#and everyone is talking about character development

[nonightingalesinberkelysquare]

WARNING FOR GOOD OMENS SPOILERS!!!!

FURTHER SLIGHT SPOILER WARNING FOR THE FOLLOWING BOOKS: The Bone Clock by David Mitchell, You Only Call When You're In Trouble by Stephen Mcauley, and Bibliomaniac by Robin Ince.

Edit: Photos by @polychromicron-persei-8 !!!!!

So I'm sure a lot of the fandom have seen the pictures posted by a very lucky fan who saw the production of good omens happening out in Scotland today!!

However what I'm not seeing people talk about is a hidden gem in the reblogs.

SOMEONE HAD MANAGED TO GET A PICTURE OF THE BOOKS IN THE WINDOW!!!

Naturally, I had to go and do my research to see if these books give us any clues or serve any other purposes other than decorative purposes

AND LET ME TELL YOU

These are the the books visible in the window:

I'll go through them one by one

(Please bear in mind, I haven't read any of these books personally!! The only information I have on them are the little bits I found online in a very rushed attempt at research!!!)

Okay firstly

"The Bone Clocks" by David Mitchell

Now, this is the one that I struggled to make sense of the most out of the three.

The story appears to follow a runaway teenage girl who is a "lightning rod for psychic phenomena." These visions are said to reorder reality and send her into a real life nightmare.

However,

It also states that there is a boy who eventually crosses paths with her and who's story "comes together in moments of grace and extraordinary wonder"

As I said, I've never read these books and the only link I could begin to make with this is the idea of a "supernatural being meets another supernatural being and what they can do when they're together defies anyone's wildest dreams" story, similar to what we have seen and could see in GO3.

The next book is where it gets FARRRR more interesting (in my opinion)

NOW

THE TITLE? INTERESTING ASF.

IS AZIRAPHALE IN TROUBLE? OR EVEN CROWLEY?

The quotes are literally taken from the amazon listing itself, but I'll just point out the bits that stuck out to me personally.

☆ "is it ever okay to stop caring for others and start living for yourself?"

And I'm skipping a HUUUUGE chunk of the story here so apologies

☆ "Tom does what he's always done - answers the call."

☆ "Thus begins a journey that will change everyone's life and demonstrate the beauty or dysfunction (or both?) of the ties that bind families together and sometimes strangle them."

THAT LAST QUOTE REALLY STICKS OUT TO ME. Personally, I'd say that could possibly relate to the heaven and hell divides?

But furthermore, we were told prior to the whole NG situation that Aziraphale and Crowley aren't talking.. so could that mean that as soon as they begin speaking once again, they have the power to leave heaven and hell behind? Perhaps stop the divides?

And last, but certainly not least

Now, keep in mind that this particular book is nonfiction and appears to be written from the authors own point of view as he aims to visit 100 bookshops in 100 days.

This has a relatively short description from what I can see right now so I'll put it in here

"Bibliomaniac takes the reader on a journey across Britain as Robin explores his lifelong love of bookshops and books - and also tries to find out just why he can never have enough of them.

It is the story of an addiction and a romance, and also of an occasional points failure."

This one interested me SO much because it SCREAMS Aziraphale character development sort of thing? You know?

I really struggled to find any spoilers for this one whatsoever but one website did mention the author's love for vintage books, which he only ever reads as and when, as opposed to focusing on just one book.

I just thought this was SO SO SOOOOO interesting, and if anybody has any differing thoughts/interpretations or has even read the books, the comment section is a safe space to do so!!! All theories/suggestions are welcomed (any hate WILL be blocked, don't test me).

OR MAYBE THIS ALL MEANS NOTHING AND IM JUST CLOWNING FAR TOO HARD?!??!??!

