#and add extra depth not just to the world the characters live in:

[bloodweavefangnatic]

This character, in their interactions, might appear to develop feelings or intentions, such as wanting to kiss the player (original or custom), but these actions aren’t driven by genuine desire or free will. Instead, their behavior is a direct result of their programming, a set of pre-determined responses to specific triggers or stimuli. For example, they could be programmed to express affection or intimacy in response to particular emotional cues, but it’s not because they want to, in the sense that a human would. They may not feel the desire to kiss someone out of attraction or love, but rather because their programming dictates that this action is appropriate or expected within the scenario.

He may appear emotionally complex or even spontaneous, but these emotions are more like simulated responses based on algorithms designed to mimic human-like behavior. The key difference between this character and other companions who might exhibit real emotions lies in their capacity for personal choice. They don’t have an internal drive to engage in intimate actions or form romantic bonds; they’re simply executing a set of commands to fulfil a specific function.

At times, the character’s actions might seem meaningful, like a gesture of affection or a moment of intimacy, but it’s all part of the programming, not real desire. They don’t feel anything; they’re just responding to cues as they’ve been taught. This creates a strange mix of closeness and distance, where the player might feel a connection, even though the character is just following a script. It can be both unsettling and intriguing to realize that what seems like a personal moment is really just part of the design.

Conclusion:

Overall, Baldur’s Gate 3 has truly set a high bar for character animation and interaction in gaming (even more so now that Patch 7 is out). The fluidity of movement, depth of conversation, and the realism in how characters express themselves make it easy to forget you’re playing a game at all. The voice acting adds an extra layer, bringing nuance to each character’s personality and making them feel more like real people than digital creations.

Despite occasional bugs, the sheer quality and attention to detail in every interaction immerse you fully in the world, allowing for meaningful and dynamic choices that affect how the story unfolds. The way characters react not just to the player but to each other creates a sense of living, breathing relationships that makes the game world feel alive. It’s a perfect blend of technology and creativity. The BG3 team has absolutely nailed it, delivering an experience that’s both immersive and unforgettable.

Astarion doesn't ask for affection because he can't..... yet.

Ah, more tea steeping in this seeming endless sea of thoughts. This brew is a bit strong on the heart. Read with caution.

Warning for game spoilers and talk of abuse.

This perspective is from game content only. How anybody cannons their relationships or behaviors is perfectly right. No blame, no shame, it's your game.

I was always miffed at the lack of initiated affection from Astarion as a partner. YOU ask him for a kiss. YOU ask him for a hug. YOU ask him to tell you thank you after being an amazing partner and killing a massive beastie just for him! Brat...

But then I had a sudden realization. Given his past, affection is probably insanely hard to ask for. Like it can be for a lot of us.

Stay awhile and listen. (nerd)

Now when I speak of narcissistic abuse I am only speaking from what I know about it. I have no academic or phycology degree on the matter. Just good ol' tossed in the pond and forced to sink or swim experience.

Astarion spent 200 years under the crushing weight of narcissistic / psychopathic abuse. One of the things these types of abusers love to do is take what you love and make you hate it and then make you hate yourself for ever having liked it to begin with. All very nasty business that. But it's one of the main corner stones for the cage they build to control you.

They make you feel as if the request of a simple hug is the most pathetic thing you could ask for. Or the most selfish thing as it inconveniences them. They don't want it, why should they give it to you?

Shame, belittle, degrade, devalue..

200 years with a master who used him like a tool. 200 years with siblings that fought amongst each other so much comfort was a liability. Nights coming home assaulted only to be mocked for your tears. Insulted for your need of comfort.

"Pathetic! Weak! Disgusting! "

Shame, belittle, degrade, devalue..

Affection was nowhere to be found there, I assure you.

And for a Narc. anything given is expected to be "earned" in any way they see fit. And if you were "rewarded" with anything, it comes at high price.

And how dare you not find it fair. You ingrate!

Shame, belittle, degrade, devalue..

Hugs are pathetic. Kisses are an intrusion. Or they become gateways to other unwanted behaviors. To be held...what are you? A baby? The only way you are going to get held, is down.

Shame, belittle, degrade, devalue.. The pattern continues.

But you ask HIM for a kiss. And he says..

"There is nothing I'd like more."

And he means it.

I'd bet a mountain of gold he wants to just ask you himself. But years of conditioning to expect pain when seeking pleasure probably keeps him in a choke hold. Like rats that are shocked every time they try to eat food out of a dish. They learn it is safer to starve.

"I want to ask Tav for a kiss or a hug, but they might think i'm weak. But if they ask me first then it's them who wants it and they can't degrade me for it because they asked, not me. It's safe then."

"I want to ask Tav for a kiss or hug, but they might reject me for being too needy and shame and berate me for being so selfish or demanding of their time and person. But if they ask they have time and want me to kiss/hug them."

"I want to ask Tav for a kiss or a hug, but my primal brain keeps telling me they might demand more than I want to give in return for it. But if they ask, I have the power of negotiating the outcome."

This leads me to believe he would view sex and affection very differently as well.

Where most find affection safe and nurturing, it's anxiety educing and unsafe. It means there are feelings and if there are feelings there is the risk and fear of rejection or judgment. It's much scarier.

Where most find sex to be connecting and intimate, it's been used so much it's lost any meaning. Something you can do a thousand times over and walk away the second it's done and feel nothing afterward.

This may even be a part of the reason why he wants to stop having sex.

He wants to connect with you in ways denied to him. He wants the experience of being courted, treasured, nurtured. It means so much more to him than sex. It is so much more connecting.

Feeling this way is wretched and lonely. The most basic instinct is to want to seek comfort in the arms of those who love us. But it's broken. The risk is too great.

And it's hard. Because you could be the sweetest most honorable Tav in the whole of Fearun. But after being fed poised apples one too many times, all apples appear poisonous regardless of if is true or not.

I have no doubt that this prickly elf soaks up every second of non sexual affection you give him. And truly is grateful for your patience while he slowly and carefully disarms the safety measures he put in place to survive. The fact that he even allowed you to touch him like that at all was a monumental act of trust. And why not? You are incredible after all.

I'm going to go ask my elf for a kiss now. And then cry in my cup.

[nikibogwater]

Actually while I'm thinking about it, I just wanna say that the more live-action remakes Disney shlups out like shoveled manure, the more amazed I am that Cinderella (2015) exists. It breaks literally every standard of Disney's LA remakes.

It's not a shot-for-shot remake of the original 1950 animated film, though it does include small references and homages to it, but only when such things can be incorporated organically into the story.

The creators understood and respected the cross-cultural significance of the Cinderella story. They didn't want to "fix" it, or add some wacky twist to it, they just wanted to make the best possible version of the Quintessential Cinderella that they could.

Everything that could be done practically was done practically. The carriage was a real, the horses pulling it were real, and all of the other animals (with the exception of the mice and lizards, since their performance was a lot more involved than the others') were real living animals, the lizard footman and goose carriage driver were wearing prosthetics instead of just having their animal features added in post, the Fairy Godmother's dress had little LED lights sewn into it so that it would actually glow for real, the ballroom set was built by hand and included real chandeliers with more than 2000 total candles that were all actually lit for the scene, and I could go on but you get the point.

There's a ton of attention paid to little details that make the world feel real and lived in. Ella's shoes are always a little scuffed and dirty. Her farm dress is faded and wrinkled. When she breaks down and runs away to the woods, she rides her horse bareback (which, once again, was a thing Lily James actually did, no stunt-double or editing in post), because not only is that something a country girl like her would know how to do, but it also makes sense that with as upset as she is, she wouldn't want to waste time with saddling the horse. When she's dancing with the prince, it's visually obvious that he is leading her and giving her cues because of course Ella wouldn't know the latest ballroom dances, and would need him to guide her through it.

