#and that things will be okay because we have love and art

[felassan]

Paste Magazine: 'Dragon Age: The Veilguard‘s Creative Director Talks Restoring the Lore'

Rest of post under cut due to length and possible spoilers.

"“I was the one cinematic person who always snuck their way into all the writing meetings because I love storytelling,” [John] Epler tells Paste. “I love narrative, and they wanted me to be Narrative Director on the franchise.” When the Creative Director position opened up later on, Epler was primed for the role thanks to his experience across multiple aspects of game design.  ‘They wanted someone who had a good relationship with the people on the team, who could work across disciplines, and who knew the story,” Epler explains. “You know, knew the franchise and its storytelling. Because I think for Dragon Age in particular, narrative is such a core part of the franchise’s identity. They wanted someone who could operate in that space, but also knew how to work with gameplay, work with design, work with art, and that was something that, with both QA and cinematics, I had learned to do. I think just a history of being always willing to do whatever was necessary and also having good relationships with most people on the team helped me out.” As creative director on Veilguard, Epler worked with a team that fluctuated in size from a dozen to several dozen depending on which phase of development it was in. And given Epler’s history with cinematic design, that team worked closely with narrative to craft the kind of epic story Dragon Age and Bioware are known for. “Storytelling is huge, probably the biggest part of Dragon Age: The Veilguard,” Epler reminds us."

---

"Paste: When you’re bringing back a series after a decade, how do you decide what threads to pick back up on, which characters to use, which lore to focus on, etc.? John Epler: It is going to sound very cliche, but it is true: It honestly comes as we build it. We knew a couple of core parts of the story. From the end of Trespasser, for good or for ill, we pretty much determined where we were going and what we were going to be doing. It was about the chase, the search for Solas. Solas had been very clear in his ambitions to end the world at the end of Trespasser. And, you know, at the end of the very final scene of Trespasser, we stabbed a knife, a dagger, into the map on Tevinter. So we kind of knew we wanted to go to Tevinter. We knew we wanted to chase Solas. Now that said, as the story started being constructed, and we discovered, okay, where else do we want to go, what characters make the most sense in this story, that kind of determines what lore threads we want to start pulling on. So without getting too much into spoilers, obviously, Scout Harding has a story that’s very focused on the dwarves and their history; Shery Chee started writing Harden’s ark, and realized, okay, this is actually something we’re going to want to dive into more deeply. Belarra’s story is very focused on the ancient elves, not just the gods, but who they were. So that became a lore thread we wanted to pull on.  As far as returning characters for us, it really does come down to who has the most to say about what’s going on in the world. Who is the most likely to be involved in this particular story. And I think, most importantly, this is something that we always talk about, is who has more to say in their story, whose story isn’t over. Because one of the things that I don’t necessarily want to do, I don’t want to bring back a character just so they show up and then disappear. That doesn’t necessarily do that character justice, but it also contributes to what you do see in some franchises, which is a sense of small world syndrome, where there’s literally 30 or 40 important people in this whole world, and they all somehow know each other.  But again, you know, you see Morrigan in the in the previews, and as we’re writing the stories like, well, of course, Morrigan, who is the daughter of Flemeth, who was at least an aspect of the goddess Mythal, one of the ancient elven gods, she probably has something to say or something to do in a story about the last two elven gods escaping. So, yeah, it comes down to who has something interesting to say, who has something more to say in their story, and who do we feel makes the most sense for where we’re going and what we’re doing."

"Paste: Sticking to the long gap between the last two games, what are the challenges in trying to make a satisfying continuation of that story without making it impenetrable for new players who maybe weren’t old enough to have really played Dragon Age in the past? John Epler: Well, I think it was funny because, on the one hand, yeah, the challenge is, you’re trying to tell another chapter of a story that’s been dormant for at this point nearly a decade. But it’s funny because I do think that actually ends up working to our benefit. For the second question, we cannot assume anything about what players remember. Because even people who were playing Origins, were playing Inquisition, all the DLC, they may not have done so for quite some time. And obviously some players are going to like—I mean, I see it all on social media, people doing their final Inquisition playthrough before Veilguard, which is great, but you have to assume that people don’t remember everything that happened. You have to re-onboard them back to the world, back to the lore, and you’re also bringing in new players. I think honestly, for Veilguard, one of the things that’s worked the most to our benefit is that this is a continuation of that story, but the context changes so dramatically within the first hour. You know you’re going after Solas, you know the first mission. We’ve always said we wanted it to feel like the last mission of a different game. But then you get to him, the ritual crumbles, the gods come out. And now, even if you’ve been following this story up to this point, for everyone, it’s just a sharp left turn. Solas is no longer the central antagonist of this at this moment, it’s now these two new figures, which means Rook, you know, you as a player character, but also the player themselves… You need to bring them back into this story, because nobody, including the people who’ve been playing forever, know what’s going on at this point. So it’s actually a really great way to do the first couple of hours, because you can’t assume everyone is coming into it with the same level of grounding in the story itself. Some people are gonna have more lore. And one of the things we do try to do is, anytime we introduce a proper lore term, I use Venatori as an example, we always try to pair it with a more commonly understood phrase. So “Venatori” and “cultists” always go together in the first few hours of the game. “Evanuris” and “elven gods” always go together in the first few hours of the game, but done in a way that doesn’t feel like the game is like, “Hey, don’t worry, we’re going to tell you everything.” It feels natural the way the people in the world talk about it. So you encounter Strike and Irelin, two of the Veil Jumpers, early on, and they use the terms interchangeably in a way that allows players who don’t know as much about the world to get what all these things mean. Like I said, it’s just the context of the stories. The story shifts so dramatically in those first couple hours that everyone is catching up, even the characters, even, you know, Harding is still trying to figure out what the heck is going on."

"Paste: Speaking of what’s going on, in Veilguard we have a new character as the protagonist, Rook. What’s happening with the Inquisitor and the protagonists from the first two games? What are they doing in this world now, assuming they survived their games? John Epler: One of our storytelling philosophies is, for us, especially when it comes to importing, is unless we explicitly say so, assume that those characters are still around. So what we do, because this is the story of Solas and the Inquisitor has a very direct tie to Solas, the Inquisitor does show up in Veilguard. I’m not going to tune into spoilers, or what the role is, but it would have been very strange for us to tell the story of Solas without having the Inquisitor involved, because, again, they were part of that story. As to the previous two protagonists, they’re still around; that said, their personal arcs, their stories that they were part of in their games, aren’t as directly tied into this story, either narratively or geographically. We’re now in the north of Thedas. So the Hero of Ferelden, who you know, if your hero survived, one of the things we talked about is they were looking for a cure to the Calling. They’re not going to necessarily be involved in this because they weren’t tied to the elven gods, and the blight is still present elsewhere. And Hawke, depending on what you did in Inquisition, may be deep in the Fade, or they may have gone to work with the Wardens and also engage with the Hero of Ferelden at some point. So we’re not going to say much about them because they’re not directly related to the story, but we want players to understand the fact that we’re not saying anything about them because they’re still alive. They’re still doing something."