[utilitycaster]

to me i feel like the hells were meant for a campaign more like cr2, which i feel like that's been discussed before even on your blog? like idk orym and braius were the only characters who actually fit this campaign, maybe imogen for obvious reasons. but laudna, fearne, ashton, chetney all felt like they belonged in a lower stakes, more personal campaign

Yes, I have talked about this extensively: honestly, either a Campaign 1 or Campaign 2 structure would have served them better. For what it's worth I feel like everyone other than Laudna managed to make something of it - Fearne and Chetney frankly did a lot of work to explore their concepts, it was just never rewarded or frankly in many cases revisited in any way (again, consequences do not mean punishment; they quite literally just mean that one's actions lead to results that follow from said actions), and while I ended up not caring much for Ashton as a character, I actually think Taliesin played them with a strong logical throughline. But it is true that the plot really, in the end, served none of them, not even Orym or Imogen (Braius it kind of did, but he was developed so late in the game that he was designed around its flaws). There was just never space to really explore the dark fairytale Ashley talked about early on; Tuyen and that other toymaker back in Marquet were never revisited nor was Ruidus's impact on Chetney nor was there an appearance of Doreo, and even Drixlich and the offers to the pirates vanished (side note but Travis is perhaps actual play's best plot thread generator and I think it's telling that he kind of gave up on that eventually because it never fucking went anywhere, after two campaigns where it consistently did). When it comes to Imogen I am reminded of the possibly apocryphal theater review for King Lear that went "the lead actor played the king as though he momentarily expected someone to play the ace;" she was a great concept but at no point inhabited her decisions meaningfully on the rare occasions she made them. Orym was never really given the opportunities Caleb had to explore grief and while I personally am okay with his deal with Morri being canceled, it plus the whole Vax thing really feel like a thumbing of the nose at Liam's RP choices across the decade. Ashton's temporary growth and then regression honestly feel very real, just deeply unsympathetic, though the ending of the story where nothing about the All Minds Burn or his talk with Shady Sally or the titans or the Hishari came up and the genuinely great moment of sacrifice turned into another "and then Essek fixes it for you" was narratively empty. But the more I think about it, the more this was largely a failure of Matt to tell a different kind of story with any measure of success. I think this campaign in many ways played hard to Matt, Marisha, and Laura's weaknesses in particular (and a little bit of Liam's if I'm being honest in the end) whereas the others embraced their strengths, and this is what happened; the rest of the cast kind of made the most of it.

[masterj]

Watching SLOTLT:

....Okay... we need to talk about Sodor's Legend Of The Lost Treasure. Many TTTE fans love it and call it "the best special" and "the peak of CGI Thomas." But we need to face facts. It's far from everyone's favorite and actually the Most Controversial of CGI Thomas.

My stance? I say people who don't like SLOTLT are right- just for not for the valid reasons. Prepare to be roasted.

The movie heavily flanderizes Thomas and ruins his character development throughout the series. It practically takes everything that made him unlikable in the Miller era and turned him back into a complete, 100% irresponsible idiot. Take The Great Discovery, a special VERY similar in plot for example. After his trick on Stanley that demolishes the tower, he actually shows full remorse and tries to make up for his mistake.

In Lost Treasure, that is not the case. Here at the start of the movie he's just like, "I'm number one so I can do what I want!"

And it's not until THE DAY AFTER the Dynamite Incident that it finally sinks in and he's like "Aw it was my fault..."

Plus, he would've been mature enough by now not to let Gordon's teasing get to him. In Season 5, he literally tells Percy to just ignore George's insults and simply does just that.

Why are insults such a big deal to him NOW that he has to run of with Gordon's coaches and derail them??? This doesn't make sense! Yes, he is meant to be cheeky, but how the hell do we go from how he's written in Tale Of The Brave to this?!

So much dumb shit happens that could've and should have been easily avoided. The accidents Thomas cause would've have been stopped in a heartbeat if they ACTUALLY REMEMBERED drivers and firemen exist. When Thomas falls into the cavern? HOW THE HELL are they so unaware of the workmen shouting trying to stop them?! How do they not once look where he is going and see the signs?!

They're not even trying! Look at them in the cab! Up until the accident happens they're practically just chillin'! You're not fooling anybody! Are they high on crack in there??? Are they paying rent in there??? Do they just spontaneously go blind and deaf??? Hello?!?! Wake up and control your fucking train!!!

