#and also more generally the idea that he is this thing and has no choice in being this thing. cause if time isnt linear and prophets r real

[ahamkara-apologist]

100%. It's also worth noting that Eramis's grudge with the Traveler and her intent to destroy it wasn't even entirely irrational; she wanted it gone so that people's fates weren't dependent on the whims of gods. She wanted to level the playing fields, and while she was wrong in her assumption that it was the Traveler leaving that led to the destruction of Riis, she also...wasn't entirely wrong, either. Humanity is the only instance where the Traveler stayed and fought back, and we're the only species assailed by the Black Fleet that got to keep our homeworld as a result. We're not any more worthy than the other species that were eradicated we just happened to get lucky. Eramis (and the rest of the Eliksni) have every right to be furious at this, given the amount of horrors that they had to endure on the Drift to get to Sol- horrors that are so bad that in the opening mission of Revenant, Eramis uses the Drift the same way that we would use 'hell' when she roared "Stand before me if you dare! I'll send you back to the Drift again and again!"

Eramis's goal, while foolish, was still selfless, to an extent- it was to destroy the Traveler so that nobody could ever suffer from a second Whirlwind, which, despite everything, did include us as well. She's never liked humanity, much less the Young Wolf, but she's also never given off the vibe of her hatred for us being personal. She genuinely seemed to have thought that we were being treated like pawns by the Traveler in Beyond Light, and, as soon as she unthawed in Plunder and realized that she was the one being used as a pawn, she warmed up to the idea of double-crossing the Witness right quick. I don't remember exactly when she said it, but I do recall hearing her have dialogue where she was talking about how much she hates gods in general, not just the Traveler, and how she wants to be free of them- all of them. If that means giving over the reigns to House Light, then yes, she will do that. Not willingly, ofc, and she has every right to be suspicious about how well House Light will work bc they ARE under the yoke of the Last City, but a big chunk of why she saved Eido in Plunder is bc she sees the future in her (the rest of it was bc, despite her posturing, I don't believe that Eramis would ever be able to stand by and watch a young Eliksni die. She's too much of a mom for that).

And that leads into a whole other thing that people always seem to get wrong: Eramis did not have a choice when it came to firing the warsats. Yes, the Witness exploited her, yes it was preying upon her grief and fury and depression like it did for everyone else it talked to, but she also never had any other option but to fire those missiles, because it was standing right there, staring at her. If she refused, then she likely would have either been killed and/or she would have been horribly punished via more of her people being turned into Scorn and then sent to do it themselves (likely this, bc Eramis is suicidal and does not value her own life). It SEEMED like she did it for Riis, and she likely believed that to be the case, but there was never an option for her to back away, and even if she did, there was never an alternative to the Warsats being fired. People like to bitch about her being the cause of Rasputin's death all the time and it drives me insane bc it's just flat-out not true. Her seeing for her own eyes that it never would have worked anyways was also a key pivotal moment for her character, so like...yeah if Rasputin had to die in order for Eramis and the rest of the Eliksni to get an actual storyline then you bet your ass I'm sending that man to eeby deeby. But that's just a side bit from me being salty (for the record I loved Rasputin's character and was sad he died but also I think the writers got themselves stuck in a corner with the whole Xivu thing and him, and they managed to make his death feel narrative impactful, so. works for me). Eramis's whole stint under the Witness was one of punishment, and the way that the Witness punished her was by forcing her to stand by and watch as her House- full of the people that she swore to protect- got either turned into Wrathborn or Scorn. Mara Fucking Sov confirmed that for us. Eramis had almost no agency under the Witness, and what little she did have, she turned towards helping us, knowing that if she got caught, the consequences would be extreme.

Honestly, I think that the only thing she really did horribly wrong on a personal level was opening the vex portal on her own people, but even then, that could be argued to have been done under duress. Eramis opened the portal after we killed her council (specifically with the intention of destabilizing her btw, as we know that she makes horrible decisions when she doesn't have anyone else to talk her down), in a last-ditch effort to destroy the Young Wolf. I don't count anything that happened under the Witness because nothing she did then could really be considered her own actions/intent, and I think it's really telling that the second she's out from under the Witness's control, her first action was to try to go home to her wife and kids. And then, when the Scorn started threatening her people, she gave that up as well so that she could call the Vanguard to help them. The Vanguard. The people who specifically sent out a strike team to kill all of her friends and break her House. She did all of this knowing that they would capture her and very likely kill her (actually, she's fully under the assumption that we're going to kill her, if you listen to her yapping in her cell), but that didn't matter to her. She had to get her people to safety, and she knew she couldn't do so herself, so she did everything she can to prevent that, even though it meant putting her life and her pride on the line. Sure, she's been suicidally depressed since Plunder, but that doesn't diminish the sacrifice she made in the slightest

Eramis was never selfish. She's right up there with Misraaks in terms of being an extremely selfless, caring leader who'd do anything for her people. It's just that she's not being nice about it to coddle to human empathy, which, given the track record of horrible shit that we've done to her people, we really shouldn't expect from her anyways.

I want everyone who continues to claim that Eramis was in line to be a disciple of the Witness to shut the fuck up and give me 500 dollars right the fuck now btw. These are not the words of someone who was en route to becoming a disciple, aka the most selfish entity of their entire race. These are the words of someone who genuinely does not think she has any worth left in her, but is still fighting because the alternative is that people she cares about will die. Literal opposite of selfishness right here

[wszczebrzyszynie]

i know this has more than a year but i really can't find it in your blog, did you ever talk about the endings in your horror rpg maker hc au?

well i thought i did and then it turns out i didnt? and then it turns out neither me or @makowcy (co creator of all my aus ever) kept any text about it whatsoever because we discussed it all live durning the last days of school which was also a heatwave. and now we dont remember. so here is what we think we meant? at least things we managed to piece together on a 1.5 hour phone call. well have some never released mycelium RPG au art as well somewhere under the cut. first one made by aku. geniuely what made you remember that its been over a year now and there were only two loose idea posts about it. well do whatever you want with this

there were probably 5 endings, each corresponding to one of the characters (except for jimmy who dies early on and is a wake up call of sorts for grian)

pearl ending (bad ending) - pearl kills grian (player character) in the bossfight, wins and destroys the earth in her attempt to eradicate mycelium the martyn ending (neutral ending) - grian beats pearl (doesnt kill her) and becomes the personification of infection/mycelium (he is always the one to deal the final blow, as that is what ascends him to godhood. martyn knows this, hes using him as a sacrificial lamb); he becomes mother spore and gets backstabbed by martyn, who then kills him permamently using the special item we simply called "the weapon", which saves the earth from the mycelium apocalypse

big b ending (attainable through high relationship points with him) - martyn dies (somehow), grian doesnt become mother spore and instead gets mercy killed by him before the infection finishes him off. there is no pearl fight. he sets off to manually purify the earth as that is the power he has as what we called "pearls paladin" for simplicity

mother spore ending (attainable through high relationship points with martyn) - plays off normally, except martyn hesitates before killing grian (now mother spore), ending in his failure and death. mother spore is the last one left and infection thrives

scar ending (attainable through high relationship points with him): well this one is tricky as scar is a 4th wall breaking character. he knows whats going on at all times and that it is a game. to get it you need to get high relationship points with him, but also play the game at least once - otherwise things get awkward as he "doesnt really know you (grian and/or the player)". The choices required to gather the points go against every other character, and the correct answers to his dialogue options would be hidden in the game files somewhere; in general scar would have a "notebook" in the game files talking about different things. his relationship points dont reset with every savefile reset. once all requirements are met he can be invited into the party, but he declines and instead gives grian "the weapon", which he uses to permamently kill pearl, which also ends the world for everyone except grian and scar. i remember that scar considers it the good ending, because it takes a lot of preparation and therefore its an active choice grian/you make to make it happen, so its just... exactly what grian/you wanted

[tench]

Veilguard is such a weird game.

It's not a Dragon age game, it's bately a role playing game. It's an ok action. Even though it is the most stable AAA release it is still just a bunch of barely tied together stuff in a trench coat.

The writing (insultingly dumbed down and absolutely incapable of taking itself seriously untill the last 1/6 of the game) is all over the place, the direction is nonexistent judging by the tonal shift from one quest to another. We can have very heart felt monologue about the fear of death sit right next to a conversation where a lot of things are told using one specific phrase (I really hope in a clumsy attempt at emphasis) repeated till these words lose any meaning to you.

There's also a problem of role-playing in this "rpg" and the Rook. None of your dialogue choices matter in terms of defining your character, no matter the option you choose, the general conversation will carry the upbeat silly tone. "Your backstory and class matter more than your race" works untill it doesn't, like when you are a dwarf but you are denied your own journey and realizations tied to the titans, and maybe it is not your journey to take yet you can't even try to be a part of it, even when Harding is actively reaching out to other dwarves to share this connection. It's also weirdly more interested in writing romance between npcs than for the main character (Lucanis comes to mind, it feels like the game is actively punishing you for pursuing him, you have to lose the whole shadow dragon faction, you won't get to hang out with Dorian and still you have bare minimum and he more interested in Neve anyway), that's extremely funny that this game is player-sexual yet completely player-aromantic. (And I miss the dai option where you can come up and kiss your LI whenever you feel like it).

I won't even touch on the weird and unnecessary sanitation of everything, like we can't allow people or factions to have negative traits whatsoever. And it's not "southern propaganda", it's "we are not engaging with complex topics for the sake of clear dichotomy between good us and evil overlords". Speaking of which

The whole plot.. The general idea of it is ok. You come to stop Solas, you make the situation go sideways, you have to work together to fix your mistakes and maybe learn to sympathize with the antagonist haunted by his own transgressions with the main theme being legacy and your relationship with your culture and the baggage it brings. But the journey is a complete disaster. Part of it works solely because the characters absolutely Refuse to make a plan and the other - because the main character has a blunt head trauma. Maybe it's related. Maybe it's all a mass hallucination. I may try to elaborate on how it's absolutely ridiculous how little the inquisition and the politics have any impact in this game yet somehow 8 people squatting in the Fade with no political affiliations are held responsible for providing for every faction they come across. I won't even try to make sense of it. It's the usual case of "the main character does everything".