"Paste: A lot has changed in the world of games and game design in the last decade. How has the creative process of creating a Dragon Age like Veilguard changed over that time? How was making Veilguard different than Inquisition? John Epler: I’d say the biggest change for me has been leaning much more heavily into pre-production on everything. So one of the things that we’d done on Inquisition, I was a cinematic designer on it, we didn’t really have the sense of storyboarding, of previsualization the way we do now. But with Veilguard, one of the things we did very early on is we built the entire story in Twine so we could play through and see the interaction points, see the word branch, and get the sense of how it was flowing, how it was coming together. Beyond that, very heavy use of previsualization, whether storyboards or actual white box, in-engine—or, I say “in-engine,” but, you know, in Maya—models, moving together, figuring out how these shots work. But I mean, ultimately, a lot of the same processes are in use now that we did then. Writing does peer reviews, they still do the same peer reviews. Take your work, you put it in front of the group, and you basically say tear it apart. Let me know what works, what doesn’t work. But I do think the other thing that’s been a great change since Inquisition is there’s a lot more sense of… if you’re building a level, you’re not just bringing in the level designers and level artists, you’re bringing in the gameplay people, you’re bringing in writing, you’re bringing in, you know, all these different groups to kind of build the feel, build the shape. Not to say Inquisition wasn’t collaborative, but I will say, as someone who worked on it, I felt much more like each pod was kind of an entity onto itself, you know, doing this thing, but not really touching the other parts of the game. In Veilguard, we very much wanted people to understand how their work fit into the whole that we were building. So there was a lot more sense of collaboration. And then, you know, more practically, COVID happened while we were making this game and brought work-from-home, remote work in general. I’m doing this interview from my basement right now, but in general, people are working more distributedly, so there becomes a much higher premium on communication. And like, we use Slack pretty extensively, and the sense of like, talking to people as much as you need to, as much as you can communicate broadly, and information sharing, I think, has become a much bigger part of it."

"Paste: So having the different departments less siloed, like it used to be, how has that impacted the day-to-day experience for a Bioware employee. Are they working more or less hours now that things are more collaborative? John Epler: I think it depends on who you are. And, I mean, I’d say generally less but again, it depends. I will say for myself, I have difficulty because of work-from-home. And this is a personal thing. I don’t always have the best separation between work and life because sometimes it’ll be like, nine o’clock at night and you’ll be like, oh, you know what? I just had this really great idea, I’m going to hop on and do something about it. That used to mean driving back to the office. So I will say now I’m not in the office, which is great. For me, one of the greatest things about this has been, I have a personal rule of I don’t ever do work between the time my kids come home and when they go to bed, which means I get to be fully involved as a parent. But then, like I said, 9:30 comes along [and the kids are in bed], and, you know, I think because I’m creative director, it’s a little bit different. I gotta jump in and be like, oh, I want to do this. So I think, you know, it depends on the person. But I think what it’s done is, in general, allowed a lot more freedom in defining your hours. And we do have some people who are not morning people, so maybe they don’t get up and jump on as early, but then I’ll see them later at night, and they’re doing the work that they would have done. And I think that freedom for me has been, and I think I can speak for a lot of people, has been probably the best part of how things have changed."

"Paste: So something else that’s changed in games over the last decade, I guess it really became standard right before Inquisition came out, and it’s something that’s been a constant problem for many people who are creatives in many different mediums. But some of the fans and fan accounts online and how they react to games and designers and games media, starting with what they call GamerGate. What are your thoughts on that type of fan interaction and how has it impacted the Veilguard team? John Epler: Anytime you get fan feedback, the question I always ask is, what is it that they’re actually saying? And, you know, sometimes it is literally what’s coming out, what they’re typing. But a lot of times, from whatever group it’s from, there’s a sense that they’re speaking to something deeper, something that’s, you know… I think ultimately, for me, it comes down to understanding and being confident in your vision which means you take the fan feedback, you can look at it, you can decide what you do or don’t do with it. But one of the most—I don’t want to say challenging, but one of, I think, the easiest traps to fall into is a feeling that you need to be, “oh God, they don’t like this, and they don’t like this, change this, change this.” And I think there’s a sense of, if you have a vision that you’re comfortable with, are confident in, you continue to stick with that vision, you can make make adjustments, make tweaks based on what people get excited or don’t get excited about. But I think the other side of it is, when you’re releasing news, you’re doing press events, you’re talking about the game, you’re only giving people a small slice and a decision that may, for them, like, “I cannot believe that, why would they do this,” makes a lot more sense when you know the context of the decision as a whole. And I’ll say it for myself, one of the bigger examples of this was when the Yakuza series went from action to JRPG, turn based RPG, and I’m like, “Oh, this is so weird. I don’t know. I don’t know how I feel about this. You know, this feels like a very strange shift.” When I played the game, like, “oh yeah, holy smokes, this makes so much sense.” They made it make sense narratively. They made it make sense from the gameplay perspective. So I always try to remind myself, like we know the game as a whole. We know all the pieces and how they fit together. When you get that feedback again, you can look at it. Some feedback is obviously better than others. Some feedback is more, you know, is more interesting, and more does more for us than others. But again, it comes down to know the game you’re building, be confident in the game you’re building, and don’t try to design by committee, because ultimately, everyone has a different thing that they want out of the game, and a lot of people, even themselves, will have two very contradictory things that they want out of a game. So you have to be careful not to overreact and water down what you’re building into something that I would describe as, you know, mushy. You don’t ever want to be in the mushy middle. You want to make a strong statement with your game and how your vision evolves, and stick with that."

"Paste: Where do you hope to see Dragon Age go from here? John Epler: Honestly, I love telling stories in this world, and I think one of the fun things about the ending of this game and some of the seeds that it sows for the future is the sense that everything you thought you knew, maybe you weren’t as right as you thought you were. And that stuff like using the unreliable narrator. It’s fun to be able to take that and apply it to things that you as a player experienced, and then see that there’s an additional layer. Context that you didn’t have at the time that now throws into questions some of what’s going on. So again, I’m trying to be as vague as possible to avoid spoilers. But I do like the idea of—because one of the things, the other side of it is Thedas is one continent in this world. There’s still a whole other world out there. And I think, you know, for myself, I kind of want to know what’s out there. I kind of want to know what’s going on in a world where, over the last 15 years, Thedas has almost ended the world three times by themselves. If you’re from a different continent, how are you feeling about that? I’m gonna guess, probably not great. So I think there’s a lot of fun stories to tell there. We haven’t said much about the rest of this world. So there’s just this giant blank canvas for us to start playing in, which I think is, for me, the most exciting thing about moving forward with this franchise."

[source]

[tkwrites]

Okay I'm done now and heading to bed, one last question.

Can you name a favourite fic for each of the boys?

Hi my Lovely,

There are quite a few of your asks I haven't answered, but please know I'm not ignoring them. They'll just take a little more time to respond to.

I can tell you my favorite fics, though:

Matthew Tkachuk - Back To You because it's such a complete story. I love the way he and Jessie meet, lose each other, and then are thrown together by fate again. I also feel like I really captured that sassy side of Matthew's personality in this fic, which I was really worried about at the time I was writing it. This is also the story that I think would be easiest to flesh out into a full length novel.

Nico Hischier - I love all the parts of his story for different reasons, but I think It Doesn't Matter Part II is my favorite. I had actually written the whole sequence of nude sketches for another character, but ended up scrapping the whole story because I couldn't find any real conflict for them to resolve. When I realized I could use it for Nico and Lena if she was an artist, I was thrilled and got to work rewriting it for them. In the end, the only things that stayed the same were 5 of the 6 poses. Getting into and out of them changed, as did the characters relating to each other during them. I love all the longing and awkward tension between them in this piece, as well as how they finally end up confessing their love for each other. Finally, the culmination of all of their longing into the final sex scene? Chefs kiss.

Quinn Hughes - This one is so hard. I've written so much about Quinn and Sarah and I love all of the pieces for one reason or another. If I had to pick three favorites, they would be:

1). Five Days of Joy because I'm so proud of this fic. It took SO long to write, but I love the way it turned out. I love that we go through so many consecutive days and such a gamut of emotions with Sarah and Quinn.

2). The Second Time is Better because I love the portrayal of a more real first time. One of the things that drives me batty about romance novels is how the characters get together and always seem to have this instantly amazing sexual connection. No room for human failing or first time jitters. In reality, it takes time to build sexual chemistry and connection, and I went into this piece wanting to show at least some of that.

and 3). Second Nature because I think it has the prettiest prose. I still think this passage is some of the best writing I've ever done:

This was ultimate flirting in Quinn’s book. Something he knew he could do. When someone wanted to talk about music, or art or classic cars, he was a fish out of water. But talking hockey? He could do that all day long. Convincing someone to like the sport he loved so much? There wasn't a more ideal situation. 