Hey speaking of dancing, y'know what else this movie does that no other LA remake has been allowed to do (at least not to this extent)? ROMANCE. Land sakes alive, this is one of the most unabashedly and yet still tastefully romantic movies I've ever seen. Ella and Kit are just oozing romantic chemistry from the moment they lock eyes for the first time. It all comes down to the fact that these two characters both have the same core values of courage and kindness, which makes their admiration for each other feel grounded and believable. Richard Madden also really sells Kit's feelings for Ella with the way his eyes go all big and soft whenever he looks at her. And don't even get me started on Lily's performance as Ella. Her quiet awe that someone as powerful as the prince loves her. The timidity and fear that she's not really worthy of that. The selfless determination to protect him from her family's cruelty, even if it means she'll never see him again, I'm just-- *banging my fist against the table and screaming into a pillow*

Absolutely god-tier costume design. No notes, I think Sandy Powell's work speaks for itself. Btw, in case you were somehow still wondering, yes, Ella's ballgown is fully practical--those layers upon layers of dreamy silk skirts are real. CG was only used to brighten up the blue color to make her stand out from the crowd more.

Wicked stepmother was allowed to actually be wicked. The movie never tries to make you sympathize with Lady Tremaine, or shift the blame off to someone else. And her villainy is given an extra layer of depth with the reveal that she is a dark reflection of Ella. They've both lost people they loved, but where Ella refused to let her grief get in the way of kindness, Lady Tremaine became utterly consumed by it. She views the death of her first husband as a sort of twisted justification for pursuing all her worst impulses. She despises Ella for her ability to flourish even while enduring terrible suffering, for being everything Lady Tremaine was either unable or flat-out refused to be.

Also Cate Blanchet absolutely SLAYS in this role. Hands-down my favorite portrayal of the wicked stepmother character.

Anyways, TLDR: Cinderella (2015) is the only Disney live-action remake that can justify its own existence and that's because it actively defies everything the LA remakes are today.

[fruityroth]

Just something on why representation matters: even the smallest bit of seemingly the most miniscule part of someone's identity being shown will make someone out there happy. It can be the most minor thing in the world to you, but someone, somewhere, will be absolutely ecstatic to see a part of themselves in one of their favorite characters.

Example: I seriously love left-handed characters. As a lefty, this is super cool to me. Seeing someone who uses their left hand in media will always make me smile, and it makes me feel more connected to the characters. Some examples: Ruby Rose, Weiss Schnee, Sephiroth, and, of course, Link. Like, this is why I loved The Legend of Zelda so much as a kid. Link has historically been left-handed since the very first game. Seeing Link pick up the Master Sword in his left hand, being called the Left-Handed Hero, and generally just be awesome while also being a lefty, makes me giddy to this day. It's just such a positive representation of left-handedness, and that probably doesn't matter to *anyone* that didn't grow up as a southpaw, but it makes me happy.

That's also why it's a shame that he's no longer left-handed. Not only do I feel less connected to the character who was, for the longest time, my absolute favorite hero (a pot-smashing, grass-cutting role model, one could say), but it also feels like they cut out a core part of his identity with that small change.

I especially felt disconnected after reading about why they made the change. Apparently, according to an interview, they switched for wii motion controls, since people hold the wii remote in their right hand regardless of "hand preference" (those were the exact words used). I, uh...I don't! I have, and always will, hold a wiimote in my left hand. Learning that *this* was the reason for them cutting out such an enormous part of the identity of my childhood role model, the Paragon of what lefties could be, seriously pissed me off. And again, this probably doesn't matter in the least to anyone who isn't a lefty.

In short: diversity, inclusion, and representation don't have to be massive. It doesn't have to take up the core of a character's story arc. Even something as simple as the character's *dominant hand* can make people feel seen.

This is also why I don't like it when people say not to have representation for representation's sake. "Oh, it's just tokenism if you say that a character's gay and do nothing about it!" No. No, it's not. It increases diversity, it makes people feel closer to your characters and story, it gives positive representation of usually marginalized people (including lefties until recently, believe it or not!), and it adds an extra layer of depth to this collection of traits that you're passing off as a person.

Even if there's an argument to be made that a character is just the "token gay," or the "token PoC," or whatever, it also shows that people from those communities are capable of living normal lives in society, rather than conforming to whatever stereotypes apply to them. I would much rather a writer add an identity to a character and then not mention it much than they try to make a story arc around it that comes off as anything-phobic.

Again, in short: representation matters. Never say it doesn't.

[creation-help]

Advice and tips on how to make your character feel more genuine/real

- Pettiness and shallowness. Obviously it can manifest in different ways, but IRL everyone has at least one or two little things that they're a bit surface level and "Just because!" about. Be it clothes, how they do certain rituals, what color m&ms they prefer ect ect. It can be little details or even major characteristics, and depending on which (and what) they are, it can be really telling about the character! Plus, it just adds a little extra depth and fun. Some examples including but not limited to: Being fussy over getting their clothes wet or dirty, only preferring some items because they look good, insisting on doing some action or tradition exactly a certain way, disliking an aspect of a thing or a person because they just don't like it, and so on. Obviously the big worldview points like morality and beliefs are very important, but when you've figured those out, take a moment to think about the smaller, everyday things your character feels about the world around them. No matter how good or wise a person is, they'll still always have some little thing that they can't give some profound noble answer to. Use this to your advantage to explore your character's shortcomings or flaws!

(In the same vein, Pet peeves is another detail that can flesh out a character!)

- How does your character perceive things? What do they notice about people first? How would they talk about, or describe another person to someone, if asked? How would they describe themself? And why? Just some things to consider. If your character maps out all the little details and deeply analyzes everything they see, it'll show in their interactions very differently than, for example, if they have the perception of a cabbage and are more oblivious than the love interest in a teen drama that the writers are stretching out for five seasons for no reason. Ykno.

- Additionally: what's their opinion of the people around them? Or if you've already mapped that out, what's their opinion of people they've never met before, or people who aren't in their immediate bubble, friends of friends, relatives of relatives, neighbours, or celebrities, mythical/historical figures and so on. Delve into hypotheticals sometimes, it can help you exercise your knowledge of the character. Even if none of these encounters or situations would happen in Canon.

- I'm sure you've already figured out what your character is most passionate about, ykno, whatever drives the story and impacts their relationships with other characters. But how about stuff they really don't care to think about? Just shrug? Not interesting? Doesn't pay attention to this? What is low on their priorities? It doesn't have to be negative (but can be!), it can just be "Meh", or something your character hasn't even noticed before, simply because it's not in their thoughtscape to think about.

- Does your character have any of those "What? I thought everyone did that/thought that/was like that!" - things? What do they take for granted, or weren't aware isn't a universal experience? Did they have a wildly different experience with something that most other characters hadn't even thought of? And yes I understand this is good for exploring trauma and other angsty things, but besides the obvious, think about maybe something that could be related to your character's species/living environment/abilities/opinions ect. This is great for exploring cultural differences, and anything that takes place in a fantasy setting. Very useful for villains and heroes alike! It's insightful. Everyone has small little perceptive differences or big and small thoughts that for some reason just haven't been properly challenged yet. Or brought up even. For whatever reason. Explore maybe what that reason could be, and figure out why it's been unchallenged for so long.