The direction is not only absent in the writing. Some lines that are ok in text delivered in such a way you may think they were allowed only to use the very first take.

The music is absolutely forgettable. Also the odd riff during the dramatic reveal absolutely took me out because I thought I heard kazoo (but I bet Varric would love it).

The visuals are.. Ok. It's pretty on the first glance but the more you travel the more you realize that the general design of the locations are kinda lacking. They have this weird gradient that makes everything a little bit more unfocused and a bit washed out. There are also too many cases of the horisont just drowning in the fog. Air perspective is great and it suits locations like Necropolis, but I would argue that these establishing shots should be used for environmental storytelling in other places, with some focal points in the background, like during the final mission where you see the world absolutely drowning in the blight, devouring local statue of liberty. Or the dead Titan. Or the first shot of the Veil jumper forest (I forgot how it's called) where you see the ruins going into he sky. But because of the fog (or sometimes darkness) it feels like the game is more interested in cheating the optimisation than to hint on the bigger picture (like the chantry and the gallows buildings that you can see almost from all locations in DA2 or the andrastian/dread wolf imagery of inquisition)

So, in conclusion. Not the worst game I played, yet disappointing, even if we pretend it's not an installment of a beloved franchise that people were waiting for 10 years.

Ps. Also making such a game with nerfing all the lore only to nuke all the legacy locations is a choice I won't ever understand. It's like it is not for the fans and it's not for the new people but a secret third thing.

[puimoo]

The Brucie and Dick relationship.

[Obligatory ‘new to comic canon’ warning, where I use my Tumblr to process all my thoughts!]

While thinking today about the impact that Bruce and Batman have on Dick growing up, I realised there was a third person to consider.

What impact does Brucie have on Dick?

Because Brucie is a big part of the Bruce/Batman/Brucie identity triangle, although he often isn’t really taken into consideration when looking at their overall relationship with Dick.  However, Brucie is who the world in general sees – his colleagues, his ‘friends’, the women he dates and the people he socialises with.  There are articles written about him in the papers, paparazzi snapping his pictures.  Businesses and charities being set up in his name.

The thing is though, once Dick comes along, Brucie isn’t just a solo act.  Now, Bruce has to decide what role Dick plays in the persona.

Brucie is deliberately crafted to send particular messages: he’s not a threat, he’s easy to manipulate, he’s rather stupid and clumsy but well-meaning and incredibly likeable.  Which means that, when they are together in public (or even when Brucie is talking about him without Dick being present), Brucie and Dick are meant to send a message as well.  I can’t see their public relationship not being just as carefully crafted as the Brucie one – if it’s not, it puts the whole Brucie persona at risk.  This isn’t Bruce having a relationship with Dick, after all – it’s Brucie.

I haven’t seen enough of Brucie and Dick together to really formulate something based more deeply in canon, so a couple of thoughts instead about what that message might be intended to be.  Is the message supposed to be that they are a shiny happy family (completely normal, as much as a man and his ward can be)?  From what we know of Brucie, that would mean that Brucie would likely be more openly affectionate when they are together, much more tactile and prouder of Dick than Bruce or Batman would be.

Is the message more supposed to be the scatterbrained playboy who collects things that interests him in a well-meaning way but moves on quickly, meaning Brucie is more likely to be kind but dismissive of Dick and their relationship?

Both versions send a message: one that is we are a normal, functional family (who clearly are not Batman and Robin!), one where the relationship is more superficial and Dick isn’t really quite that important anymore and therefore you shouldn’t worry too much about him/think about him/consider him to heavily connected to Brucie at all (and all the risks that might involve for Dick, Batman and Bruce).

Both serve a protective role and both are deliberately crafted, but neither are necessarily healthy for actual Dick in the long run – especially as this would have all started when Dick was 9-10 years old.  He’s not only having to navigate his own, actual relationship with Bruce (and Batman), but manage a fake version of it as well.  And, while Dick knows that it’s all an act and probably at times finds the whole Brucie situation deeply amusing while being frustrated at other times with how people underestimate Bruce, I could also see how the deliberate choices that Bruce makes about how Brucie and Dick’s relationship is portrayed could have a deeper impact.

After all … Affectionate!Brucie potentially highlights that Bruce chooses not to be like that with him at other times - he’s clearly capable of acting that way but doesn’t necessarily feel that way.  Or, at the very least, it highlights what could have been but isn’t.  Dismissive!Brucie potentially highlights some of Dick’s greatest fears.  

There are also things that Dick could learn just from Brucie away from the Dick and Brucie relationship (you never show your true self to people, even if they are not a threat – they are ALWAYS a threat) that have the potential to shape how he sees the world.

Again, none of these are fully realised thoughts or ideas.  There are also a dozen other variations of the Brucie and Dick relationship that Bruce might have crafted, but I think the thing I am getting at is that Bruce would have crafted something – and that potentially this might have had some impact on Dick.  He grew up with Brucie alongside Batman and Bruce, after all.  I could see young!Dick absolutely leaning into it and loving to play whatever the role was (love the ‘it’s us against the world’ feel), but you get the sense that as he gets older, some realisations might creep in.

Which leads me to my last random thought: are there some versions of the Brucie and Dick relationship where Brucie of all people is actually a better parent than Bruce is (especially later on)?  Brucie – who is generally ridiculed and looked down upon by everyone who knows that he is an act?  Who is meant to represent all the things that Bruce and Batman aren’t so as to throw people off their scent.  Are there versions of the Dick and Brucie relationship where Dick might actually prefer some of those Brucie traits to some of Bruce and Batman's more harsher edges?  

From a purely evil head canon perspective, I kind of like the thought that, out of all the Batkids, Dick is the only one who actually enjoys Brucie at times, because when Affectionate!Brucie is in action he can lean into the warmth of the father-son dynamic without it being complicated or difficult, even if it is just for a short time.  And you know what the kicker would be?  Bruce would probably tell Dick afterwards how well he played the role.

…. I did not intend to have so much to say about this relationship as I did!

[jojotichakorn]

i started penning a post about how i always find it narratively unsatisfying when an arc ends with a conclusion the following arc breaks, regardless of how realistic the repetition of the same mistake might be, which is still true, but i actually want to talk about something else right now.

i feel like, at least at this stage, jack is in a position that is both generally unrealistic and untrue to the specific events of the series. 'jack and joker' has a clear focus on poverty and money and class issues, but it seems to treat jack in a very special way. he somehow manages to stand on the moral high ground above other characters. specifically, other poor characters. which is, first of all, a little ridiculous, since he was indeed a debt collector and, in fact, almost became the boss's son. and, second of all, is generally Not Great, because it does idolise the idea that if you "just try hard enough", you won't "allow" yourself to be backed into a corner and therefore won't have to do bad things.

now, don't get me wrong, i am not saying that our characters who have made mistakes are completely blameless. tattoo did shitty things (and hoy followed suit), safe did shitty things, hope frankly admitted to enjoying doing shitty things. however, if we zoom out a little, we will see that all these characters are in a situation that is inherently unfair to them. we have all of these poor people in immense amounts of debt and then we have this disgusting rich motherfucker whose entire wealth is literally based on making their lives as miserable and unfair as they are. and i think that, in this particular case, the series would have actually benefited from a dichotomy. don't get me wrong, i'm usually absolutely brimming with nuance and also asking "what lies outside of it?" but this shall be my exception. (though you could say that joke already brings some nuance to it - he is initially from a well-off family and he actively makes choices to the benefit of poor people, despite it resulting in him being ostracised from said family and its riches).

jack walks the line of being poor and managing not to do anything "too bad" like he is a fucking circus performer on a wire. and, don't get me wrong, he is genuinely a selfless character. he makes choices that a lot of other characters in the same circumstances wouldn't make. he remains in debt and continues working for the boss because he keeps trying to help people and pay off their debts first - that is admirable. however, he himself was already set up for more success than others. sure, being forced to become a debt collector isn't a walk in the park, but most other debtors didn't even have that choice. jack has to work for the boss in order to stay afloat - that is an undeniably hard task. the other people the boss collects debts from, however, have to come up with a lot of money out of thin air - that is not simply a hard task, that is an impossible one that is designed to trap them in the cycle of doing this impossible task forever. that being said, ultimately, jack is still poor. his own hamster wheel should be somewhere around the corner, that's always the case. this idea is where i wish they would have taken jack's arc.

from the moment when he refused to marry rose, there was no escape for him. finally, much like our other poor characters, he found himself stuck between a rock and a hard place. (and i think that it's very thematically appropriate for jack's particular "i can't do this anymore, i deserve to live a full life" sentiment to be connected to love, since he is, after all, a lead of a romance drama). he made the decision to say "no" and from that point on, he was completely and utterly fucked. because, realistically, that conversation that he had with the boss after refusing rose was insane. i don't know what he would have done to jack exactly, if that was a genuine conversation and there was no exchange of jack's freedom for the ring, but it would not have been anything good.

so i wish jack had to make the actual tough call there, instead of having joke save him all on his own (and later take the fall for it). and if it was, at least in some capacity, jack's decision to steal that ring, he would finally be placed in a situation where every other poor character already inevitably found themselves in. because the entire system is rigged against all of them and they are eventually always forced to do things that they should have never even had to consider in the first place. but they deserve better than living a life set up for them by evil rich people who literally live off of their suffering and they are allowed - no, at some point they simply have no choice but to - fight for a better life.

this, in my opinion, would have been a much more powerful message and - not to circle back to my personal preferences - would have also not left us with joke making the very same mistake that we decided we should never make again at the end of the previous arc.

