yourself, to talk yourself down from doing or saying things you know you probably shouldn't. Especially when you feel so isolated from others, and struggle to see the point in anything.

It was only after medication that I made long-term improvements. It was only after my brain chemistry was physically altered in a positive way that my brain could begin to function better, and that my outward behavior improved.

How the anatomy of the brain effects a person is a crucial part of mental health that gets left out of relating discussions too often, I think, and its where I believe gen z unfortunately tends to overlap with gen x and boomers. The brain is an organ like any other, and if it is damaged, or sick, or lacking somewhere in its anatomy.... it will not function properly. The person whose body it inhabits will not function properly.

[uzumaki-rebellion]

Spinning the Block Part 1

Pairing: Terry Richmond x Officer Jessica "Jess" Sims

Warning(s): 18+, Angst, Mentions of Racial Tension.

Summary: Jess Sims attempts to pay her respects.

Word count: 3.2K

"Turned into an inconvenience

You only want me when convenient

I know that I could probably block you

But for some reason, I wanna see you

And you know I give a damn about you

You got me sittin' here thinkin' about you

And how your name triggers all my emotions

Into my eyes, into an ocean"

Normani – "Insomnia"

Jessica Sims knew in her heart she had no right to be at Michael Simmons' mother's house.

She'd driven an hour from Shelby Springs into Greenwood carrying a homemade lemon pound cake in the passenger side of her slate gray Dodge Durango. Her mother's recipe had her SUV smelling like fresh butter, sugar, and citrus.

The closer she got to the neighboring town, the tighter her fingers gripped the steering wheel, worrying if she'd see Terry Richmond again. He'd been on her mind for weeks…haunting her. She lost sleep and her nerves were so bad she had to get a prescription for sleeping pills just to function daily. Jess tried every home remedy from chamomile tea to a glass of warm milk before bed to fight insomnia.

Nothing worked.

Each night she crawled between cool sheets and stared at her bedroom ceiling, wishing things were different. Wishing she'd done things differently. Terry's smoldering sea-green eyes always came into focus, taunting her, preventing much needed rest.

When he walked into her police station to file a robbery complaint, she'd believed her department ran a tight ship. Her training had taught her to be fair but firm in following the law by the books. Chief Sandy Burnne had been her mentor, the one who recruited her straight from the police academy. She planned her law enforcement career while in college, joining the police academy a year after graduation. Her family wasn't too keen on the idea, preferring she use the hard-earned sociology degree to get a regular job and start a family like her older brothers. Jess had other plans. She wanted to be the first Black female police chief in Shelby Springs.

Wielding a badge and a gun allowed her to protect her own community. She had a certain charmed way of speaking to people that let them know not to test her, but that she'd hear them out with their problems whether they were in the wrong or right. Her excellent reputation around those parts gave her access to places that would unnerve the average person. She grew up a tomboy running around hunting with her father and brothers, physically fighting anyone who crossed her. She abhorred a bully, and that caused her problems with some of her colleagues that used their badge to sling their dicks around. Jess didn't go along to get along, but she picked her battles carefully to achieve her long-term goal: to run the department herself one day.

Men tested her all the time, and she did her job ignoring the micro and macro aggressions. Chief Burnne always had her back despite the cracker ways he tried to keep under wraps. He came from an era of uneducated Cajun rednecks filling up the department. Nowadays, there were more cops coming onto the force with education, melanin, and sometimes a vagina. A lot of old-school men didn't like that. Chief Burnne didn't either, but he accepted her and showed Jess respect when she did her job well. She impressed him, and he took her under his wing. She never revealed her goals to have his job in the future. Staying quiet, observant, and efficient worked to her advantage. Chief Burnne opened up more that way, spilling his tips on how to handle the job and people his way.

That is…until Terry Richmond showed up.

Jess misread his intentions from the start.

The second he strode into the office, she sensed a cockiness in him that smoldered beneath the surface. Most Black men in Shelby Springs were older and paunchy from a sedentary lifestyle and good Country Cookin', or lean youngsters with hustler's dreams of getting away from small town life. Terry was built strong and muscular, like a brick shithouse. He carried himself different. Spoke with controlled diction. He was a country boy for sure, but one that didn't work around Shelby Springs. She would've noticed his striking looks at the bars or cookouts broadcasting that he was living mighty fine. Employment was good with the new petrochemical plant ten miles away, and the Black community she lived in thrived with folks making good money, something that hadn't happened in over thirty years. Black folks, especially the men, being flush with cash and a pride about themselves irritated the white community. Negroes were acting a little too uppity lately. Buying new cars and scooping up property. Getting their homes built from scratch. Purchasing big fishing boats to use on Lake Tremblay. Sending their kids to college.

Tensions erupted in bars, public gatherings, and even football games at the local high school whenever white and Black people mingled in the same spaces. That's where Jess worked her magic. If she caught word of trouble brewing, she'd make a phone call to family and friends, giving a warning about police sweeps and rednecks making a commotion. The community grapevine activated and her people acted accordingly to stay far from trouble.

When it was her time to do patrols, Jess stayed visible in the white areas a lot. Her paternal great-granddaddy Adelore Seraphin was a fiery white Cajun who never married her great-grandmother, so she never gave their only child, Jess's granddaddy, his surname. The Sims family were proud Black Cajuns who turned their nose up at white trash. Adelore was considered trash because he wouldn't divorce his wife to marry Zema Sims. There was something about her Paw Paw's wife not giving him a divorce on account of them being Catholic. Granny Zema was an African Methodist and didn't give a damn about what Catholics thought about divorce. Paw Paw left that white lady and built Granny Zema a house to show that he was for real about building a life and family with her. So that's what they did. The white wife kept the marriage title, but Granny Zema kept the man.

It was a scandal, and as far as her Paw Paw was concerned, his only issue was that he didn't want that other woman to get part of his pension. She never did because she died before him, a bitter alcoholic, still screaming about the Black bitch that stole her husband. Technically, Granny Zema didn't steal him. She had him first, but back in their time, they couldn't get married because of miscegenation laws. So they broke up and Paw Paw married the white woman…and lived miserably. He started tipping out and one thing led to another. Jess's granddaddy, Hebert Sims, was born.

Jess's connection to Adelore Seraphin meant she had white Cajun relatives all up and down Shelby Springs. The kin on that side, who knew the family tree had an extra dark branch, tolerated Jess when she made patrols or answered calls of domestic disturbances in that section of town. Nothing on her screamed Seraphin except for her eyes. She had Paw Paw's discerning eyes. So did her daddy. She moved in the world like a Sims, but them pale kinfolk recognized her as the great-granddaughter of that trouble-making Seraphin behind her back. That gave Jess intimate knowledge of how outsiders perceived the proud, flourishing Black community. Trouble.

So when Terry Richmond rode his fine ass into Shelby Springs, he was already a problem before Lann clipped him with the police cruiser.

