#and only ONE of them was actually helping me in character creation. so the conversation kept getting sidetracked by everyone

[rotisseries]

Ur so new to this its making me giggle. also you should share more I need to Know

gloomy I can't stress enough how bad I am at this. once we got past stats and I had to actually come up with real character things it was awful. dragged kicking and screaming through character creation. also I'm realizing as I type this how little I still have in mind for this character bc I never even decided what gender they are. we've been referring to them interchangeably as "my new cringfail losergirl oc" and "my new weird little guy"

[siriuslyobsessedwithfiction]

Baghra Morozova is one of the most selfish fictional characters ever written. Not only she possesses no empathy, she has never had an aspiration or an ambition in her life. This is probably LB's fault because she didn't give her a personality except being a bitter nihilistic pessimist, but let's discuss the harmful ideology she lived by and tried to install into his son and Alina. And how Aleksander refused to learn that lesson from her.

Wanting doesn't make someone weak, nor it is a problem.

Darkling's infamous words "The problem with wanting is that it makes us weak" is purely an echo of his mother's teachings. Because Darkling's whole source of strength and motivation since he was thirteen was the want to make a better world for Grisha. Or at least a world where they wouldn't be hunted and shamed for existing. After centuries of loyal servitude to awful rulers he managed to create a safe haven for Grisha, but even there, they were serfs.

There is no denying that Baghra was an intelligent, ruthless, powerful, cunning and unfeeling woman. Unlike her son, who was prone to sentiment even though she did her best to weed it out of him, Baghra was not particularly emotional even when she was young. I don't know if she had some sort of mental condition or she was just that kind of person, but she lived for centuries and never had a dream to become anything. Creation of her son Aleksander served only one purpose to her - so she would have someone like herself. Someone she could share loneliness with. Because I cannot call Baghra's and Aleksander's relationship companionship. She made that decision when she was young, and after raising him, she often left him to his own devices, but never actually let him out of her clutches. She abandoned her other children because they weren't Darklings. She did not want a family, she wanted a reflection of herself who she could have a conversation with. Aleksander should have just brought her the mirror from "When water sang fire" which could create an illusion of a person's reflection being sentient.

Anyway, back to the point. Baghra was a part of a prosecuted minority for centuries and never tried to make a difference. Nor did she support her son when he tried. I can understand how at first she was solely focused on survival and that mindset stayed with her, but after both of them were centuries old, why didn't she do something? She clearly didn't fear death. She is content to sit in her hut, stroke fire and spit venom for eternity. Which is funny, because she's supposed to be inspired by Baba Yaga from Slavic fairytales, but she reminds me more of Nacarqeqia, a stereotype of a lazybones layabout lit ash-raker from fairytales, who has capacity to do heroic things by outwitting the opponents, but chooses to sit by the dwindling fire and complain and daydream instead.

When your kind has been subjected to genocide for centuries, it's not "greedy" and "corrupt" to take drastic action.

Tolkien pushed the narrative I agree with, that war is always horrible and it's not something to be glorified, which lots of works in fantasy tend to overlook. I agree with Baghra that power corrupts. But like @aleksanderscult and @stromuprisahat have already discussed in their analysis posts (check out their work), Aleksander did not want power for himself or to lift Grisha above other people. He wanted his kind to have basic human rights. I don't understand what LB was trying to say. That fighting for freedom of your people is bad? And Baghra is convinced it's best to do nothing, because humanity is already too messed up and there's no point in trying. Some wise ancient advisor she is.

What actual humanitarians think about not taking action to help your people survive

Nobleman Ilia Chavchavadze was a Georgian public figure, journalist, publisher, writer and poet who spearheaded the revival of Georgian nationalism during the second half of the 19th century and ensured the survival of the Georgian language, literature, and culture during the last decades of Tsarist rule. (A.k.a "Saint Ilia the Righteous". Ironic, I know. Like Baghra's father, Ilya Morozova in Shadow and Bone. But I wouldn't compare them.)

In his publication "Letters of a traveler", Chavchavadze writes his inner monologue, where he worries about his country and contemplates what to do, as he returns from Russia to his homeland. He writes:

"I went out from my room and looked over at Mqinvari, which they call Mount Kazbek. There is something noble about Mqinvari. Truly can it say: the heavens are my head-dress and the earth my slippers. It rose in the azure sky, white and serene. Great is it, calm and peaceful, but it is cold and white. Its appearance makes me wonder but doesn't move me, it chills me and does not warm me — in a word it is Mqinvari /frozen/. Mqinvari with all its grandeur is to be admired but not to be loved. And what do I want with its greatness. The world's hum, the world's whirlwind and breezes, the world's ill or weal makes not even a nerve in his lofty brow twitch. Although his base stands on mother earth his head rests: in heaven; it is isolated; inaccessible. I do not like such height nor such isolation nor such inaccessibility." This is Baghra's life in a nutshell. Not bothering to engage, standing still, isolated for centuries. Her connection to making at the heart of the world, her gift, her life, wasted.

Aleksander is different. He's constantly in danger, he is dangerous but in a different way, he stumbles, crashes, redefines himself, pushes forward no matter what to achieve his goal. -

"Thank God for the desperate, mad, furious, obstinate, disobedient muddy river Terek! Leaping from the black rock's heart he goes roaring and shouting on his way. I love his noisy murmur, its hurried struggle, grumbling and lamentation. The river is the image of human awakened life, it is a face mobile and worth knowing.

Stand still but a little while and dost thou not turn into a stinking pool and does not this fearsome roar of thine change to the croaking of frogs! It is movement and only movement, my Terek, which gives to the world its might and life."

I hope we can all understand this metaphor and what it stands for, I believe I have explained enough.

[spotsupstuff]

I love the expression of Théta in the drawing you did of them reaching out to FP, it's like they're fretting over him like "nonono this will not do!! Come here to me little one, you'll be okay."

It's comforting to see an interp where the cycle itself steps in to help those doomed by their creators!

Théta isn't the Cycle itself, the Cycle is a feature of the world. It was created by... not sure actually, most likely God of Eyes, but it also could be a result of Théta stepping into GoE's creation. I'll have to troubleshoot that.

Yes, however! Main aspect of Théta as a character is that he's very fatherly/motherly. He created souls specifically so he would have more someones to love and did everything he could to give them a fighting chance against GoE's physical creation even though he was basically dead after the betrayal.

The Iterators are a strange case to him- because their Individuality exists outside of his creation (GoE can't create life, he can only give forms to it, everything alive is Théta's creation that was bastardized). They fall under a creation act of the Anemons as a new life on crutches, which both means Iterators are like 80% none of his business and that they can be classified as his grandchildren by our understanding. Normally he can't intervene/converse with them meaningfully until they are on the verge of death and the Anemons have given up on them. Or, as Saint, he physically has to approach them.

So one can imagine why the guy who's highest want is to love the life around him to the point he created More life, jumped into the torment chamber that is the physical reality to bail out his "grandkids".