“Oh, good,” she said, leaning forward to kiss him. 

This was a perfect evening. Casual and comfortable. Cooking for someone he - liked, and kissing her whenever he wanted, taking no worry of who might be watching. 

Letting himself get swept up in the kiss, he slid his hands over her hips and tried to commit her scent to memory. No matter what happened - though he was pretty sure nothing bad was ever going to happen with Sarah - he wanted to remember this. She smelled like a dream he’d had as a boy. Like vanilla and warm skin and fireside, summer nights. It was an outlandish notion, but he couldn’t shake it. 

All her life, Sarah had read stories about star-crossed, fated lovers thrown together by chance and circumstance and serendipity. But those were all just stories. Even when her grandpa talked about meeting her grandma - like they were always meant to be together, and just had to find each other to make it happen - it seemed like folklore. A tall tale he spun to make their love story seem more epic. 

After writing all this out, I realized perhaps you meant favorite writing from other authors. Let me know if that's something you'd like me to answer.

[oshinohoshi]

Oshi no Ko chapter 166 thoughts - the end of all things

So uh... the only positive thing I can say here besides the beautiful Ai art is that I felt sad reading the page where Miyako was hugging Ruby. Everything else left me completely empty

This chapter is either:

A) A self-aware ending meant to show that life is suffering and the idol industry will suck out your soul if you let it

B) Outsourced to someone who skimmed OnK for 30 seconds on Wikipedia before putting pen to paper

It has to be A, right? You can't tell me that the same author wrote both of these pages without the right being ironic

But I don't think so because big brained Akane is the one clumsily narrating this crappy montage masquerading as a real ending

Aqua died for nothing. His sister is now a soulless cog in the idol machine

Ruby is mimicking Ai's speech - "Lies are an outstanding kind of love... We pile on the lies and no matter how hard things get, we sing and act happy onstage. It's a fun job!" But she forgot the rest of it: "Only, I'd like the 'being happy' part to be real. Nobody notices, but we have hearts and lives of our own. Happiness as a mother. Happiness as an idol. Normally you'd have to pick one, but I want both. Ai Hoshino is a greedy girl"

Ai wasn't only a misunderstood girl who worked hard to please her fans. That was a big part of her story but she also broke the rules to create her own family, her own happiness

Ruby, on the other hand, seems to have no real desires anymore, she's just following a path she believes her mother and Aqua paved for her. Never mind that Aqua only wanted it in the end because she wanted it and Ai just wanted her kids to be happy

You can tell that Akasaka is patting himself on the back for making a cyclical narrative where Ruby becomes Ai 2.0 by being commodified, scrutinized, and idolized like Ai was

But it's such a flimsy parallel when it comes to the theme of lies because lying to hide your grief =/= "lies are love" which was the only way Ai knew how to frame her genuine desire to love

And Ai's "I love you" to her kids was true whereas Ruby has swallowed her own lie that being an idol is fun even when you're just doing it to outrun your pain

What this chapter showed us is that the meaning of Ruby's life is to be Ruby of B Komachi and she was put on Earth to sing pop songs. Because that's what Ai did, right? If I remember correctly, her final words were "I'm so glad I got to be an idol #blessed"

My God was the Dome concert soulless. Miyako and Ichigo crying happy tears is a punch to the gut. Doesn't Miyako know her daughter is still hurting?

The last scene is so fucking depressing

Ruby, are you okay? Blink twice if you still remember your life outside the idol industry!

The last two pages work really well as horror. She has a brilliant smile but you can tell that she's dead inside. She's got more merch on her table than photos. Why doesn't she have a corkboard of family photos? Although I more or less have this Ai plushie and it's pretty cute so I'll give this a pass because it's hilarious

I guess the takeaway here is to live for others and life is painful so just grin and bear it. Oh yeah, and inspire other young women to join an industry where they get to act happy and lose their humanity. Cool

I mean I get that it's supposed to be about moving on with your life even while grieving and that's a good message, sure, but Aka's insistence on using the word "lies" multiple times as if saying it makes it make sense ruins the whole thing

The most insane part is that this chapter is a wholehearted endorsement of the lies sold by the entertainment/idol industry

I haven't even said anything about anyone besides Ruby because what's the point? Aka didn't have time to do justice to any of the characters I grew to love

It's clear something went wrong with the timeline of wrapping up OnK. No artist wants to execute a final chapter like this. I'm convinced the film reel edges are Aka and Mengo's way of telling the reader, "we know this is a shitty clips show so don't @ us on Twitter about it"

But it's so much worse than that. Aka really decided to tear to shreds everything he worked so hard on for 4 years. Damn

This is my favorite manga and I'll always love that it gave me Ai, my most beloved character of all time, but this leaves an extremely bitter aftertaste. It's really hard to believe that the same person who wrote vol 1 wrote this.

OnK has been pretty important to me. Reading weekly, chatting with fans, and reaching dangerous levels of Ai brain rot has actually been a helpful distraction. TBH I've been a little too invested in it but sometimes you need escapism. So it's crazy that I'm kind of glad it's over.

But this is why fanfic, fanart, and your own headcanons exist. In another universe, this manga wrapped up beautifully and I was depressed for weeks because I couldn't look forward to it anymore. In this universe, at least we're all suffering together here at the end of all things.

And at least the little Hoshino family is still adorable. Too bad Ai is dead, Aqua is dead, and Ruby desperately needs grief counseling. But NEVER MIND. Look at Ai's smile and the twins' faces. This was the Oshi no Ko I really loved.

[neverpathia]

fuck this shit

have my voice of the broken

and please ignore how elementary my art looks

it's not the full design unfortunately, but a little guy is a little guy, I hope. + the original pencil-and-paper lineart.

now I was gonna go by a specific order, like starting from voice of the hero and all, but broken just resonated with me too much and I thought we could make a pretty neat design out of him so there we have it.

okay I have quite a bit to say about him

come on, the fact that he's the most like me out of all the stp voices surely says something. tower route isn't exactly how my very first playthrough went, true, but once she beat the ever loving crud out of me and the rest of the route unfolded

I had to do a double take he's so real wtf

everything Broken says is something that has definitely passed through my mind at some point or another, especially when it came to a few relationships of mine. the way he just defaults to surrendering. taking the easy way out, the ONLY way out, which is in fact only digging yourself deeper into the problem. somewhere in your subconscious, maybe you know this. but what other choice do you have? she's above you in every way possible. don't you want to please her? isn't this how it's all supposed to go? and, besides, you don't want to taste the alternative.

defiance can't be an option anymore. it's a path fraught with danger and fear and the Broken is blindly submissive because it's the only thing he can be. he can't let himself think like a person or feel like a person or even be a person anymore if it's all just going to get taken away from him.

maybe he's bitter. maybe he hates the world. maybe he wants to let himself feel something that's not simply her, and her, and her.

but it's too risky, too dangerous. and it's so much 'easier' to just...not. just do what she asks, because there's a course of action put before you, and you won't be hurt if you do what she says. and you don't want to be hurt. and everything she's already doing to hurt you is so much better than everything she CAN do if you defy her.

and she loves you. in this twisted, unbalanced, unfair way of hers, she loves you. call it love because you don't want to know what else it can be.

you hate this love. it suffocates you. it drowns you. it seeks out the cracks in your soul. it enters them. it expands them. but it's the only thing left in there anymore.

it may look like a choice when you reciprocate it in the same unjust way. it's turned against you and you're just blocking off your escape, that's what they see. but what does the Broken see? safety. protection. an escape from whatever she can and has thrown upon you if you don't.

you can have "whatever you want" at the cost of a "you."