When he sat down in front of her while she typed in his descriptions of who robbed him, his tone was confident. His demeanor crafty. She was shocked that he recorded their conversation, equally shocked by Chief Burnne's sudden aggression toward him. Lann was an asshole to everyone, overcompensating for some deep-rooted male insecurity. Her first thought was that the Chief might've known something about Terry that she didn't, and she expected to be filled in on the matter. Drug couriers were a thing within small towns, and it wasn't above suspicion that drug runners would use a decoy disguise to pretend they were regular citizens going about their day. She went back and forth in her mind about Terry's reason for carrying so much cash in a backpack on a bike. It looked and sounded suspicious, especially with the drug busts they'd done a few months previously on the bridge during a police chase. She had picked up her own distant white kin at his house, the run-down place full of meth and illegal fentanyl. Opioid use was up. Drug dealers were racking up millions transporting that cash economy and product across state lines in Louisiana grew. Chief Burnne's own nephew had died of a drug overdose ten years ago, so anything that had a whiff of drug activity got his hackles up.

That was the hard line story they fed Jess for five years as she accepted civil forfeitures as a necessary part of police work. Portions of white and Black men from Shelby Springs and other bordering towns thrived in the drug trade. Sex trafficking, too. Her department prided itself on breaking the supply chain.

It had all been a lie.

Chief Burnne's lie. His department…his rules.

Jess had been inadvertently complicit.

A rule follower, and a staunch believer in the church of right and wrong, she turned a blind eye to activity that should've raised suspicions. Instead, she quietly looked out for her people on the domestic front, dousing potential flames of racist attacks, especially with all the MAGA crowd flaunting their bigotry and jealousy. Jess was more worried about racist attacks happening. Red necks were openly riding around in trucks carrying lynching ropes with right-wing slogans for bumper stickers. The south was always going to be the south, and America was always going to be America…the United Racists of America.

Jess literally couldn't be bothered if suspicious men passing through town carrying ridiculous amounts of cash got hemmed up. She damn well wouldn't coddle grown ass Black men if they got busted for doing crimes. Her daddy instilled in her a strong bullshit detector for her dealings with that.

"Sweetheart, Black men have to decide for themselves if they want to do right in the world. Black women can't keep the cape on forever, or come running with mops and brooms to clean up their messes. If Black women can get up every day and build up their community in the same terrible conditions as us, then they gotta stop babying these men who tear it down. There's no excuse for a Black man not wanting better for himself or his people. We done come too damn far to be the new terrorists against our own women and children."

Jess listened well. Applied it to Terry.

Something in her gut knew something wasn't right, but she didn't want to put herself out for some stranger who might've been tearing people's lives apart transporting thirty-six thousand dollars in cash. Black people always suffered the most with drug addiction and drug crime because of generational poverty and the predators who took advantage of that. Terry could've been lying to cover his ass for a drug cartel. She didn't know him, didn't know who his people were. He came into her life that day and turned it upside down. The only silver lining she clung to in the end was that she saved his life twice. Once when Officer McGill almost blasted him with a rifle when Terry dragged Marston behind a cruiser to safety. Jess slammed her hand on the weapon. McGill looked shell-shocked by the turn of events. She felt the same. Her boss had shot a fellow officer and made a speech to them all about how he would cover it up. If Chief Burnne harmed a white man that easily, he wouldn't blink twice before taking her out. The second time was when she carried out a PIT maneuver and knocked Burnne away from Terry, providing his last escape. The death of his cousin and the treatment he received in Shelby Springs were irredeemable. All she hoped for was peace in her own mind that she acted on the right side of judgement.

Jess followed her SUV's navigation system and pulled onto a street full of cars parked everywhere. She passed by Rosa Simmons' single family brick house with a large manicured lawn. Mourners milled about the front and the entrance door was wide open. After all the legal and medical inquiries, along with the criminal investigation, it took the Simmons' family three weeks to get Mike's body returned for burial.

She parked two blocks away and smoothed out her most subdued black sheath dress. It was plain and appropriate for the occasion. She carried the pound cake in a round Tupperware container and listened to her kitten heels click-clack on the narrow sidewalk. Her stomach churned, nearing the home.

"Hi..hello…hiya doin'?" she said, passing people she didn't know on the walkway to the house.

Heads nodded at her with sorrowful eyes and stooped body postures. The atmosphere inside the modest home was thick with heartache. Jess contemplated doing a pivot right back outside, but an older woman in her fifties with short-clipped hair sitting on a recliner noticed her.

Mike's mother, Rosa.

"My condolences, Mrs. Simmons," Jess whispered.

She didn't want to bring attention to herself and stepped forward, past a throng of people carrying plates of sliced ham, potato salad, and baked beans.

"Thank you for coming…oh you brought something, how thoughtful."

Rosa stood up.

"I can take that," Rosa said.

"Ma'am, I can put it with the other food."

"Mm-hmm, yes, the dining room table is right back there. Did you go to school with my Michael?"

"No, ma'am. I knew him from somewhere else. I'll put this away."

"Okay, baby. Fix yourself a plate while you're in there."

"Thank you."

Jess's eyes darted away and took in the other mourners. Her heart thumped a triple rhythm. It was best to put the cake on a table and leave. The stress of feeling like a traitor to her own wore on her nerves.

Delicious odors of soul food guided her nose to the dining room. The dining table could've buckled under the weight of so much food. Folks old and young helped themselves to fried chicken, crawfish, turnip greens, gooey macaroni and cheese, and a pot filled with smoked chiltlins.

She pushed a crock pot of brown gravy aside to make room for her cake next to a half-eaten sweet potato pie.

"Who let this woman in here?!"

A light brown woman with soft, shoulder-length curls glared at Jess, her lips curled into an angry snarl. Everyone looked at Jess curiously, wondering what was going on.

"Mama! Who let this dirty cop into our house?"

Rosa rushed into the dining room. Jess held out her hands.

"I just wanted to give my condolences—"

"You're the reason my brother is dead! Who let her in? Who?!" Mike's sister screamed.

The anguish in her voice brought tears to Jess's eyes.

"I'm sorry…everyone, I'm sorry…Mrs. Simmons…"

In her peripheral, Jess noticed Terry coming from a back room wearing a dark suit. She ran away as fast as her kitten heels could carry her. She knocked into people and brushed past other family members on her way out the door.

"Jess!"

Terry's deep baritone called to her, and she pumped her legs faster. Reaching the car, she fumbled for her key fob and unlocked the SUV. She jumped in and Terry banged on her window.

"I'm sorry I came. I didn't mean to upset your family," she said, starting her vehicle.

"Roll down your window."

His commanding eyes stared right through her. She rolled her window down partially. Wiping tears away from her cheeks, she faced her front window, unable to look at him.

"I know it wasn't easy for you to come here."

She shook her head, and a violent sob choked her throat.

"Listen…give me your number. I'd like to speak with you about all of this… at a better time—"

"No…this was a mistake…I'm sorry…I have to go—"

"Fucking bitch!"

Mike's sister threw Jess's cake on the car. The Tupperware container burst open and the pound cake crumbled all over the hood.

"Livia! Stop!"

Terry walked toward his cousin, and she ran from him toward the sidewalk. Other family members had followed them to watch the scene. Jess's stomach sank to the floor of her car.

"You did this to Mike! You goddamn greedy cops sent my brother to die and I fucking hate you! Get outta here, you murdering bitch!"