[cienie-isengardu]

MK 9 (2011)'s story mode & MK 1 (2023)'s story mode

[beansterpie]

rewatching LoK, i'm being reminded how much I dislike the.... the brothers, mako and bolin, yanno? they're such underwhelming characters on basically every level. it'd almost be impressive if they weren't in every episode and didn't annoy me so much ugh

[ruvviks]

made the realization my vampire story would work best as a video game and now i can't stop thinking about it

[eff-plays]

Ok so I watched the interview with Stephen Rooney, Astarion's writer, and here are some highlights. (I'm an aspiring writer and current game design student who wants to write for games so I'm sorry if some of these insights aren't as interesting to you as they are to me <3)

He calls Astarion his "horrible little vampire boy"

He loves seeing the fandom around Astarion<3

He did write other characters in the game, but mostly NPCs surrounding Astarion or his storyline, so it mostly revolved around Astarion

Astarion is not as connected to other companions/Origins as, for example, Lae'zel and Shadowheart, or Wyll and Karlach are to each other, but he is still reactive to their stories, even if it's just to stand off to the side and laugh when something terrible happens

He had a clear sense of where Astarion's story would start and end, but it got "muddy in the middle", but those are also moments where the best ideas come from

They write from the general idea that every character has one "good" and one "evil" ending, in order to give the player choice. RIP Ascendant apologists :(

According to Stephen, two of the most important aspects of Astarion's character (to keep consistent when bringing him to Idle Champions, at least) is that he enjoys violence, but is also fun about it

"He has a certain appreciation for violence, I guess? A bit of a murdery streak. [...] He's a vampire, he's all about blood, and he's all about, kind of, those darker sides of humanity. [..] But at the same time, he is ... He is really fun, he's really fun to write, he's really fun to have in your party, and it's very important for me that that is also represented."

"He's gonna stab you, but will have a smile on his face as he does it? I mean, I dunno. That's kind of him in a nutshell."

Larian would not have allowed for Astarion to be a typical brooding Dracula type, and there were scenes that were shot down for not being original enough

The main thing about Astarion was trying to get a "sense of fun." It would be easy to write a character that was very unlikable, and they absolutely did not want to do that

Rooney says Astarion is consistently terrible throughout the game and awful in a whole lot of ways, but he also needed to be charming enough that you could tolerate his presence and wanted him around

Rooney also had a lot of input on Astarion's stats (meaning the 10 Charisma is probalby 100% intentional)

He also had input on how certain lines should be delivered, even though the writers didn't directly work with voice actors

The way Astarion moves and poses is "all Neil"

Apparently, Neil Newbon worked on the character for years and Rooney did not speak to him once, though his voice work did influence how Astarion's lines were written and it became a "feedback loop" (Possible context for "ONLY SLIGHTLY, NEIL")

There were no points where a line delivery drastically changed Astarion's writing; rather it was a constant, slow evolution

However, there was one very spoilery moment where Neil gave such emotion to some "basic" lines that it fundamentally changed the scene (WHAT IS IT OMG)

It's difficult to balance approval, as you don't want to straight up write a monster. Every character needs to have some humanity in them. So if it comes to leaving the party, it needed to be the result of something central to said character. They wanted to be mindful of situations that would cause actual rifts between characters. (I assume this is why most generic disapprovals/approvals are +/- 1 or 2, while character-related ones give +/-5 or more)

However, as they don't write straight up horrible people/monsters, it doesn't come up as often as one might think.

The interviewer makes a point about how characters like Astarion and Lae'zel are good examples of how to play "evil" characters, as they are maybe not the best people but are still eager and willing to stick around the other party members

They worked to make sure the characters would work as a group, no matter the configuration of the group. The characters needed to be on the same path, even if they don't always agree or walk that path the same way.

Stephen Rooney is very proud of the "climactic" scene of Astarion's story. (AS HE SHOULD BE.) He even had to step away from the computer and have an emotional moment. Me too, man.

He's also "extremely pleased" that there's a point where you can punch Astarion in the face. "Actually, that one might be my favorite part" A MAN OF THE PEOPLE!!

Stephen Rooney's tip on what specific thing you should try out with Astarion: When he's trying to get a "sneaky nibble" at night, you should "probably" let him bite you. Way ahead of you there, sir.

No discussion about Astarion's romance unfortunately, but that's that!

[3motionally3xhausted]

Redesigning the Fentons!!

Hi yes this is for yet another Danny Phantom AU of mine it has nothing to do with the Apprenticeship AUs but unlike that batch I actually wanna turn this AU into a fic eventually once I get through a few other big projects I have *sobs*

Anyway individual files for each character under the cut along with my obligatory rambling about all the choices I made ;)

Jazz! Honestly, when I was a kid, I always thought she was 18 not 16 so it was kind of a shock when I started rewatching the show about a yr ago and heard that. Anyway, she's 17 in this AU but already moved out to college on a scholarship bc living in FentonWorks is kind of hell and she has that Older Sibling Guilt for leaving Danny there. For her clothes, I wanted it to be a mix of tactical and preppy.

Danny! (Fenton) The effects of FentonWorks hell is much more visible on Danny than Jazz because she got out of there as soon as she could. Because of that though, a lot of the chores in the lab got pushed onto Danny, without passing on many safety tips, like replacing the ecto-filtrator, cleaning contaminated tools, organizing ecto-weapons, etc. And because he doesn't know any better when it comes to safety, he has many symptoms of radiation poisoning: visually, this comes through in the discoloration/scarring on his skin (Jazz has some slight scarring on her face and hands as well), the cataract on his left eye, as well as burst blood vessels in that eye. For his clothes, I wanted them to look a bit ragged and worn through ripped seams, tears in the jeans, & duct tape around his shoe.

Danny! (Phantom) I don't actually have a lot to SAY about my choics, but I am really happy with it. There are still a few things. I wanted his hair as Fenton & Phantom to be different but still reminiscent of the simplistic rendering of the original show: Fenton is kind of timid so his hair falls over his face, & Phantom is more active/aggressive so his hair is pushed upward. The only other thing I want to comment on is his skin: it's kind of about how I usually stylize Phantom (and I mentioned this when I redesigned Dani a while back) but a "healthy" Phantom in my style would have more bright cyan skin and an unhealthy Phantom has a more dull/zombie green. And lastly, as a ghost, the radiation poisoning kind of cleans up into more neat scarring rather than the muddy/bleeding look as Fenton.

Maddie! Now, I'm gonna be honest, real vulnerable here,... I hate Maddie's canon haircut. It's ugly, I'm not sorry. But I can modify it, so it's fine: now it's curlier, a bit darker, and has a few grey streaks bc she's a genius and constantly pulling long working hours. And, it didn't come across as much as I wanted, but she's got some biceps, strong lady. Now, I'm not really sure why, but I wanted to shift the color of her and Jack's jumpsuit, making hers much more desaturated.

Jack! Big guy. I don't have many thoughts about him either, but I did give him glasses and some stubble for a little bit more dad energy (?) I mainly changed the color of his jumpsuit bc Orange is an extremely hard color for me to render for some reason, so now it's the classic Hazard Yellow. Finally, the most notable difference is the coat I put on him for a bit more scientist energy but my main reasoning for it is the potential visual of him being an absolute tank jumping from overhead with the ghost gauntlets and his coat flapping behind him. Also, I generally like the idea of him presenting himself as a big, dumb teddy-bear, always smiling, but completely unhinged below that facade: dropping the smile or not while towering over you in shadow. Wild imagery.

FINAL THOUGHTS: Do not count on any actual steps towards creating this fic in the near future, it's just on my mind right now, but I NEED to finish my other projects first 🙏🙏🙏 That said, I will (eventually) get around to a handful more character redesigns for this AU including: Vlad, Sam, Tucker, Valerie, Paulina, and maybe Lancer & Dash

[mossy-rock-in-a-field]

Several weeks ago, my retirement-age mother requested that I play Baldur’s Gate 3 for her because she has trouble with controllers/keyboards and wanted “to see what all the fuss is about with that cute wizard boy.” For context, my mother and I have done this sort of thing in the past with certain RPGs (dragon age, mass effect, etc.), but it’s been a few years since she’s personally requested a game like this. Basically, I control her Tav but let her make all the choices so she can determine how the story plays out without worrying about mechanics. She treats it like a choose-your-own-adventure book.

Anyway, here is a list of some of the things my mother has said and/or chosen to do throughout the course of BG3 in no particular order:

She is (obviously) romancing Gale. She is quite smitten with him and his passion for books and learning; she also thinks he’s polite and qualifies as “relationship material.” She also REALLY likes the things he’s said about his cat so far (my mom is a cat lady), so I know she’s gonna flip shit when we meet Tara in Act III.

She’s playing a normal druid Tav with a generally good alignment. Her favorite spell is Spike Growth because she thinks it’s hilarious whenever enemies walk into the AOE and die. I usually end up having to cast it at least once per battle per her request. Sometimes twice.

Contrary to her alignment, my mother tasks me with robbing every single chest, crate, barrel, and burlap sack we come across; this also includes people and their pockets. The party is always at max carrying capacity. ALWAYS. She doesn’t like selling things because “what if I need them.” The camp stash is in literal shambles. There is no hope of organizing it. She’s got like fifty seven sets of rags and a billion pieces of random silverware.

She MUST talk to every animal and corpse in the game. I think five hours of her total playtime so far (47ish) has been spent speaking to animals as many times as humanly possible. Like, I was thorough in my own playthroughs, but this is on a whole other level.

She did NOT get Volo’s lobotomy, but she did let Auntie Ethel take her eye in hopes of a cure for the tadpole. I did not understand the logic then. I still do not understand it now.

She is far more interested in fashion than equipment stats. Do you have any idea how much gold I’ve had to spend on dyes just to make things match? SO much. Same vibe as that “please someone help me balance my finances my family is starving” tweet but instead of candles it’s thirty thousand fucking bottles of black and furnace red dye.

We broke the prisoners out of Moonrise, but they got on the boat too early and bugged the fight by leaving Astarion and Karlach behind. Wulbren Bongle somehow got stuck in combat mode even after engaging the cutscene on the docks below Last Light; he he kept trying to run ALL THE WAY BACK TO MOONRISE nine fucking meters at a time while I frantically tried to finish the fight with the Warden, otherwise Wulbren would have run straight into the shadow curse. (I would’ve let him go; fuck Wulbren Bongle, all my homies hate Wulbren Bongle. But my mom didn’t know that, and she wanted to keep him safe. So.)