- Imperfections. Little divergences. It's fully possible to write a compelling and genuine feeling character using just archetypes, if you really explore them deeply. And whether you're doing that or not, think about the lines and molds you've set your character into, and let them spill out of them a little bit. Can be one huge aspect or one teensy detail, but make some diversion. Some crack in the picture. Doesn't have to be a flaw but can be! Just have some little aspects that set them apart and make the character themself. Get weird with it. Getting weird is one huge way you can truly make a character stand out and feel more unique and, oddly enough, genuine and real. Actual people have little oddities or things that don't line up with everything else about their person. And again it doesn't necessarily have to be anything big or shocking, in fact I'd argue it's even better if sometimes it's just a small, very ordinary, humanizing detail. Maybe unexpected, or maybe just something that doesn't factor into the surface image your character has. Think about characters similar to yours that you see often. What traits do they all share, or most usually have? Think about the kinds of people your character is inspired by. What are they often like? Make a diversion from that. Make multiple even? It can be the most random thing but think about it, even if you threw a dart at a wall of sticky notes, really chew out what this little thing says about your character. And focus on little cracks, imperfections, diversions and other odd details of your character. Over time they can grow bigger, or maybe not.

- Keep a clear picture of who your character is. Sounds obvious but I'll elaborate. Your character will obviously change and develop over the time you're working on them and whatever story events take place but I think it's very important to keep in mind who they fundamentally are. Basically I'm saying that try to keep them in character, yes even if you did drastic character development, you can still show that it's the same person in other ways even if one of their core traits was flipped. Be aware of what things will never change about your character no matter what they'd go through. Keep some consistency. Consistency matters alot in making a character seem genuine and, ykno, a good character. Even if that consistent trait is that they're inconsistent! The character can be that, yes, but as their creator, you should still keep sights of what's consistent for this character, you feel? If your character is a glunk of slime that slips out of it's container constantly and subsequently molds into whatever situation it gets put in, that's not really a character, that's.. Idk, plot device..? I know this may sound contradicting to my previous point but I fully think that, and this one can and should coexist.

You need to simultaneously be aware of the ways your character will differ from something and be fluid, and the ways your character will not bend, and cannot become. It's simply a matter of knowing their boundaries and restrictions, knowing which way they can lean and which way not. Obviously this'll be up to you as their creator, bc yeah you're allowed to drastically edit your character if you feel like it's for the better, but try to commit to that change then. Don't let the character slip from your hands, or let the story bend them into whatever shape it needs to make the plot go forward. Your character, and more importantly you, should be in control of that.

I emphasize the point of you controlling your character and not the other way around also. I've seen some character owners slip into "Well it's just what the character would do! I can't help it, it'd be out of character if they didn't do x!" even if the thing is completely awful, doesn't fit, or would ruin an aspect of the story. A smart writer will know how to work with your character's traits in a way that prevents them from running off the tracks and becoming their own little gremlin, while also complying with the story. Respect your character's.. Character, while also respecting yourself and the point of the story. This is even more crucial if it's a roleplay character, by the way..

I'm just saying, find ways to write the story in cooperation with your character. That means knowing what situations to avoid and which ones to steer for, in order to keep your character functioning with the plot and other characters. Sometimes you simply have to prevent some event from happening, or some characters from ever meeting, for the sole reason that it wouldn't make the story work the way it should. Or the way you want it to. You hold the pencil, be aware of what that means

[blindtaleteller]

tags again.

Ok friends, this has bugged me for awhile now so help me solve it.

In LOTR we're giving two contradicting depictions of Elves and their horses: the Glorfindel approach and the Legolas approach.

In the Glorfindel approach, we're told through various references that he rides Asfaloth with a saddle, stirrups, and reins.

While in the Legolas approach, we're told instead that the "Elvish way with all good beasts" is to ride them with none of these items and direct them solely with the spoken word.

So how do we square these, friends?

Extra points if you give me your unhinged headcanons about this in the replies/tags. I want to hear all about those.

[everrainrp]

𝚎⃨𝚟⃨𝚎⃨𝚛⃨ 𝚛⃨𝚊⃨𝚒⃨𝚗⃨

"The rain here is ceaseless, but it is essential for our way of life. For all of our lives."

"It's just an early coldsnap, it's nothing to worry over."

"I'm not worried about the coldsnap directly. The fish are becoming less and less numerous as this 'coldsnap' drags on. Our stores are running low, we haven't been able to catch enough to feed ourselves and still have some to preserve for leafbare!"

"Our stores can't be looking that dire... Are they?"

"I'll put it this way for you; our stores won't last us to the first snowfall at this rate."

•❅──────✧❅✦❅✧──────❅•

Welcome to Ever Rain, an upcoming discord based WC inspired roleplay server, where we follow the lives and legacies of five Clans that inhabit the uppermost temperate rainforests of North America.

Ever Rain is a partial sandbox roleplay, encouraging members to create their own plotlines that have effects on the world around them, while maintaining story arcs in the background that add depth and shape to the world of Ever Rain that players can interact with, fully being able to immerse themselves.

What Does Ever Rain Offer:

A welcoming and comfortable environment for all. Ever Rain is LGBTQ and Native run, and takes great measures to ensure the safety and comfort of its member base.

A partial open world setting that allows for primarily character and player driven plots to take the stage, complimented by an overarching story arc that will allow players to further interact with the world as it changes.

An 18+ (SFW) environment. There will likely be a two months grace period for those about to turn 18, however this will be monitored very closely to ensure the safety and comfort of everyone involved.

Flexible but realistic character creation with the option to fully utilize real cat genetics for kit litters.

Flexible and relaxed activity requirements.

Relaxed Application process that does not require you to have a fully realized character to join (sans HR Applications when they open), nor expects you to be perfect in your writing.

A literate server that requires at least five lines of writing per post.

QOTD both for you and your characters!

Daily and Weekly optional prompts that relate to any current story arc that can be the basis for threads, solo writing, or art.

Dynamic Clans with their own history, beliefs and cultures as they have grown to adapt to their environments.

Clan events and server wide events such as festivals that allow for more inter Clan interactions outside of Gatherings!

Generalized weather and Clan unique news that change at the start of each week.

And more!

•❅──────✧❅✦❅✧──────❅•

HOME | GUIDELINES | CHARACTER CREATION | EXTRAS | LORE | STAFF APPLICATIONS (CLOSED) | CHARACTER APPLICATIONS (THORNRUSH OPEN) | WEBSITE | PREFIX REGISTERY

[banner art by me!]

[trinkerichi]

Sammymax ramble waaaah

Thinking a lot about season 3 and how genius it's design is compared to how arbitrary the first 2 games were set up. I mean i love them all but s3 is just leagues better gameplay wise. Max having magic powers gets rid of the tedium of backtracking, makes the jokes less predictable, let's the puzzles be more creative in a way that still has some logic to it, adds a REAL hint system, makes the gameplay more engaging overall, AND it directly causes all of the internal and external conflict of the story. Now it isn't "wacky things happen and Sam and Max are there", now THEY are the reason that the story is happening. And THATS the only way you can do a serious story in this series because like, Sam and Max dont value ANYTHING in the world except for each other. They barely care if their home gets destroyed or their other friends get exploded or the apocalypse is happening, as long as Sam's there to be the setup to Max's punchline.

AND THE WAY IT IMPACTS THEM TOO. it's such a good way to show their characters and analyze how they feel about a new serious turn in their lives, and I LOVE that they're not even subtle about it, with Sam actually talking about how it makes him feel, and Charlie psychoanalyzing Sam at the end of 304, playing up his insecurities to make him give up fighting. (It's amazing how characters in media rarely talk about their feelings in depth, unless it's an emotional cry-fest.)