Let's cut back to the coaches. WHY is Thomas shunting Gordon's coaches when that is NOT his job anymore now that he has his branchline?! That's the whole reason the big engines went on strike and Percy was brought to the railway! Topham has HOW many shunters now? And you're SERIOUSLY gonna tell me not a single one could've done it instead? Look how empty Knapford is!

What about the Diesel Boxcab introduced this season? Why isn't he in this movie to do that instead? Did he die?

Overall, SLOTLT is just a pointless Great Discovery rehash sprinkled with stale RWS references, (which help set up this movie's god awful plot in the first place) returned characters, and cinematic visuals and music pretending it's actually a good movie with a likeable plot. Not only does it take the three-strike formula and fail miserably at making it good, (The three accidents Thomas causes) it can't even remember the show's continuity properly for God's sake! For a what's supposed to be a tribute to the RWS, this is not a good look at all, Andrew Brenner. You did not cook.

What's even worse is that for all these years everyone in this fandom just blindly glazes over everything this movie does wrong and then act like it's illegal for someone not to like it and it's disgusting. This movie single-handedly damaged the entire TTTE fandom for 10 years. 10. FUCKING. YEARS.

We already had a special that did this kind of plot so much better in every way. WHY are we doing it AGAIN??? Why wasn't The Adventure Begins enough for this year???

We did not need this. We did not need any of this shit. Just skip to Season 20 and you are not missing too much, I promise you. Peak CGI Thomas my ass. HALF the CGI specials are the least bit more deserving than this shitshow.

This movie sucks. We do not speak of it, I'm done talking about it, it's not canon, it doesn't deserve to be, it never existed. It's dead to me.

All it's got going for it are the visuals, voice acting and music, Donald, Douglas, Alfie and Oliver returning, and the Miniature Engines introduced. That's it.

Just because a movie looks 'cinematic' does not automatically make it good.

[ewingstan]

Hrm. I'm aware that there's a common narrative that Ward suffered from wb steering the text to directly respond to people who gave Amy too much credit. I've already given my thoughts on the way Amy's character has been handled so far—I certainly understand how people would see Amy's increasing propensity to give weak excuses to her actions and read them as wb strawmanning their own reactions to the text. Strictly speaking though, it didn't have to be read that way— its possible, for instance, that Amy's development was driven by wb really wanting Breakthrough's struggles with becoming better people to be contrasted against a villain who's too prone to abdicate responsibility to grow. I have my misgivings about that as a theme, but it is in line with the broader focus of the text, and doesn't rely on an assumption that wb is writing her that way to pwn commenters.

Eric though. Eric really does just seem inexplicable unless you read him as wildbow getting frustrated at certain parts of his fanbase and wanting to dress them down. At least when Amy gave weak justifications for herself, it was for herself—there's a legible reason why she'd do it in the first place. And as I said, it served a thematic purpose of contrasting Breakthrough's attempts to get better by taking responsibility for their actions with Amy spiraling from a refusal to do the same. What similar thematic purpose is Eric showing? What purpose is he serving at all, outside of claiming that people who "defend" Amy are the type of people who don't face real hardship and stare at women's boobs?

The type of defense here is important to note, because the main thing he does is push back against Victoria reading everything Amy does in the worst possible light. This is behavior that makes sense in a comment section when you're trying to detangle your own feelings about a character from a narrator who has a justifiably hostile perspective towards her. It's not the behavior of someone responding to a current crisis event. And it's not the behavior of someone talking to Victoria rather than other readers, considering how obvious Vicky makes it that there's history between her and Amy. Yes, the oddity of that reaction is to some degree intentional, in that its supposed to make Victoria feel increasingly alienated from those around her—but Eric also seems to be getting posed as a synecdoche for non-capes in general here, a representative of a common type of thinking, rather than a wackadoodle who choose a very bad time to defend a stranger's intentions.