She had me reload a save like eighteen times to save the giant eagles on top of Rosymorn Monastery. Wouldn’t even let me do non-lethal damage just to get past things. I think getting that warhammer for the dawnmaster puzzle took us like an hour and a half alone. (Yes, I know you can use any warhammer, but SHE didn’t.)

She’s started keeping an irl notebook to keep track of her quests between play sessions. She writes down ideas and strategies when she thinks of them during the week, then brings them to her next game session at my house. I think she wrote about three pages on possible approaches to the goblin fortress alone.

She insists that I pet Scratch and the owlbear cub before every single long rest, no exceptions. Sometimes I have to do it multiple times until she is absolutely sure that the animals know exactly how much she loves and cherishes them. She has also commissioned a crocheted owlbear plush from a friend of hers and is very excited.

I’m sure there’s a bunch of stuff I’m forgetting, but those are some fun things I thought of. She’s enjoying the game and is telling all of her retired friends to get it and play it for themselves. She asked me “what is Discord” yesterday and I think my life flashed before my eyes.

anyway shout out to my mom for being neat

Part 2 — Part 3 — Part 4 — Part 5

[kingsandbastardz]

So for basically my whole life I'd grown up with and was resigned to accept that the chinese concept of formal/nice clothing of my and the previous generation has been western clothes. So at any awards ceremonies or performances, entertainers would show up mostly in western suits/dresses and maaaaaybe you'll spot the occasional cheongsam if they're going for a Wong Fei Hong vibe. Which, you know, kinda sucks if you have any concept of western cultural imperialism in asia.

So when the hanfu revivalist movement started, I was waiting to see when it would enter the mainstream -- my hope was for fashion designers to integrate traditional/dynastic elements into their work and make it common place enough that I can buy this shit online for ME. Because I WANT.

Though some of the designs can be a bit hit or miss, I am LOVING what various stars and entertainers are wearing out and about now.

Anyway - here's a collection of Xiao Shunyao's modern hanfu inspired/hybridized stage outfits from the last couple years. For his MLC performances, his stylists seem to be borrowing inspiration from his Di Feisheng and possibly other character costume silhouettes.

I'd been seeing a few comments about how his outfits play with gender - and some of his outfits do! But I think the interesting thing to discuss is from which standard is he playing with gender? Because from a western perspective, the things he does with his western suit tops, belting on top of the jacket for a tightly cinched waist, and the addition of a trailing skirt = femme. But if you're talking from a hanfu-hybridized pov, that's just a modern take on hanfu and having any of those elements is not inherently femme and would often read masc to me.

So these things aren't necessarily gendered because they exist traditionally in chinese men's clothing or costume designs (ie video games, comics, historical fiction illustrations and film, etc, so therefore in the modern lexicon of masculine/acceptable for men):

presence or lack of a skirt

silky, velvety, gauzy or sparkly material choice, esp in formal or stage clothing

short or long length of skirt

embroidery

flowers/floral/bird designs

folding fans

certain styles of makeup

beading, gold, tassels, jewels

non-chunky jewelry

headbands

widely flowing silhouettes

What XSY's stylists are doing with some western clothing items are interesting. I'm convinced there have been one or two western jacket tops made of thinner material that they're folding over the front, and belting down instead of buttoning (which then matches with his other outfits that are designed specifically to do this). Then they're adding a skirt, cloak or bracer element to it.

The western portions often bring a military minimalist feel which they balance with a more gauzy material in the skirt or cloak portions.

Things I think are playing with gender:

row 1 - image 1: red di feisheng-inspired outfit

The lace-up girdle is there to match the bracers in both material and style. And it's positioned to be similar to the heavy belt that Di Feisheng wears. HOWEVER. That style of girdle/corset-like clothing item can't be divorced from the modern idea of sexy leather corsets. So imo, this waist piece on that outfit was a choice. Especially when paired with his allergic-to-collars-higher-than-his-sternum necklines. And if you take into context how masculine yet female coded his character is in the drama, the whole look evokes that.

row 2, image 1: black western suit with belt on top, hat, cloak, black boots and not-visible but also a black tassel fringe skirt

Hat and cloak moves the intention of the outfit from western toward a more Asian slant, because alone, it looks like a western black suit with western heeled boots, cinched waist with a lady's belt (seated photoshoot) and western style tassel skirt. The suit top consists of a vest and a shrug-like sleeve portion that appears masculine at first glance. But take the shrug and pair it with the tassel skirt (I can't find the red carpet photos but here is a better view of the skirt when seated), and I think you got a look that's both intentionally edging toward the femme in a western sense but also confusing matters by hiding within the parameters of both western and chinese traditional male styling.

row 2 - image 2 : white asymetrical western jacket styled in a front fold-over style, gauze skirt, trailing pearl embellishments

The more traditional leaning version of this is the white outfit in row 3 that he wears to the Hi6 Hello Saturday variety show -- the skirt portion on that outfit is one I'd consider non-gendered. Row 1, images 2 and 3 are examples of masculine/neutral uses of gauze that plays with flow of form but isn't inherently femme. This stage outfit is very western-appearing masculine suiting, until you hit the skirt which is giving me long ballerina tie-on skirt with the additional swan/mermaid pearl strings. Imo, another example of deliberately using traditional masculine styling but switching it up with the combination of material choice and make that is feminine.

row 2, image 3: black space military boots, black suiting, black -silver ombre sequin trailing skirt and white gauzy shawl with black floral design

The over all design is going for a masculine military-feel. (think this outfit for shen langhun) But instead of a thicker military cloak, it's replaced with a woman's gauze shawl and a skirt that trails behind him very much like the back of a woman's formal fish-tail gown when he moves around. If you take into context Wang Herun's outfit is a white-silver sequined dress cut in a way to also give a space-military-queen vibe, imo they both coordinated their outfits to balance out with both femme and masc qualities.

Thoughts? I'm curious what others think about this.

While I wait for the CNY photoshoot for XSY's red and black look, here's him with his stage collaborators with a nice range of skirt lengths, period influences and material choices. The woman in the center is the one with the most military-fighter design out of the bunch. The dudes are all in variations of formal-wear-with-good-kicking-boots (and lots of crotch space).

[explorevenus]

my soul to keep ♡ vampire!leon kennedy x virgin!reader

nsfw (18+) - minors. dni or i will call ur mom. and also the cops

word count: 6.4k

tags/warnings: romantic vampire leon, virgin/innocent f!reader, leon turns reader into a vampire, some religious allegory, bloodplay (obviously), gravedigging, some gory descriptions but not a whole lot, one instance of overeating (reader's learning, leave her alone </3), manipulation kinda, praise, fingering, p in v, creampie

description: leon creeps into your village at night for a quick drink, only to find himself infatuated with an angel like you. it's a good thing he possesses the means to preserve you for himself.

a/n: yes this is the vampire leon fic i started like a year ago don't look at me <33 i'm just proud of myself for getting it finished before halloween this year AAAAAAAA

divider by @saradika-graphics !!!!

my masterlist ♡

my ao3 ♡

fic under the cut, thanks so much for reading and i hope u enjoy ;w;

-venus ♡

The last time Leon remembered feeling this alive, well… he was still living, and that was a long time ago. When lonely and undead as long as Leon has been, it can be difficult to show restraint upon first contact with anything that evokes such emotion. 

But he did, for a while. You were just too cute, he thought as he stood over your slumbering body that first night. It wasn’t something he liked to make a habit of, but a light hunting season for him meant starvation through the winter, and he didn’t have much choice but to go wandering into the nearby little village for a quick bite to eat. 

Until he found you. 

You looked like a cherub sleeping there in your plush little bed, buried beneath a quilt he could only assume you made yourself. Precious, fragile. You looked especially fragile. 

And humans are so fragile, he thought. You smelled so sweet, it made his teeth ache just standing there staring at you without acting upon his festering need to sate his appetite, but he couldn’t bring himself to do it. He didn’t want to scare you, or worse, lose control of himself and kill you. 

He wandered silently around your little cottage in hopes of learning more about you. It was tidy but lived in, well-kept in a way that made him think you were probably a good homemaker. Your old leather boots sat by the door, dirtied by years of garden work and general wear. There was a little handmade ceramic candle holder on your bedside table, the candle in it burned nearly down to the base, and he wondered if maybe you’d held onto it because the piece was sentimental to you. Carefully arranged bouquets of flowers were strung together and hung up above the cracked window, likely to dry them out and preserve them. 

And suddenly he realized that maybe he would like to preserve a flower for himself. 

He couldn’t allow himself to feed from anyone in your village that night. If word spread around about a vicious animal attack or some other form of brutality, it would only hinder his ability to ultimately get to you, and he couldn’t risk that. Weak and delirious and ravenously hungry as he was, Leon forced himself to bid you adieu and stalk off into the night, back to his crumbling old castle in the middle of the woods… but not before leaving you a gift. 

His gift. The gift.

Your lips parted in a dreamy sigh as you slept, rolling over onto your back. He admired your face for a moment before he couldn’t take it anymore— if he didn’t leave now, you were going to become dinner, and he couldn’t have that. Hastily, he bit down on the meat of his palm and squeezed, watching as his old crimson blood bubbled up to the surface, and then he held it up over you.

Drip. Right between your rosy, plush lips. Even in your slumber your face scrunched up at the foreign taste, your heavy arm coming up to swipe at yourself like you were just trying to get your hair out of your eyes.

And just like that, he was gone, having taken his leave through the very same open window that gave him the idea. 

He wasn’t a monster, of course. He kept an eye on you as you experienced the very same pain he felt decades ago. 

The next day, you woke up later than usual feeling quite lousy. Your whole body was sore and weighty and, reasonably enough, you chalked it up to poor form while tending your garden the day before. It was an easy mistake to make from time to time, after all. But as the day dragged on, you only felt worse, so you retired to bed right after supper that evening. 