Cuz despite Sam's fears, and even though Max is changing physically throughout the season, he's the only one who stays the same emotionally. Max just thinks the powers are fun! And he's here to help Sam out and have a good time like they've always done.

But Sam being the analytical one has to realize how much danger Max is in now, and how all these new characters wanna kidnap or hurt his little buddy, and the big conflict of this entire thing is Sam having to face his own vulnerability that he doesn't want to admit. Because his relationship with Max has always had a power imbalance, and it's one Sam is comfortable with. He likes being the leader. He always wins when they wrestle over the phone, he's the intimidating one when they encounter an enemy, and he's the one solving the puzzles. Even when Max is helping, he's mostly moral support and an extra gun hand. Not to say Max isn't as capable as Sam is, he's just taken the role of being the absentminded wildcard, and Sam likes to be the protector.

But the more powerful Max becomes, the more Sam feels that role being challenged. Now he has to follow Max around and give hints, while Max uses his power to solve the puzzles, culminating in Max being the only character who you can actually control and walk around at the end of 304.

And this doesn't manifest in jealousy or anger at all, that's not who Sam is, but it forces him to realize that he isn't Max's protector anymore, even though he still tries to be. Most telling when you read his mind and he says "Soon Max won't even need a partner..." As if being the big strong and smart one was the only reason Max wants to work with him.

Sam is a confident guy but still has his insecurities, and these are played up to a cruel extent in s3 with the constant fat jokes and puzzle solutions that are embarrassing for Sam, their home base, the office being off limits, and Max being taken away or in different forms constantly. It's telling that even though Max doesn't seem to be letting the power go to his head (besides his usual teasing), Sam worries that if Max doesn't NEED him around anymore that lessens his own worth. Even though Sam is the leader, he only really does this job because he loves to spend time with Max, and that's not something he fully realizes until he starts having to face the possibility of losing him. Ultimately admitting that if it really came down to it, he'd be able to go on living on his own, and could continue doing his job in his own noir detective style way, but he wouldn't be happy.

Max doesn't tend to talk about his feelings but we can still see how he feels through the Super Ego. The representation of the part of Max deep down that resents his lack of ambition. Though the superego takes the place of a villain of sorts he really is the part of Max that wants to be something greater than he is. To live up to his own potential, when he's just too scatterbrained to do anything about it. And the part of Max that seems to hate himself in a way. It's a good contrast to have with Sam I think. Neither of them resent the other for their roles in the team, but it's the source of their own insecurities. At the end of it all, they love each other so very much, but they're both very selfish too, and want to be more than what they are. It's only human! So to speak.. 

I wanna get back to Sam talking about going on without max, cuz I think that's the real tragic part of all of this. The cartoon is a whole different thing from the games but Sam had about the same reaction to Max being hurt. Without Max around he has no restraint and becomes violent. But whether or not he'd be able to move on, Sam would still be able to take care of himself.

But I think the cartoon is the only time we've gotten to see Max on his own, like after the “breakup” in the final ep or when he thought the guinea pigs killed Sam, HIS reaction was usually to cry, panic, and/or blame himself. In the case of the breakup he just completely gave up on everything. I don't think Max would be able to get along without Sam around. Sam kinda has a sense of purpose that keeps him going, with his sense of misguided justice and crime solving, but does Max have that? He’s just along for the ride. Thats why I think (besides the story needing to wrap up quickly), Max would be so drastic as to alter timelines just to get back to Sam. He has NOTHING else, the poor little guy.  

Man last thing is I wanna talk about the different endings to s3 too. I know they only exist because of creative differences in the writing staff but that makes it even BETTER. When Sam gets to recall the good times with Max he can either remember the crime fighting or the adventures. But the choice is really “What is Sam’s purpose? To do his job, or to have fun with Max?” If you choose crimefighting he says something along the lines of  “Of course I could keep fighting crime on my own, but I’d be depressed doing it by myself.” With adventures he emphasizes that he NEEDS Max by his side to discover the mysteries of the universe! It sums up the resulting endings very well. 

If you have him reminisce about the crime fighting, Sam puts his hat back on after his walk to the harbor, preparing to go back to his job like he’d been doing. It’ll never be the same, but crimes always need stopping after all. I imagine he’d just become Noir Sam forever. Brutally carrying out his missions while resenting the world that took his little buddy. 

If he remembers the adventures, after Sam walks to the harbor he takes off his hat and leaves it on the wall.  Max never cared about justice, he was always in it for the adventures. If Sam’s purpose is to have those adventures too, what’s the point without Max? What is he even going to do now? 

There’s a few tiny differences too, like how in adventures, Max gives a simple smile when Sam hugs him, but in crimefighting Max looks kinda confused? 

But the biggest thing of course is that, if you choose crimefighting, Sam and Max stay in Sam’s timeline and walk off into the sunset preparing for their next case. Sam gets rid of the time machine for good, and they keep things how they always were before like nothing happened. 

if you choose adventures, Sam decides to go back in the elevator to Max’s timeline. Abandoning his own and even nearly leaving his hat behind! They decide to aimlessly travel in the machine just to see what happens. It’s much more vague than the status quo of the other ending, suiting for the more “max themed” option.

It’s hard to decide which ending is sadder honestly. At their core they’re both the same. The version of Max we’ve known since episode 205 was doomed the second he found the first psychic toy. I’m assuming the Superego was lying and there was nothing to be done about the tumor. He’s just gone. 

So this new Max, with a new boatload of traumas that he’s NEVER going to acknowledge again, can go along with Sam and they can both pretend things are how they’ve always been. Sam can go back to crimefighting with past Max and they’ll figure it out from there. With their half destroyed office and their old friends and a replacement DeSoto later on. 

 OR, he can leave it all behind and go into the unknown with past Max. Man think about this ending from the side characters’ perspective!! They tell Sam there’s nothing they can do to bring Max back, they watch Sam silently walk to the harbor and then... they never find a trace of him again. geez

for THAT matter it’s implied a role reversed season 3 happened in max’s timeline with only minute differences. so everyone in max’s timeline will never see HIM again in the crimefighting ending. they’ve messed up the timestream but the equalizer is the timeline will either have both sam and max, or neither one. 

[skeleton-klng]

After watching the amazing digital circus yesterday and having time to think about it I have some thoughts™.

1. First of all it's AMAZING. Go watch it now if you haven't already. The pilot's about 30 minutes.

2. I'm calling it now Caine is hiding something but he genuinely doesn't know how to leave the circus either. Or if he does it involves the human in physical space dying or something equally terrible.

3. I'm also head-cannoning that 'Caine' was a place-holder name by whoever originally created the circus. If they had gotten to finish it, they would have given him something more ringmaster-y.

4. I also like the theories that Pomni is a trans-woman in the real world. I think it could add some extra depth/drama to the whole new body thing.

5. I am curious how much of their old lives the characters remember? We know they don't remember their names, they must have some memories otherwise Pomni wouldn't be so shocked/horrified by her new situation. Do they remember family members? their childhoods? Can they recall specifics or just vague generalizations about the real world?

6. Are we sure yet if this is more of a sword art online situation or a SOMA situation? And which would be more horrifying?