On that point. I don't think that wildbow is fully uncritical of Victoria's tendency to fully dehumanize some of her more heinous enemies, or her tendency to see the unpowered masses she's nominally acting in service of as just not understanding the Great Sacrifices™ and Tough Choices™ of their protectors. Ward has flirted with those attitudes in the past, but there's usually enough tension in the framing to suggest it's not fully the intended takeaway. And I don't want to overstate my case, because even here the framing pushes against some of what Victoria takes away from Eric—its made clear that Victoria's in a particularly ugly state of mind right now. The characterization of Larue right afterwards pushes back somewhat against her attitude towards non-capes, and the conversation with Jessica made the idea of seeing Amy's perspective on an issue, and the idea of denying a villain's full responsibility for their actions, seem less ridiculous on its face. Reading Eric's inclusion in the best possible light, I'd see him as the text introducing certain ideas in an unflattering light in order to make Jessica's later reaffirmation of the theme that everyone can act horribly in the right circumstances hit that much harder.

But Eric really feels like who'd you write when you wanted to complain about the bleeding hearts. His presentation is much more what I'd expect from a jingoistic action flick, the most unflattering caricature of someone who wants basic limitations on the actions of cops and soldier. Very "decadent ivory tower cultural relativist who wants you to consider the drug lord/terrorist/rapist degenerate's point of view," who's putting obstacles in the way of the action hero's righteous and necessary cleansing crusade against the subhuman hoards. Why the fuck is a character made to support the worldview of Dirty Harry or the fucking Turner Diaries in a wildbow novel?

[kylixyte]

request: a good version of the doctor who helps around safe haven

I've been putting off this request for a long time because I really liked it. I wanted to do something more than a sketch

In the original universe, or something like that, with the character of the doctor, this was hardly possible, so here are my thoughts on this. Think of it as an au (It probably already exists, but I haven't seen it)

In this case, we can consider a milder version of the doctor, who might not be completely firm in his intentions. Maybe he would periodically ask questions about how much the goal is worth other people's lives.

Pehaps! Perhaps in our case, he would have been turned into what he became, because he would have begun to doubt what he was doing. And then he has to face directly what he has done (or at some point something happened that made him radically change his views)

Maybe he and the Prototype didn't work together (maybe for a while), but eventually the Doctor would have found another way of redemption.

He deserves to be held accountable for his actions. The kids didn't deserve his company.

He would also only be accepted if absolutely necessary.

The kids would definitely not trust Harley. Obviously. Talking behind his back, not telling him about their immediate plans

It seems to me that Doey (At least one of them) reacted more positively to some of his actions (again, considering that he did not behave as badly during his work at the company as in the original)

I believe in a lot of sad dialogues with children who would ask him to "return everything as it was"

Also, by design, he would probably stop wearing clothes like… um…??? At first, he would have tried to "hide from everyone" by choosing more complete lab coats.

It seems to me that there would be no other copies of robots, for some reason. And his brain would have been in a different place initially, otherwise it wouldn't have been a problem to destroy it for the Prototype.

In any case, I really like the idea, although I'm not a fan of such plots, and I want to develop it more

Tell me what you think about it

(And tell me if everything you've written is bullshit

And if you want to see the continuation of something like that)

It would be more fun if they had to work together, of course, and everyone wasn't thrilled about it, but I can't imagine such an outcome

[yurisorcerer]

Every week I walk in to the torment nexus and walk out with my heart broken in three places. What a fucking show.

Some interesting play with structure and framing this episode. At last week's conclusion Soyo was shown discovering Mortis, and the whole scene was framed in slasher movie tones. Here, now that she has a better idea of Mortis' whole, you know, thing, Mortis is instead framed as the angry, lost girl that she really is. I really enjoyed (and did not at all expect) Soyo actually playing along with Mortis' whole 'calling the doctor' bit, it shows a pretty deep empathy that I don't really know if we've seen the character express before? (It's been a while since I watched MyGO, so I may be forgetting something.) Also, she apparently spends 3 whole days sleeping over there trying to patch things up, which, while there's definitely a selfish aspect to her motive (she misses CRYCHiC too, after all), I think deserves serious real one points. I don't think I have the emotional stamina to spend 3 whole days consoling anyone about anything.