[arcaneafterhours]

i drew the sbg characters if they were in my comics magic system heres a long post talking about their abilities

i somehow did doodles of all of them in one day lol. THIS IS GOING TO BE A VERY LONG POST BE CAREFUL ABOUT CLICKING READ MORE THIS IS JUST ME YAPPING ABOUT MY COMIC AND ABOUT SBG

ok so the magic system of my comic is basically this: your eye color aligns with a “concept”, and each concept turns into a very unique super power for each individual. it can be anything, as long as it fits the concept. literal or metaphorical. i designed this power system to be very vague so you can be super creative

ill explain each concept as i go down, but i basically switched the sbg cast with my cast, so all of them are called “duo ranked” and have heterochronmia, and their concepts have mixed together to create a new, entirely unique power that fits both concepts in its own creative way.

i also kept one color for every character except for aiden. i kept his red eye, because if i didnt i would be doing FOUR BROWN RANKS and i want to show off this system so ill only do 3 lmao

heres how it went:

starting off with ashlyn, her ability came pretty easy. i kept her green eye(the concept of growth) and gave her a white eye(the concept of enhancement(typically of ones own values or senses)), and they mixed together to give her control over sound, more specifically its volume and frequencies

its very useful for her, she avoids being overwhelmed way easier now and can switch off whatever is bugging her if it gets too loud. coincidentally, eavesdropping is INCREDIBLY easy, since she can just turn up a specific conversation she wants to listen in on. and she can manipulate frequencies so she makes tyler voicecrack all the time because its really funny. very simple power and its perfect for ash. her drawing turned out okay, i kinda rushed them all just to have them done dont expect high quality

I had a VERY fun time coming up with aidens power. he has his red eye(the concept of creation(self explanatory)) and i gave him a purple eye (the concept of perception, like illusions and such) and the two mixed together to allow him to turn duplicate illusions into reality (if he has enough strength to do so). he can create illusions that are specifically duplicates of objects, and they are only temporary for the time being until he actually ‘creates’ it, then of course it just permanently exists. he is limited to only a single duplicate, and one at a time. actually creating something is very draining

the only human duplicate he can make that will function correctly is himself, and he cannot make it more than a temporary illusion. he can make decoy human illusions, but he cannot make them real.

i had a lot of fun trying to draw his stupid hair it was good practice, im very happy with his drawing

next is tyler!! i put “pursuance” in the drawing because i never know how to describe it but tracking or pursual(is that a word??) is a better word i guess?? its in the works

I kept his brown eye(the concept of pursuit(being able to track things basically)) and gave him an orange eye (the concept of healing) and i gave him a pretty literal power of being able to track how far along the healing process an individual is. in turn, this also gives him the ability to sense when someone around him is hurt.

also, since he can track the healing journey, physically touching him will speed it up ever so slightly. if you have a stomach ache just go hug tyler and eventually you’ll feel better

now for possibly my favorite ability, TAYLOR :D! (featuring me forgetting the word pursuit exists and just putting ‘persual’ which may not be a WORD google LIED TO ME HELP DONT LOOK AT IT

ANYWAY just like tyler i kept her brown eye, and then i gave her a pink eye (the concept of connection), which gave me the idea of her being like tylers opposite. i wanted their powers to reflect each other, so where tyler can track physical injuries and how they heal, taylor can ‘connect’ with others and sense their mood and how it has recently been. almost like a graph!! sometimes she accidentally does it and gets overwhelmed trying to keep track of other peoples moods when she isnt prepared to handle it.

and just like tyler, physical touch from taylor will make you happy and calm (hugging taylor does that anyway) so she is like that scene in big hero six where they all lay on baymax because hes very warm and i love her

I HAVE NEVER DRAWN HAIR LIKE BEN PLEASE DONT ASK I DID MY BEST ON THESE LIYTLE DODLES

anyway

for the last time i kept bens brown eye because why does everyone have brown eyes, and then i also gave him white because i got a really really funny idea ok.

ben can track movement of people around him specifically, and he can enhance his own power. if he enhances it enough for one person, he can predict what their course of movement is about to be. its very immediate, so when hes trying to process it the action could very much already be happening. its very useful actually!!!

ITS TIME FOR MY FAVORITE ABILITY RAJGEJR FINALLY NO MORE BROWN ABILITIES

I kept logans blue eye (the concept of movement) and i gave him yellow (the concept of light) because yk yk hes a dlorist photosynthesis WHATEVER

he can basically control the movement of anything in bright light. the control on it he has depends on how bright the light is, so he finds it useful to keep a flashlight on him

THATS ALL, I HAD A LOT OF FUN FOJNG THIS I STARTED AT 10 AM AND FINISHED AT ABOUT 1:30 PM LMAO MY WRJSTS HURT A LITTLE :] If you like the magic system, i post all about the actual protagonists in #comicsafterhours if you want to see more idkffkjmdnfm,,,,,, anyway

if you actually read all that tysm?? love you lots?? ill probably draw my ocs in the sbg situation soon

[system-of-a-feather]

Honestly, real talk, I feel like people largely do not understand just how much characters within those who are maladaptive daydreamers and/or were maladaptive daydreamers literally are "parts of them" and how both healing and destructive that dynamic can be and I find that a bit visible with how people in DID communities talk about maladaptive daydreaming as a "form of plurality"

Its an absolutely different experience but that doesn't mean that the label of "plural" isn't equally suitable. Since that topic has come up on our radar like way back half a year or year ago, we honestly have been thinking about it as someone who is considered "recovered" from DID and has recovered from maladaptive daydreaming but still has a brain that functions creativity and imaginative worlds with the same semi-autonomous functions whether I like it or not

And honestly? My characters are very much not "my creation", nor are they "just my OCs" - the very way all of my character are made and at this point the only way I know how to write and make characters is by taking a part or aspect of myself (conscious or subconscious) and throwing it out there with a name and face. That part of myself engages with the world I created and develops within the narrative and impacts the world itself.

I repeat and do this for all my characters and the world that I have created serves as a hypothetical exploratory way to understand, engage with, and explore very complex topics with exaggerated and isolated parts of myself. I have never really "planned" a character of given them traits or really anything other than a basic premise of a name, MAYBE a gender, and a vague role and I let them define their own story. No real character arc planning. No real likes and dislikes. No real narrative or secret message.

The function and means of which that I "created" these OCs and the level of which I don't control the way they form and grow is extremely similar to how I "create" alters, albeit one is far more voluntary and intentional than the other and one is physically sharing my life with me and the other is sharing a mental world with me.

((Additionally I don't engage in the mental world I made for them beyond the half joke that I'm the god of the gods of that world and they dont know))

The dynamics I have with my characters is WAY WAY WAY different than my parts / alters but BOTH my characters (maladaptive daydreaming) and my alters (DID) are equally fair to call "parts of me" and "parts of a whole" in a very literal not "Oh yeah Im a writer and this character means a lot to me theyre a part of me"

With my writing partner (who does this as well) we regularly use our characters as well to explain what we are going through / how we are feeling to help facilitate real talk and venting a lot because we have a mutual understanding that while this is a story and these are our characters, both of us have "built" this world by literally giving very specific aspects of ourselves the ability to explore, grow, and learn in a world and that while some have grown SO far from who we are now, they represent an aspect and potential part of us that could have been should something have gone one way in a specifically extreme way in a specific environment.

With that in mind, I absolutely feel its fair to compare DID and MaDD "plurality" with some obvious understanding that while there are similarities they are also different (AND THATS OK).

Cause honestly? If I actually talked to my characters (like a lot of people with MaDD tend to do) I could see myself calling and feeling as though they were a system and I don't think it would be all that inaccurate and wrong. I don't have that experience as my MADD and DID are mostly entirely two seperate dissociative coping mechanisms, but I know for a fact the line between the two is a lot less clear and its just food for thought

-----------------

[SYSCOURSE AND DEBATE WILL BE BLOCKED.]

[Good faith conversation and discussion is WELCOMED and ENCOURAGED.]

[If you don't know the difference, don't add on.]

[yourlilkaiju]

Here is the Reason Why I Am Not A Destiel Fan Anymore:

And the reasons I refuse to go back to being one:

So in retrospect, the SuperWhoLock fandom has been by and large a pretty big fandom that has been running a good while. I don't think it's stopped. I have always loved Doctor Who, as that- alongside the works of Mr.Henson and the brilliant creations from his creature shop, were my first introductions to all things weird and other worldly. Horror was another story. I will be more than happy to talk about that another day. So as time went on, in abouts the late summer/early fall of 2005, right before I turned 13, I was introduced to Supernatural. Starring Jared Padelecki and Jensen Ackles. The person I was watching it with was bouncing up and down, all excited because "Oh my gosh, it's so nice to see you watching something other than anime." (The cow.), and because it was nearing Halloween time and it was both of our favorite time of year for two very different reasons. This would end up being the start of my enjoyment of a long running series that had a good premise, but a very confusing story line after season five. (Sorry but it felt...skewed after that point. But I stayed loyal.) In any case, I eventually started shipping Destiel because of the constant queer baiting. Which didn't exactly, idk help the situation? And with that I ended up being a shipper for a good seven and a half, I repeat, SEVEN AND A HALF FUCKING YEARS. Hardly anyone sticks with a shop that long. (But being autistic you kind of stick with a lot of things for a long ass time. *Mumbles something about a certain one winged angel from the nineties*.)