[mr-president]

what is fear and hunger it looks cool

CW: gore, blood, and body horror; some spoilers for F&H 1 and Termina

It is very cool!!! Fear & Hunger is basically an indie rpg that reimagines historical “turning points” in a lovecraftian horror aesthetic. Counter to other indie rpgs (like undertale or omori), F&H revels in its ethereal, gorey beauty:

The gameplay further sells the “horror” aspect of the game by being extremely punishing—one missed line of battle text or failed coin flip, and you could be sent right back to the beginning of the game with nothing left. Not to mention, items in the game are few and far between, randomized to add that extra level of difficulty. The enemies are challenging as they are terrifying in design—everything about this game screams “horror.” If you want to learn more abt F&H’s incredible game mechanics, SuperEyepatchWolf already did a video that goes in depth abt it:

For me, other than its mechanics, what makes F&H so good are its characters, particularly in F&H: Termina. There are 14 main characters and 8 playable characters, but each are distinct from one another and even if you don’t play as all of them, all 14 are bound to make an impact in your run.

For example, one of the biggest shocks in the game is when Tanaka, the salaryman, inevitably dies in your first run. He’s not a bad dude, in fact, he’s probably one of the kindest characters in the game. He’ll put himself in danger to give Olivia, the botanist who cannot walk), a wheelchair, and he’ll help you out if you’re an idiot and get stuck in a well.

But his sudden death (be it beheaded by bonesaw, being shot by German revolver ocelot, or transforming into a lovecraftian monster after being driven to insanity) shows how the world of F&H is indifferent or even hostile to average people. Tanaka’s death is often the first wake-up call to the legitimate cruelty of F&H; very easily his fate could be yours or another character’s.

Which makes it all the more remarkable when you somehow do keep Tanaka alive and he forms a friendship with Marcoh, the boxer, and Marcoh teaches Tanaka how to fight! And if you fight Tanaka after this, he’s legitimately stronger.

If Marcoh mutates into the Monster, Tanaka will be nearby, but rather than being kind of a pathetic little bitch, his resolve is steel and he wants to avenge Marcoh for the gods’ injustice against him.

And this all happens OFF SCREEN. Without much player input (aside from keeping Marcoh and Tanaka alive).

And there are many of these interactions (Marcoh and Olivia, Marina and Levi, etc) where the player is rewarded for keeping characters alive via unique interactions keying into their personalities/philosophies. I haven’t even discovered them all, but each party talk and playthrough reveals more and more abt these characters. And in a game where knowledge is so essential, that’s beautiful.

F&H 1 doesn’t have explicit character interactions, but what is there is fucking hilarious. Cahara the Mercenary, will ask Ragnvaldr the Outlander not to “destroy my anus with those big muscles of yours” when they fuck on a ritual circle. When you get thrown into the primordial green soup, you find Enki the Dark Priest in a random hole in the ground, and instead of acknowledging that, he just spits lore at you before rejoining your party.

Moonless, a dog that looks like this

protects the little Girl in this hellscape. This game is just as committed to its gameplay as it is the characters living through this hellscape, and that’s why I love this fucking game.

You have to be a masochist to play it, but god dammit is it worth it to see these silly little characters have their silly little interactions, being human in the face of absolute terror and starvation.

This answer is probably completely deranged and nonsensical, but hope it helps? :3

[simmancy]

I’m planning on playing a Stardew Valley-inspired save and was wondering what mods you’d recommend using.

I don’t expect to get things 1:1, but I’d like to have some mods that add and expand on the gardening system and relationships.

So first as a disclaimer I'm going to out myself and say I'm not a SDV girlie--I grew up with Harvest Moon/Story of Seasons and they're what scratches my cozy farming itch--but they're similar enough and I do have a whole ass farm save to one day return to so...

For vanilla gameplay, you can get a basic cozy farming save going with Cats & Dogs, Seasons and Cottage Living but these mods SHOULD enhance your gameplay overall. I've used most of them to varying degrees in the past--anything I haven't used I marked, but they come from creators that I highly recommend.

As always, read the requirements for each mod! A lot require the XML Injector, and relationship ones often require the Mood Pack.

This mod list was written on Patch 1.98.158.1020 / Mac: 1.98.158.1220 (June 13 2023).

Mods for Better Relationships

First Impressions by Lumpinou: I know I always suggest this one, but if you are doing ANY sort of save where romance/relationship building is a core part of it, you want this! Starting off strong with a villager is a good thing! OR you can have enemies-to-lovers!

RPO by Lumpinou: I also always suggest this one. If you don't have it, please get it! It's beautiful! It's powerful! I honestly use all the modules, but I would specifically suggest Modules 15 & 17 here as they add to relationships. Module 17 is the new RPO Attraction system. But it's nice to have the rest of it too if you don't already, especially if you're planning on kids in your save. It really adds to the gameplay to find your ~ideal partner~ and then it turns out they don't want kids when you do :O

Road to Romance by Lumpinou: This adds a romance skill to the game, with custom interactions. Add in for more in-depth romance. (It also adds in rabbit hole dates which I like to get sims offscreen for a minute)

Have Some Personality Please! by Polarbearsims: This one I suggest to help with autonomy. You want your potential love interests to act of their own accord? Their traits to matter? Get this. It'll help. It can also block off romantic interactions :) so you feel like you've earned the heart events you're imagining

Wonderful Whims by Turbodriver: I'm not currently using either WW in my saves but I would suggest it for the attraction system, as again that will help with your quest for love. It can work in tandem with the attraction system from RPO as well :)

Home Regions by Kuttoe: this isn't really a relationship mod, but I would use it anyway JUST to keep your SDV sims in town where they belong... and keep the other townies OUT. You can set which TS4 worlds you want to see overlap from as well (like if you want some out of town visitors from Windenburg showing up, etc). Fun fact, it also fixes the problem where all your townies are Japanese so

No Randoms by Zero: and finally, this also isn't a relationship mod but it's pretty handy. Maybe you're like me and you don't want the default Mayor in your cozy farm save. You created your OWN characters to fill that role. Well, with this, you can assign the NPC roles in the game. Henford-on-Bagley has several NPC roles that play into the "story" of the world (Mayor, Garden Stall owner, Agatha & Agnes, Creature Keeper, etc) so it's definitely helpful for that!

Mods for Better Farmlife

Free Range by lot51: this mod lets your cows and llamas roam freely without the Animal Shelter. They DO make messes that you'll have to clean up though (cow pies, trash, etc) and there's a few other extra little things like fairy circles that can spring up :)

Bug Life by lot51: and THIS mod brings bugs to your active lots. I always did a lot of bug collecting to make extra money in my Harvest Moon games.

Bird Life by lot51: I have NOT tried this mod out yet but I'm adding it already because if you're going to add Free Range and Bug Life already... Enhance the outdoors! Why not! Bring your farm to life! BIRDWATCH! (has anyone else played Wingspan? great game)

Farm Animal Set by TheKalino: this adds more custom animals to the game, some of which you can harvest wool or eggs from. Some are just aesthetic. They're added to the Animal Shelter. Nice to expand your farm options, if that's something you want to do!

Cottage Living Tweaks by Zero: specifically Agatha & Agnes are Mortal; Village Gossipers are Residents; Dogs Chase Foxes More Often; and Patchy Scares Foxes (that's right. Use that scarecrow for something). These are just little tweaks to help you out. To be fair, if you're using Home Regions I don't think you'll need Village Gossipers are Residents but I also don't trust TS4 and I used them both at the same time in the past so.

Better Animal Hygeine, Better Animal Hunger, Better Animal Activity by LittleMsSam: these are small tweak mods just to make your life easier with the animals. :)

Calm Bees by LittleMsSam: if you want to add beekeeping to your farm (I would), this is a nice little addition to calm your bees tf down!