Full credit to Rana also, who can just intuit what's going on with Mortis and Mutsumi without even actually being told. (She doesn't actually go out of her way to help, though, and spends a decent amount of time this episode playing with cats. Rana remains this subseries' most mysterious character.) Mortis actually seems to develop a bit of a crush on her, and is that a twinge of jealousy I detect from Soyo about that fact? My god, what a relationship chart this series has.

I like Umiri's brief scene in this episode. Forever the eternal mercenary, she describes the breakup of Ave Mujica as though it happened around her and not to her. And yet when Ricky Taki calls her on this, she gets annoyed. Truly the "fake ass IDGF'er" meme in human form.

The first half of this episode, I must stress, is actually pretty light by this show's standards. So of course, there needs to be a breaking point somewhere. Here, that breaking point is between Mortis and Mutsumi, who stirs for the first time in a solid month only to find how awry things have gone in her absence. This isn't what she wanted, and Mortis is appalled to learn so. The two have an argument in headspace, which of course to anyone outside of the Mutsumi-Mortis system's own head just looks like an argument with herself, and she actually carries on so bad that she ends up tripping and falling in front of Live House Ring and making a huge scene, which of course a throng of anonymous busybodies are nearby to witness. It's SO much that it would come off as contrived if the show weren't so set on showing us how badly this is fucking over Mutsumi and Mortis. It's hard to watch.

There is something admirable about the show's complete lack of handholding with this kind of thing. This episode alone depicts multiple conflicts within a fully-realized mental space, a tug-of-war between Mortis and Mutsumi for their collective fate that is just profoundly sad to witness. I do wonder how legible this is to audiences who aren't plural. Part of me---literally part of me---is worried this series might be too ahead of its time for most audiences to properly appreciate.

(I've barely talked about Sakiko here and she is absolutely going through it up and down this episode. From the horrible, obviously untrue claims she makes about not caring about either band or even about Mutsumi, to the fucking folder of notes she's gotten from Tomori over the years, to the fact that she sadly looks for another one despite telling Tomori off for them last week. To. This fucking expression, just, god.)

There's a mostly-lighthearted interlude with Nyamu (it remains really funny that her dark secret, compared to everyone else's, seems to just be that she's from the sticks), but even that is twinged with her finding out about Mortis and Mutsumi's public breakdown. The episode then ends with MyGO finding out about Sakiko's whole extremely fucking complicated family situation. Episode 7 is entitled "Post nubila Phoebus," "after the clouds, the Sun." In most other contexts that would be a shining beam of hope, and maybe it is here too, but I'm fairly sure things will get worse before they get better. (Recall, we still have no idea what's going on with Uika, just as one example, and she's the only character from either band who doesn't put in even a cursory appearance in this episode. Where is she!)

[epickiya722]

I'm gonna be frank, I don't think I'll be understood here on my stance (especially since I'm just not good with my words) and I know some of you isn't going to agree with me. That's fine. I'm okay with different perspectives.

I'll be honest, 431 isn't the most well written epilogue and yes, I don't particularly like it.

But it wasn't the only thing that made me irritated. It was just the tipping point of "You know what, I kind of had it".

The writing definitely didn't do Midoriya justice, neither for Uraraka and Toga. But let's not act like Bakugou had great writing there either because for me, him asking Midoriya to work at his agency didn't feel like Bakugou to me.

Over the story, we see that Bakugou had grown to be more open towards Midoriya. So why did he go about skirting around to ask Midoriya about the agency, let alone ask him at all? And in front of Kirishima who had to act like a translator? So you're telling me Katsuki Bakugou who has freely been straight forward, after learning to be because sometimes Midoriya does need people to be blunt, before couldn't have a conversation with Midoriya about working at the agency?

You're telling me Bakugou couldn't have a discussion with Midoriya like "hey, can I talk to you" and they go from there to having coming to an agreement of sorts?

All that development of their relationship getting better that they could confine in each other that Bakugou and Midoriya couldn't have a scene where they sat down at a restaurant or somewhere, just them and discuss the agency?

No, that had to be sprung up and hinted at Midoriya in a car with Kirishima present? Before they met with their friends?

Maybe it's just me, totally just me, but I don't think Bakugou would have went about it like that. I would have figured that Bakugou would have asked Midoriya to meet with him and together they would have a proper discussion. Like by then, those two would have learned better communication.