Livia picked up a heavy rock and threw it at the passenger side window, fracturing the tempered glass. Terry lifted his cousin up by the waist and carried her away. Jess drove off quickly. Cake crumbs fell away from her hood and she screeched her tires with a hasty exit.

She didn't hold back on crying, allowing her tears to wash away the shame and embarrassment.

Back in Shelby Springs, she paced the floors inside her house, drinking whiskey, and pondering her fate. Mike's burial was only the start of her troubles. Next came a lawsuit Terry filed against her department. It would probably finally bankrupt them like the last legal settlement they paid almost did. With the dashcam evidence, plus her, Summer, and Marston's testimony, Terry was sure to win a large payout. Her career was in jeopardy, and their department possibly disbanded.

She downed a half glass of Uncle Nearest whiskey and looked at her black dress. The audacity of her showing up in Greenwood thinking she could dip in and out without consequences.

Jess had to face her part in Terry's life being traumatized forever. Losing her job was a small price to pay for his lifetime of pain.

She leaned her head against her living room window in the dark and watched a swarm of fireflies do a light dance outside. Her grandfather used to say seeing fireflies brought good luck. Jess desperately needed that to be true.

Crawling into bed with her dress still on, Jess stared at her ceiling again, semi-drunk and all cried out. She thought about Terry calling out her name and running after her. He didn't sound mean or angry when he spoke to her briefly. Asking for her number surprised Jess, because…why? What could they talk about that would fix the wide valley between them? Maybe he wanted to yell at her too, get his justified anger off his chest. She deserved it.

Jess curled into the fetal position and thought of Terry. Even in mourning, he looked handsome in his suit. For the first time in weeks, she fell into a deep sleep without having to use medication.

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[calware]

You might've answered something like this before but how do you pick colours for your art? Your choices are always so striking, visually interesting and delightful. I would love to learn your ways. (also hi)

WAAHHHH THANK YOU <3 <3 (also hi!!) first of all i do have a post from quite a while back with some general tips that you can check out, but my process has changed a bit since then so i can definitely elaborate a little bit more!

observation

this first tip is not very straightforward (sorry) but something i try to do is pay attention to the colors and lighting in the real world and try to remember what moments really stick with me. like when you're watching the sunset and the light from the sky washes everything in pink and tints the buildings orange, or when it's dusk and the light blue of the sky contrasts with the dark blues of everything that's in shadow, or looking in a lake and all the greens, browns, and blues mix together in rich jewel tones

i try to keep track of these things & the emotions they make me feel (almost like taking notes in a mental journal) so i can try referencing them when i want a certain drawing to feel a certain way. AGAIN this is really not straightforward and i don't really know how helpful it actually is...? but i find that observation can be a really helpful tool and i find myself doing it a lot

references

sort of the same as the last point BUT using preexisting photos and artwork instead! this one is more straightforward because you can actually reference them as you are drawing. i said this in the other post i made but i think that looking at other images and asking yourself "how is the artist/photographer using the colors to make it look this way? how do i recreate that?" and using that as a way to study their use of colors can be really helpful. if you find a drawing that has cool colors, try using those colors in your own drawings and see how they look!

that said, i would try to avoid color-picking things directly because i find that if you try choosing them on your own you 1) gain a better understanding of what you're doing 2) have more control over what you're doing and 3) you can "push" your colors in ways you might not if you color-pick directly

play with contrasting hues

i think this might just be a personal preference, but i find that i'm not as big of a fan of monochromatic images, and i prefer it when drawings utilize a wide variety of hues. this goes especially for ones that implement more contrast in the hues (not necessarily where the colors have more contrast in value, but rather contrast as in they're further apart on the color wheel)

for example, in this drawing, everything is washed in green light except for rose's skin, which is a very saturated reddish-brown. this is sort of what i mean by "pushing" the colors because, in a realistic setting, a person sitting in green lighting is going to have a more greenish-looking skin tone (like in this drawing). you can see this in how the whites of the drawing—her hair and eyes—are greenish, but i made the stylistic choice to not do the same with her skin to create contrast between the two hues

i edited the one on the bottom to match the green-ness of the rest of the image, and the effect is pretty noticeable! green light makes people look less lively, almost sickly (which is good to use if that's the feeling you want to show, of course)

another small example of this is in this drawing where i use a couple of different hues in davesprite's body. overall, it registers as orange, but i like to ever-so-slightly introduce a bit of green to contrast with the orange, letting the lightest values tip into the greens instead of stopping at yellow to contrast with the muted red in the wings. the darkest values are purple, which also contrasts with the yellow parts. the only hue missing from this image is blue! the colors are all still analogous, and the greens and purples are a lot less saturated than the oranges and yellows, so nothing clashes and overall leads to a more subtle contrast

the colors on the top are the ones from the image, while the ones on the bottom i see used a lot more commonly—which isn't a bad thing! i just think it looks nice to use a wide range of hues because of the way they complement each other :)

other than these strategies, my process varies greatly depending on what i'm working on, so it's difficult to get any more specific than this (unless you'd like to ask about the process of a specific drawing!) there isn't really any step-by-step method i use for every drawing i make, usually i am doing something different each time based on the goals i have for the project

[goldtheorys]

Jeff the killer general + relationship headcanons

_I did Jeff headcanons before but they were ass, so here’s my second attempt.

══════════════════ -`♡´-

General 🩶

Veeeeery reclusive

He’s thin and agile, even if he’s literally just standing in a room staring at the wall, lost in thought, he’ll hide or slip out of the room when he hears someone coming in easily

He doesn’t even really mean to, but it’s just some instinct that kicks in he doesn’t bother to fight

Doesn’t like people all that much anyways, so he’ll do what he can to avoid everyone

Loneliness isn’t the loveliest feeling though

Occasionally he’ll go find one of the other creeps, awkwardly ask them a simple question

I see a lot of stuff where he’s really loud and obnoxious, also a total jerk, and although I agree, his whole life went to shit pretty early on

So he lacks social skills, he barely knows how to take care of himself, and doesn’t have good emotional control

Of course he has outbursts, he doesn’t know how to make friends, he thinks because he’s so damn amazing everyone who “acts” like they hate him just wants to be him

But it begins to get to him after awhile, never having someone

He is sort of friends with Ben, but it flip flops from fun and easygoing to strained and frustrating

Survives on randomly selected energy drinks, beer and junk food alone

Cannot cook, cannot remember what a warm meal tastes like

Has a lot of energy, so when he can’t find anyone to bother, he goes on walks

Mostly during night to help hide his face, but because of that it’s pretty enjoyable

Wears a mask too so he can grab some food before finding whatever abandoned park he can, sitting on the swing set while he eats

Prefers the colder months

I’m not sure I wanna add he has smile dog as a pet on my version of him… but he is a big dog person. Runs into a stray every now and again and spends maybe a solid hour just petting and talking to it

He kills when he feels overwhelmed, but regrets it from all the guilt after

Sleeps a lot to try and forget about everything

Relationship

══════════════════ 🤍

You two probably met in a rather absurd way

Maybe it was the classic you both just murdered someone and found eachother, dripping with a stranger’s blood

Or he walked into your home at random, surprised and intrigued by your lack of fear

(you were just too tired to give a fuck)