The day after that, you woke up in the early afternoon feeling awful. Your head was screaming with a migraine and your heart was beating slow and hard in your chest. You were sweating and shaking and could barely even open your eyes because the light hurt so bad. A friend stopped in to check on you after noticing how late of a start to the day you were getting, and almost as soon as she stepped in the door, she was rushing back out to the apothecary, begging the village healer to come check on you. 

The village healer loaded you up with tricks and tinctures and anything she could think of to break your fever or at least ease your pain. Dried herbs and poppyseeds and fungus ground up in the mortar and pestle, the paste slathered under your nose, on the bottoms of your feet, steeped into tea that was too hot for you to drink. None of it worked. At a loss for advice to give, the village healer urged you to drink plenty of water and rest, and to quarantine yourself. Couldn’t risk passing whatever you had to the rest of the community. 

You woke up drenched in sweat in the middle of the night and didn’t even have time to throw your quilt aside as you doubled over the side of your bed and vomited. This continued for a few moments until you could barely breathe, tears dripping from your eyes as your face reddened with strain and you inwardly resented yourself, knowing you would have to drag your sick body out of bed to clean up the mess you’d just made. You struck a match and lit the candle at your bedside and hesitantly peered down to survey the damage, only to be met with the image of your beautiful wooden floors drenched in blood. Reaching up to wipe your mouth with the back of your hand yielded the same result. 

As you stared at your own blood in horror, Leon stared at you in adoration from the other side of the window. For a moment your bleary eyes caught on the glass and he wondered if you saw him, but if you did, you didn’t react. 

Even at a distance he could hear your heartbeat continuing to weaken. Soon enough you would be just like him, a beautiful preserved flower, and better yet, you couldn’t be harmed. You wouldn’t change, you wouldn’t grow, you wouldn’t die.

Although your village certainly thought you did. It was a dreary, overcast day when the village healer decided to stop in and check on you, only to find you completely lifeless and splattered with blood where you laid. She had to be the one to break it to your family that you had lost your battle with whatever illness plagued you. Leon watched from the shadows as your father lifted your limp, blood-soaked body from your bed and held you close, sobbing, hesitating to admit to himself that you were gone.

By the end of the afternoon, as the sun went down and the drizzling rain refused to let up, the entire village was standing over your grave, watching you get lowered into the soft, soggy ground. 

Once everyone had paid their respects, Leon watched them all retreat to share a drink in your honor, hushed whispers revealing just how unsettled everyone was by your untimely demise. You were so young, they said, so bright and healthy and undeserving of your fate. They wondered what it meant for themselves, and only Leon knew it didn’t mean anything at all. Your illness wasn’t going to spread because he had what he wanted now, and that was you. 

As soon as the final candle was blown out for the night, Leon took a shovel from your garden and began to dig, the metal piercing easily through the soaked earth until it revealed the handmade box you’d been laid to rest in. He popped the top off and looked at you, your arms still crossed delicately over your chest with a beaded rosary tucked beneath your palms, a pale flower in your hair. Your family didn’t need to know they’d be spending the rest of their lives praying over an empty coffin in the ground. 

Leon scooped you up into his arms, cleaned up after himself and set off into the woods with you clutched to his chest like a princess.

It was a few days before you finally roused. Leon had barely taken his eyes off of you the entire time you slept, and admittedly, he was a bit grateful it had taken you so long, for your own sake. He watched over you and cared for you as the last of your body heat drained out and your fangs descended behind your lips. From what he remembered, that was the most painful part of the transformation, and you were lucky to have slept through the worst of it. 

When your eyes finally shot open, he could barely contain his excitement. In one swift movement you sat up on the couch, bringing one hand up to clutch at your pounding head, the other massaging your sore jaw as your worried eyes darted around the room to drink in your surroundings. Then and only then did your gaze finally land on Leon. 

The fright and confusion on your face were evident. He knew you would have a lot of questions, and he was prepared to answer them. 

“There you are, darling,” he greeted you warmly, the first words he’d ever spoken to you. “How are you feeling?”

"W-Where am I?" You rasped, throat sore and shot from vomiting up blood the other day. Once your new condition fully set in, you would heal, but for now you were still a touch miserable. "Who are you?"

“I’m Leon,” he was gentle in introducing himself, taking your cold, shaking hand in his own so he could brush a polite kiss over your knuckles, “and this is your new home.” 

You blinked slowly at him, brows furrowed as you mulled over what he meant, and you came up short. Tears welled up in your bloodshot eyes and you hesitated for a moment before asking him a question you were afraid to know the answer to; “Am I… Did I die?” 

Leon wasn’t quite sure how to answer that at first. He imagined that question being posed much later in the conversation, so it sort of caught him off guard. He took a breath and then replied gently, “Something like that, yes.” 

“Huh?” 

“Shh, don’t worry,” he whispered, kneeling on the floor beside the couch so he could get on your level, his cold, pale fingers tracing gently over your lifeless skin. “You’re safe, your family is safe, your village is safe. I’m just here to take care of you, my beloved, to guide you in this tricky space between life and death. Do you trust me?” 

Strangely enough, you did-- or, rather, you felt compelled to. 

But that didn’t make the implications of your condition any easier on you. You were such a frightened little lamb, your cheeks hollowing and your eyes glowing like rubies and your skin tone taking on more and more of a pallid quality by the day as you refused to feed. He knew you would have some difficulty with this at first— after all, you were just far too sweet to kill anything— but he also knew you would only become weaker and more agitated if you continued to starve, and perhaps more grim, you would remain stuck in this odd limbo between death and vampirism. 

He tried everything he could think of. You wouldn’t drink animal blood, from the body or in a glass, and you certainly refused human blood in either form too. Every time he broached the topic of sating your hunger you would cower away from him and shake your head, eyes screwed shut as you continued to deny the reality of your situation. Starvation brought forth only misery, that much Leon knew, misery and longing and weakness and worse, everything he didn’t want for you. 

For two weeks you pushed back on the topic, insisting that if you couldn’t truly die, you would rather starve than take the life of another. As much as it pained him to see you this way, Leon appreciated that you could be so stubborn about your morals. He just wished it wouldn’t come at the cost of your own well-being.

He left you at the castle one night to go hunting himself. It wasn’t often he’d stumble into humans in these woods, especially during the winter, but he hoped he would get lucky for himself anyway. Leon burned a few hours stalking through the trees and all he had to show for it when he returned home was a few small animals that wouldn't last him more than two light meals, but it was better than nothing, he thought.

Then he stepped through the creaking castle doors and his nose perked up to the familiar rich scent of human blood-- thick and heady in the air, cloyingly sweet and indulgent. Intoxicated by it for the moment, it didn’t really dawn on him immediately what that meant… until he followed the scent from the foyer to the living room and found you. 

You were on your knees in front of the fireplace, hunched over the writhing body of the village healer, her eyes wide and glassy as she choked out gurgled sounds of agony and clawed weakly at you to let her go. You didn’t even seem to notice Leon as he entered the room, a concerned grimace on his face, though it was accompanied by a tangible sense of relief that you were finally feeding. 

“Sweetheart,” he said lowly, causing you to blink with confusion and look up at him through your lashes, the poor village healer’s carotid still clenched tightly between your teeth. “Easy now, you’ll make yourself sick.” 

Your brows furrowed and you bit down a little bit harder, siphoning out a few final greedy gulps from the woman before dropping her from your grasp, your eyes still trained on Leon as her weak body flopped limply to the floor. His eyes softened with empathy as he looked you over, gore dribbling down your chin and the front of your white dress, your stomach puffy like an engorged tick. Now that you weren’t feeding anymore it would seem you made the same realization he had, the fog of desire clearing in your brain to make room for the shame and discomfort. With a soft whimper, you reached for him with both arms outstretched, but otherwise didn’t move. 

Leon gave you a nod of understanding before scooping you up into his arms, pressing a soft kiss to your forehead as he carried you out of the parlor. “My poor baby,” he sighed softly, “It gets easier, I promise. I’m so proud of you.” 

He ran a hot bath for you and left you to soak for a while as he got to work cleaning up the mess you’d made. The village healer was barely clinging to what remained of her life, and while he was extremely tempted to nurse her back to health and keep her around to continue feeding on, he knew it would hurt you. He could already tell you hated yourself for victimizing her in the first place, the very same woman who’d tried so hard to save your life just weeks ago and who was responsible for ensuring the health of the entire village, which included your friends and family. 

So he mopped up the blood, bottled what he could and wrapped her wounds to the best of his ability before compelling her to forget, dumping her just at the edge of the trees outside the village so someone would find her in the morning.

When he returned again, tired and dirtied from hauling an unconscious woman through the woods on your behalf, you were still relaxing in the tub. The water was tinted pink from all the blood and you still looked a bit swollen in the middle, but the color was returning to your skin and the expression on your face was one of such complete exhaustion that he wasn’t sure if you were actually conscious at first, until your gaze fluttered up to meet his. 

Leon let out a deep, sweet sigh, sitting on the bench beside the porcelain clawfoot bath as he took your hand in his and whispered, “What am I going to do with you, huh?” 

“I-I’m sorry,” you said just as quietly, bottom lip quivering as you continued to drift back down from your blood-induced daze. “I d-didn’t want to h-hurt her…” 

“Shh, shh, I know, darling,” his other hand came forward to pet gently through your wet hair. “She’s going to be alright, I made sure of that. But this can’t happen again, okay? I’ll help you get control of your urges, I promise, but you have to listen to me.” 

You were nodding along as he spoke, clutching his hand and shivering in the hot bath. Even transformed you were still fragile. Leon wanted nothing more than to care for you like the fine china you were.

It was fun watching you learn how to walk, so to speak. You were like a baby deer, taking careful steps and looking back at him for reassurance after each one, like his guidance was all you could think to cling to. While your gingerly approach to things was incredibly endearing, he loved watching you grow to love your new abilities with an innocent sense of excitement that he hadn’t seen in a long time, not in himself or in anyone else, really. 