Even before Kirishima had to say anything, Midoriya voiced that he enjoyed being a teacher and still thankful that he has a hero suit thanks to everyone.

Actual Bakugou, at least not my Bakugou. wouldn't be framed totally butthurt by Midoriya wanting to still be a teacher. Not when they know can still be heroes and rivals and whatever else together. Bakugou wouldn't let Midoriya being a teacher and not working at his agency keep him awake at night like "can't believe he rejected me, can't believe he rejected me".

Heck, I doubt he would have even brought up an agency in the first place because what mattered to him was that he and Midoriya were heroes together.

If their teachers were able to do it, them why Bakugou would even question Midoriya about still teaching?

So Midoriya isn't the only one at fault here and he's not the only character done dirty. Bakugou didn't have perfect writing here either to me.

But I feel like some people are stuck on "Midoriya betrayed Bakugou" that maybe that's the part not being caught on. That frustration towards Midoriya is blocking from seeing Bakugou was not written well in this chapter.

I wouldn't even say either are at fault here, the chapter just wasn't that good. We had some highlights but it just wasn't the best epilogue and as much as I know a lot of people want to blame Horikoshi since it is his manga, let's not forget who he works for. I don't know the man, but we all have seen what any kind of entertainment industry will do when it comes to any kind of media.

And again, it's not just the writing of the chapter that rubbed me the wrong way. Sure, some bits I could try to make sense of it, even if I don't like it (frankly, something I think should be learned).

But again, as I have said it multiple times before, it was indeed the fandom's reaction to Midoriya and just Midoriya that irked me to the point.

And here's the thing... IT ALWAYS BEEN LIKE THIS EVEN BEFORE THE EPILOGUE.

Like, no, epilogue sucks or whatever, but now I feel like it's just being used as an excuse to further hate on Midoriya more.

Every other character had gotten some kind of "Oh, they got done dirty" by the fandom, but no, not Midoriya. I saw quite a few people framing him as the bad guy when he is also a victim of flawed writing, too!

Even if admitting he too had flawed writing, he still gets hate for it while other characters are felt sorry for.

But even, again, before that the fandom had shown me how much they don't care about him at all. I would say it's always been evident from the start.

Haters, supposed fans... it doesn't matter.

No, I don't expect everyone to like him or see him the same way.

What frustrates me is that some people act like they don't do Midoriya dirty, too, whether you like or not and it's not always the fault of the narrative. The narrative could be flawless and some of you would still hate him for whatever reason or twist him to fit how you want to see him.

[lordnochybaty]

I think one of the few things I liked about OFMD season finale, is that I was really not vibing with this season but felt a bit torn about just giving up on it... Now I have a perfect excuse. 😂

[wyvernity]

been thinking about the sinnohtrio lately......plus misc other stuff

also, casual ko-fi drop!! get something in this sketchy style starting at $10 woop woop

[high-voltage-rat]

I think it's fascinating that the quotes:

"Have you forgotten sir, we were at war? A fight with an alien race for the very survival of our species. I feel I must remind you that it is an undeniable, and may I say fundamental quality of man, that when faced with extinction, every alternative is preferable."

"When you spend every day fighting a war, you to demonize your attackers. To you, they're evil, they're subhuman. Because if they weren't, what would that make you? What I'm trying to say... is I've been afraid to see you for what you really are. You're our brothers. Our sisters. And the things we've done to one another are unforgivable."

"These guys want to use us, take us away from our families, and send us all over the dad-gum galaxy just to test if their agents are ready for the big fight? Well... guess I'm interested in showin' em exactly what a big fight is all about! So I'm not ordering you to go. I ain't even asking. You do what you gotta do, Private."

came from the same series whose standard fare is lines like:

"What in the hell are you two doing?" / "We're being executed by our own men, sir." / "Cut it out."

"I only drink the blood of my enemies, and the occasional strawberry yoohoo."

"You always said I could sleep when I’m dead, Sarge, and guess what? I am dead. This purgatory is about to become purga-snore-y, yawn!"