He’s real rude at first, calling you names, making fun of basically the way you breathe or walk, trying to poke and prod for a weak point

If you tough it out and keep being kind or neutral towards him, eventually he’ll stop and slide into a weird mood of observing you

It’s like his eyes never leave you for a second, and it gets real creepy

He studies your movements, your face, your words, your mannerisms

You’re still here despite his lack of…maturity at the beginning

Even if it’s a little begrudgingly, you’ve let him stay

It’s weird and he can’t help but question if it’s some scheme to hurt or kill him

But he’ll be damned if he misses the chance to have the first genuine human connection he’s had in years

Kind of follows you like a cat when he can

Like to watch you from his own spot in the room, occasionally piping up to say whatever comes to his mind

And, it would take a bit longer, but eventually he warms up to being more affectionate, rather than the previous friendly coexisting

Doesn’t show it, might even scowl at you for being quote unquote cringe, but adores when you compliment him. About his beauty, his talents, his intelligence, he wants it all

But what he really adores is your touch

Late nights in, watching some show while he lies on top of you

Your nails running up and down his back, occasionally tangling into his hair to twist and brush it makes his heart beat faster than any night when he’s drenched in sweat and blood

He’ll still refuse to show that kind of weakness in front of anyone else, but when it’s just him and you, he’s pathetic for your attention and affection

Likes to hold you from behind, tracing every curve, every scar, every inch of your skin he can reach

Dangerously possessive

You’re the first good thing that’s happened to him in a long while, he cannot stand even the thought of you being ripped away from him

And as I said before, he doesn’t have the greatest control of his feelings

Instead of voicing his fears or concerns, he lashes out at you, especially if he knows you’ve been spending time with someone else

Tries to force you to stay by his side, threatens to harm you if you dare to leave

But once he calms down, he leaves, and your left scratching your head wondering why he had done all of that

He’ll come back when you’re asleep, watching you as he traces shapes onto your arm

He’s so fucking scared you’re gonna realize how truly shitty of a person he is

Wakes you up, wrapping you into a hug as soon as your blearily blink your eyes open

He won’t apologize, he’s still a bit of a narcissist, but you can feel it in the way he clings to you in the darkness of the room

You’ll cuddle him to sleep, and wake up in the morning to him acting like nothing has happened

══════════════════ -`♡´-

_ughhh still don’t rlly like this it is SO messy, but also idc lol. Hope my version of him is enjoyable… might work on nsfw headcanons next, but I’m kind of just going with whatever right now. requests open, and sorry for my previous inactivity (⇀‸↼‶)

[r1poutmygvtz]

°•*⁀➷ Introduction °•*⁀➷

TRIGGERING BLOG: BLOCK DONT REPORT

cws for my blog: ed, weed, alcohol, and nicotine use, occasional sh and suicidal thoughts/talks about attempts, occasional mentions of abuse/trauma, religious trauma, pet/family death, medicine misuse, and overdoses

please tag any posts about christianity/god with "tw christianity" and any sh posts with either "tw sh" or "tw sh implied"

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°•*⁀➷ About Me °•*⁀➷

Name: Vivian

Age: 16 (17 next month) im ok with adults interacting just don't be weird yk? id prefer followers/moots aged 15-22 but i'm ok with people older or younger following, i just may not interact as much (unless were already moots)

Gender/Pronouns/Sexuality: im gender apathetic/non-binary, i could care less about my gender or how i'm perceived. i use all pronouns but when asked i just say they/them or they/xem if we're close. (moots are allowed to use xey/xem for me freely btw and i encourage it!! :3) i'm aroace and pan (more specifically i rarely get crushes on people but still find some people attractive regardless of gender and i'm a sex repulsed asexual)

Diagnoses: depression, anxiety, and derealization (depersonalization is not diagnosed however im aware i deal with it and need to bring it up next session) my therapist is trying to diagnose me with ptsd and my mom wants me to get diagnosed with anorexia

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°•*⁀➷•* Stats °•*⁀➷•*

Height: 166cm

HW/SW: 136.6lbs

HBMI/SBMI: 25

LW: 98.6lbs

LBMI: 16.2

CW: ~113lbs

CBMI: 18.6

UGW: 90lbs

UGBMI: 15

°•*⁀➷•* Goals °•*⁀➷•*

GW1: 110lbs

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°•*⁀➷ Tag Guide °•*⁀➷

There's a lot and most are self explanatory but in case you were wondering here's all of them :3

#gvtz- all my posts/reblogs

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#gvtz kitty :3- posts about harley!!

[themistressdomme]

this may be a dumb question or someone may have already asked it but what do you or what would you do if someone called their safe word? like any specific after care?

Hi darling! I'm so sorry my answer is so late for this!

It is never a dumb question, hm?

What happens would depend on the type of safeword my sub used. Was it "yellow" (i.e., slow down/check in), or "red" (i.e., stop everything immediately)?

If it was the former, I'd pause, check in, see what the issue was. Too much? Too rough? Too hard? Need to adjust/reposition? Anything hurting the way it's not supposed to? Need a sip of water? After that's been rectified and we wanted to continue, the scene would go on again.

However, if it was "red", I'd stop immediately. I'd find out what the problem was - if there was a physical problem, we'd fix it. If it was anything else, like they didn't feel like it anymore, or any reason, really, I'd first and foremost tell them that it's okay. "Thank you for using your safeword, angel, I'm so proud of you."

I've seen that some subs find it difficult to use their safeword and it takes a lot for them to use it, because they think that they're "disappointing" me if they call red. So I like to reassure them, thank them for being honest with me, and remind them that it's the good communication and honesty within a scene that makes me trust them even more.

Then, we'd do whatever the sub needs in form of aftercare. A lot of cuddling and snuggles, tiny forehead kisses, whispering words of affirmation and praise. A lot of physical contact - my hands caressing, stroking, tracing, soothing. Do you need hydration? Something to nibble on? A bath or shower together? Shall I play with your hair whilst holding you close to me? Do you want me to put on a comforting movie of yours?

Aftercare is an essential, whether the scene came to an end organically, or a safeword was used. Aftercare can also look different depending on the person you're with! Some might not want physical contact, some might not want you to speak much. It's all about personal preference :))

I hope you could make sense of my ramble! x

[runawaymun]

Hey! Any advice on writing multi chaptered fics or just longer stories?

I feel like I'm okay for like snippets but have no idea how to write the middle of a story or move a character or story from point a to point b.

And asking you because you're writing is phenomenal and I'd love some advice.

(But if no brain space for advice I totally get that too and feel free to hide this ask or something)

(Anyway great updates on boundless and the one shot Brimbrond)

Sorry for taking so long to respond to this! I just wanted to take some good time to gather my thoughts because oh man oh boy I am a bit of a nerd about plot structure, even if I pants it a lot of the time -- because middles and structure absolutely plagued me when I was a beginner and so I spent a long, long time studying it and breaking it down.

I'm going to start with some very, very basic advice and then get into some more specific stuff. So let's talk first about how to structure a long-form plot first.