My enjoyment of the ship came to a close when I was at a fantasy convention the spring of 2016. I was at one of the Double tree locations with an ex of mine and dressed up as a fae queen, laughing, having a good time and just having good conversations with the people at our table. I was with a troupe that my ex and I had started and we were initially responsible for acting out as "hosts" for the opening and closing for these events, and even "opening the portals to the realms" 🙄. When out of character we were still expected to be gracious hosts....well, more like I was. The man could get away with spilling a punch bowl over his head while mooning an entire audience, yet still somehow do no wrong. If I complained, or made a peep in my defense, the whole world would come crashing down. Even with some of the people we spent time with. And some of the people we spent time with were Destiel shippers who liked to bring strangers into our space without asking, or without any given warning or invitation. At that time, it'd been Supernatural fans who were not only Destiel shippers....but also Cockles fans.

[I am going to pause for a moment here because I feel the need to emphasize that shipping is fine. Shipping is a great way to escape reality for a period of time and even let loose the pent up need for some sort of intimacy in ones life, regardless of the type that is needed. But to allow it to interfere with reality, to force real people into seeing each other and actually make it so that it can't be left alone for years after? That's where there is an issue. And people who can't see that need to re-evaluate themselves and get some fucking help.]

There were few things that my ex and I agreed on, and one of them had been that uninvited guests had been a nono. However, the rules at play prevented me from saying anything while in costume. He had to dismiss the person. He had to tell them it was time to go and that "appreciated the travellers journey, however it was time for the court to take it's respite." . And yet he didn't. So as these people went on, our troupe laughed and carried on with the conversation. I did my best to segue into a different topic, and tried my hardest not to show discomfort. Because to do so would be breaking the rules. The uninvited guests went on....and on...and on. They ignored my attempts and ignored the fact that I had requested two glasses of wine and a white Russian. They carried on about how Destiel was technically canon, and how Jensen Ackles and Misha Collins were secretly dating behind the scenes. I looked for any reason I could to get the hell out of dodge. And I found my salvation when I found a friend of mine standing over by the bar.

"Pardon me, my dear..." I said, with a soft lilt in my voice. "As compelling as this conversation has been, I find that I have urgent business with a friend of the forest." As bewildered as my poor guest was, I immediately left before they could say anything more. I hated the conversation. I hated feeling trapped. It felt draining and honestly, going to my friend was the best decision I felt that I could make. And when I got to him, he mentioned that I looked like I needed help. And for a man like my ex to not say anything, he was a little disappointed.

Over the next few years, I ran into several more of these shippers at events that I'd helped run. I insisted that the rules be changed, and while he did not like it, he knew that I would not back down on the issue. The same people tried joining our gathering by one of our troupe members behest, and without warning. Upon recognizing me, they grew excited and hoped to continue the conversation from the last time they'd seen me.

"Why don't we talk about something else?" I groaned. I recalled the unpleasant experience I had with them last time as they hardly allowed a word in edgewise.

There was a long pause.

As if summoning a great storm, I was suddenly accused of being homophobic and told that I only played a queen because I whined and sobbed my way into it. And I stood there, allowing the insults to continue until they couldn't anymore. I figured it was just best to let them kick dirt at a statue and smile at them exhausting themselves.

I'm sure some of you may think me a horrible person fo this. I am sure some of you are thinking "why are you telling us this? There's no point."

Because some of you need to know the extent of how some fandoms and their shippers behave.

Back then Destiel and Cockles were as bad as LDS's. Now...well they're still just as bad. But twice as aggressive. And while I was one, I don't think I ever went that far. I would often ask things like "Aren't those two married?" When it came to the Cockles fans. Or say "I'm from way south Alabama and experienced ISA, please stop." To the Wincest shippers. Every single time I would say something like this, some would try to come directly for my throat. Literally. Hell, someone grabbed me by the hair once. All because I dared to disagree.

It's a fucking series.

With fictional characters.

Played by actors.

And all the special effects are done by the crew.

But some people can't seem to grasp that.

I refuse to entangle myself back in that sticky little web and I would rather watch it burn itself out. I would prefer to see it go up in flames as it gets rejected by the fandoms it tries to infect, JUST because it is politely disagreed with.

Because it doesn't leave people alone after being told no or receiving the sense that, maybe, a person is uncomfortable.

[childrenofthesun77]

Assuming that the whole 'mahiru is the vessel needed to bring back the count and the 9th servamp will be the servamp of vainglory' theory will be correct, it's interesting how both mahiru and touma can be accused of this sin even if the way it applies to them is opposed.

What touma wants is to be acknowledged and to that end he was willing to become the villain who destroyed the world before mahiru and tsurugi managed to change his mind:

Mahiru's way of being vainglorious seems a lot more positive at first because he wants to be a hero who saves others, but it's self-destructive and encourages laziness in others:

But thankfully we see mahiru starting to let go of the need to make other people proud of him and to prioritize making himself proud in his conversation with tsurugi:

and later when mahiru has a meltdown because he fears his uncle might be dead and suggests sacrificing his life to save the world kuro rightfully yells at mahiru for acting hypocritical and not listening to his own advice:

(I want to mention here that I really love how horrified kuro looks as he realizes that mahiru's reckless hero behaviour comes from a very self-destructing place:

because not a lot of manga I know really acknowledge that maybe the way a lot of their protagonists try to be heroic is actually pretty unhealthy and shouldn't be encouraged? Like Sigurd pointed out at the C3 meeting, it's kind of shameful that the children have to save the day)

Which is why I love that mahiru decided to trust kuro to handle tsubaki without him going with him:

He decides to stay back with everyone else, showing that he has learned that he doesn't need to be the one to do everything and can stay back with the others to buy kuro time.

Interestingly we see touma doing something similar. Opposed to his old need to have the whole world acknowledge him he now wishes for everyone to believe he's dead and he's helping to protect the city by creating a huge barrier without making it known that's he the one doing this:

He's helping the protagonists seemingly with no intention of earning acknowledgement for it.

I think in a way it could be cool of servamp to subvert the shouned trope that for the finale battle the only one able to defeat the big bad is the protagonist while everyone else just watches on from the sidelines, not allowed to do anything because this is the protagonist's moment of glory.

What if lily's plan when he put kuro in mahiru's path was that if kuro tried to stop tsubaki at the gate surely his eve would need to be there with him, right? Because of course he needs his eve to fight and then there's also the distance limit. So why not make the vessel you need at that gate for the ritual to work kuro's eve? Then the vessel would be at the place where you need them without you even needing to do something because naturally they would be thinking they are doing the right thing by going with kuro to fight tsubaki together. And surely someone as vainglorious as mahiru would never pass up the opportunity to be the hero who stops tsubaki. It's foolproof!

Unless of course before the ritual the vessel learned to let go of their vainglorious nature, accepted that it's okay to take a step into the background and trust in others. And additionally also found a way to break through the whole forced proximity thing that the servamp and eves had going on.

I don't know, I feel like it would be a neat bow on mahiru's character arc and a unique way to thawrt the antagonists' plans if the creation of the servamp of vainglory failed because the 'it has to be me' guy they wanted to use as the vessel decided against glory and stayed back to let his partner handle things with tsubaki alone because he trusts him. Kuro on the other hand wants to make up for his past regrets and resolve the conflict through communication this time. Learning to trust in himself again by managing to talk tsubaki out of going through with the ritual on his own would be a logical conclusion to kuro's arc.

[wildwinterlunas]

I think people see Kiriko and instantly misunderstand the point of her character, and I don't blame them, because it feels like there were two goals behind her creation. The first was to make a marketable character for the release of Overwatch 2, which is where the main problems with her writing comes up. The second was to show what the consequence of the Shimada clan dissolving was, to be the external consequence of Hanzo's actions to the same way that Genji is the internal consequence.