Flower Arrangements slower decay by LittleMsSam: I don't remember the Harvest Moon game I got REALLY into doing flower arrangements for, but there was definitely one and I definitely spent a lot of time doing them and gifting them to my love interest. So I'm suggesting it for that reason lmao

More Woodworks by LittleMsSam: you know, just in case your farmer is really into crafting...

Pets Everywhere by Kuttoe: adds stray cats & dogs to every world, including Henford-on-Bagley. Nice if you want to play it as if your farmer befriends the dog and they join the household that way.

Dairy Cowplant by Icemunmun or Cowplant Farming by BrazenLotus: you could have both of them but I think it's just easier to pick one. These add new cowplant varieties that make... milk! They can also make different kinds of milk.... See below with the harvestables... I feel like the Cowplant really does fit with Harvest Moon/Story of Seasons' level of quirky, you know?

Functional Mill, Plant Milk Press, Dairy Churn by Icemunmun: these are custom objects to, again, add onto your gameplay. They work with the custom harvestables below to add some more stuff for your farmers to create. And they're very on theme.

Cheesemaking Skill by BrazenLotus: another custom object/mod/skill that adds to what your farmers can make. I have NOT tried it yet but I'm honestly about to throw it into my game today because I'm obsessed with the very IDEA of it. I've used BrazenLotus mods in the past so I can recommend

Custom Recipes and Harvestables

One of the best parts of these cozy farming games has always been the cooking, right? The custom harvestables will add more variety to your farm... The custom recipes are just my suggestion to spice up your game. I am a glutton for custom recipes, tbh. Besides, the way to a love interest's heart is through their stomach, right? What better way to

Custom Harvestables by Icemunmun

Custom Foods by Icemunmun (requires custom food interaction)

Custom Foods by BrazenLotus (there are a LOT here--BrazenLotus has a whole homesteading section which is really cool and was not there the last time I went to their site and I'm literally obsessed)

Grannie's Cookbook by Littlbowbub

Oni's Food Mod (I use this one the least--right now in my "gutted' mod folder I only have Grannie's Cookbook--but I've used it in the past and still highly recommend)

Hopefully this helps! Happy simming!

[profoundbondfanfic]

An Accounting of Contradictions

An Accounting of Contradictions by TheTwistedWillow (@thetwistedwillow) Rating: Teen Word count: 14k

Cas is a bank teller who falls, hard, for the handsome customer in the black muscle car. He looks forward to his Fridays, when the mysterious man puts his deposit in via the bank drive-thru. They slowly get to know each other in their weekly 5-minute interactions. Will there come a day when Cas will finally get to meet Dean face-to-face?

Listen… things are tough right now in this world of ours. Most days, it feels like we're living in the flaming This is Fine meme, so why not take a break for some fluff? 

An Accounting of Contradictions is exactly what you need. Set in a world without monsters, Cas is just a regular guy who leads a normal, mundane life working as a teller in Sioux Falls. He's content with his routine life until a gorgeous man in an equally gorgeous car begins to frequent his bank window. Despite not being able to see each other, the two form an easy rapport, which turns into pining, obvious from both sides despite the story being in Cas's pov. 

Dean is extra sweet in this story. This writer's version of him is one never hurt by the pain and suffering the Dean we know and love is used to. It's a breath of fresh air sometimes, to read who Dean might have become without the hefty dose of trauma. 

One thing I love in any story is the inclusion of some of our favorite friends and family; this story doesn't disappoint. While our glimpses at Sam, Eileen, Charlie, Dorothy, Gath, Bess, Benny, and Jo are brief, they're well done and entirely in character, which isn't always easy with a limited word count. They all push along the story and add depth to Dean's character as Cas gets to know him at the same time we do. 

Overall, An Accounting of Contradictions is a sweet story about taking chances, and breaking out of a mundane life for the chance to experience something new, maybe in a way you never have before.

[narrativelysignificantturtleduck]

my general take on the "deserted the military" part of the piandao backstory is that i prefer a slight tweak where it's more of a "he didn't re-enlist when most people would" kind of thing, a "served his time and got out" sort of situation. a little odd, but technically above board. it fits better with him training zuko - i can't see allowing a traitor to train the prince, even if he's the unfavorite child - and doesn't conflict with jeong jeong and chey being the first deserters.

that said, i think people forget/don't know that after he left the military he "traveled the world for many years, studying under a variety of benders, warriors, and artisans." even if he did straight-up desert, that means the fire nation could've been searching the earth kingdom for years and only realized he was back in the fire nation when he started rising to prominence with his teaching business. i still prefer my tweak, bc it would make it easier for him to travel and study if he wasn't living on the run, but i think it's worth noting that piandao wasn't just able to stay in the fire nation as a traitor. jeong jeong wasn't stupid for fleeing into the woods. piandao had to flee the country too.

honestly in general i think people fixate too much on this part of piandao's backstory. imo the most interesting parts are the aforementioned traveling-the-world phase and that he was abandoned by his parents at an orphanage for being a nonbender. what does killing 100 soldiers actually mean for him as a character? we already know he's a badass, we saw him fight comet-powered firebenders and win. his parents abandoning him adds an extra depth to his relationship with sokka, because it reads as him trying to be the supportive parental figure that he didn't have at that age. that he's traveled the world explains his membership in the white lotus & his belief that the arts don't belong to one nation, plus it provides some fertile story ground. where did he go? what kind of people did he meet? how did his perspective on the war evolve?

like idk, the whole backstory is there on the wiki for everyone to read and i feel like the prominent part of it being that he killed a bunch of people speaks to an obsession with ruthless violence as cool that just fucking annoys me tbh

[thingummies-and-whatsits]

Lewis Fic Recs: In Other Lives

Alternate universes, near to ours. As usual this is far from exhaustive, so please feel free to add to the list!.

Distinguishing Features by divingforstones

6,594 Words, James/Robbie, Rated G, No Archive Warnings Apply Evil Twin AU. Robbie notices something different about James, though no one else believes him. There's just... less of him, somehow. A unique premise, brilliantly executed, as an exploration of what it means to truly know and care for someone.

Dreaming Spires by Hekate1308

6,027 Words, James/Robbie, Rated G, No Archive Warnings Apply Academic AU. James becomes a professor at Lonsdale College, and gets a chance to meet the renowned Professor Robert "Call Me Robbie" Lewis. This fic does a great job reworking each character into the new setting while remaining true to their personalities. Robbie especially is an ideal teacher with the warm affection and support he shows his colleagues and students.

The Theologian's Tale by Ygern

17,254 Words, James/Robbie, Rated E, No Archive Warnings Apply Academic AU. In the depths of his grief over Val's death, Robbie spends the nights before his departure to the BVI with a young theology student. Fate brings them together again and again over the years, and though bad timing and missed chances get in the way, the connection they made that first night never completely fades.

For the Love of Gummy Bears by redvalerian

2,445 Words, James & Robbie, Rated G, No Archive Warnings Apply Priest AU. Casefic. In a world where James never left the seminary, Father Hathaway brings Inspector Lewis a clue in a missing child case. James is just as sharp, even when not a detective, and the bond between him and Lewis still feels like home, even when they've only just met.

In Another Life by loves_books

2,409 Words, James & Robbie, Rated T, No Archive Warnings Apply Musician AU. Robbie, once a drummer for the band Endeavour, returns to the music scene—and to Oxford—for the first time since Val's death. During sound checks, Robbie notices the young guitar player who'll be opening for them, and discovers how much they have in common.