You’d taken to exploring the rafters and the view of things from the ceiling, leaving the candles in your room unlit all night just so you could bask in how odd and cool it felt to see so well in the dark. It scared the moonlight out of him every time, when he would scour every inch of the castle in search of you just to find you perched criss-cross on the ceiling, lost in a lengthy novel in a pitch black room. 

But he would never scold you, never tell you ‘no.’ In his mind that was a very important lesson for you to learn, one that would open you up to endless possibilities and happiness in an otherwise bleak state of consciousness. 

So, when your small voice chimed in from the parlor ceiling one night and startled him more than he’d like to admit, and you asked him a deceptively simple question– “What now?”-- he knew exactly how he wanted to respond. 

“Indulge,” he said just as simply, sitting calmly down on the chaise lounge to look up at you, hanging from the rafters by your knees. “Let me ask you this. What’s something you’ve always wanted to do?”

You took pause, humming in thought for a moment. All your life you were never much of a forward thinker because you didn't really have to be. You lived your little old life moment by moment, taking extra special care to appreciate the here and now. You had good friends, a loving family, a beautiful community, food on your plate and a warm bed to return home to every night. That didn’t leave you wanting for much.

Finally, you spoke shyly, "I guess I always wanted to fall in love."

It was so quiet, if he was still human, he wouldn’t have heard you. But he wasn’t, and he did. The corner of his lip tugged up into an endeared and somewhat amused expression, baring the sharp edge of his right canine. 

Leon adjusted his posture, sinking back into the couch to gaze up at you, trying to pretend like he wasn’t looking between your legs where your upside-down position left your skirt flipped up nearly to your waist. He cleared his throat softly and cooed, “You poor thing, you’ve never loved before?” 

Your face burned and you avoided his eyes, stretching your arms out toward the floor just to give yourself something to do. “N-No,” you began, smoothing your skirt out over your thighs just to watch it ride up again. With a short huff of breath you pulled yourself back up into a normal sitting position on the rafters, staring up at the ceiling. “I guess I just never had the chance.” 

“What, not enough fish in your little pond?” He teased, quirking an eyebrow at you. 

You laughed, appreciating the way he eased the tension, but he wasn’t exactly wrong. “I mean, yeah, the dating pool made for a better puddle.” 

“I figured as much.” 

A comfortable silence blanketed over the parlor, broken only by the gentle crackling of the fireplace. You swung your feet idly back and forth, watching the warm flame as you asked aloud, “So… What does it feel like, then?” 

“What does what feel like?” He responded, but he knew what you meant. He just wanted to hear you say it. 

“Y’know…” You kicked your frilly socked feet, “Love?” 

“Well, sweetheart, that’s quite a broad question,” Leon began, patting the space next to him in an attempt to beckon you down from the rafters, and to his delight, the gesture succeeded. You dropped gracefully to the ground and fixed your skirt before curling up beside him on the other side of the couch, your legs tucked up beneath you. You couldn’t possibly be more adorable if you tried.

As you situated yourself at his side, he continued, “There are many different kinds of love. You love your family, and you love your friends, but you don’t love your family in the same way you love your friends, and vice versa. Correct?"

He watched your expression for a moment to ensure you were following along, and surely enough, you were. Your posture was relaxed but you remained dutifully at attention, just like a good little doll should.

Leon felt a pang of pride when you nodded.

“It’s the same thing, just a different kind of love. I’m not sure I know how to describe it, really,” he said, tracing his fingertips along your knee casually. “But I could show you?” 

“Show me?” Your head tilted with that innocent curiosity he loved so much about you, and his heart melted all over again. “Show me how?” 

He said something lowly and it took you a second to register it because right after, he took your chin in his hand and drew you in for a kiss. Only after your lips collided did your brain recognize his words as, ‘Like this.’ 

With one hand cradling the back of your head and the other still tracing little shapes on your leg, Leon’s embrace felt all-consuming and overwhelmingly safe. Through it all, you really did trust him. Your fangs knocked together as he pulled you closer to deepen the kiss, making your head spin and your brows furrow in concentration. It felt incredible, unlike anything you’d ever experienced before, but the nerves kept you tense and you couldn’t help but fear you were doing a poor job. 

So you let him lead. You resigned yourself to the feeling of his cold lips on your own and his tongue exploring your waiting mouth, his broad hands keeping you pressed against him and feeling slowly up the length of your thigh. His touch made you shiver and tingle in unfamiliar but exhilarating ways and when he eventually pulled away, you were left panting for breath and wanting for more. 

He watched your face in an attempt to gauge how you were feeling, and it was evident you enjoyed it. Leon felt a rush knowing he had effectively just turned a new leaf in your training. 

You had finally learned to walk. Now it was time for you to sprint. 

Leon brushed your hair away from your shoulder, baring your neck to him. He’d waited so long for this moment, for the chance to sink his teeth into you. He wished he could have tasted you fresh, when you were still living, but he would settle for the alternative, and truthfully, it didn't even feel like settling. Especially not when your syrupy sweet blood hit his tongue and pulled a deep, guttural moan from the core of him, his pearlescent eyes rolling back in a display of momentarily mindless rapture. It was unexpectedly hot to see him react to you in such a way. No one had ever expressed such intense need for you, and you were so hung up on it that you barely noticed your thighs subtly shifting together.

But Leon was observant as ever, of course, the movement in no way making it past his keen attention-- you were too precious, too virginal for your own good. He wanted to ruin you, he wanted to tear you apart piece by piece and savor you like holy communion, to pump your undead heart with his own two hands until the end of time, his beautiful baby, his fragile little doll, his corpse bride, his darling and beloved consort.

You were both gasping for breath as he pulled away from your throat, remnants of your tart cherry blood smudged around his pallid lips. Blessed be the gift of undeath, Leon thought to himself, for it granted him the ability to feed from you without consequence-- and vice versa-- to strengthen your bond in the most intimate way imaginable time and time and time again. It still made you dizzy, of course, light and a bit tingly all over, but Leon didn't see that as a bad thing, and as it stood, you didn't seem to either. 

He was just trying to come up with a smooth way to tempt you into tasting his own blood, but found himself pleasantly surprised by your initiative. 

"Can I try?" You practically purred, your sweet voice all hushed and breathy as your dainty little hand crept up his shoulder, palm coming to rest at the leftmost side of his strong neck. 

As you caressed the pad of your thumb over the icy expanse of his skin, you couldn't help but notice the faint, scarred over marks that were dotted about, barely-there dips and craters telling a story that suggested decades of indulgence like this, decades of past lovers, and your heart inexplicably clenched in your chest. Suddenly you were overtaken with the desire to leave your own mark there, much more prominent and recent than any of those faded old others. 

Leon was quick to give you his consent, of course, and that was all it took for your mind to snap into a completely different mode of function. The highest points of your mouth were flooding with saliva and the lowest points were pooling with it, slicking your puffy lips as your tongue fell forward to drag a deep, wanton lick up the length of his cold carotid. Then, as anticipated, you helped yourself to a healthy bite of him. 

And just like that, you had discovered a new infatuation, as he knew you would. You were bonding yourselves to one another in real time, creating a connection that not even true death could break. 

You nearly went weak with how overwhelming it felt, like drinking down pure heaven, hardly even noticing you were moving for a moment as you crawled mindlessly into his lap to straddle him, grinding deep and slow. The pheromones in his sap made your head spin, bringing about the kind of spontaneous sensuality that you'd only ever felt after one too many glasses of mead, the kind that loosened your bones and tinged at your cheeks, the kind that called warmth to bloom at the pit of your stomach. 

The flavor of him was coppery and rich, but balanced, a bit dull from undeath but otherwise magnificent. That it was faint only made you want for more. 

"Easy, easy," Leon grunted quietly in your ear, reaching a hand up to card through your hair at the back of your head. "Don't drink too fast, little princess... just breathe..."

But it would seem you weren't really listening to him, and that needed to change. Thankfully, Leon knew just the way to grasp your attention. 

Letting one arm slip between your two bodies, he wedged his hand down, down, down, until it dipped beneath your skirt to close his palm over the sticky cotton of your panties. That you were already leaking through the fabric like a busted faucet was perfect. You were an absolutely perfect little untouched virgin, and thanks to him, your body would remain that way forever, ripe for his plucking.

Bringing down some pressure on your clit with the base of his palm, testing your reaction, he reveled in the way you whimpered on his throat and unlatched to finally suck in a breath, rutting to meet his attention without a second thought, so easily captivated by such slight stimulation. He couldn't wait to show you more, but he'd need to work you open first. He didn't want your first time to be painful, after all. 

Leon took you at the waist and moved to put you on your back, hovering above your spread out form on the chaise lounge and pinning you there in the most delicate way possible. Every bit of that attention to detail paid off. 

"My precious doll... my most delicate princess," he sighed reverently, stooping low to breathe you in at the neck again, laving his tongue over the bite he'd left just moments ago. "This is what true love feels like, and I wish to share it with you for eternity..." 

He let you ponder that as he continued, working you carefully out of your clothes, finding it cute how you seemed to shift and arch along with him to help him get you naked, like you just couldn't wait. In your pretty doe eyes, your undead life had just begun. 

It was a bit strange at first, feeling his finger sink into you, but it wasn't long before Leon was seeking out your soft spots and doing an excellent job of it, no less. He curled and pumped one finger carefully in you until he was sure you were comfortable, until he felt any remaining tension in your muscles melt away, and then he introduced a second. You were so wet and so absorbed by the feeling of it all that you almost didn't notice at first, but that delicious stretch was impossible to miss. 

"O-Oh," you quivered, head falling back against the plush velvet beneath you as you bucked into his hand. 

With an appreciative hum, Leon allowed himself to become a little less careful with his ministrations, watching your reactions with interest as he worked you open on his fingers, his infatuation with you growing more and more with every moan and whine, every flutter of your silky walls. 

"There you go, little one," he cooed, "you like that, don't you?"

Your response was barely more than an airy nod, but it delighted him anyway. How could it not? You were just too sweet for words, too cute to handle. You could've done or said anything in that moment and he would have adored it all the same. 