Kiriko, and the way she is written, is so interesting to me because there are obvious signs that her general story and role was thought through. Her and her family had to pick up what Hanzo left behind, with little preparation and little support. Not only that but Kiriko not only lost Genji and Hanzo, people she considered siblings, but her parents too, as after Hanzo left, Genji was killed and the Shimada clan dissolved, she was under direct threat from the Hashimoto. It's why her name had to be changed to Kiriko Kamori. It's obvious that she cares about her parents but there is also the fact that with Kirko being so much younger then the brothers (again I hc that chronologically she's around 26) it shows that she had to be raised by her grandmother after the Shimada clan fell.

There is also the fact that Kiriko in specifically Hanzo's story, fills a similar role that Cassidy does in Genji's, except she's the younger sibling while Cassidy is the older. They offer the brothers a second chance.

She's a lot more complex then a lot of fans and what the marketing team make her out to be. What a lot of her interactions make her out to be.

I see people complain that Kiriko shouldn't be as "mean" as she is, but honestly, her more hostile lines are the ones I think are most in character for her. I also think that with her interactions, she's interacting with the wrong characters. There are a couple more then just Hanzo and Genji's that I think are in character for her, specifically her interactions with Ana, Dva, Sombra, Pharah and Cassidy in her multi-interaction.

These interactions actually show interesting dynamics, even if they are more jokey, it makes sense for her to joke with them. With Ana, she's a lot like Asa, with Pharah and Dva they just share a lot of similarities so of course they would get along, with Sombra we see that she's a more morally grey character and with Cassidy we see how she could genuinely connect with other characters through her relationship with Genji. Those are the best interaction for her because they show use how Kiriko works as a character.

But with all the character's I listed, barely any of them have more then one interaction with her. Hell, she has one one-on-one interactions with Lucio then she does with Hanzo or Genji?

Listen I love Lucio, but why do those two interact more then Kiriko and Genji do. I would kill to see some of Kiriko's bitterness towards Genji too, how despite being with Overwatch he didn't try and help her family, help her. I would love to bring back Cassidy's guilt about Hanamura in a conversation between him and Kiriko. Even a conversation between her and Doomfist would be interesting as it's implied he and Kiriko's mum have some kind of history.

The point of the pre-game interactions is to get an idea of character dynamics and the character themselves that we wouldn't otherwise get. Yet whoever is directing the voice lines for Kiriko are using them to try and make her more marketable, and it's negatively affecting her character. She's a character who can be a bit goofy sometimes yes, but she shouldn't be a goofball character, which is what a lot of her in game dialog makes her seem like.

In conclusion, watch her cinematic, read "Yokai" and read "Where Honor Lives" to get good Kiriko characterization. In my opinion she's so much better in outside game content.

[shantismurf]

Same anon as before. Anon due to security reasons. I know you have to be aware that take is not well liked. It sounds like you're trying to say you support it without being irreparably canceled. A frankly disappointing sentiment. I agree those that those who use it shouldn't be harassed but they also shouldn't be given a voice or a platform which is unfortunately what you offer them. It speaks to a lack of integrity. I have seen evidence in your server very recently that suggests you outwardly support it. If I'm reading that wrong then you have not said anything to convince me to the contrary. In fact I asked the question to begin with to give you the benifit of the doubt. I would rather you come out and say that you support it and face the conciquences then poorly playing both sides.

Thank you for taking the time to answer the question, god speed in your days. Proverbs 11:3 and Luke 12:15

(Conversation continued from https://www.tumblr.com/shantismurf/764912386766503936/)

I am painfully aware of how unpopular my stance on this issue is with a subset of our fandom. Believe me, it would be a lot easier for me to just say exactly what you want to hear and rail all day about the evils of this big bad technology and how anyone who breathes a word that isn't hateful about it is morally defunct. It's actually precisely because I am a person of integrity that I cannot do that. I say what I mean. If you can't read my words without twisting them to your preconceived notions, I cannot help that.

I'm just not capable of boiling an issue as complex as this into simple black and white terms. AI is too broad, and the applications too diverse. I believe my position on this topic is that of an informed and reasonable adult (I am 46) who recognizes that the world is complex and that life is an unending process of trying to make the best choices that you can given the information and energy available to you.

So, what is your ideal outcome in all this? Would you like to see all Al eliminated? Do you expect no one to use it, ever? Who decides what's okay to use and what's not, and what gives them the right to make that determination? Where should the priority of fanfic writers using AI tools sit alongside abortion rights and genocide and, you know what, I don't have the energy for this. I have cancer. And I have four young children. The only reason I am investing my precious personal energy into this issue is because I cannot abide the fact that a certain group of individuals feel it is their right to gatekeep and impose their morality on others, to bully young writers whose first experience in fandom was being singled out when their writing tripped some ai detectors (but not all, because they are useless...and why are people going around policing other people's work like that anyway?)

I just want to read, and maybe sometimes write, stories about a fictional Hobbit and the fictional dwarf he loves. And I want to tell people who share their creations of those characters how amazing they are. And I want to talk about how much I love this fandom with other people who love it too. But you don't think I should have any of that because I won't say that people who use a certain technology in a certain way are immoral and should be shunned. 

You threaten me with being "irreparably canceled" and I personally find that practice completely repugnant. Witch-hunts where people run other's work through faulty ai detectors is what should be canceled. This intolerant culture of unilateral humiliation and scorn for that which does not fully align with one group's personal worldview is what is immoral.

Oh, and regarding the discord conversation you referred to, it occurred between an actor and screenwriter who has been directly impacted by the infringement of Al in the industry, and a fanfic writer who has learning differences, and myself. The person with learning differences expressed how they wept with joy and relief when they saw how an Al tool could correct thousands of errors in their writing in a tiny fraction of the time it would take them to do so manually. It makes writing more accessible for them. The actor expressed frustration and despair over the future of their career and also has shared the ways they use Al tools to support their creativity and their career. I was supportive of both of their experiences and celebrated their bravery in speaking openly when it could leave them vulnerable to harassment. We each talked about our experience with and questions about the technology. It's precisely the kind of dialog that I value; uplifting, non-judgemental, and informative.

These issues are complex. You can't cut it down a line and say yes this and no that. You don't know where other people are coming from or what their reasoning is, and you don't have the right to judge them. You are most welcome to join our community and participate in our discussions in good faith, but if you are only there to lurk and spy and look for dirt on people, you should take a good hard look at your motivations for that behavior.

By the way, I understand why you would make the assumption that I am Christian based on my previous statement about Jesus. I admire the ideals that Jesus represents, but I put no special weight on the words of the Christian Bible over any other historical text. I am choosing to overlook the references you made that seem to imply I am duplicitous and greedy. My formative experience in a non-denominational Christian cult left me with a deep need to reject absolutes, and respect individuality. I am agnostic, which means I don't think it's possible to know what is and is not true, but I am always learning and always seeking that truth. That's actually a good metaphor for this whole situation. I'm agnostic about Al too.

Say it's playing both sides, if you must. This is who I am. I do not pander to anyone. I can't spend any more energy on this. I'm not going to judge or punish people for the software they use, and I'm not going to stand idly by when people around me are hurt by this senseless vitriol. Intolerance and discrimination are never okay.

I believe we've said what needs to be said, but I'm not going to turn off my anonymous asks. If you feel the need to offer a private rebuttal, feel free. I will not respond publicly again. You can dm me here or on discord if you really want to have a sincere conversation. I'm not interested in holding a grudge. I just want you to leave people alone.

Scripture references:

- Proverbs 11:3 NIV - The integrity of the upright guides them, but the unfaithful are destroyed by their duplicity.

- Luke 12:15 NIV - Then he said to them, “Watch out! Be on your guard against all kinds of greed; life does not consist in an abundance of possessions.”

[melonteee]

Since you brought up the OPLA den den mushi… I honestly think they’re pretty unimpressive as far as animatronics go. Both in their construction and how they’re used in the show.

Not only are the den dens far less articulate than the animatronics seen in shows of a similar caliber (see: Farscape) but they don’t even achieve the level of articulation of most hand puppets. To me it sums up what sums up how the overall production just seemed to have weird priorities; $10,000 a pop to give these snails realistic skin textures, human lips with moisture glisten, human hair, and off-putting bloodshot eyes only for those elements to be squandered on lifeless mouth flaps.