DISCLAIMER: this is how I personally structure plots. More often than not I veer off my own track. And this is a very western way of structuring a plot. It's well worth looking into how storytellers from around the world structure their work because it can vary wildly (Miyazaki is a great example of this). Take this with a grain of salt. It's a guideline which I find helpful. This is going to get very, very long. Bear with me:

When I'm first thinking about how to create a plot around a story I want to tell, this is the process I walk myself through, and it tends to work about 75% of the time for the stories I like to tell (I'm not much of a thriller or mystery writer and those tend to have different kinds of structure). Main recipe is as follows:

Status quo - establish the setting and the character. Do this by the middle-to-end of chapter one, preferably. You can get away with drawing it out a bit in sci-fi or fantasy works that require more worldbuilding, but try not to.

Inciting incident - I won't tell you to start in media res, as that varies from writer to writer and story to story. Generally you want to have this somewhere in chapters 1-3. Say we're talking about LOTR - I'd say the inciting incident is when Bilbo goes invisible at his birthday party and leaves for retirement. Everything sort of snowballs from there (Gandalf confirming this is The One Ring, the Ring being passed to Frodo, the adventure beginning, etc. etc). This is where your character can lose something, or be confronted with a huge problem, or gain some new information. This is the point where your story really picks up.

Point of no return - your character has been presented with a problem or is put in a situation and now they have to decide what to do about it. Sometimes characters choose to run away, or choose inaction. It's up to you and your character as to what they do next.

The annoying part - the most helpful way I've ever found to think about middles is in terms of a series of decisions and consequences. Your character must decide what to do (or try to get what they want), and this will then come with consequences to those decisions. I ignore a lot of writing advice because writers seem to be very cagey about how they compose middles and plots for some reason, but the one piece I heard that helped me was: "What does my character want, and what stops them from getting it?" -- and this can be anything, right? Frodo wants (has to) take the Ring to Mordor. Luke wants to learn to be a Jedi like his father. Inspector Poirot needs to catch the murderer. Odysseus wants to return home. Each of these characters are going to make a series of decisions toward their goal, and they may be working from incomplete information, or bad paradigms, or racing against the clock, or against impossible odds. They're going to make mistakes. Over and over and over again. The middle is a series of decisions, consequences for those decisions, and obstacles (more on that later).

Point of no return 2, electric boogaloo (i.e. the actual midpoint to the story) - the part right before the climax -- the climax IS NOT the midpoint of your story, nor is it the end. This is your midpoint where Everything Fucking Sucks. Your character's back is against the wall. They have to change, or fail.

Paradigm shift: your character learns something new, or develops in some crucial way that leads to:

The climax/confrontation: 3/4 - 7/8th of the way through your plot. Frodo decides to keep the ring. Luke uses the force to blow up the death star. Anakin's fear and the manipulation from Palpatine overtakes him and he turns to the dark side. Inspector Poirot gets his last crucial piece of information and gathers everybody together for the Big Reveal. Odysseus gets home and chases the suitors out of his house. Etc. Etc. This is that Big Point in the story we all think as the most important or crucial point (but it's not. That's the key here. THE most important point is the whole middle of how we got here).

Consequences and paradigm shift 2 electric boogaloo: varies from story to story, but this is the fallout of the last decision or confrontation. Your character may reflect on what they've learned. The killer goes to jail. Frodo returns to the Shire and it's saved, but not for him. The journey your character has been on has irreparably altered them, or the world around them -- for better or for worse.

Resolution: the place where you land the story ;) what is the final impression you want your readers to have of your character, or this world?

Alright so that's all kind of nebulous. Let me give you a slightly more specific form of this plot structure that I use pretty often, because I almost exclusively write character and relationship-driven stories since that's what interests me most:

So most of this looks much the same (the inciting incident is some kind of meetcute. The characters then have to decide if they want to have some kind of relationship -- I like to name this part the callback). Then we have a whole weird squishy section of building interest and tension, before once again we have The Big Fight (darkest before the dawn or what have you), before one or both characters have some kind of paradigm shift, they confess their feelings (or resolve the fight or whatever), and the security of the relationship is established -- happy go lucky times, everything is beautiful and nothing hurts.

So the middle here is of course still squishy and nebulous, but the focus here is still on "What decisions are the characters making? What are the consequences of those decisions? What are they learning, and how do they respond to it?" Maybe the tension is in one character being more reticent, while the other is more open. Maybe the tension is a sexual tension (will they, won't they?). Maybe a character is working off of incomplete information, or a misunderstanding, and that needs to be cleared up before the relationship (or even their own personal growth) can progress (both Elrian and Thalionel in Stars and Boundless Sky follow this pattern). The middle is a push-pull between your character's desires and outside forces that are stopping them from getting what they want, or achieving what they want to achieve.

So okay, that's all well and good. That's basic plot structure. Let me get into my thought process about middles specifically:

Begin with your ending in mind. I do not mean that you need to have like the whole resolution to your story fleshed out. If you're that kind of writer, great! But if you're more of a pantser like me, then that can be a big ask. Instead, ask yourself: what do I want my character to have learned by the end of the story? How do I want them to have changed, or grown? Do I want it to be for better, or for worse? Is there a specific plot goal you have in mind? (saving the world, or catching the murderer, solving the mystery, exorcizing the ghost, the couple getting together at the end, the found family finally gelling with each other, or whatever).

Once you have that thought in mind, now start to think about what your character might need to get from their starting point to their ending point. If it's a murder mystery, this is your information gathering section. You can lead your character to wrong or right conclusions. Have them make mistakes. Etc. etc. If it's a romance, this is where you create a string of scenes where the characters have opportunities to interact and learn more about each other (works for platonic slowburns, too). If this is a traditional hero's journey, this is where you plop in your actual journey.

Not to repeat this ad nauseum, but your middle is all about getting your character to your end goal, but in the most difficult way possible lmao. Let them make mistakes. Let them make bad decisions -- and then follow through with the consequences of those bad decisions. Give them bad information. This is where understanding your character's fundamental flaws becomes extremely important. Your entire plot, imo, stems from your character's fundamental flaws -- because ultimately that is what is going to slow them down the most from reaching their goal. Sure, you may have the big bad evil guy (bbeg), but we're not worried about him. That's an external factor and that's easy to drop in when you need a quick problem to place in front of your protagonist -- but that problem needs to be in service to your character or your worldbuilding. Teach them something. Give them an opportunity for growth. Aragorn needs to lead at Helm's Deep so he can inhabit his leadership role. The mountain pass of Caradhras needs to force the Fellowship through the mines so that Gandalf falls fighting the Balrog and comes back leveled up and ready to fight, and other characters in the fellowship have a chance to grow into their roles without relying on Gandalf for leadership. Your middle is all about crafting little opportunities for character growth, always while moving toward your end goal -- whatever that may be.

The paradigm shifts are crucial, and they can shift for better or for worse. It's up to you and your characters and the story you want to tell as to which it'll be.

If you're bored, your reader is bored. Only write what excites you, skip all the rest, and make it make sense at the end -- I'm so serious. Yes you need to add in breaks for pacing (like the whole Rivendell section in LOTR), but in those breaks still make sure that you're either expanding your worldbuilding, or giving your characters and opportunity for growth.