Nipping playfully at your throat, fingers still pumping dutifully in and out of your drippy cunt, his lips trailed up to your ear so he could ask in a sultry whisper, "Think you can take more?"

The next several seconds were a blur of impassioned movement, each of you weaving around one another to shed the elder vampire of his own ensemble, revealing his carved marble frame piece-by-piece. You were amazed by the strength in his shoulders, how smooth and soft his skin was from being kept away from the sun for so long, the dark blonde trail of hair that disappeared below his belt, only for its path to be revealed upon the long-awaited removal of his trousers. 

Leon's cock was painfully hard, tip flushed red and weeping with milky beads of precum as he freed himself from his confines at last. He felt the intense need to give it a few strokes with how pent up he was at this point, but he didn't see a point in wasting any time pleasuring himself when you were right there, skirt hiked up to your waist while you laid there panting and leaking your arousal all over his nice furniture. With a pout that pretty, it would be a disservice not to fuck you until you cried. 

He angled your hips with one hand and lined himself up with the other, pushing in slowly. Your expression screwed tight for a short moment as the swollen head of him caught at your hole, an opportune moment of distraction for him to sink in deeper, stretching you out until he hit the root, drawing a shocked cry from your throat that gave way to a pleasured whine just as quickly as it came. 

So he began to move, wanting to draw out that gorgeous sound for as long as you would allow him to hear it. Your cunt was so fucking tight, pulsing and squeezing around his shaft like you were made for it, made for him, delivered to him by fate so that he might just get to fuck you like this forever and ever, and in that moment, he knew he made the right choice in sharing his gift with you. For the first time in recent memory, the future felt bright. 

"L... L-Leon..." You babbled, hooking one leg over his hip for purchase just to find out it allowed him to prod that much deeper. You went boneless at the feeling, finding strength only in your ability to claw at his shoulders for dear life, the faint scent of his blood lingering in the air and making your head spin. "Feels... g-good... so good... don't stop..." 

He wouldn't dream of it. 

Fingertips printing into your thighs, he pulled your legs up to rest over his shoulders instead, driving you down into the soft couch in a firm mating press. You were nose to nose, needy lips catching and fangs clacking between filthy words and gasps for breath as you felt his presence envelope you fully. Leon was in you, on you, around you...

Leon was your home now. Leon was where you laid to rest. 

For the first time in your undead life, you felt your body licking with heat, temperature rising steadily at the pit of you and threatening to hit a fever pitch. Every inch of him lit you up from the inside. 

"Oh, my baby," he groaned, letting go of you with one hand just to swipe his silvery blonde hair away from his face so he could gaze at you like a work of art. "You're getting close, aren't you? Squeezing me so tight like that..."

"Yeah," you whined, even though you weren't fully sure what it even felt like to be close. You weren't dumb, you knew what orgasms were, you'd just never had one yourself, and as such, you had no basis for comparison. 

Leon aimed to fix that, to make damn sure you familiarized yourself with the feeling over the course of your shared eternity. 

His thrusts picked up with renewed vigor, the legs of the old chaise lounge scratching against the hardwood floors with every push forward, and he didn't even care. Everything else about life felt so worthless in comparison to you, the new center of his universe. The whole entire house could collapse and he would still be content, so long as he had you. 

And every time he remembered that he did have you, that you were here with him right now, squirming and rutting on his cock so beautifully, that he was all you had... it just drove him that much crazier, made him that much more determined to make your first time one you would never forget. He couldn't be happier to spend the entire rest of his endless life topping the last performance. 

You were losing your grip, struggling to keep your eyes open and eventually sinking your itching fangs into what you could reach of his throat just to push yourself a little higher, a little closer. The flavor alone made you purr against his skin, jaw clenching tighter, and the delicious sting of it was pushing him forward too. Now his biggest concern wasn't just making sure you came, but making sure that you came first. 

So he withheld, even as his balls drew up tight and ached to release, focusing instead on getting you there. 

"Don't be shy, princess, I've got you," Leon moaned into your ear, "let it happen... just let it happen..." 

Tears pricked at your eyes, the overabundance of stimulation rendering you down into a tearful little puddle, but it wasn't until he spoke up to encourage you that you realized you really were holding back, stalling yourself at the precipice like it was wrong to let go.

But it wasn't wrong. It was divine. It was indulgent.

Sucking back a mouthful of his blood, you unlatched from Leon's neck just to press your forehead against his own, your jaw stuck open in stilted whines and gasps for breath as that molten heat in your belly finally boiled over, and you discovered exactly what it was you were close to. 

Your spine drew up into an arch, toes curling over his shoulders as you came on his length with a cry, thighs trembling with strain. Leon had never been baptized before, but it felt like he was just now. He'd never felt so close to God as he allowed himself to finish deep inside your perfect pussy. 

You collapsed together in the afterglow, the parlor going quiet again as you both caught your breath and your bearings, a heaping pile of mess on velvet.

"Leon," you whispered, kissing some of the excess blood away from his cold skin as you innocently and earnestly admitted, "I... I think I love you." 

He cracked a fond smile at this, if only because he knew you would catch up in time. After all, you still had much to learn, and he didn't want to overwhelm you more than he already had for one evening. 

"I love you too, little one."

[endiness]

Debunking misinformation about Netflix's The Witcher (Part 1)

[Part 1] [Part 2] [Part 3] [Part 4] [Part 5] [Part 6] [Part 7]

"Henry Cavill is a massive fan of the books and the games and he quit the show because the writers wouldn't stick to the books and he just cares about the source material so much."

Henry Cavill not only did not know that the books existed when he started pursuing the role of Geralt, but he actually thought that the books were based off of the video games (and he still didn't bother to read them) and he didn't learn that the games were actually based off the books until Lauren told him (even though the first thing in the game credits is that they're based off the books); as of 2021, he as only read the full series once — right before he was cast in 2018; while he has played TW3, he has only played a little of TW2 (and I've never found any evidence that he's played the first game); and he also has not played the DLC for TW3.

Henry Cavill also started heavily pushing the narrative that he's just such a massive fan of the books and how important adhering to the source material is to him during the press for S2 to deflect from how it was due to his acting choices of cutting Geralt's lines and either saying nothing or just grunting instead that Geralt's characterization — who is much more verbose in the books — was book inaccurate in S1:

He also lied about the situation and tried to act like Geralt was never originally written as being verbose and blamed the lack of dialogue on Yennefer and Ciri's prominence, which cannot be true as confirmed by Lauren:

And tried to act like the lines he was cutting weren't that important anyway so it wasn't really a big deal, which also cannot be true as confirmed by Joey:

He also started pushing the narrative that adhering to the source material is so important to him and it's 'tricky' to do that with Lauren's vision, but his definition of "Lauren's vision" is the show being an ensemble piece with Yennefer and Ciri at the forefront (like the books) and the show in general heavily centering around women (like the books):

So the idea of him caring so much about "book accuracy" is, in fact, not accurate to the books at all as his problems were the prominence of women in the show when Ciri is the main character of the main book series, which the show started adapting from S2 onwards (which is when Henry Cavill started to complain about wanting "book accuracy" in the first place), and when women are very prominent, central, key figures in the books and they often drive the plot forwards.

Lastly, S3 was the closest adaption of the books out of all the seasons so far, so the idea that he quit after S3 because the writers just weren't respecting the source material and the show wasn't following the books doesn't make any sense anyway.

"Henry Cavill is the only reason why the show was even close to the source material at all."

I've not only never seen any evidence of this, but if anything, I've seen the exact opposite: Henry Cavill was either directly responsible for or at least contributed in some way to a lot of things that went against the books or didn't happen in them.

As I already pointed out, he cut Geralt's lines in S1 and either said nothing or just grunted instead which is inaccurate to Geralt's characterization in the books. Here's another quote from Joey affirming that:

(Just to note: During the press for S1, he frequently talked about how the games inspired his performance as Geralt — sometimes talking about them even more than the books despite how the show is based off of the books, not the games — and it wasn't until S2 press that he suddenly changed his tune and started talking about how important adhering to the source material ie the books is to him. He also only started advocating for a more book accurate Geralt because he got dunked on by reddit for his book inaccurate performance in S1.)

He didn't want to play Geralt and Jaskier's friendship as directly as in the books and buddy-buddy with each other:

He didn't want to have any kind of conflict in Geralt and Ciri's relationship in S2 — at least on Geralt's side of things:

Nor play Geralt struggling with fatherhood at all — all of which led to the domino effect of Yennefer's betrayal:

Eskel's death (which in itself also led to things like Vesemir trying to create new witchers and Lambert's attitude toward Ciri):

And Voleth Meir being the big bad of the season:

He didn't want Geralt and Triss to even just platonically find comfort in each other in S2 — which is what happens in the books:

He nixed a sex scene between Geralt and Yennefer in S2 because he didn't think it'd be in character of them to have sex after reuniting which, uh, is absolutely in character of them:

While this is an incredibly inconsequential change, given the prevalence of this idea that Henry Cavill is such an ardent defender of the source material ie the books and how much he wanted the show to adhere to them, I do think it's important to note that he pushed for — and got — more signs into the show even though by his own admission that is more of a game thing than a book thing and he got it into the show for the explicit purpose of catering to game stans:

This is also another incredibly inconsequential change, but again, given how prevalent the idea of Henry Cavill pushing for perfect source accuracy is, I do just want to point out that he would wear his armor 24/7 to make it look worn down:

Even though it is canon in the books that Geralt will buy himself brand new clothes, so the idea that Geralt's clothing has to look worn down and can't be brand new is not actually book accurate.

"Lauren wanted to make Roach's death a joke."