But they also just don’t work in how they’re framed by the show. In the original series, the Muppet-like simplicity of the den dens’ designs is used to help sell that the mundane whimsy, which combined with how characters treat the den dens makes their relationship with humans feel mutually beneficial. The live action though? If the “kill me” expressions weren’t enough, it’s clear that the directors treated the den dens as set props instead of living animals in the context of the world, and that bleeds into how the characters interact with them. The only characters who use den dens in the whole show are antagonists, Nami’s ear bud den dens sputter and squeal in pain after being submerged in salt water and she throws them back in the water in annoyance when they don’t work, and worst of all Garp flips his desk in a tantrum with his den den still on it where it gets smashed on the floor. Replace the den dens in any of these scenes with a carrier pigeon or a ship cat and the tone suddenly shifts into a huge “fucking YIKES.”

Which to me is a crying shame, because the prospect of seeing Muppet-esque den dens and similar creatures was kinda the only thing that piqued my interest. One Piece is absolutely a series where you should be able to visualize the characters having in-depth conversations with most Jim Hensen creations, but it feels like the show’s budget is already bursting at the seams given how this same issue is prevalent in other areas of the production. I can already tell that the existence of the den den earbuds means they’ll likely phase out the den dens at some point in favor of having characters talk into the middle distance. The Golden Den Den Mushi that triggers the Buster Call to Enies Lobby might end up being a Golden Bluetooth if the series gets that far.

Yeah it feels like the Den Den Mushis were treated so cruelly in the live action, which is just adding to the 'edginess' of the world I guess ??? And it's a shame cause when Sanji crushed the radio in water 7, Oda got someone asking if the Den Den Mushi was okay, and Oda said don't worry! The radio isn't actually the Den Den Mushi, it's just placed on it! So Oda has taken very careful care in his own world to not hurt these little snails, but it feels like the live action just shoved them in not to world build but...like you said, just as props HHH

And yeah the lifeless form of the Den Den Mushi animatronics really aren't that impressive are they, the original Den Den Mushis have little arms that flail around while they openly laugh and scream and cry. Every time a Den Den Mushi got a distress call and acted it out in the manga/anime, I remember thinking "good job little snail." But the live action Den Dens are so...nothing?? They just don't even feel like living creatures lmao

The live action Den Den Mushis feel like a good sideshow attraction where u can let people talk through it for the mouth to flap, but otherwise...why in the world spend 10k (or whatever it was) per Den Den Mushi if you could just make a hand puppet, or even include some CGI, for a LOT cheaper and have MORE movement and expression??? Like you said, the priorities of production were bizarre.

[steelycunt]

hi ridi! I hope you've been having a fantastic time in Dublin and that the rest of the year treats you lovingly. <3

i want to tell u officially how much I adore your writing! the way you string bundles of words into something so so so precious, and the way they flow so seamlessly into something that just clicks right in my brain-- I am actually so jealous of your writing! they are just sooooo lovely to be read... <3 anyway I've been curious about your writing journey! i am assuming you are younger than me since you are doing your last year of your degree (gooooood luck for your dissertation! I'm doing my master degree diss atm so watching ur journey has been such a dear companion to me) but your brilliant writing is just so inspiring to me... if you have the time would you be able to share a few tips on writing? xx

ahh hi this is so lovely of you thank you!! youre too sweet and it always makes me beyond happy to hear people enjoy my writing : ^ )) as for tips i do feel a bit unqualified to give out advice on writing as someone who only does this for fun + hasnt received any teaching/criticisms from actual writers + also has no intention of writing creatively in any capacity beyond this but there are a few things i find help me to write stuff that i myself enjoy...firstly i can link an ask i answered a while ago about writing dialogue or at least how i approach writing dialogue and also an ask about my personal writing style and whats important to me when im writing and this one about editing/writing a second draft..and this one about general writing tips which i answered a few years ago...in general though now i think the most important things to my writing are as follows : ^ )

really generic but so real just reading is the biggest thing for developing writing to me second only maybe to the act of writing itself and even then id say its pretty close...other people and especially published authors will word things and use phrases and employ descriptions in ways i would never ever have thought of and reading other peoples writing can introduce you to ways and styles of using language which wouldnt have occured to you otherwise!! its wonderful!! and reading something you really love can just remind you of what you can do with writing and i find that really helpful even just as motivation : ^ )

this is a personal style choice i suppose but i hateeee white room syndrome i HATE to read something where the settings and physical details arent fleshed out...or conversely i loveee that element of writing so its a really important bit for me!! fleshing out the environment like what does the room look like can you hear the bin men on the street outside are there magnets on the fridge is there washing up in the sink what mug are they drinking from do they own a novelty t shirt from a holiday two years ago. there is so much fun but also so much character building and atmosphere creation and period setting 2 be had in little details like that!! idk i just love to read it so i think everyone should do it and its just so much FUN like yes design their old-fashioned galley kitchen and fill it full of clutter!! so much more immersive than a scene which ends up taking place in a blank white room in my head because the setting is underdescribed.

in terms of editing my method is really laborious and probably inefficient but i do it for creative writing + uni essays and i cant imagine doing it any other way now..when i finish a draft i open a blank doc and put them beside each other and rewrite the scene in the blank doc...a lot of sentences youll write out exactly as they are but i find it comes much easier to make changes and think of ways to restructure sentences when youre typing them out from scratch rather than staring at an already written passage trying to improve it. its painful but it works!!

avoid moral purification and tumblr discourse speak and therapy speak at all costs!! moral purification and tumblr discourse speak and therapy speak are the Writing killers i instantly have to stop reading things when every character talks like theyre completely up to date on the latest online discourse and unproblematic and have all been through years of therapy. ESPECIALLY in a piece meant to be set in like. the 1970s. its so boring when people cant let characters behave poorly without finding some way to absolve them of responsibility or have them be able to perfectly explain exactly which childhood traumas have driven certain responses or behaviours. they are going to have to be bad people who can have the right values but might express them in a way different to what the piccrew tumblr pfp on your dash is saying in 2024. it also just means they all sound the same the characters have no individual voices or outlooks its just really boring!! i dont know if its a product of people being scared of receiving flak for writing anything else but consider this me giving everyone writing this sort of stuff flak right now. booo. boring.

chronic overuser of similes and metaphors here but nearly everything is like something else even only in a vague wayand for me and what i enjoy the more unlikely the comparison the better. and for the stuff that isnt like something else well thats the crux of it also...links back 2 the point about details a bit but using all the senses and the physiology of the human body (it does soo many things and experiences so many sensations and feelings in so many different places in so many different situations there is so much to be mined!!) and literally anything at all especially in a big moment or when ur trying to describe big emotions some writers are talented enough to tackle them head on but i personally am often not and so i find it easiest to concentrate on the smallest details of big emotions...almost like a cheat but i like how it works!!

this is all really generic stuff and things i have probably said before but hopefully something here is of use and if i think of anything else ill add to it!! but i think just writing badly and reading good stuff does make you get better at it there arent any rules except perhaps not using phrases or metaphors which are commonly used...yah!! thats the gist of it i think!! : ^ )

[dailycharacteroption]

Prestige Class Spotlight 14: Chevalier

(art by Lord-of-the-slugs on DeviantArt)

Sometimes when you look through the early days of a gaming system, you see ideas that clearly formed the bones of ideas that would come later, but it makes you wonder why they themselves were left behind? Well, today’s subject is like that.

Today’s subject is a prestige class from the early 3.5 days of the Pathfinder setting, from the back matter of one of the Second Darkness AP books. Essentially, it served as a way to inject a little bit of paladin into characters that don’t fulfill the alignment requirement to actually BE paladins, even if they are otherwise good.

Indeed, this archetype is most commonly associated with the adventuring god Cayden Cailean, and like him they firmly believe in protecting all that is good in this world, but aren’t too hung up on rules and restrictions. While many have the trappings of knights, theirs is an informal order that accepts anyone with desire to do good and the courage to stand up towards the most fearsome of threats without backing down. Beyond that, anything goes, from backstabbing the bad guy to breaking the law to simply just enjoying life with no moral restrictions beyond what they view as right.

Now, you can see why this would have been a big thing back in those days because, outside of homebrews and obscure Dragon and Dungeon magazine articles, the notion of folks getting paladin (or blackguard)-like powers outside of two classes was practically unheard of. Aura of Courage and Smite Evil were a paladin thing.