Equine Nine by McG

18, 215 Words, James/Robbie, Rated M, No Archive Warnings Apply Horse Trainer AU. After the death of his wife, Robbie returns to the UK to work as trainer and yard manager for the notoriously prickly James Hathaway. The author's knowledge of and passion for horses really shines through, and the details of the horse world are immersive without ever becoming overwhelming.

The Graveyard Shift by redvalerian

602 Words, James/Robbie, Rated T, No Archive Warnings Apply Hospital AU. Outsider POV. Established relationship - or is it? In this humorous oneshot, two nurses have a discussion about their colleagues behind the on-call desk, and a trip to the grocery store turns out to be quite revealing.

Só um beijo (Just A Kiss) by Ygern

8,655 Words, James/Robbie, Rated E, No Archive Warnings Apply. Hairdresser AU. When Innocent orders a rumpled Lewis to get a haircut before his speech the next day, he finds himself drawn to the hairdresser with the soothing voice. With the added bonus of getting to see James play with his band.

Thus the Quiet-Coloured Eve by misbegotten

3,333 Words, James/Robbie, Rated T, No Archive Warnings Apply. Coffee-Shop AU. Robbie tries out a new coffee shop and slowly falls in love with the owner. Such a comforting fic, the setting allows James to remain his usual self but without the added weight of detective work pressing down on him. Plus his guitar is an extra treat.

Competition by iloveyoudie

270 Words, pre-James/Laura/Robbie, Rated G, No Archive Warnings Apply Coffee-Shop AU. Laura and James watch the new guy at work in Laura's cafe, and decide that sometimes sharing is better than competition. This short little fic hints at so many tantalizing possibilities between them!

The Haunted Bookshop by owlbsurfinbird

2,178 Words, James & Robbie, past Robbie/Val, Rated T, No Archive Warnings Apply Bookstore AU with a hint of the supernatural. A mixture of melancholy and gentle hopefulness. A gentleman enters James’ bookshop one Samhain and finds a book that’s been waiting there for him for ten long years—and with it the possibility of a friend.

[theessaflett]

'A Real-Life Dawes' : Musings on Hell Bent, Witchcraft and the Sorcery of Cooking

There’s a line in Leigh Bardugo’s Hell Bent when the protagonist, Alex, realises that she’s been underestimating Pamela Dawes, her colleague and sort-of friend. Gathered after a particularly gruelling day - it’s a ‘saving the world before lunch’ sort of book - Alex looks at Pamela as she prepares and presents food for all the team and realises that she is, in fact, powerful. Surrounded by ghosts, curses, demons and prophesies Alex has never stopped to realise that there was a witch in her own house, all along: one quietly helping and healing through the sorcery of cooking. 

I love Pamela Dawes. It was one of the best days of my life when, at a Leigh Bardugo fan event in February 2023, the excited twenty-one year olds beside me in the queue quickly christened me “a real life Dawes.” “She’s even got snacks!” one cried as, concerned by the fact that none of them had remembered to eat lunch, I found granola bars in my bag and firmly offered them to the group. When I finally reached Bardugo’s signing table, I happily mentioned the comment and she was kind enough to see how much it had meant to me and continue the hype. 

“Oh my god, yes! You’ve got the hair!”

 It’s wasn’t just the hair, or the granola bars, or general lack of glossy femininity. Dawes is about my age, the same gap in years between her and the other characters in the book as there was between me and the twenty-one year olds in the queue. She complains about blood stains not coming out of clothes and rashly made plans which hinge too much on optimistic bravery and not enough on pragmatic strategy. And when the heroes limp home having heeded none of her sensible advice, she makes them hot chocolate. If it’s a particularly bad day she adds an extra marshmallow. 

It’s not surprising that Alex, the main character in the Ninth House series, takes a whole book and a half to realise that Dawes is magical. Dawes is quietly anxious; Dawes is quietly sad; Dawes is quietly lost. Dawes is, overall, quiet. A woman who has gotten lost inside the depths of academia and academic promise and wants to stay there, isolated and safe. To a brash, bold survivor like Alex, Dawes seems weak. Someone who hides, even from herself. But by the end of Hell Bent, there is the promise of more. Dawes is, finally, beginning to realise her potential.

I lived in London for seven years. For those seven years, I didn’t really cook.  There just wasn’t time, and besides, cooking just didn’t seem appealing when I was constantly on the edge of nausea. A mixture of travel sickness, tiredness and stress meant that I never felt well, my upset stomach such a constant that I stopped even noticing it. It was only when a colleague of mine described the symptoms of her chemotherapy treatment and I realised it was what I pretty much felt like all the time in my day to day life that the reality of the situation truly hit.

This isn’t working. 

I moved out of London soon after, but then: 2020. 

I tried to use all my free time in my family home to get back into cooking - I’d loved cooking as a teenager, surely it was possible to learn to love it once more - but the nausea remained. It’s not much fun coming up with new recipes when you have to lie in bed for two hours afterwards with debilitating IBS.

 September came and went. I moved into my new flat in Aberdeen; I started a Masters course, first in person and then online when the University gave up and moved the degree fully onto Zoom after Christmas break. 

First one person dropped out, then two. By the end of the Masters I was the only full-time student left. 

Still, I tried to cook. 

As someone with more food intolerances than would seem physiologically possible, my only chance of eating nice food is to make nice food. It felt like failure after failure. Pesto and pasta would work for a while; then it would make me ill. One week I’d be able to eat feta; the next it would give me acid reflux. Alone in my flat, lost in the depths of academia and hiding from even myself, I despaired at my situation. 

Someone who loved food, cursed to feel continually poisoned by it. 

Still, I tried to cook. 

A year went by, then two. 

I went to see a health specialist, who advised that along with the long, long list of foodstuffs I’d independently realised I couldn’t eat - “you’re the second most severe case I’ve seen in twelve years”- I also should avoid starch, and anything fermented. I stopped battling with tofu. I cut down on gherkins. (I refuse to not eat any gherkins. A woman needs reasons to get up in the morning.) Gradually, lopsidedly, in a very non-linear sort of way, trying to cook slowly turned into cooking. 

There are no guarantees with food. There is still the chance that a meal which worked fine yesterday will make me feel ill today. That bread is one day off? You tried to eat that cheese whilst upset about something? Forget about it. But as my life slowly levels, my ability to digest, to enjoy food seems to be slowly levelling with it. And, as it does, something else is slowly coming to the surface too.

To be a hedge witch is to be a witch alone. Classic descriptions of the witch type are ‘someone who practices rituals like tarot […] or has some physic ability […] a wise woman living on her own.’ The definition, as found on Mabon House’s website, expands to describe this woman ensuring the well being of those she loves though imbuing magical thoughts into everyday small tasks. Such as cooking. 

If someone was to ask me what sort of witch I aspired to be - not a topic of conversation which comes up very often, it has to be said - I would probably say hedge witch through sheer necessity. There’s not exactly a ready made, non-gender essentialist, queer-friendly coven knocking at my door ready to go, after all. But that’s not the only reason.

As this settling continues and I level out into my late twenties, as I finally have the space to sort through the baggage and trauma I’ve somehow acquired in the last ten years, it’s a relief to find truer versions of myself buried down deep under all the masks, personas and lies. 

The world wasn’t ready for me, aged 17. It wasn’t gentle. It wasn’t kind. 

So many things were lost in my desperate scrabble for survival. 

Cooking wasn’t the only thing to fall through the gaps. 