...and both categories manage to be a poignant statement about the nature of war and what it does to the people in it.

[nemnums]

here’s a poster idea i have for ultraman rising.

I was very intentional about the composition and details, so I’ll show the dissection of my thought process in a separate post probably

[utilitycaster]

feel free to ignore if you feel like it's too theoretical/parasocial/etc. but: I see how the campaign as a whole is off because of how lack of prep influenced the cast to create somewhat unfit characters, but as someone who got immensely annoyed by this episode, I'm wondering why has that throughline carried out for so long. why haven't the cast decided to start playing their characters in a way that leads to a more cohesive and satisfying story? is the hesitation and bizzare opinions on gods a very dedicated RP choice or do you think the players themselves are also at a loss? I'm honestly very confused about that, given how driven and decisive they played VM and M9 during their oneshots. I don't want to feel like I'm singling anyone out to hate but e.g. the way taliesin plays caduceus vs ashton is particularly puzzling to me.

Hey anon,

This is all highly speculative (as, to be fair, was the original idea the cast was given very little information, and that turned out to be right) but I think it's the far-reaching consequences of that initial lack of prep combined with the fact that it's been a very central-plot focused campaign that failed to allow the characters to develop into more decisive people. It also, I think, centers the Ruidusborn such that I suspect a lot of the rest of the table is taking their lead.

The Mighty Nein, we know, involved a lot of prep with Matt specifically offering feedback and vetoing certain aspects. Every character came in with pretty clear goals, and because it was a character-driven campaign we got to see those goals change as they learned more: Caleb and Fjord notably abandon their original goals in favor of new ones. Veth and Caduceus achieve theirs; Jester as well, and she develops new ones as she becomes less sheltered. Beau and Yasha's exact goals were much more nebulous, but they have the opportunity to confront their pasts at length and find new purpose and peace throughout the narrative. I don't think it's productive to rehash everything every time but: lack of pre-existing long-term relationships and more work on the short-term friendships that existed, the fact that Beau and usually Molly due to Yasha's absences (and later Caduceus) were free agents who didn't know anyone prior to their meeting, and the fact that the party had like 2 gold to their name and had to double up in odd configurations plus their willingness to engage in conflicts led to a fairly quick and deep bond, which also influenced their goals and dynamics.

Vox Machina were initially very generally sketched out characters, but after they began doing more there was a similar effort put into to backstories, and I think going back after they'd already played a bit meant they knew more about who they wanted these characters to be. The pre-stream plot, as we can tell from the origins comics, was also heavily backstory focused; the Briarwoods arc is when most people feel the streamed campaign really takes off.

We have seen the backstories of the characters of Bells Hells, but a lot of them are deeply tied into a long-running main plot that doesn't really allow for the same development over time. Like, Percy, for example, actually does his "plot" about quarter of the way into the campaign; but this kickstarts his development. Fjord is rather similar; he learns the source of his powers quite early on, but grapples with them until the halfway point and then the rest of the campaign is him embracing something new. To compare, I suspect Laura envisoned Imogen's story as being not dissimilar in the sense of "learn what my powers come from, find a way to better control or perhaps get rid of them" and so upon finding out this is the lynchpin of the entire plot, Imogen never has that post-resolution time to cook, essentially. Even for those who had slightly more rewarding plot beats they kind of felt like "let's address this problem so we can get back to the moon stuff" (Chetney, Laudna) and in some cases, I think it felt to the players, rightly or wrongly, like those plots were actively rushed to the point that they couldn't explore them (I suspect this happened for Ashton during the solstice split). There's been a hurry-up-and-wait sense of urgency over the whole campaign because it's a plot that was introduced very early and has never let up. There's been no "what do we do" type breaks and I'd be shocked if there are. We've sort of run out of plot because we've speed run everything that would have been a plot in a different campaign.

So I think the players don't know how to evolve their characters because there's been no in-world impetus to evolve, really. Now, as someone who prefers to play people who are already decisive, the fact that most of the cast went for kind of indecisive/impulsive types isn't my bag, but that is valid; but it means no one's really had the chance to organically move from that.