If you want to tell a really long (novel length) type of story, sideplots and alternate POVs are your best friend. They are structured exactly the same as a regular plot, they're just simpler or smaller and generally work in service to the main plot. Maybe there are side characters or side relationships you'd like to develop. Maybe there's a smaller mystery or a part of your worldbuilding you'd like to explore. Action plots can be side plots to romantic or platonic slowburn plots, just as much as it can be the other way around. And this is not something you need to structure out the gate. Just be curious and playful. Find points in your story that interest you, and explore them a bit. You'll find that they expand the story.

Biggest and best tip I can give you, when all is said and done, is to decide what kind of story you want to tell and then examine how other people are doing it. If you want to write a superhero story, pick out your favorites and look at how they're structured. If you want to write a mystery, same thing. If you're writing a romance or a drama, again -- same thing. Look at the pieces of fiction that you like, figure out what you like about it, and then apply it to your own work.

That's all the general advice off the top of my head. IDK how helpful this was lol. If you want more tips on middles I can try to look at it a bit more in depth, but to be quite honest middles are really what defines a genre. Romances have different middles to thrillers. Thrillers have different middles to mysteries. Mysteries have different middles to dystopian sci-fis. Etc. Etc. So take the general advice with a grain of salt and look more specifically at the genre of story that you're looking to tell.

Thanks for coming to my tedtalk <3

[transingthoseformers]

Ovi anon sliding in for more eggpreg SentiOp shenanigans! Personally I prefer the idea of eggs coming out again as eggs still (only now larger and prepared to hatch in about maybe a couple days to a week at most) because I think it would be interesting to give sentinel an awkward “oh this gross” while his body goes “oh this! This is HOT!” with the additional accidental eroticism of having Op being very tender during the process (sentinel being hot during the process is definitely keeping Op stable maybe more than he would like to admit.) But the eggs pulling a pseudo live birth might also be interesting just because right off the bat Op gets to see all the varieties of weird little spiderbots sparklings and is a little in awe while sentinel squeezes his hand off and threatens arachnia’s spike.

As for some of the world’s weirdest rom-com elements, definitely liking these two being stuck together in someway, most likely would be Sentinel having to stay on earth with Optimus to avoid any possible risk from the baby spiderbots to any others on the ship or on cybertron. Nobody is happy about this, especially not sentinel, but there isn’t really another solid option aside keeping him locked up somewhere on the ship during the whole process, so unfortunately they make do.

I think both of them being forced to stay around each other could lead to Optimus being able to let Sentinel see the good parts of Earth, even though he’s still definitely not its biggest fan, but I do think it would take a while to confront the whole Elita thing, even with them starting to reconnect in the little ways they used to back in the academy, in more than one way lol. Having sex again is a little nostalgic in a painful way witnout Elita, but also unfortunately still hot even when they’re at the still bickering and fighting stage.

Oooo okay okay I see

That must be a very confusing experience for Sentinel (I mean. A lot of this must be)

Sentinel staying on earth has to lead to lots of fun moments

And the way sentop develops in this is intriguing still

[allmannerofmalady]

In continuation of my clownery, I started a new DATV playthrough because my beloved Inquisitor looked so jarring I had to remake her and replay like 20 hours of the game. But hey, I made peace with the fact that I am playing DATV to wrap up Inquisition and get an ending scene at this point, I'm not currently foreseeing a second playthrough, so I gotta do it right, y'know?

Spoilers, and me complaining at extreme length, yet again, about my own personal expectations vs reality into the void. Please ignore if DATV negativity is something you prefer to stay away from, protect your peace & what you enjoy.

So I replay HOURS. I'm having fun killing everything as fast as I can - I don't know what it is about playing as a rogue in this game that has tickled my ADHD brain so much, but I'm surprisingly really good at the arrow bonanza and relentless enemy aggro?! This turn based bitch? I digress.

I see my bb Inquisitor Lavellan - she still doesn't look like herself, but I can live with it. She got some ill-advised fillers in Tevinter, she's been through a lot, let her LIVE.

This time around my strategy is pure lore hunting. I'm getting every codex, I'm SQUEEZING this playthrough for whatever lore/easter eggs I can get because idk if I'm going to play again. I got all of Solas' murals early on, got Mythal's essence before Weisshaupt even, I think. BUT WAIT! I have one more treat! The locked room in the Lighthouse! Solas' study! There must be something juicy for all the effort, right? RIGHT? :'D

I know it's been beaten to death, but PERSONALLY, the game still feels incredibly flat to me, jarringly so. If I'm in the Dreadwolf's home, I want to snoop. I want Rook to look through his library, his books, his garbage bin. I even remember the devs saying they wanted being in the Lighthouse to feel an old friends house, or something? I could be wrong, my brain is fried. It's not just a Solas thing - I'm playing this game because I'm desperate for info about the characters I love, but as Rook, we are IN Solas' HQ and I want to rip open the floorboards. I'm trying to RP as much as I can RP in this G.

Anyway, I was so thirsty for something more, something deeper than just these lovely environments I cant do much with, and notes on how Solas hoards raisins - so I collected the wisps and did all the things to unlock the second door in the Lighthouse, forever booboo the fool, thinking I would get an easter egg or something. Trying to stay positive.

No. NO. I got some gear, another empty room Rook has no comments on, and fine, some of Solas' observations on the anchor.

Back to backflipping and shooting arrows in the air, and wanting to grab Emmrich by the beautiful lapels to shake him and ask about the Pentaghast family. Where's my WIFE --

On to the Weisshaupt mission, which was actually ridiculously fun to play - until I was told Weisshaupt is gone haha wow great love that at least the Inquisitor & gang are keeping Southern Thedas safe *subtle foreshadowing* 😃🤞 weeee

I was SO MAD at myself for expecting more like the clown that I am, it was something dumb but just annoyed me all over again and got me all… opinionated 🫠

So, I'm mad again. I cannot begin to articulate my feelings about the incredible amount of storylines and lore we've lost with the decisions made in DATV's writing - they've already been written so eloquently by much greater minds than myself. SO I'm just laughing my way through the pain 🤡

People pleaser that I am, I see other creators I've followed and loved for ages defend the game's choices, tell others they lack media literacy, that your criticisms mean you have rose tinted glasses about the previous games - whatever, your opinion can be valid without tearing others down. So, I genuinely thought something was wrong with me for being so hung up on details. But I can't even engage in fan theories anymore because I'm so jaded at this point. When I see new deep dives into lore-based theories on the game, 99% of the time my mind goes "There is no deeper meaning. They just wanted to wrap it up." Why do you think this thing happened? What do you think that thing is hinting? Nothing. And this is coming from someone who played all the games, owns all the novels, art books, World of Thedas I and II, the bloody Inquisitor lamp from the BioWare store LOL, I was primed and ready to engage in these conversations, but I can't. I have nothing to say that won't end in a cynical answer, and maybe that's because I'm also jaded by working in the game-adjacent VFX industry.