I feel so bad for him, but I can't help but feel that I...am him. Just 'choosing' to submit and keel over and accept your comfortable little prison is kind of real. It's 'choosing' safety and sloth at the cost of my autonomy, but since when had it even been a choice? external circumstances nudge you towards a corner. your own willpower, or rather lack thereof, backs you further into that corner. the Broken is too familiar.

and yet the way he always makes it a point to hear others out. he empathizes. he soothes. because he doesn't want them to be Broken like he is, or rather, he's the only other one who's just as Broken and he knows how much it sucks. to be at war with yourself all the time yet you yourself are stuck and stagnant and unmoving in everything you know you hate as much as you try to pretend you love. everything you do, every second you live, as wrong as it always feels. he wishes for a choice where he has never had one himself and he can, in a way, live that choice through others.

maybe I'm just projecting idk

fyi there's a reason I gave him that particular hairstyle. it's tied together and weighed down with two teardrop-shaped ornaments. like how he's so restricted and it's heavy, it's so heavy, being sad all the time is a bitch and you can only be tired. yet the braids are still ornate. still straight and silky smooth, still beautiful. but what then? and what if a few strands threaten to escape? it means nothing, it's still what it is. helplessly fixed in place, but who would think about it.

[ask-the-koopa-family]

I love writing little storiiiiies

Heres a story where Bowser and Cherry decide to have a baby together (Cleo of course!)

Art/OC/story are mine dont copy/repost

#story

#supermariobros

#supermario

#bowser

#bowserxoc

#canonxoc

#princesscherry

The sun was setting over Bowser’s castle, casting a warm, golden glow on the stone walls. In the great throne room, Bowser sat, deep in thought. Beside him, his wife, Queen Cherry—once the Princess of the Piranha Plants—watched him in silence. They had known each other since childhood, lost touch over the years, but fate had brought them back together. Now, they were married, ruling the Koopa Kingdom side by side.

Together, they were raising Bowser Jr. and the seven Koopalings, forming a large, chaotic family. But there was something on Cherry’s mind, something she had been thinking about for a while, and tonight, she knew it was time to talk to Bowser about it.

Cherry (walking up to Bowser gently):

"Bowser… Can we talk? I need to ask you something important."

Bowser (looking up, smiling softly):

"Of course, my queen. What’s on your mind?"

Cherry took a deep breath, knowing the weight of her words. She loved Bowser deeply, and while their family was already big, there was a longing in her heart she couldn’t ignore any longer.

Cherry (her voice soft but steady):

"We already have a wonderful family, with Bowser Jr. and the Koopalings. I love them dearly, but…" (she paused for a moment, gathering her courage)

"I’ve been thinking... I’d like for us to have a child together. A baby of our own."

The room fell silent. Bowser, clearly taken aback, blinked at her in surprise. He sat up straight, his massive form looming in the warm light of the evening.

Bowser (smiling hesitantly):

"A baby… with you? Hmm…" (he thought for a moment)

"That’s… a big decision. We already have eight kids to handle, and... it’s not always easy." (a grin spread across his face)

"But... the idea of having a child with you, Cherry..."

"It makes me happy."

Cherry (smiling tenderly):

"So… you’d be okay with it?"

Bowser (nodding but with a hint of worry in his voice):

"I’d be more than okay with it. I’ve already raised eight kids, and I’m proud of them. But…" (he looked at her seriously)

"There’s something that concerns me. You’re human, and I’m a Koopa. What would our baby even look like? Would it… even work?"

Cherry could hear the hesitation in his voice. She moved closer to him, placing her hand gently on his, her eyes full of reassurance.

Cherry (speaking softly):

"I guess.. youre right.. But.. It doesn’t matter what they’ll look like. They’ll be unique, Bowser. A part of both of us. They won’t have to choose between being human or Koopa—they’ll be both. And that’s beautiful."

Bowser (sighing but smiling slightly):

"That’s true. The Koopalings are all different, and yet they’re united." (he scratched his head, still thinking)

"But what if they feel... out of place? Caught between two worlds? I don’t want our child to suffer because of who they are."

Cherry (shaking her head gently):

"They’ll never be alone, Bowser. They’ll have you, me, and their brothers and sisters to help them. And if they ever feel different, we’ll be there to show them they belong. I believe they’ll be stronger than we can imagine."

Bowser pondered her words. He had spent his life proving his strength, fighting for his kingdom, and protecting his family. The idea of a child, one born out of his love for Cherry, began to seem less daunting and more exciting.

Bowser (smiling more confidently):

"You know what? You’re right. This baby would be special. A mix of strength, love, and all the lessons we’ll teach them." (he chuckled)

"And with a family like ours around them, I’m sure they’ll be able to handle anything."

Cherry (laughing softly, feeling reassured):

"Exactly. Imagine a little one with your strength and courage, and maybe a bit of my..." (she laughed)

"Patience to balance things out."

Bowser (letting out a hearty laugh):

"Ha! That would be one formidable kid! That little one would probably have more energy than all the kids combined." (then, more seriously)

"But I’m ready. If that’s what you want, then I want it too. I’m ready to be a father again, and this time, to a child that’s truly ours."

Cherry felt her heart swell with relief. She had known Bowser would have his doubts, but she also knew that, in the end, he would embrace the idea. They had overcome so many challenges together, and this new adventure would be one of the most beautiful ones yet.

Cherry (hugging him warmly):

"Thank you, Bowser. I know this baby will be our greatest adventure."

Bowser (holding her close):

"Yes, an adventure that will change everything. And I’m ready to face it with you, Cherry. No matter what they look like, this baby will be our heir. The heir of two worlds."

They stayed like that, embraced in the soft glow of the fading sun, ready to embark on this new chapter in their lives. Together, Bowser and Cherry were sure they could face whatever challenges came their way, bound by their love and the future they were about to build for their family.

[cringecompanionapologist]

Why Turlough Is Rarely Written Well

Classic companions have a habit of falling into Susan/Ian/Barbara archetypes. You have Men (strong, attractive, brave, good at the physical stunts the often older Doctors can't do), you have Women (okay there's actually some variety with this one since they're the most common. There are the sensible women who have none of the Doctor's shit or the plucky girls who love assisting the Doctor but are often written as stupid for plot reasons.), and you have Children (usually girls, but Adric also fits perfectly into the archetype. They're young and vulnerable but usually made abnormally smart to make up for it, with the exception of Dodo because the writers didn't know what to do with her).

Sometimes things can mix. Leela and Ace basically functions as all three categories at once. It's why they get so much EU material. They can fill basically any companion role depending on what you need. Some are sort of vague in their roles. Victoria switches between Woman and Child, not as a combination, but as if the writers didn't always agree on which one she was. Nyssa probably isn't a child, at least not by Season 20, but she generally plays the Child companion role. And, as I said, the Woman companion role is all over the place.

But, generally, Man doesn't have to be male if you're willing to let a girl fight and Child doesn't have to be a child if they still come across as innocent and/or unfamiliar with the world around them.

Throughout the 60s and 70s, Woman evolved (compare Barbara's role in the show to Jo's. This isn't bashing Jo. The character were just handled very differently) and Child was sort of phased out due to not fitting the UNIT setting. Man was also phased out once the Doctor learned space martial arts. You could also say that UNIT collectively was Man. This led the show to slowly transition from three companion teams (Man/Woman/Child) to two companion teams (Man/Woman or Man/Child depending on the team) to the single Woman companion you see throughout most of the 70s. Harry Sullivan was a brief revival of Man but you once again had a Doctor who could do the action stuff himself, so the writer's weren't sure where to go with him and he was written out after one season. The show stopped having male companions (unless you count K9, but I'd put him the secret fourth category of Robot).