I also think that the fact that there's one big plot that really centers the ruidusborn is another factor. Even if Orym, for example, were the type to shut down the party, what is one person who can't reasonably stop two spellcasters from going into the Hallowed Cage going to do? I think this post makes a good point; I think putting the pressure very heavily on two players who (very understandably! for a number of reasons!) are among the most averse to making a hard and potentially alienating or unpopular choice has sort of prevented anyone else from taking a wild swing. The other campaigns had a much more even distribution of who could make decisions within the party, and I think that reflects that. I also think this is uniquely an issue for longform campaigns; I haven't seen this hesitancy from Laura nor Ashley in Candela, Downfall, nor in the various Daggerheart one-shots and miniseries, since you have to swing big there.

I do want to cover one point specifically, which is that I actually find Ashton to be one of the better played characters. I disagree with them, to be sure, but like, Caduceus is a character who can be arrogant in his fairly limited worldview, but who is also consistently very empathetic and kind. Ashton has that arrogance, but without those priorities. Caduceus isn't really invested in hurting those who hurt him; he's interested in stopping those who would hurt his home, family, or friends, and if that requires hurting them he's okay with that. Ashton really does want to beat up those they deem responsible for their own pain, justified or not. I think taking the shard was a great move and stand by that [though, admittedly, it and the bit about Predathos needing a vessel just now have me like. the consequences have been conveyed in a crystal clear manner to ME and somehow the cast is not getting Matt flat-out saying in game THIS IS WHAT WILL HAPPEN, so idk what's up with THAT.] and my issues stem specifically from his decision to claim to speak for the weak and then immediately accept the titans saying that a remade world in which only the strong survive is fine. Like, I don't think there is a problem in how Caduceus is played vs. Ashton, in that I think they are both internally consistent as characters; I think it's just. Caduceus is someone who tries to make decisions that minimize broad harm to that which he deems good, and Ashton is often, by their own admission (episode 78), selfish and conceited. Like, Taliesin is just. Playing someone who is often not a great person this time. And that's a valid choice. But I think it's in a narrative that didn't really permit enough time and space for characters to change meaningfully so Ashton is a bit stuck there whereas, while Caduceus didn't have nearly as much of a gap between who he already was and the hero he needed to be, he had far, far more room to grow.

[the-witch-of-woods-beyond]

“if you go, i’ll stay, you come back, i’ll be right here” but it’s clarke griffin giving her life so that bellamy blake and all her friends could make it to space, surviving through sheer will, and calling him on a radio every single day for six years until he could return to her and the home she built for them all.

[purplecelestial-buddy]

It's so funny to me that the fandom has come to see Hirano as a Sasamiya promoter of sorts because while he is, it took him some time to get accustomed to the idea of them together. And while he was never a hater Sasaki's actions towards Miyano certainly used to get on his nerves.

At first he was so worried and probably even felt a little guilty because (as mentioned in the following screenshot) because the only reason why Sasaki knows which class Miya is in, is thanks to him.

But like, that's not the face of a friend that's happy to play cupid and get their two acquaintances together. Not at all, that's the face of someone who puts his sempai-kouhai relationship with Miyano over his (pseudo) friendship with Sasaki.

Hirano from the first chapters would have jailed Sasaki if he were allowed to. (And he has his reasons, Sasaki has been something since the first chapters)

Anyway, the progression of events is really interesting.

He started, quite literally, shielding Miyano from Sasaki.

Then, he came to accept their relationship.

And at the end he really was rooting for them, to the point he ended up outright lying just so Miyano could meet Sasaki and they could talk it out and confess.

[ultimateyakazoo]

i love how right out the gate danganronpa sets you up for this suspension of disbelief with the concept of hopes peak academy. like its such a creative and interesting concept but in practice itd be such a stupid idea and that just makes the series all the more fun and ridiculous

[scoliosisgoblin]

Which version of Rick is your fav?

it's so hard for me to choose tbh. HOWEVER, I'd say Evil Rick

then I'd say it's C-137 and Memory Rick

I love how pathetic™ Evil Rick really is tbh. love that he's being controlled by his Morty. can you guess who my favorite Morty is?