The factions are, yet again, fun but shallow, the logic confusing, and lack much of a backstory for Rook (I think Grey Wardens and Mourn Watchers seem to be the best developed from other reviews and playthroughs, I've only played extensively as a Shadow Dragon, to be fair). Why are you a mage in this one faction? Why are you a rogue in another when it doesn't make sense without a story to support it? It's all this beautiful candy floss that melts away the minute I stop and think about it. And then the cynic in me thinks - these are probably vestiges of the live service part of the game that EA was pushing for. I have to slap myself and stop looking for deeper meaning within corporate decisionsssss there is no swimming pool behind that closed door you needed 7 wisps for 😃

I desperately did not want this to be the case. I was hyped. I preordered the game and organized vacation around it, I'm too old and dealing with way too many crappy personal things to just be a hater for the sake of being a hater. Gaming and Dragon Age are my comfort spaces. But for the LIFE of me, I can't imagine playing DATV again once I finish, let alone more times than I can count like the previous games. Or imagine listening to 4 hours of Youtube videos of party banter to analyze, or even imagine how companions would react to certain things because they feel so stiff. Everything is beautiful, but sterile.

I do love Emmrich - I'm enjoying his storyline and romance, it's like the loveliest most whimsical Vincent Price Pixar romance, but still, something is always missing with the characters even as some do grow on me. I can't imagine anything close to just the party banter ALONE between Solas and Iron Bull. Cole. Fenris and Anders. And to be clear - the whole DA was GRITTY and DARK, DAO supremacy - NOT ME. I love all the games but they have always been whimsical and silly, cringey at times, and did not take themselves seriously. I remember doing the quest where Hawke is running around trying to keep Aveline's date with Donnic from going south, cracking up at how ridiculous it was, and just thinking - gods I LOVE this game.

Speaking of romance, while I'm enjoying how sweet the romance with Emmrich is, when I see others complaining about lack of spice... ahem. I still cannot get over the art style when it comes to characters. This is subjective, and a me problem - I still find it jarring. I don't like the proportions, the bloom, how smooth everyone looks. They still mostly look like cartoons to me, with no body hair and the big heads, and I find everyone's hands so distracting because they look like plasticine. I'm ok with no spice between these characters with their current designs lol let me leave it at that. Ok, except for Felassan and Solas, chef's kiss, no notes.

Solas and story elements directly around him still mostly hold the familiar weight, for the most part. I think credit goes to his amazing VA and the strength of what was likely written for his arc from the very start, before the rewrites and dev hell the game went through. I still have opinions, obviously, but even as a ride or die Solavellan I don't like having the Solavellan angle hijack conversations, so I'm not going to go there. If I'm going to criticize stuff I'll do it as a gamer/DA fan first, egg lover and apologist second.

As I reach the end of Act 2, the game continues to makes me feel like I'm stripped of all agency after a lifetime of playing choice-based games. I talk to companions when it allows me to, then they are relegated to set dressing. My conversation choices all feel the same, or don't match what I'm choosing sometimes. The Lighthouse does not feel like the vibrant hub it was sold as. I am on quests I mostly cannot accept or reject. I cannot interact with my surroundings unless it is gameified (light a candle, move a crystal). The companions abilities are all just - platforming? I know I sound hyperbolic, but it's all I can see currently.

I played Persona 5 from end to end, twice. I played FFXVI. I loved both, had no issues with their linear storytelling, and how the game led you to their end points. Those games are not DA, they did not have the expectations you would have from a BioWare title 10 years in the making. You were not lured in by tales of an incredible character creator, teased about what might be coming from previous games, told this was a sequel to an immersive fantasy RPG series in a beloved fantasy world where the defining studio mechanic was CHOICES MATTER, even when they changed a lot of other things from title to title. In P5/FFXVI you were Clive, you were Joker, you were playing out their story. They were not direct sequels to anything. I'm loathe to be seen as a mindless critic who just wants to shit on things, but a part of me does feel emotionally manipulated for $$$. I still resent how much hype was built for the game by maligning the previous ones (we're fixing Inquisition's mistakes!!).

I'm back to my mission of finishing the game I paid for, enjoy what I can, and get my Solavellan ending scene cause I'm down BAD for literally the only ship I have ever shipped🧍🏻‍♀️I appreciate that it was included. But also - wow does it exacerbate what wasn't included for everyone else's choices.

Something I hate is how everyone immediately jumped on the Baldur's Gate 3 comparisons - BG3 was a life changing game for me, but it's not perfect, and the comparisons are not fair. The one thing I will say is that when I first played BG3, despite its issues and the later criticisms of how Larian reacted to pressure from fans, I remember my earliest impression was - it feels good to be respected as a player. I didn't feel the game was talking down to me, and I got SO much for what I paid for (700 hours baybeee). Jaheira and Minsc were included as companions in homage to the previous games. Yes, they did Viconia dirty, nothing is perfect - but for example, Jaheira would tell you about her husband Khalid from the original games, which came out in 1998 and 2000. There was a lot of world building/easter eggs that not everyone was familiar with or even noticed, because not every player played BG1 and 2, or were familiar with DND 5e - but it was included. Drizzt Do’urden was mentioned ffs, they didn’t overthink about who read those books or not. I’m aware of my biases and I may very well be looking through rose tinted glasses, but I did not feel like the information was presented like I was dumb, or "ah they'll never understand this - SCRAP IT". It just feels like it’s there to honour the past and out of love for the world Larian were playing in.

I don't feel that respect for the player in DATV, I'm sorry. There is love there, but as hard as I try, it feels like it's there despite of the overall design of the game, not part of it. I keep remembering interviews before the game was released and things that were promised, and I don't see it. At all. No more meaningless fetch quests!! Most companion-focused game! The quests are largely boring or formulaic, but addictive and fun because they are so packed with mindless combat that my brain enjoys. Sometimes it feels like filler - we didn't know what to add here, FIGHT! You unlocked a poignantly named gate in the Crossroads? NO STORY MORE FIGHT! And I'm eating it up, let me not be a hypocrite, I have 80 hours in the game. But personally, it feels designed to pad out this beautiful, sometimes fun, but bitterly shallow game. I can't even go into companion specifics because I have nothing to say, no story I want to analyze. Some have grown on me, but there is no bite or nuance to the writing that compels me and I have no urge to know more. In the previous DA games I would take the long route wherever I went just to get more banter from my companions, and I was instantly interested in them, even if I disliked them. I've seen the comments, I tried, I don't think it's because "I haven't spent enough time" with the DATV companions.

The level design of long narrow corridors, which do remind me of DA2 and FFXVI, has become so predictable to me that I almost always know exactly where I'm going to find loot. So it becomes this admittedly satisfying run of grabbing and fighting to the end point, getting the dopamine hits of collecting pointless stuff, but not really taking in the environments and enjoying the adventure. The level design is not immersive. These do not feel like real cities or real people, and that was intentional. It feels like “levels”, not a World. No one reacts to a single thing you do. Even in the ultra minimalist style of Zelda BOTW, townspeople would react to things you did. Sometimes I walk up to yet another obvious fight arena where the enemies are just chilling, waiting for me while standing still - almost like they're on shift at a haunted house LOL. I can imagine the Venatori stubbing out a cigarette, "C'mon guys, she's here, showtime". The funny part is this has all been seen before in older games, and it never bothered me. My own expectations and overhype might be to blame, but it feels like a big step back when so many games are stepping forward. Me = clown

I keep going back to my first reaction when the disappointment hit me. It feels like being given Persona 5 Strikers or Hyrule Warriors, and told that it's the sequel to the actual RPG. It's fun, it wears the skin of the thing you like that makes you happy, but stops there.