The the 80s happened at the decided to have male companions again, but Tom Baker was still Tom Baker, and Peter Davison was the youngest, most physically capable Doctor yet. So, they took the Child archetype that had previously been exclusively female (Susan, Vicki, Dodo, Victoria sometimes, Zoe) and gender flipped it. Adric is basically a gender flip of Zoe, a teenage mathematical genius that stows away in the TARDIS and basically forces the Doctor to adopt them.

But then Adric blew up, but they still wanted a male companion around, and we got Turlough. And Turlough doesn't really fit any of the archetypes. He's not the brave, physically strong Man and he's too generally familiar with the world to be a Child. He's an alien, an outsider to what the audience thinks of as normal, like Leela and Nyssa, but he's lived on Earth for a while and is familiar with it enough to hate it. He doesn't carry that same sense of innocence.

That leaves Woman and though female companions had covered Man before, they'd never really reversed it. The sort of did at times with Steven, since he was sort of a merge of Ian and Barbara, but that was because the writers were used to having Barbara around and weren't sure how to make the show work without that role.

Turlough doesn't really fit the Woman archetype either. The Sensible Woman variant has to have a certain moral high ground and Turlough's morally ambiguous. The Plucky Girl variant needs to either be enthusiastic about travel, or be either very brave or borderline oblivious to danger. Turlough is very much aware of danger and is not a fan of it.

So Turlough doesn't really fit anywhere. Writers struggled to figure out what to do with him. Too much of the traditional companion role, especially for Men, was defined by courage and selflessness. Turlough had to learn to be that way as a character arc. There had been companions that struggled with being brave before. Susan and Victoria come to mind. But Susan was kind of all over the place and Victoria started off being pretty brave before being in constant peril made her a nervous wreck and she chose to leave the TARDIS to save her sanity.

So, you end up with a companion that didn't really fit any archetype and the previous companions he could most easily be compared to were Susan and Victoria.

So, when writing Turlough, writers end up with two choices: to lean in or back out. They could write Turlough in a way similar to Susan and Victoria, intelligent enough to be reasonable competent, but physically and emotionally fragile. Or, they could try to make the character a bit more like earlier male companions, except he's complaining about it the entire time.

Writers prefer backing out to leaning in. That's because there's a bit of a double standard when it comes to gender stereotypes. You give a woman traits more associated with men, it's usually received positively. Leela stabs people, Ace beats up a Dalek with a baseball bat, everyone loves it. And they should. It's great. But when it's the other way around, giving a man traits more associated with women, it's usually based in negative traits and not received well.

It isn't always that straightforward. A female character who's assertive and tries to take charge but doesn't usually stab or beat people up will be classified as a "bitch". Strangely, a male character who's cowardly might also be called the same word. "Bitch" is apparently an insult specifically connected to gender nonconformity. Women who are too bold and men who aren't bold enough.

I've written before about how this affects fandom (and a good number writers) attitude towards Tegan. She's assertive, but not in a beat-up-daleks-with-a-baseball-bat sort of way.

This makes the TARDIS team of Tegan and Turlough interesting. They both play gender in a way that's usually seen as negative. Writers, if they want the characters to be likable, have to tone it down. Or, they play it as annoying and something for the audience to make fun of. They can't just accept it. Which would be the most interesting thing to do.

In my previous Tegan rant, I said there should be a story where the Doctor has to overcome his pride and listen to Tegan in order to save the day. She might not be a STEM genius, but she can be right about something. I also have another vague idea, a conflict between Tegan and Turlough, that would focus on Turlough saving the day by being non-confrontational.

The premise is that Tegan and Turlough get captured and locked up in a prison. Tegan fights with the guards and tries to escape, while Turlough tells her not to bother because the Doctor will show up and rescue them. Time goes by, the Doctor gets stuck in another plotline, and Tegan and Turlough are at risk of being executed. They can't just wait this out. Tegan gets more frantic in her escape attempts and more annoyed with Turlough, who is intimidated by the guards and doesn't really seem to be trying.

Then, there's a brief period where Tegan and Turlough are outside their cells, quite close to the keys to their cell. The guards are keeping a close eye on Tegan in case she tries anything, but they're not watching Turlough as closely. They don't think he's going to try anything. He basically uses Tegan's usual quarrel with the guards as a diversion so he can grab the key. Tegan catches on to the plan.

They're returned to their cell but Turlough doesn't actually have the key. Tegan gets pissed that he wimped out and this was all for nothing, only for Turlough to reveal that the cell is unlocked. He didn't take the key. There were keys to multiple cells around and he swapped their cell's key with another key, so the guards used the wrong key on their cell, leaving it unlocked. No one expected anything of him and there wasn't a missing key to attract attention. He found a way out to get around the guards without confronting them.

Then, to avoid making Tegan look bad for being defiant, she frees the other prisoners and rallies them to overpower the guards and escape, because sometimes the direct approach works too. Then they both have to rescue the Doctor.

I should probably just write this fanfic, but I don't have enough specific details yet.

Anyway, writers who try to make Turlough more "masculine" are cowards and boring.

[theladyheroine]

Characters for the New TMNT 🐢

❥ Hello everyone! So this will be similar to my previous Kingdom Hearts posts where I’ll try to predict a few things for the future! It’s just for fun but I hope you guys enjoy! 💚

⚠️ Also quick warning, there are spoilers for the Mutant Mayhem movie & the Tales of the TMNT on Paramount! ⚠️

Casey Jones - Okay, so I understand there was a scrapped concept art for Casey Jones from the Mutant Mayhem movie. But whether Casey ends up being a boy or a girl, I really wanna see their friendship again! They always have good chemistry together, & I can imagine them meeting if Raph tries out for the hockey team at school! Jones is like the best player on the team so Raph has some beef. 😅 Not intentionally but I can see a rivalry happening (lol).

Karai - This was more of a what if moment but since the Shredder will likely appear in the sequel movie, Karai would be like one of those characters that turns good in the end. Likely because she never wanted to serve in the Foot Clan in the first place. It would also be cool if she went to the same high school as the main cast, either before or at the end of the film.

Slash - This character was also what if moment, since Slash is usually a small villain. But I really like what the 2012 TMNT did, making him a hero during his arc! I feel if he did show up in MM universe, I can see him being a bit of an antihero at first? Or some kind of mutated crook before agreeing to help the turtles out.

Mona Lisa - Raph’s love interest I feel was pretty underrated until the 2012 version but their own spin on things! She’s one of my favorite characters & I’d love see her again! For this version, I would like to see a human design since we haven’t seen that before! But then she gets mutated later on, & perhaps that can but a new story in the future? With humans getting mutated too at some point.

The Rat King - So, I’m actually not so sure for this one? I know Splinter was the Rat King temporarily during the Tales of the TMNT show. But I did see a post, unfortunately I can’t remember where 😅🙏, but someone said that Bad Bernie might end up being mutated? I can see that, especially since he already looks like a rat or mouse. And he did come back after the East River 3 Arc.

Miyamoto Usagi - Okay this was a lot tougher than I thought. 😅 I understand Usagi is like from an alternate dimension usually? And for a funny spinoff series, that could still work? But maybe more on the science-style of things rather than the magic side? Like maybe TCRI makes a giant portal & the turtles get sucked into it. Landing in Usagi’s dimension by accident!

Venus de Milo - I have yet to see the 90s movies but I’m still a big fan of Venus de Milo! She is so cool & I feel she’s a good contrast to the boys. I’m not sure if she’d be related to them or not, but we can stick with the cousin thing for now. Anywho, for her backstory, I feel maybe she was another experiment from Baxter Stockman? Or maybe TCRI who wanted to recreate his project but she escapes! And meets the turtles!

Irma Langinstein - So I only know Irma from the 2012 version of TMNT, but if she were introduced into MM I feel there’s a lot of cool stuff she could do! Maybe she’s a human friend April makes or she’s some kind of ninja turtle fan girl (lol)! But so far I’ve seen people portray her as a super smart kid & becoming best friends with Donnie, which I like!