It only made sense that eventually, with Pathfinder Second Edition fully divesting itself of many old assumptions, that we would see the Paladin transform into the Champion class, with much more flexible sets of morals and whatnot.

But what bugs me is that Chevalier never came back as a name for either of the non-paladin goodly variants of the class. Which sucks because Chevalier is a much more fun than Liberator, even if it isn’t as descriptive. It would have been such a good callback though.

Eh, but I digress. In any case, this prestige class is definitely a contender for prestige class with the fewest actual levels, only having 3. This makes sense though, as it really does just exist to do one thing and one thing only, so let’s talk about what that is.

The requirements for this prestige class include being of goodly nature, having decent social skills and fighting skill, as well as having faced a very strong threat, making the minimum possible level to start taking it be 6th. However, the low number of levels in the prestige class means it could reasonably be taken by any class, even at later levels.

These warriors exude fearlessness, warding them against fear as well as doing the same to nearby allies to a lesser extent.

They also, however, exude recklessness, and whenever they join combat their hastiness lends them a measure of deadly sureness to their attacks during those first few critical moments.

They learn to offset some of this, however, keeping their guard up when charging at foes.

A headstrong nature also helps them when it comes to fighting off hostile enchantments, sometimes allowing them to shake them off moments later if they initially succumb.

Perhaps as a reflection of the Drunken God’s own alcohol tolerance, or merely because the divine forces find the idea of such daring heroes falling to something as base as poison abhorrent, but these warriors are blessed with total immunity to toxins as a result.

Finally, They also are blessed with enough divine power to smite the wicked as if they were a true paladin.

This prestige class of course needs a slight bit of conversion work because it’s technically a 3.5 creation, but it overall represents a fun little idea and a minor dip that may be worth it to some characters. One level is enough to make even casters happy what with fear immunity and a buff to attack rolls and damage that includes spells, while more martial characters will enjoy the better charges, protection for one of their weaker saves, and their own special way to smite… and many of these abilities scale to your total character level, not just levels in this prestige class!

I can imagine that many of these characters are somewhat lackadaisical when it comes to their daily lives unlike some paladins, causing them to sometimes come into contention with others that have certain expectations for what a paladin or other holy warrior has to be. Even still, when the chips are down, these warriors are fully capable of getting serious, though they likely still have plenty of quips for their foes.

A terrible rash of murders have been occurring in the farmlands of the Eastern Province, and a band of adventurers led by a brave chevalier arrive to investigate. In doing so, the party discovers that the murders are the work of the largest infestation of monstrous Jack-o’-Lanterns ever seen, leading to the question of what could have given rise to such an army of autumnal adversaries.

They say that the only true law of the sea are the oceans whim, and yet there are still those that seek to bring joy and peace, such as the wandering Depthwards, a group of aquatic beings, mostly cecaelians, that travel between oceanic communities writing wrongs and living free.

Cast out from the order for failing to live up to their standards, Vilga was delighted to see that she still retained enough of her god’s favor to receive a trace of divine power. Now she fights for justice on her own terms, though some hardliners in the order brand her a heretic.

[heliads]

Hi 👋🏻 I was wondering if I could request a readerxpercy Jackson characters platonic, who’s a child of hades who’s a very sunny small cinnamon roll who likes to wear sundresses but is also really awkward and they kind of have to navigate there new life at camp half blood after being claimed love you stuff btw❤️

me when appearances are deceiving

masterlist

Percy Jackson gets weird around dead people. It’s a habit he’s tried his hardest to shake, but honestly, he doesn’t feel that he should be punished for this. Who doesn’t flinch at the sight of a corpse up and walking like they’re late for brunch plans with the other rotting besties?

Well, Percy does know one person seemingly born without that natural aversion to the deceased. They’re the reason he’s in such a predicament, actually. See, this is just what he gets for trying to be warm and welcoming. If Percy had just left the kind, happy, welcome-to-Camp-Half-Blood, you’re-going-to-die-now part to the actual camp tour guides, he wouldn’t be stuck trying to wake the dead.

As if Percy hasn’t done enough of this. The first time he heard about the plan, he was hit by a thousand flashbacks of a rather sullen Nico de Angelo, mossy gravestones, and French fries sinking alarmingly into a pit of endless earth. Gods, he hadn’t been able to eat McDonald’s for weeks without thinking about moldy flesh, and that truly is a crime against humanity.

That was Nico, though. This is Y/N. Y/N L/N to be precise, a new demigod to Camp Half-Blood and so not Percy’s problem except for the fact that they kind of are. Percy had been minding his own business at camp– well, as much as any hyperactive kid can– when they’d approached him asking for help. Percy had seen this as his chance to prove himself helpful and he’d agreed. If only Y/N had warned him about the corpse sightings before Percy said he was down. Then he might have been able to weasel out of this mess.

Then again, he probably should have seen this coming. Y/N is a child of Hades, one of the rare descendants of the god of the Underworld that Percy has had the privilege of meeting. They’re also utterly unlike any other child of the dead that Percy has met, probably because they’re actually an optimist. Y/N has a bright smile and wears sundresses. Y/N grins infectiously and leads the Hades cabin at nightly camp sing-a-longs, which actually isn’t hard to do. Nico still looks like he wants to melt into the ground every time someone strikes up a tune unless Will Solace gets on his case.

Percy worries about Y/N sometimes. Despite the fact that there’s really no point in distrusting a demigod because of their godly parent (unless that godly parent is Ares, then Percy is totally justified in any and all irritation), Y/N’s status as a Hades kid hasn’t exactly won them the warmest of welcomes from the other campers. Y/N’s slowly winning them over because it only takes one conversation with them to learn that they’re not a weirdo, but still. The going is slow. Maybe Percy could help with that.

The situation had come about just this morning. Percy was finishing up his breakfast with his usual gusto (blue waffles and blueberry syrup, you will always be a creation worthy of the gods themselves) when Y/N had approached him hesitantly. At first, they’d hardly been able to get the words out, and then it had all come out at once and he’d been swept away on a tidal wave of explanations and anticipated reactions.

He’d asked Y/N to slow down on the walk over back to his cabin. In the end, what he managed to put together was this:  Y/N needed help with a situation that required the help of someone who might be able to defend them from attack if it came to that. Y/N has only been at camp for two short months, which isn’t a whole lot of time to pick up the nuance of sword fighting as compared to Percy’s years of experience. Sure, a lot of that came from picking fights he probably should have ran from, but sometimes you just have to face your problems head on, right? Right?

Anyway, Percy felt proud that someone would ask him for help, so he said no before he could stop himself. It had been a while since he was out on a quest, maybe he was itching for something to do after all.

Well, he’s certainly found himself a good amount of trouble then. Y/N’s grin split their face with eager excitement when Percy agreed to help out, and they’d gestured for him to follow them to the woods.

See, that should have been his first sign that something was going to go wrong. Nothing good ever happens in the woods surrounding Camp Half-Blood. Percy can rattle off about a thousand and one mishaps that all took place in the shadowy oaks and desolate hollows of the camp wilderness. If the monsters roaming the forest weren’t enough, Percy has found Labyrinth entrances, been stung by a scorpion thanks to Luke Castellan’s betrayal, and launched an assault against an infestation of Myrmekes all within those same oaken confines.

Not the greatest place to start this favor, to say the least. Speaking of which, Percy still doesn’t really have a good idea what exactly he’s doing here. Sure, Y/N told him, but he might have been spacing out during that conversation. In his defense, he had seen Annabeth walking by when Y/N was finally getting to that point, and she’d had her hair down. As if he could be expected to pay attention under such circumstances.

Y/N finally comes to a stop in the middle of a rough clearing. “This should do well,” they decide.

Percy nods solemnly, eyeing the blank earth like he has any idea what is going. “Yes, it should. Just to make sure everything’s ironed out, uh, it’s going to do well for what, again?”

“Raising the dead,” Y/N says without a trace of hesitation.

Percy blinks. “Sorry, I think I heard you wrong. We’re doing what?”