Just to address this point specifically, Lauren wanted to make a meta reference about how all of Geralt's horses are named Roach. That in no way, shape, or form means that she wanted to make Roach's death into a joke or even that the scene had to be played comedically. This is what Lauren had to say about the subject and the 'joke' in question (which, js, actually fits the tone of the books more):

And as far as the "Henry Cavill is the only one who cared about the source material and he's the only reason why the show even stuck to the books at all" front goes... Henry Cavill did change the dialogue in this scene to a book quote/reference; however, the quote in question ("Enjoy your last walk across the meadow and through the mist. Be not afraid of her for she is your friend.") is not something that Geralt himself says and the line/scene from the books foreshadows Geralt's ending in them.

So, at least imo — especially taking into account the incredibly high standard the fandom has set for Henry Cavill as the #1 defender of the books — I don't think this change was actually book accurate especially given the narrative significance of that exchange in the books.

[microclown]

I was rewatching s1e3 and something finally clicked for me..

Please forgive me if this seems obvious to you. It helps me to type out my thoughts, but I'm sure I'm just an idiot and no one else needs this explained to them, lol. That said - I was always slightly confused by the emotional weight of the holy water arc during the flashback sequence. Particularly I was confused by how angry Crowley got when Aziraphale referred to their relationship as fraternizing in the 1862 fight. I mean, "to associate or form a friendship with someone, especially when one is not supposed to" is exactly what they are doing, right? So why the 80 year breakup?

Crowley says he wants the holy water for if "it" all goes pear shaped. The phrasing is necessarily vague, and could mean lots of things. Since I know what he eventually uses it for, I was thinking about it in the context of Armageddon, or maybe more generally and vaguely about Crowley not always choosing to go along with Hell, and associating with Aziraphale. But there was not much reason for Crowley to already be thinking about Armageddon back then.

As we know from the full diary entry Neil posted, the timeline of the Edinburgh entry, and the cut bookshop opening scene, it seems like Crowley and Aziraphale were spending A LOT of time together by the 1800's. When Crowley is pulled back down to Hell in 1827, he learns that Hell is paying more attention to him than he'd previously thought. Crowley realizes at this point that spending so much time with Aziraphale is actively putting him in real danger. He recognizes that, and instead of breaking things off, or seeing Aziraphale less, he doubles down. If this relationship is dangerous, then he wants the tools to fight for it.

That's what I think I didn't get about the holy water request. It's not just general insurance, it's specifically insurance for if Hell finds out about him and Aziraphale. It's also a super vulnerable request because in making it, Crowley is openly acknowledging how important their relationship is to him. Aziraphale casually brings up the arrangement at the beginning of the conversation, and that's part of it, right? Because the whole basis of their relationship is the arrangement. It continues to be the pretense under which they meet, despite the relationship clearly having developed beyond that. And the arrangement, as Crowley proposed it in 537, is born out of convenience, and the assumption that Heaven and Hell would never notice anyway.

Crowley's request for insurance breaks that facade. He's acknowledging that it's not convenient, or safe, but he wants to do it anyway, despite the risk.

Aziraphale, on the other hand, is not ready for the screen to be taken away so abruptly. To make it worse, he assumes Crowley wants the holy water as an escape, rather than a weapon. Suddenly he is confronted with both the danger their association poses, and the idea that Crowley might choose to take his own life. He can't imagine the guilt of being directly responsible for the latter.

I also think the strength of his own emotional response to the thought of losing Crowley catches Aziraphale off guard. He hasn't admitted to himself how much he actually cares, and it scares him. Worrying about Heaven is more comfortable and familiar, so he falls back on that and switches to "If they knew I'd been... fraternizing!"

But bringing up the threat of Heaven reads to Crowley as Aziraphale saying "You may be willing to put yourself at risk for the sake of our relationship, but I am not." The word choice of "fraternizing" comes off as a dismissive and demeaning way to describe a relationship that Crowley just admitted he would risk his life for.

It's an unintentionally deep cut when Crowley is already at his most vulnerable, and so he lashes out. As far as we've seen, this is possibly the first time Crowley has truly lashed out at Aziraphale. So yeah, 80 year breakup makes sense!

And what makes this so much worse is what happens next. Crowley reaches out again in 1941 with a dramatic gesture (rescuing Aziraphale from the Nazis, saving his books). It's clear they've missed each other. They don't discuss the fight, but it's there subtextually. Aziraphale, tentatively and thrillingly, refers to them as friends, for the first time ever. He tells Crowley that he trusts him.

And then, that very same night their worst fears are confirmed. Just when they've finally reconciled a fight over the dangers of their relationship, and just when Aziraphale has finally admitted that it is not a relationship of convenience, but genuine friendship, they are exposed. Crowley is going to face punishment from Hell, explicitly for being Aziraphale's "trusted confident", and he doesn't have insurance. If Aziraphale's trick hadn't succeeded, Crowley would have had no way to protect himself.

idk it just makes me feel things ok

[supersoakerfullofblood]

Point of View: the Biggest Thing You're Missing!

Point of view is one of the most important elements of narrative fiction, especially in our modern writing climate, but you rarely hear it seriously discussed unless you go to school for writing; rarely do help blogs or channels hit on it, and when they do, it's never as in-depth as it should be. This is my intro to POV: what you're probably missing out on right now and why it matters. There are three essential parts of POV that we'll discuss.

Person: This is the easiest part to understand and the part you probably know already. You can write in first person (I/me), second (You), and third person (He/she/they). You might hear people talk about how first person brings the reader closer to the central character, and third person keeps them further away, but this isn't true (and will be talked about in the third part of this post!) You can keep the reader at an intimate or alien distance to a character regardless of which person you write in. The only difference--and this is arguable--is that first person necessitates this intimacy where third person doesn't, but you still can create this intimacy in third person just as easily. In general, third person was the dominant (and really the only) tense until the late 19th century, and first person grew in popularity with the advent of modernism, and nowadays, many children's/YA/NA books are written in first person (though this of course doesn't mean you can't or shouldn't write those genres in the third person). Second person is the bastard child. Don't touch it, even if you think you're clever, for anything the length of a novel. Shorter experimental pieces can use it well, but for anything long, its sounds more like a gimmick than a genuine stylistic choice.

Viewpoint Character: This is a simple idea that's difficult in practice. Ask yourself who is telling your story. This is typically the main character, but it needn't be. Books like The Book Thief, The Great Gatsby, Rebecca, Dr. Jekyll and Mr. Hyde, and the Sherlock series are told from the perspective of a side character who isn't of chief importance to the narrative. Your viewpoint character is this side character, the character the reader is seeing the world through, so the main character has to be described through them. This isn't a super popular narrative choice because authors usually like to write from the perspective of their most interesting character, but if you think this choice could fit your story, go for it! You can also swap viewpoint characters throughout a story! A word of warning on that: only change your viewpoint character during a scene/chapter break. Switching mid-scene without alerting the reader (and even when you do alert the reader) will cause confusion. I guarantee it.

Means of Perception; or, the Camera: This part ties the first two together. If you've ever heard people talk about an omniscient, limited, etc. narrator, this is what they mean. This part also includes the level of intimacy the reader has with the viewpoint character: are we in their heads, reading their thoughts, or are we so far away that we can only see their actions? If your story is in a limited means of perception, you only have access to your character's head, eyes, and interpretations, where an omniscient narrator sees through all characters' heads at once. (This doesn't eliminate the viewpoint character--most of your writing will still be in that character's head, but you're allowed to reach into other characters' thoughts when needed. You could also be Virginia Woolf, who does fluidly move through everyone's perspectives without a solid viewpoint character, but I would advise against this unless you really are a master of the craft.) Older novels skew towards third person omniscient narration, where contemporary novels skew towards first person limited. You also have a spectrum of "distant" and "close." If omniscient and limited are a spectrum of where the camera can swivel to, distant and close is a spectrum of how much the camera can zoom in and out. Distant only has access to the physical realities of the world and can come off as cold, and close accesses your character's (or characters', if omniscient) thoughts. Notice how I said narration. Your means of perception dramatically effects how your story can be told! Here's a scene from one of my stories rewritten in third-person distant omniscient. The scene is a high school football game:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” She shivered; the wind blew in. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, stuttered there, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” She met his eyes, which he pulled away. “You don’t mean that," Piper said. “Maybe not. He’s too confident, though.” The cloth of Carmen's uniform caved and expanded under Piper's fingers.

With distant-omniscient, we only get the bare actions of the scene: the wind blows in, Piper shivers, the cloth rises and falls, Carmen points, etc. But you can tell there's some emotional and romantic tension in the scene, so let's highlight that with a first person limited close POV:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” Frost spread up from her legs and filled her as if she were perforated rock, froze and expanded against herself so that any motion would disturb a world far greater than her, would drop needles through the mind’s fabric. A misplaced word would shatter her, shatter him. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, thought better, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” “You don’t mean that.” She spoke like a jaded mother, spoke with some level of implied authority, and reminded herself again to stop. “Maybe not. He’s too confident, though.” Piper felt the cloth of his waist cave and expand under her fingers and thought: is this not confidence?

Here, we get into Piper's thoughts and physical sensations: how the frost rises up her, and how this sensation of cold is really her body expressing her nervous fears; how she "thought better" and put her arm around his waist; her thought "is this not confidence?"; and how she reminds herself not to talk like a mother. Since I was writing from the close, limited perspective of a nervous high schooler, I wrote like one. If I was writing from the same perspective but with a child or an older person, I would write like them. If you're writing from those perspectives in distant narration, however, you don't need to write with those tones but with the authorial tone of "the narrator."

This is a lot of info, so let's synthesize this into easy bullet points to remember.

Limited vs. Omniscient. Are you stuck to one character's perspective per scene or many?

Close vs. Distant. Can you read your characters' thoughts or only their external worlds? Remember: if you can read your character's thoughts, you also need to write like you are that character experiencing the story. If child, write like child; if teen, write like teen; etc.

Here's another way to look at it!

This is a confusing and complex topics, so if you have any questions, hit up my ask box, and I'll answer as best I can. The long and short of it is to understand which POV you're writing from and to ruthlessly stick to it. If you're writing in limited close, under no circumstances should you describe how a character other than your viewpoint character is feeling. Maintaining a solid POV is necessary to keeping the dream in the reader's head. Don't make them stumble by tripping up on POV!