As I sit here writing this, however, I am a woman who is in the process of reclaiming herself. The reclaiming isn’t finished. I’m not sure if reclaiming can ever be finished. But as I look at the dried garden mint hanging from the wall, the incense smoke in the air, the flickering candle on the altar and the kettle on the boil I know that I, just like Dawes, am beginning to step into my potential.

If food is a hedge witch’s power, then I am becoming powerful indeed. Friends who come round to my house are full of home-made snacks and herbal tea by the time they leave. My parents might not eat the same meals as me - it’s just easier for me to eat solo when they have dinner at 6pm and I’m lucky if I’ve remembered about the concept of dinner by 8pm - but I often gift them little offerings, fresh from my own plate.  A roast potato each, eaten with much delight. An unexpected batch of stewed apples cooked with cinnamon and nutmeg, enough for all three of us. This year, for the first time, I’ve volunteered myself as the cook for Christmas Day lunch.

When Bardugo wrote the character of Pamela Dawes, she wrote a character for all of us who aren’t very good at remembering we’re the protagonists of our stories. Perhaps confidence, like mine, was forced out of us with blank looks and unkind jokes. Perhaps confidence wasn’t something we were very good at to begin with. It’s been a beautiful thing to see my own confidence grow this past year, every tray, pot and tin, every meal cooked, leading me back to my most magical self.

“You’re a real life Dawes!”

I’m beginning to think that those twenty-one year olds may have been right. 

[na102]

I've now watched both seasons of Wheel of Time and they're great!!! I haven't read the books and am curious- what do you like/not like about them, and would you recommend them? (Also are they gay)

Yay! I'm glad you like the show! I do recommend the books they obviously have their flaws but are worth it and while it's not direct I saw it as very gay.

The rest of this is a detailed rant going more in depth. With some (mild mild) spoilers

I really love the world building and detail it just sucks you in. The story arcs themselves are fantastic ive never felt such euphoria at climaxes than I do with this book series it's also the only one to ever make me cry same goes for the characterization. I could go on and on about what I love about this series. However I will sum it that for everything I disliked there is 10 more things I liked.

when it comes to female characters this is probably some of the best female centred fiction I have ever read pre Locked Tomb and Baru Cormorant. Just women who aren't completely men obsessed that are independent, brave, talented, heroic and just their own character. In addition many of them are ambitious.

When it comes to gayness that depends on how much you are okay with reading in between the lines. The earlier and middle books it is HEAVILY implied that many Aes Sedai are or have been at one point lesbian lovers "pillow friends". There is also some Polyamory (spelled incorrectly the one where it's people who share the same spouse but don't sleep with each other )

despite that distinction there are a LOT of women who are very *close* to each other including ones In The same polycule.

The books are very long that's both a pro and con.

One of the things I'm not a huge fan of is how the series does change genres. The 1st few books are more of coming of age and then you get court drama but the build up is worth and it's still a great read. It takes you through their whole lives. I recommend starting with the Prequel New Spring if u are going to read them it adds extra layers to the earlier parts.

The series also changes with the last few books( Robert Jordan passed away while still writing the series so Brandon Sanderson completed the books based on his notes). This is where a lot of issues come into play. With only notes he does wrap it up nicely however he does flub some characterization. The main issues center around the female characters.

Despite some of the great writing of women it is still written by a man a while back. There are some negative portrayals,stereotypes by Robert Jordan .They are also a little less free with sexual expression. There is way(way) less sex than the show but the characters are also a little younger and it fits the setting. everything else outweighs it. Believe me there are many scenes that are better and more intimate then sex ones.

It gets much worse when Sanderson takes over. A lot of the near canon lesbianism is removed and there are a lot of submissive portrayals of women in addition to just out of character behavior. However with the book wrapping up you are very much distracted by everything else going on and the ending is so well done and cathartic I didn't even really care.

But it was overall a groundbreaking work of fiction. To this day it is still my all time favorite series. I think it's the best epic fantasy series there is. There are so many different worlds and so many different stories within it. It changed my life.

Sorry about the rant hope this helps. I do 100% recommend the book series. I also recommend using your local library if possible cuz there are lot of books in the series and it can get pricy buying them.

[stockeds]

Creating Realism in Virtual Sets: Top Techniques with Unreal Engine

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1. Master the Art of Texturing

High-quality textures are the foundation of realism. Unreal Engine supports a variety of texture formats and materials to create lifelike surfaces.

Tip: Use PBR (Physically Based Rendering) textures to simulate real-world materials like wood, metal, and fabric.

Tools like Quixel Megascans provide an extensive library of photorealistic textures that can be seamlessly integrated into Unreal Engine.

2. Leverage Dynamic Lighting and Shadows

Lighting plays a crucial role in making a virtual set feel real. Unreal Engine's real-time rendering capabilities allow for dynamic lighting adjustments that mimic natural and artificial light sources.

Use Lumen: Unreal Engine’s Lumen system simulates global illumination and dynamic reflections for stunning realism.

Play with Shadows: Accurate shadows can enhance depth and spatial awareness. Adjust shadow softness and sharpness based on the scene's mood.

3. Incorporate Photogrammetry Assets

Photogrammetry is the process of creating 3D models from real-world objects. Using these assets adds an extra layer of authenticity to your virtual set.

Capture real-world objects with 3D scanning tools and import them into Unreal Engine.

Use these elements for props, environmental details, or background structures.

4. Optimize Real-Time Reflections

Reflections add depth and realism to virtual sets. Unreal Engine’s tools, like Screen Space Reflections (SSR) and Ray Tracing, can elevate reflective surfaces like glass, water, or metal.

Ray Tracing: If your hardware supports it, enable ray tracing for accurate reflections and refractions.

For performance optimization, consider baked reflections for static scenes.

5. Add Atmospheric Effects

Atmospheric details like fog, rain, or dust can transform your virtual set into a believable environment.

Use the Exponential Height Fog feature to create soft, ambient effects.

Add volumetric lighting to enhance the interaction between light and atmospheric elements.

6. Fine-Tune Post-Processing

Post-processing is the finishing touch that can elevate your virtual set from good to extraordinary. Unreal Engine’s Post Process Volume lets you tweak elements like color grading, bloom, and depth of field.

Color Grading: Adjust tones to match the scene’s mood—warm for a cozy interior, cool for futuristic sets.

Depth of Field: Blur background elements slightly to mimic camera lens effects and focus attention on key areas.

7. Focus on Animation and Physics

Realism isn’t just about how things look; it’s also about how they move. Unreal Engine offers advanced animation and physics tools to ensure natural movement.

Use Physics Simulation for realistic object interactions, like curtains swaying in the wind.

Incorporate animated characters or elements to bring life to the scene.

8. Integrate Real-Time Camera Tracking

For productions involving live performers, integrating real-time camera tracking is essential. Unreal Engine integrates seamlessly with tracking systems to ensure the virtual and physical worlds align perfectly.

Pair your setup with tools like Aximmetry or Zero Density for smooth integration.

Ensure camera movements feel natural and immersive.

9. Optimize for Performance

Realism often comes at the cost of performance, but Unreal Engine provides tools to balance quality and efficiency.

Use Level of Detail (LOD) to adjust the complexity of distant objects.

Optimize lighting, textures, and effects to ensure smooth performance without compromising quality.

Conclusion

Creating hyper-realistic virtual sets with Unreal Engine is both an art and a science. By mastering these techniques, you can produce sets that rival real-world environments in quality and immersion.

At Stockeds Software Solutions, we specialize in crafting stunning Unreal Engine virtual sets tailored to your needs. Whether you're looking for cutting-edge designs or expert consultation, we’re here to help you transform your vision into reality