[emmaspersonaldiary]

Going into detail about how I feel about all of my friends:

School friends

Gym:

-S: she's nice, but sometimes she says or does something that kinda makes me feel like that wasn't nice or that wasn't necessary and some things about her tick me off but I love her

Socials:

-m: I fucking hate you. I'm only still talking to you cuz I don't want to be alone in that class. You're such a bitch. Every class you call me stupid, and I started acting like I didn't understand your jokes but I do. That one time you called me an ogre? I think about that every time I look in the mirror. Die.

-g: you're so nice. I don't really talk to you but you're chill

Engineering:

-a: you're so funny ily

-m: sometimes you do or say things that annoy me, but you're cool

-a: you're funny and nice.

-j: you're funny and cool

-h: I love talking shit with you and you're so fun to play mobile games with at lunch

Science:

-S: you're such a dick. I'm only friends with you because if I leave you I won't be able to eat lunch with j, and I'll have nobody. But you make mean comments about people and have made me and my friend cry before.

English:

-m: ily you're so nice. I wish I sat beside you so I could talk to you more

-n: you're nice, but your humor hurts me sometimes. You tell me to kms a lot as a joke and sometimes I lowkey debate it

French:

-j: ily. You let me yap about Jeremy and Evan and literally anything I want and you don't really judge

Art and Jewlery:

-t: you're so pretty and kind. Literally trust you sm and I became friends with you in September

-h: sometimes you do things that make me feel like you're not nice, but other than that you're okay

-k: you're nice 👍

-o: you were literally my friend crush for the longest time I love your style and your art

People I eat lunch with:

-a: You're so nice

-a: sometimes you say things I don't agree with, but you're pretty okay

-b: I feel so bad for you when we're talking shit about arianna cuz you're the only one friends with her and none of us really like her

-d: I literally love you so much. You're my best friend. I love your cat and your dog and I love your parents and I feel like I'm a part of your family. I hope we move out together after high school and we blast theater kid music all day and I love calling you and being around you.

Online friends:

Tumblr:

@alchemicalwerewolf

You're so cool and I love talking to you and I love seeing your posts and spamming your ask box

@steph-schuyler

I'm so excited for our art collab. You're so cool

@afireformyheart

I love telling you about all my crushes and I love bugging you about random shit while you're busy

@ilov3b00kss0much

Ik I met you today but I loved talking to you

@th3p0rtalmaker

I love talking to you. Idk what it is it's just so satisfying.

@tatelangdonsgirl

I know we don't really talk anymore but I love seeing your tiktoks. You're so pretty and I really love when we spend all night texting.

All my other tumblr mutuals:

I love seeing your posts. Idc if we don't talk. I love you guys too

Tiktok/snapchat friends:

-E: ily. You're so funny and I love calling you

-N: I don't really know you but I'm glad I met you

-A: you were my best friend for a year straight. I would eat sleep and breathe you. I would wake up thinking about you and go to bed thinking about you. Then you spaced away and wouldn't tell me why. Then you replaced me. And it really hurt. And no matter how much I try, it'll never be the same.

[hahasuchagarbage]

YOOOOOOO I inspired a person's art HELL YEAH

Also LOVED this post, can't wait to read more (hope there will be more 🙏). I have my own "new canon story" going on in mind (very very deep in mind, never meant to see the light of day EVER) with the already established dt17 reboot story of drake mallard, but no interdimensional-old-dwd-show villains situation - like, same character at the end, but with new in-dt17-universe backstories going on (it's complicated), so It was doubly pleasant to read what ideas other people might have about Bushroot's character :DD

Few thoughts that I have after reading, hope you don't mind me sharing:

"because Bushroot, believe it or not, is a good horror character" YES HE IS. yall remember that Laura Palmer shit he pulled out in one of the episodes?? dude wrapped his own damn dead body (the SECOND dead body he had in that episode) in a plastic bag, threw it near some river and continued his day, spying for alien cows, as if nothing had happened.

that is some really twisted shit for a "coward" he is claimed to be to do

"Quackerjack is one of the ones he would get along with the least" I actually strongly agree here lol. (aside from all the other traits mentioned) Quackerjack is too unpredictable and chaotic at this point of his mental state, relationship with him would be a living HELL for someone like Bushroot, if we take into the account all the established issues Reggie has + if there is no character changes/development done before them entering into relationship.

"two gossipers " THEY ARE

(Bushroot and Liquidator also have the "we shouldn't judge/but we will)" duo energy)

"Negaduck would ALWAYS threaten Bushroot for every thing he did wrong" okay-okay, hear me out, do you all too think that negaduck tends to projects his hatred for friendly four toward team fearsome? Especially in the og series, and not the fan-redesigns ones, where both versions of them as villains and heroes are totally identical, and each time friendly four are getting on his nerves he blows the steam on his ''henchmen".

(therefore, there is this concept of how darkwing and negaduck project their experiences with both of their universes fours, where dw is the one who was able to overcome his mistrust and prejudice and see each member of friendly four as their own person, that has nothing to do with the their villain persona; but negaduck did not and will probably never do the same in opposite direction.)

"their relationship would be very cute to explore" - Bushroot's attitude towards spike is something I always interpreted as him striving for love and support, but stubbornly ignoring all those same things coming from spike (like its here, right under your beak, but you don't/don't want to see it. A kind of irony and underline of Bushroot's ignorance, that he as a character must outgrow to finally gain what he craves the most. does that make sense? I hope it does?

Character Ideas for Writers - Bushroot (Darkwing Duck)

This blog is for Darkwing Duck writers who plan to write a fanfic, comic or anything that directly or indirectly involves the character Bushroot. The ideas may not be for everyone and everyone has their own different vision of the character, but this blog is for those who are experiencing writer's block or any other creative issues. I hope you understand and, if you use any of these ideas, please give me credit. Thank you for understanding.

Yeah, I know, this blog took longer than I wanted... But in my defense, my college (yes, I'm in college-) gave me a lot of work to do, so that's it... Little time to make a blog... But I did it little by little and, now, here I am! Well, my dear writers, fanfiction writers, Fan Comics writers and Darkwing Duck fans, let's start with tips about my second favorite Darkwing Duck villain, Reginald Bushroot!:D

(Second favorite, because you already know... My number one favorite villain is Liquidator... -w-)

I decided to start with Bushroot because I had more ideas related to him and I was rewatching the Darkwing Duck episodes while listening to the Podcast "The Saint Canarian Files: A Darkwing Duck Podcast" (By the way, listen to their Podcast, it's really good and they bring curiosities about the production of the episodes :³). And, also, I ended up changing my mind about the "Bushroot Redemption Arc" that was being done in the "Boom Comics" comics and, after hearing some opinions from other people, I ended up liking the idea (and also, this blog was supposed to be released last month because Bushroot, believe it or not, is a good horror character). This blog will be divided into topics and, in each topic, I will talk about specific themes, but that encompass several ideas about that theme. Enjoy! :D

Oh, and for the people who came to the blog to complain about my ideas, I didn't see that you agree with my opinions, don't like Bushroot or are just here to complain as if it were Twitter... I kindly ask that you leave peacefully, malicious or inappropriate comments will be deleted.

Character's Past

This topic (as well as others) is optional, but if you want to make a story (like a fanfic, comic or One-Shot) focused on the character, this topic can be good to give more layers to the character.

I've heard many psychologists talk about how our inner child defines who we are in the present, and despite a series of factors involved, it's really true. So, in Bushroot's case, we have to define what made him a person who, despite being good deep down, ends up losing control of his emotions and ends up doing questionable things, and who also can't express what he wants to others. So I took some things from the psychoanalysis of Attachment Theory. And, to give a very rough summary (go research it later if you want), it is a theory that says that your type of attachments to friendships, family, work and romantic relationships can fit into four aspects of attachment: Anxious Attachment, Avoidant Attachment, Disorganized Attachment and Secure Attachment.