“There’s a dead person, and I want to talk to them,” Y/N clarifies.

Percy turns to them. “There are a lot of dead people in the world. Who are you trying to talk to, and why? And why am I here for this? And why are we doing this on camp grounds? And–”

Y/N cuts him off before he can really get going, which Percy only mildly dislikes. “Listen, I know it sounds like a lot, and I’m super sorry, but this is important. I had a dream from my dad.”

“I see,” Percy says, like the mere mention of a dream clears up everything. In all honesty, it kind of does. Percy has received his share of godly commandments through dreams. For some reason, if it weren’t enough for the gods to ruin his life by giving him impossible tasks, they always take it upon themselves to mess up his beauty rest as well. He can’t have anything around here.

“Yeah,” Y/N says slowly, “he was there in the dream, and he said I needed to talk to someone. A soldier who died in the Revolutionary War. Apparently they know something that will help with the defense of the camp.”

Percy frowns. “If Hades knows who you need to talk to, why doesn’t he just tell you outright? Especially if it’s to protect the camp, that’s serious.”

Unconsciously, Percy reaches into his pocket to tap Riptide and make sure it’s still there. He doesn’t like the thought that there’s something wrong with the camp. He’s done enough time worrying over Thalia’s tree and the like. If the defenses are failing and no one knows about it but the god of the Underworld, well, it doesn’t exactly sound good.

Y/N groans. “Believe me, I asked him that myself. He just said some nonsense about needing to trust the journey and disappeared in a cloud of smoke. I woke up not too long after that.”

“Sounds like a god,” Percy muses. Thunder rumbles overheard, and he fights the urge to flash an obscene gesture at the sky. He doubts it would give Y/N any more faith in him, though, and they’re already looking at him like they expect him to run.

“Well,” he says slowly, hating himself for going along with this truly awful plan, “let’s talk to a dead guy, then.”

Y/N’s face brightens in an instant. “You’ll do it with me? Really?”

“Oh, I’m not going to be doing it,” Percy clarifies in a rush, “That’s all you, sorry. I will stand here and look menacing behind you, though. Ghosts can be a bit of a mess. I feel like you could use some reinforcements.”

“That would be perfect,” Y/N admits.

They kneel on the ground, gently pushing some dirt away with their hand while grabbing a small flask with their other. Judging by the ease with which they unscrew the lid of the vial and pour a dark liquid on the ground, this isn’t the first time they’ve done this. Percy isn’t sure if that makes him more or less concerned.

“What, uh, is that stuff?” Percy asks, trying not to seem too conspicuously freaked out. This may not be his first ghost-summoning rodeo, but that doesn’t mean he’s down with everything. 

“Iced tea,” Y/N says matter-of-factly, “They’re Revolutionary War era, right? I feel like they’ll be called to tea. Or at least want to dump it in the Boston Harbor.”

Percy has to respect that logic. He’s certain he could do no better, at least. Y/N murmurs a few words in what sounds like Ancient Greek, and a cold wind blows through the clearing, making Percy’s nerves stand on edge. As he watches, indistinct shapes form at the edges of the forest, a few braver ones daring to approach and sip at the pool of tea. It occurs to him that this might be the strangest tea party he’s ever attended, and it takes everything in Percy to not start laughing. He’s not sure the ghosts would take to that all that well.

One solidifies more than the others after drinking. Y/N narrows their eyes at it. “Who sent you here?”

It opens a rotting jaw to answer. “Hadesssss.”

The word comes out in a hiss of smoke and dying exhales. Percy had pulled out Riptide the second Y/N started chanting (usually a good time to have weapons in hand), and his knuckles clench around the grip now. He does not like that sound. This is so not a good morning.

Y/N nods. “What do you know about camp defenses?”

The guy takes a while to respond. Percy likes to think it’s because the ghost is particularly well-spoken and not because it has to get the other half of its jaw to swing back in place before it can answer. Definitely not that.

“There’ssss a curse upon the boundariessss,” it whispers decomposedly, “it liftsss every hundred yearsssssss.”

“What do we have to do to fix it?” Y/N asks. Percy has to admire their determination. He would like to run, but they’re still there, just as focused as ever.

The ghost considers this. “There’s a ssssscroll owned by the centaur. Read it before nightfall and your livessss will be sssssspared.”

Y/N starts to ask another question, but the ghost’s eyes roll back in its head. “Death callssss me back,” it moans, “sssstay alive, child of Hadessssss.”

The ghost is pulled away from them, back towards the edge of the forest, away into nothingness. Some of the other ghosts surge towards the small lake of tea in the hopes of gaining more energy now that the main speaker is gone, but Percy steps in front, blade extended, and they back off. Soon enough, all of the dead are gone, and it’s just the two of them alone in the clearing.

“Well,” Y/N says brightly, “I think that went well.”

“You do?” Percy asks, frowning.

“Sure,” they explain, “we have answers, don’t we? That’s great.”

A voice sounds from behind them. “I think I’d like some answers.”

Percy turns around to see Chiron coming to a stop, arms folded. “Why are the two of you in the woods unsupervised? Percy, you know the rules.”

Percy winces. Totally forgot about that. He’s probably skipping arts and crafts. Given Percy’s lack of skills related to sculpture, though, maybe that’s for the best. He thinks he might have actually traumatized the instructor with his last clay piece. In Percy’s defense, though, his centerpiece really wasn’t supposed to look that much like a Gorgon.

“I was just thinking,” he says slowly, trying to think of some way to warn Chiron without actually mentioning the fact that they’d been summoning the dead, “You know, since the camp has been around so long. Got to be hundreds of years, right? So cool that the defenses have held up so long. You know, and they don’t have to be, uh, renewed, right? Not like a contractually obligated thing to keep performing a spell every century. That would be crazy.”

Chiron blinks in surprise, and then his eyes widen. “Actually, one such spell does exist. Thank you for reminding me, Percy. Out of curiosity, how did you have such good timing? I imagine anyone who knows about that spell is long since dead?”

“Dead?” Percy repeats, the picture of innocence. “Well, that’s ridiculous. Who could talk to the dead, right? Certainly not me. Or Y/N. I just had, you know, a good auspicious dream. I love dreams. Have them all the time, actually.”

Chiron stares at him, and Percy gets that familiar feeling that the centaur can see straight through his soul and read his mind. At last, he lifts a shoulder. “Dreams can certainly hold meaning. Well, thank you anyway.”

Chiron turns to leave, but pauses at the edge of the clearing. Percy allows himself a small moment of celebration that they’d managed to get out of this without getting caught.

“Oh, and Y/N?” The centaur says, “Next time you summon the dead, do it with adult supervision. Or at least adult supervision with a better alibi.”

“Will do,” Y/N calls cheerfully, and Chiron leaves without another word.

Well, it’s not Percy’s strangest morning. He’s sure he’ll have more, too. He grins at Y/N, who breaks out into laughter.

“What do you say we head back into camp?” Percy suggests.

“That sounds great to me,” Y/N says. 

The sun lights their way back through the waving trees. Percy decides that he’s had his fill of dead people for a while. No ghosts for at least the next month. It’s a new personal rule.

pjo tag list: @w1shes43, @fadedver, @anxiety-werewolf

[bomberqueen17]

character creation menu

like, when i'm in this mode of trying to make a thing and it's going sort of well i wind up sort of subsuming most of my attention to it

and i keep accidentally hijacking conversations IRL and god i am struggling not to do that but literally everything I encounter IRL Gives Me An Idea For That Book

(yes, i did send a message on instagram, the only platform i still have contact with him, to my friend the former Navy diver, to ask him for more dolphin insights. yeah. we'll see. it's been years and he got politically Weird [not that way!!! the other way actually don't worry] so i'm not sure how that'll go.)

but anyway, on Character Creation

one of the problems i have is that i have to kind of write things to find them. and so i was going along writing about a particular B-plot problem, and I had a character say something snippy that I then needed an uninvolved person to overhear and react to, for scene pacing reasons (idk, it just seemed right)

and i had needed an original character for another role in the A plot so i was like ah yes, Placeholder can do that and then we segue flawlessly back into the A plot, so I wrote a bunch of that but the character was such a bland placeholder (i devoted zero thought to their name, and was like i guess they'd call themself a consultant ok, and then my brain filled in "Rin" for their name, and I'm a thousand words in before I'm like. this person cannot be named Consultant Rin.) But I got the A plot sequence done and it holds up, and reading back over it, mm this person needs more personality.