Other things I shake my fist at

Cheap ass The 6th Sense ass Varric death. Yes, yes, Solas villain arc whatever - it was cheap. Way to honour a multi-game beloved character and the player, even if the time had come for him to die in the story.

No, I cannot find a single redeeming reaction from a companion that makes Varric dying make sense in hindsight, except that they are all made of cardboard. I saw comments saying on a second playthrough it's clear Harding is in mourning - sorry, I don't see it.

So. Dorian, the Inquisitor, Charter, Harding, your party, Maevaris, Isabella, list goes on - not a single one of them asks about Varric or mentions his death? Expresses condolences? Nothing? Cheap. Even if Solas was playing with your mind, doesn't it make the overall characters in the game seem even more wooden and unrealistic to the player? It was not the gotcha they seem to think it is.

When the novelty of the cameos and the emotion associated wore off, they were just flat and felt random. Cassandra should have been there, doing Seeker shit (my WIFE). Ok no cameo? Casual dialogue with Emmrich about having a Nevarran in the Inquisition (or as the Divine?!) Lucanis info dumping about Josephine as an Antivan, Zevran as a Crow, nvm, time for a coffee joke. Merrill, eluvian queen, how is she a nonentity? Habibi Fenris should have been in the Shadow Dragons, spitting on the ground after being approached by Solas to join his uprising (lol what uprising amirite). Ok I'm cooking hire me Bioware 🍳 but at least they can remain untainted by the Isabella Treatment (tm)

This leads into the yeeting of the Keep, world states, choices, and hypocrisy around claiming to want to level the playing field for new players. No, all I can see is - it was treated as a buffet that they picked from as it suited. This is the one disappointment I will never let go of. Facsimile's of beloved character cameos were tossed in, you could not really talk to them outside of what limited dialogue you were allowed. Certain world states are now canon apparently - Dorian being recruited in the Inquisition, Morrigan drinking from the Well etc. You want a reboot and you've committed to tossing the choices and burning down Thedas (literally)? Go down with GLORY! Have all the previous main characters/companions alive. Have them all mentioned, even in passing. A portrait on a wall. Say goodbye to them, get your reboot. Honour what you built your business on. But yeah, Emmrich and Harding get to have their picnic in Fereldan fml bye

The argument of: well, the games are old now, it shouldn't matter. Ah - not too old to capitalize on the IP and DA name? Not too old to use some cameos to lure old players? The argument of - it was too many choices to track. Ok cut them down, but don't go scorched earth? 3 choices, mostly irrelevant to those who don't care about Solas (could never be me), and then literally telling you everything else in the South and Weisshaupt is now razed to the ground. But also the illuminati did everything.

FINALLY - the Inquisition should have been in charge of the hunt for Solas, hill I will die on. Fine, have Rook, but Inquisitor should have been the other protagonist. The people... who knew Solas best and betrayed by him... who were in an organization to save the world... Why did we have that cunty dagger stabbed into the map of Tevinter cliffhanger to have the Inquisitor reduced to a pyjama wearing husk BIOWAAAAAAAARE

It's this stuff that builds up, and makes me think - does this game hate its fanbase and source material that much? I very obviously need to go touch some grass 🤠

I keep engaging with Reddit, Tumblr, Twitter - all to my detriment because it makes me feel like there's something wrong with me for not loving it, all over again. I also desperately have a fic in me I would love to write, an ode to the story in my head from years of loving the world of Thedas, a love letter to my Lavellan and others - but idk what to do with the post-DATV world atp. I just want to get through Act 2/3, get my Solavellan smooch, ignore the ~secret Illuminati ending, and be grateful I'm not a Mass Effect fan so I don't have to go through this again 🐣

[natinkart]

tags by @sympathytea

honestly, me too. not a lot, but I do agree that it would be an easier watch if done episodicly. but I get why the narration is like that. evbo had to respect the small content format of what is considered good minecraft content by youtube, but I'm glad that in pvpciv, he just focuses on telling a good story and not what youtube likes.

and also yes, pvpciv has more tangible stakes, the threats are measurable and more real in world. parkciv is more abstract as a story, but because of that, the abstract theme of an impossible classist society that is controlled by a superior being is more adequate. I saw some people say that parkciv doesn't have a great world building, but not everything needs to be explained. parkciv thrives on the suspension of disbelief and that's is not a problem, is simply a personal preference of how detailed you want the world to be.

and again yes, simulation is the perfect example of an episodic series with a little bit of continuity between each episode. it was not made to be seen as a movie. I wrote in the comments of the post a bit of analysis on simulation!!

chat... I have a confession to make...

I like pvp civilization more than parkour civilization. I FIND IT MORE INTERESTING IM SORRY

parkciv is built like a shonen, pvpvciv is built like a YA distopian novel. I prefer the second one. it's more dark, it's a less mythical story and the characters seem more grounded in reality. so it's a more relatable story.

parkciv has underlying themes of classism, meritocracy and capitalism with a hopeful religious tone. meanwhile in pvpciv, while still having some trait of a classist society that was supposed to be a meritocracy, the trials to level up (or in this case, down) are superable, is a more relatable struggle. the religious theme, instead of being hopeful, is seen more like a curse, so evbo being the literal pvp Jesus is lived like a punishment. we all know what it feels like to be punished by fate, in a way or another, so it's more grounded to earth in some weird way.

so yeah, parkciv is a shonen full of hope, a happy ending story with a beautiful growth and adventures, while pvpciv is a dark distopian coming of age YA novel, with reasonable goals but higher stakes and more of a "all against the protagonist" setting.

thank you for coming to my TED talk

[sonknuxadow]

i think people give elise too much shit for her little outburst at the end of sonic 06 because if i was running a country at 17 and had been repressing my emotions for 10 years straight and one day i got kidnapped like 500 times and ended up befriending the guy who rescued me and while spending time with him i felt like i really got to be myself and have fun for the first time in forever and formed a really meaningful relationship with him only for some weird demon rat thing to show up and kill him right in front of me just to make me cry so the destructive fire god that my dad sealed inside my body would be unleashed and then in order to save the world i had to reset the timeline and forget we ever met i would have become the joker

[moeblob]

As an attempt at a polite "going forward" comment...

I do not plan to draw for Three Houses or Hopes for a long while. I know a lot of my followers are from the past four years and I appreciate that you followed me at all! But if you are only interested in the art of those characters I wanted to be clear and say you can unfollow me at any point if what i draw no longer aligns with what you want to see.

I might draw for other FEs (like Heroes or 13/14/17) but I do not want to get involved with 3H any more. I do have other interests and across tumblr, twitter (now inactive), and sometimes on discord I've heard enough "I thought it was (FE3H character)".

This is not one person doing it and it is not simply one character being mistaken. I simply want to distance myself from 3H and have unfollowed a few people that reblog art of it because it just leaves a lingering bad taste in my mouth.

Thank you very much for your time and I hope you can find artists who can provide art for topics you like.