Since our focus is on Bushroot, after analyzing each of the attachments, I classified it into the two most likely attachments for him: Anxious Attachment and Disorganized Attachment.

- Anxious Attachment

The theory says that Anxious Attachment is caused when the person responsible for the child was inconsistent in meeting the child's needs, such as security, affection and attention. One day the child had a lot and the next, he had little. This attachment causes the child to end up developing affective anxiety, with this unpredictability of the person who took care of the child projecting itself into the constant fear that people will abandon him. And this also extends to other life experiences besides older people, such as having a boyfriend or a friend who sometimes gave you attention, and sometimes barely spoke to you, which can be harmful to future relationships, because the person ends up suffocating the loved one in search of validation and security, usually looking for dynamics that are "familiar" to them from past experiences. The points that make Bushroot have part of this attachment are:

Needs constant validation

Never feels loved enough

Has emotional ups and downs

His biggest fear is that they will abandon him

Constantly questioning your worth as a person based on the answers you receive

Always needs attention from others

He cares a lot about every detail

There have been moments considered toxic because of emotional dependence.

He has anxiety and worries a lot about the possibility of betrayal, of people no longer loving him or being interested in him.

- Disorganized Attachment

People with Disorganized Attachment are commonly the result of living in a hostile family environment, with dysfunctional dynamics and emotional abuse. The retained trauma ends up being manifested in later relationships. And, of course, it can also be developed in adulthood. Even if the person has received love in a good family environment, they can become a person with this attachment after traumatic experiences with a toxic partner. Extremely stressful situations can cause this type of attachment. The points that make Bushroot have part of this attachment are:

You don't know how to regulate your emotions, you never know what you're going to feel around someone

There was more than one person in that area who mistreated him

Carry unhealed traumas that show up in relationships

You know his behavior seems contradictory

People are generally untrustworthy

Feeling incomplete, with very low self-esteem

You want to be loved, but you're afraid of being hurt

You know that any relationship will always abandon you

I would like to love myself more, but I don't know if I can

So, yeah... You can take the Bushroot side of things, as a child, having had inconsistent parents or having lived in a hostile family environment, because both attachments are valid. But let's get out of the speculation part and into the part that's probably more fun to play with.

Origin of Powers and Mutation

Definitely the one I had the most ideas for, but let's take it one step at a time... We already know Bushroot's personality and why he did the experiment in the original, but if you want to change that, I have some suggestions.

- Trying to cure a terminal illness

I know, it's a cliché that a scientist tries to cure a disease that would probably kill him or make him lose something that would end his life, but it's still a cliché that, if done well, can give a greater dramatic load to the character. Having reached such an extreme point just to survive, it can also show the character's selfishness, even if small.

- Seek approval and recognition

This is also nothing new considering the duck plant, but it is really valid and is in the original, in parts. And it still works, changing one point or another, it can be well executed.

- Sabotaged by colleagues

This is a strand that goes a little against the original, but it is valid. If Bushroot had his project approved by his boss, Dr. Gary and Dr. Larson would probably be very angry with the duck and would have sabotaged the project, which would cause his mutation and, consequently, they would have indirectly caused their own deaths. But if you want a more interesting Plot Twist... We have another strand of this idea.

- Rhoda being the culprit behind the Bushroot mutation

If you want to completely change the origin of the mutation, you can do the following... Bushroot would be getting approval and would be making money with his projects, while Rhoda is about to be fired, so she decides to use the fact that Bushroot always wants approval from others and convince him to try to do a riskier project. However, she ends up tricking him and using him as an unwitting guinea pig, which ends up causing his mutation and, in the end, she is the one who receives the credit (even though the project was Bushroot's), which causes Bushroot to become blind with rage and want revenge on everyone, including Rhoda. It would be an interesting origin and one that, in fact, would add a lot to his story. And since we're talking about Rhoda...

Rhoda's Character

Another optional topic, but one that could be interesting to work on... Because, in itself, Rhoda's character is not very developed, she serves more as a stepping stone for the plot to follow and to contribute to Bushroot's initial motivation. So, if you want to work more on the character and her relationship with Bushroot, here are some suggestions.

- Keep the original personality, but with more development

It's self-explanatory, but it's valid... The issue of Rhoda being the only person who supports Reginald and truly believes in him is good, whether she just sees him as a friend or something more, which would also give more impact when Bushroot loses his sanity and ends up becoming a villain. You can also try to include her in a few times, making her a recurring secondary character and developing her personality more.

- Good on the outside, but manipulative and cruel on the inside

There are two sayings in my country that I've heard of: the first is "Love makes people blind" and the second is "Love is a purple flower, which grew in the heart of a fool". These two sayings fit this idea... If you want to make a more interesting plot twist, you can use Rhoda as a ladder for a character who seems good, but deep down she is the "mad scientist" of the story. As mentioned in the idea of Rhoda being the culprit of everything, she would have tricked Bushroot into stealing his project and thus gaining money and recognition, never having truly cared about him. This, besides being a plot twist for the audience, would be a reality check for Darkwing Duck, who would be shocked when he found out about this. It could also open the basis for a lot of symbolism regarding this act of Rhoda, but I'll leave that one for you to think about.

- Dying (unintentionally or not) because of Bushroot

Regardless of the path you choose, whether you want Rhoda to be good or evil, another idea that would be interesting is if Bushroot ended up killing her. Whether by accident, with the collapse of the laboratory or a fit of rage that hit Rhoda, or intentionally, with him killing her in cold blood or replicating her experiment, but ending up killing her in the process. But that depends on each writer, the shock value has to be used in the right way and that makes sense in the narrative, and there is no point in killing the character if there is no development for her or her death. But going back to the question of the Bushroot mutation...

Consequences of Mutation

We already know that he became a plant mutant and that this gave him, in addition to plant powers, an extremely surprising regeneration capacity. But what about the consequences of the mutation? Would there be any? I have some suggestions...

- Physical consequences of the body

For those who study biology, you know that our body has a certain "recipe" that, if changed, can cause physiological problems for us. In the case of Bushroot, because he transformed (or was transformed) his body into a plant, his body could reject the mutation. Whether it's his organs not adapting well and causing him to have internal problems, vomiting flowers like "Hanahaki" (those who know fanfics know this term), or him having the physiology of a zombie, losing his vocal cords and becoming hunched over, among other problems.

- Psychological problems

If you want to go into the more psychological aspect of the character, there are also ways to work on that. You can work on an identity crisis in him, with him realizing that he is no longer human and questioning whether he is still himself. You can explore how the mutation ended up affecting his brain, which makes him slowly start to lose his sanity and have hallucinations. Or, if you want to follow the original, explore how lonely Bushroot is now that he is a mutant, since everyone is afraid of him and wants him away, which also touches on the issue of his emotional dependence. But, for this last suggestion, we have a hook to talk about another topic.

Relationships

I'm not just talking about romantic relationships, I'm also talking about friendship and enmity. Let's start with the basics...

- Darkwing Duck

Everyone knows this... Bushroot doesn't like Darkwing Duck at first, mainly because he keeps getting in the way of his plans, but their relationship in the comics and the series ends up changing. Like in "Silme Okay, You're Okay", "Jailbird", "Twin Beaks" and in the zombie potato comic (I can't remember the name right now), they've already teamed up against a bigger villain. In the latter, by the way, it was the first time that Darkwing called Bushroot by his nickname, "Reggie". It comes to the point that, despite all their differences, they are similar, Darkwing even says this: "I know we have our differences...". You can explore either the aspect of Bushroot's hatred towards Darkwing or the aspect of Darkwing being a person who, even though Bushroot is a villain, supports his change of character.