I stepped away from the computer and was eating a meal with Dude and talking to him about something unrelated, and then I was musing on how various of his coworkers sound on Zoom calls, and the only one I can tell apart is the woman with a mild speech impediment, and he was telling me more about her and I suddenly in midsentence was like "oh I don't think I've ever written a character with a speech impediment" and like.

there's technical challenges to that, which was interesting to contemplate-- just like writing a character with an accent, where you don't want to descend into like, exotifying dialect but you do want to convey something of the uniqueness of this person's diction whenever they speak. so that's a fun and interesting constraint to put on a character, and can help with a real problem I have always had in my writing, where I love writing dialogue but everyone just talks like me unless I put a ton of attention into making sure they don't.

but this character immediately morphed in my mind, from Placeholder With Stolen Name to

Extremely Autistic Technician With Like, Absolutely No Rizz Who Within Five Minutes Becomes Everyone's Favorite Person

and is not based on anyone I know but I immediately knew and loved them and that is a much better standpoint from whence to create a character.

I also need to come up with names for everybody, and that's on the list, but I'm getting there. I'm just glad I have a mental image now. I don't do visual imagination stuff very well-- fanfiction is nice because I can usually find an image of a character and refer back to that, because I'm not exactly faceblind but I don't hold images well in my mind. With original characters it's so so so so hard, because I can't imagine that well, but it really helps me keep a voice distinctive if I can look at the person and think about them talking. So.

At least having some vague notion rather than like one of those blank wooden poseable artist figure model things helps.

[aqours]

What do you think is Curse of Strahd's biggest weakness as a module?

oh there's so many potential answers for this. the racism that they tried to fix later by trying to erase the concept of minorities? the fact the layout of the book is a disaster? that's one of them but i've already talked about that. i think Curse of Strahd's biggest issue, by a very huge margin is:

D&D 5E is inherently a really bad system to use for a horror game and especially the horror that CoS wants to be

i think Ravenloft and it's many spinoffs worked better in 2E because things were different back then. you started off as a somewhat above-average person and became stronger over time. 5E, however, is a power fantasy to it's core. even at level 1 you are an extraordinary person much more powerful than any regular commoner could ever be. and CoS doesn't handle this well. you are extremely resource deprived, you can go from levels 1-10 with that same +0 longsword you have from character creation. it's about becoming more skilled with what little you have over time.

which is fine. but CoS's resource deprivement is atypical for 5E module design. it's about depriving players of the typical power fantasy that D&D usually is for the sake of atmosphere and tone... which is fine, but the game doesn't offer much in compromise. let me use Warlocks as an example. one of (imho) the best spells Warlocks can have is Shadow of Moil. it is an amazing spell. once i am getting near that level one of my priorities in playing a Warlock is finding an undead eyeball encased in a gem worth at least 150 gp so i can cast it. it's amazing.

good luck finding that in Barovia! your DM will really have to work with you if they want to run the game RAW which is also not a bad thing no matter what anyone says so you can use that spell. this is an issue with spells in 5E that require expensive spell components... it's not available.

if i can use something else from D&D as an example, i want to tlak about Masque of the Red Death. Masque of the Red Death was an official 2E gothic horror thing made by people who wanted a more "realistic" gothic horror by making the setting basically a grimdark earth. you can ONLY play humans and are told you use specific classes. it was kinda killed in 2E before the internet made looking up these things easier. it received a fan revival on 5e you can purchase in the link (or i can give it to you), but part of it is you are expected to use it's character classes instead of the standard 5E ones. that's because they fit the setting more thematically, and thus are scaled to the dangers and expectations better. 5E Curse of Strahd tries to achieve this by throwing extremely difficult combat encounters combined with resource deprival, but doesn't give a lot to compensate back for this. the sunword and holy symbol are cool, but that does not compensate for not being able to do a lot of 5E usual power fantasy stuff?

i think there are better systems for what CoS wants to do. if you want extremely deadly combat, some PBTA d6 game probably suits you better. someone on r/curseofstrahd mentioned Hunter: The Reckoning might be good, and HONESTLY one day when i'm more familiar with playing WoD games i'd fucking LOVE to try to a full conversion for Hunter at some point. a lot of people really love making CoS western themed, to which I say if you also want to play as vampires consider checking out Bloodbeam Badlands actually! personally, i think you could even pull off CoS's story using Call of Cthulhu or Pulp Cthulhu for extra power: the SAN mechanic might make for something really great in this game too! one of my issues with Masque is that while i like it i just can't help but think Call of Cthulhu/Pulp Cthulhu is still better for what that setting wants

i'll play CoS using D&D bc it is made for that, but i think rather than trying to stay super true to the horror themes all the time, a DM should consider adjusting it's tone or item distribution to meet the group's fun. i love CoS, a LOT, and I love Ravenloft, but i think there's definitely better systems for what it wants to be, and CoS as it is (especially for when it was written somewhat early in 5E's life) has never been quite the story right for a 5E story

[tsunflowers]

"mito’s gender is supposed to be this big plot point but she has no thoughts about it ever. ren turns her into a boy and rewrites her memories so presumably she thought during that period that she had always been a boy and only remembered otherwise when ruka broke the spell. she has nothing to say about it. actually she doesn’t have much to say about how fucked up it was for him to do all that

do you think the manga shows more of her internal monologue and thoughts or is it just not important[?]"

I haven't read the manga & I'm certain that it wasn't author's intention, but that description makes it sound like Mito might be Agender, or maybe Gender Casual.

Because that whole part of not really having thought on being turned into a boy makes me think of an inverted version of Elliot & Ellen Dunkel from El Goonish Shive.

Fairly early on in the comic's story, Elliot was hit with an alien magi-tech "beam of turn you into a hot girl (and also increase any existing attraction you have to guys)" and (due incredibly complicated reasons that wouldn't be fully revealed until much later) thought he would be stuck like that for the foreseeable future. So he attempted to use an ancient artifact intended to remove curses called "The Dewitchery Diamond" to undo it. Except, the diamond was improperly made by its novice creator & "removes curses" by extracting any enchantments affecting someone and turning them into a separate beings that are capable of spreading their "curse", and leaving the original target the ability to change into their transformed state at-will (in-universe the Diamond was responsible for the creation of werewolves).

So anyways, not only did Elliot using the diamond create Ellen, his sister who has all his memories up until the point of contact with the diamond (but notably the Diamond canonically gives it's creations entirely new souls, and Ellen was also later given a second set of childhood memories of being raised as girl from a dream alternate reality that never existed to help "age-up her soul"), it also served as a "improper trigger" for his magical awakening.

This improper awakening made it so that:

A) all spells he develops have to do with turning into a girl in some way, meaning the "turn into a superhero" spell he gets is specifically a "turn into a superheroine" spell,

B) he has a build-up of magical energy that requires him to use the "turn into a girl" spell at regular intervals to prevent it from going off uncontrollably at random.

My point being that because all of this, he later figure's out that he's "Gender Casual" (a term coined in-universe by him/IRL by the author as a self-descriptor) and likes having access to the ability to transform even though he's fine either way (and so continues to do so even after he stops having the magical build-up).

(Side note: I'm using He/Him for Elliot because that was most recent preference stated in the comic, via one of the Q and A chapters)

this conversation between ellen and elliot is so cute. I'm charmed by it even though I don't know the characters. I don't think ms toyama ema has put even a tenth of the thought that went into these pages into the gender identities of the characters in vampire dormitory

am I right that the author of el goonish shive is someone who started out like "it would be crazy if there was a beam that turned you into a girl, and kind of cool also. I'm not going to unpack this" but over the course of writing a webcomic about it began to unpack it and went on a bit of a gender journey along with their characters? if so then you can't help but put a lot of thought into the gender of your characters. if ms toyama is a cis woman she may never have thought about gender and ended up with a gender casual character from a position of thoughtlessness rather than deep thought...