- Fearsome Four

This is the second relationship that is most important, after all, he is in a group of powerful villains... But let's take it one step at a time... Quackerjack is one of the ones he would get along with the least, because, besides Quackerjack being noisy, it was seen in "Jailbird" that he destroys Reginald's plants a lot and doesn't care about his feelings. With Megavolt, he wouldn't interact much, but they would probably get along, considering that they were both losers in the past and have interests in science (even if their field is different), despite Volt also being VERY noisy. Now, with Liquidator, who unfortunately was the least explored, you can see that they get along very well, and could be both the "brave and coward" duo, as well as, probably, two gossipers (because I really think that both of them would be the type of person who likes to gossip), besides that their relationship with Dator could help his self-esteem, even if just a little, because the water dog definitely doesn't take any nonsense.

Credits to @hahasuchagarbage for the idea and inspiration

- Negaduck

Yeah... It's definitely not good... I DOUBT that Negaduck would be nice to Bushroot, even if he is useful as a "henchman", Negaduck would consider him "too soft". You must know that Negaduck is a HORRIBLE person (don't even try to contradict that it's true!), but he would certainly be one of the factors for Bushroot to have trauma that would take him to therapy... Negaduck would ALWAYS threaten Bushroot for every thing he did wrong, whether psychologically or by threatening to burn him alive until he dies. One of the relationships that, besides being toxic, would be one of the factors for Bushroot to be excited about wanting to have redemption or not.

- Spike

To lighten the mood, let's talk about the plant dog Spike... Even though, in the series, Bushroot acted very badly towards Spike, their relationship would be very cute to explore. There are people who, when they feel bad, adopt therapy animals to improve their anxiety and other psychological problems, which ends up fitting with Spike. And with this cuteness, we move on to the next topic.

Powers

Another optional topic, however, equally interesting! We know that Bushroot's powers, in general, are limited to controlling plants, but if you want to expand Reggie's range of powers further, there are some that suit him.

- Expand his plant control

Self-explanatory, but it requires research into plant biology, and I understand that it can be boring, but it ends up being rewarding and makes you see that Bushroot is, in fact, one of Darkwing Duck's most powerful villains.

- Control insects

A slightly more insane idea, but an interesting one, considering that some plants can trick certain insects into survival, whether through pheromones or another method. So it would be interesting for Bushroot to use some formula to manipulate insects.

- Control people with pollen from modified flowers

Just like Poison Ivy, who is the inspiration for Bushroot, he can use the flowers to control people, not necessarily making them fall in love with him, but manipulating their minds to commit crimes for him or something else. And now, let's get to the topic everyone was waiting for...

Redemption or not? That is the question...

As has been said many times here, there is the option of leaving Bushroot as a villain and someone who does not want to change (as some episodes of the series and the comics, both old and Dynamite, did) and there is the option of working on Bushroot's redemption and making him become a hero or an anti-hero. And now, let's explore these two narrative points. And, just for the joke, I'm going to do like Undertale and call the slopes "Good Route", "Neutral Route" and "Evil Route".

- Good Route

The route follows what was proposed by the Boom Comics comics and was touched upon in the original series, a possible redemption of Bushroot... As seen in the other topics, Bushroot suffered a lot of trauma, whether from the past, in his origins or with Negaduck, being some of the reasons why Bushroot is apprehensive about having a redemption arc, asking himself "Is it worth it for me to do this? Will anyone really believe in me to the point of agreeing to help me? Or will everyone just abandon me for choosing this?". And the character who would probably help Reggie in this arc would be Gosalyn (because, as much as Darkwing Duck might consider it, he is not at all delicate with words). Gosalyn, despite being a character with a bit of "no filter", she is a good person and, upon seeing an act of kindness from Bushroot, she would want to help him change. However, Negaduck would be the main obstacle to this redemption, threatening Bushroot with death if he did so, but, in the end, Reggie would finally face him and, thus, would begin his arc of reform, whether as an Anti-hero or as a hero itself. As for the reaction of the other Fearsomes... It will depend... If you want to maintain a good relationship between Bushroot and them, the Fearsomes can get upset, but they would understand Bushroot's side and accept his choice. Now, if you want a negative reaction, you can make them angry and get satisfaction from Bushroot, who would reinforce that he no longer wants to be a villain.

- Neutra Route

She is a middle ground between the good Bushroot and the evil Bushroot, literally being in the middle of them. Bushroot could even consider having redemption, but due to Negaduck's constant threats, he would refuse, even if it would break Gosalyn's heart... However, the event of the Fearsome Four breaking away from Negaduck could occur, which could open the door for Bushroot to be an anti-hero who only kills horrible people, but not necessarily being a hero or a villain, truly being neutral, which still keeps him in the Fearsome Four.

- Evil Route

Now... If you want Bushroot to be 100% villainous, you can choose how to do it... You can make him slowly lose his sanity and, when he is given the chance to redeem himself, he is so insane and traumatized that he would furiously refuse. Or you can make him feel that, if he changes, he will lose everything he has built and his friendship with the Fearsomes, deciding to remain a villain. There may be an atmosphere of terror with these aspects. Or, if you want a more tragic side, make loneliness consume him completely and he becomes a complete villain because of it. You can also want to make him have a redemption, but for a series of factors and a series of issues, he ends up dying in the end, but doing an act of kindness before dying. It's a tragic fate, but you can choose whichever one you want.

Reference Suggestions

Last extra topic to end the blog with a flourish (or perhaps a marigold, if you prefer), which are literary and character tips for you to get inspired.

- Dr. Jerkyll and Mr. Hyde

It might be a good choice if you want to explore Bushroot's internal conflict, between being good or being evil.

- Frankenstein

The most classic parallel, if you want to use the idea of Rhoda being evil and Bushroot being the victim, is questioning the ethics of science and the dilemma of "Who is the monster and who is the human?".

- Poison Ivy

The most direct inspiration for Bushroot, but if you want, you can delve deeper into the character to have both the aspect of Bushroot's powers and more of his past.

- Pearl (from Steven Universe)

It is one of the most classic examples of characters who have emotional dependence and who can help this part of Bushroot evolve and become more self-sufficient.

- Dead Plate

This last one doesn't exactly match Bushroot, but the protagonist and antagonist have two parallels about "what is love?" I recommend researching more about the characters and the game.

Conclusion

But that's basically it, folks... The blog got bigger than I expected, but I hope I helped you! If you have any suggestions for ideas, leave them in the comments and I'll reblog them with your idea! Each like and reblog is a little Lemon Balm Tea to calm down poor Bushroot... That's it, BYEEE!!!

All the arts were made by me in traditional, I hope you liked it! ^^

[felixcosm]

Do yourself a favor and listen to The Orbiting Human Circus (Of The Air), it will heal your heart and soul and also make you see beauty in life again

[jellydragons]

been watching a lot of hermitcraft recently and am happy to report that i am hopelessly endeared by these little goobers 💕 they’re like bugs to me

close ups under the cut!

gonna be real this was absolutely just me taking the opportunity to get my grubby lil mitts all up in their character designs lol i heart interpreting mc skins

[milolovesbmc]

Do you. Do you get it.

Original under the cut!

[doctorsiren]

thinking about ???%…but…but with adult mob :(

[carnivalcarriondiscarded]

hold on. i just wanted to see their height difference and. and hold on-

ill probably clean this up & do the other neighbors but ohhhhh my god. hes SMALL!!!!!! TWELVE! APPLES! (bg Home included to see if Barnaby would be able to fit through the front door. nope<3)

[uncanny-tranny]

If I'm honest, the whole "love in every stitch" saying for fiber artists does not apply to me, like. I'm trying to get this fucking hook into stubborn yarn and I'll be stabbing it like it owed me money. Is that love because I hope not 😭💀

[finch1pinch]

started rewatching trollhunters out of a need of familiarity when everything in my life is new and bad and hard (college.) and now ive redesigned Claire to make her more of a alternative theater kid with the anger issues that they only hint at in the show

ive given her more of a personality than the #Feminist Only Female character in the group ur welcome lol