#and the doom of the narrative you cannot change

[tiriansjewel]

it’s been years since my last true fixation on a musical but I regret to inform you all that I just watched the 2014 Swedish Jesus Christ superstar and I feel I will never be the same again.

[crazy-ache]

I’m never going to buy the “Elain is a spoiled rotten child” interpretation that I see floating around fandom. To me, Elain is a chronic people pleaser.

She desires to please everyone around her at the expense of herself. It is why she so desperately wants to be seen. She is deeply unhappy. Symbolically, Elain is described as a trembling fawn because she is frozen like a deer in headlights in the face of what she wants vs performing what other’s expect of her.

She does this because she is suffering from self worth issues and does not believe her needs or wants are important—and that she doesn’t possess value beyond her complacency and her superficial beauty.

In fact, I believe her book is going to be about becoming selfish. I HOPE it’s about finally becoming MORE SELFISH, which she has never afforded herself to be. I hope she’s selfish and leaves the cage of limitations that has been created for her in the Night Court. I hope she’s selfish and chooses love and a mating bond because she wants it. I hope she’s selfish enough to finally put herself first in order to become the strong and brave female character she was always destined to be.

[thegreatyin]

in case yall were wondering my all-time favorite undertale character is probably flowey tbh. like i love all of the cast but man flowey is just. he's the kind of character you could eat like a full course meal with how fucked up and in-depth he is. yknow

[aingeal98]

Han Sooyoung potentially the most doomed by the narrative character of all time. She wrote the entire narrative that doomed her. She was a lonely and neglected but otherwise normal child and then at some point in her young teen years she gets possesed by a god that uses her body every night to write the story that will destroy the world. Her mind and body are no longer fully her own, they've been hijacked by someone who is leaving her exhausted and with confusing dreams, someone who is sealing her fate and pushing her along towards her destiny without HSY having a single clue. She will follow the pre determined path this God laid out for her, will go through all the suffering and pain that this God has planned, until it is too late for her to turn back. When she finally realises the truth she will be in too deep, and her only choice will be to continue along this chosen path. She loves too fiercely to choose any other way. She will doom the world over and over again, selfishly sacrificing millions and selflessly sacrificing every part of herself because her monstrous heart is too full of love. This one boy she cares for must stay alive. There is no price she will not pay in order to make that happen.

After all this you'd think she'd be furious at this God but how can she? The god is her, just a version of her further along the narrative who cannot change her nature anymore than young Han Sooyoung or old Han Sooyoung can. The god will write and write to keep this boy alive without ever getting to see him or talk to him, and in the end she will flicker out to be nothing but a part of HSY's memories. Every version of Han Sooyoung is tied to this narrative, there is no one point where you can stop and blame a version of her. They are all guilty and they will all do it over and over again. They are too full of fierce, selfish love for any other alternative.

[miwiheroes]

Mike Wheeler and his Promise

"It means something that you can't break. Ever."

A huge part of Mike Wheeler's hidden character arc is set up in season 1, episode 2 with this scene right here. It's pretty much the motivation behind many of his actions towards El and Will, can be a partial explanation for his internalised homophobia and explains why he seems like to have a saviour complex.

Narratively, promises are made to be broken. When writers decide to make a promise 'important' and emphasise that this promise cannot be broken, ever, it will always come back to bite that character in the ass. Promises are either made to be broken in stories like these, or they are made to make a character feel trapped. Promises are rarely ever used in a romantic fashion unless the character cannot keep their promise or they feel like they are forced to.

What makes it really seem like Mike and El are a doomed couple to me is that the writers chose Mike to say: Ever.

No word is misplaced in writing a script. There is no such thing as an unintentional line in Stranger Things tbh, and this word in particular means two things:

Mike will always keep his promises throughout time.

Mike will keep his promises no matter if circumstances change, no matter if his feelings change.

There is no reason for this line to be in there other than to foreshadow the fact that Mike will eventually have to eat the words from his naive 12-year-old self. He will eventually regret promising something, but he'll feel like he can't go back. Ever.

The domino effect Promise begins:

*Smiling* "And we can go to the Snow Ball."

*Smiling* "Promise?"

*No longer smiling* "Promise."

This promise was made in order to foreshadow that it doesn't come true right? Because that is often what happens to promises narratively, and of course, it can't come to be because they get separated and Mike thinks she's died.

But.... the promise does come true.

So instead, this promise was made, narratively, to trap Mike. While this seems harsh of course, this young Mike has no idea that what he has just promised to himself is not only to go to the Snow Ball with El (which was a promise made to comfort her here, to make her feel like she will survive). He doesn't necessarily seem happy about making this promise. He seems more... indifferent. Knowing that this is something he just has to do.

Yeah, because this is definitely the actors' expressions and lighting and scenery you want for a first kiss, right?

So not only has Mike promised to go to the Snow Ball with her, he has also promised to save her, he has promised to be with her. And he can't break this promise, ever.

Even when his feelings change:

The writers separated Mike and El and put Mike with Will in season 2 for a reason. They used it to build up a good development of Mike and Will's dynamic of course, but it was also to change Mike's feelings.

It eventually becomes apparent to the viewer that Mike has resigned himself to not finding El. In season 2 episode 2, the last time we see Mike on the walkie, he walks away. Music swells and El looks onwards. Instead of looking happy, she seems disappointed that her bond with Mike is not as strong as she thought.

Mike, after his talk with Will in the same room, has begun to give up.

And over time, he figures out that maybe... maybe finding and choosing to Will's friend is the best thing he's ever done instead. Once he figures this out, he cries, he's not loud, he's not angry. But it's at least the thing to bring Will's message forward.

Then El comes back, and Mike feels like a liar.

I've never really figured out why Mike shouts 'LIAR!' many times towards Hopper when he's clearly projecting as he starts to cry. Until now. It's the guilt that he didn't keep his promise. The promise he had made back when El had almost died, back when El had clearly thought promises could never be broken. EVER. Even when feelings change.

Of course he'd felt pissed at Hopper. Hopper was the one to keep El safe, not Mike, which is not the thing he had promised.

When El returns, Mike says:

"I never stopped looking for you."

Woops, Michael, that's a bald-faced lie, and you know it. But he also knows what a promise is, something that can't ever be broken.

Mike is now committed into this relationship. He's ready to keep El as his girlfriend for many reasons, but the next commitments he makes (i.e. saying 'I love you') are not intentional.

In season 3:

Saying 'I love her' happens on accident, she's never meant to hear. The next time he's asked about it, he fumbles and wants to deny ever saying it. But when El says it back, he realises... oh shit. I really am in this now. I can't escape, even though I know my feelings are different.

In the famous words of Hopper. "I don't want things to change." "[I want] to go back to how [we] were."

Throughout summer, before the Mindflayer, his relationship with El was easy, it was fine. He could deal with this because he can still go to movie theatres with Will and his friends and El can't go out in public. His relationship isn't real, and the fights they have are just 'silly, stupid fights'.

But then she says she loves him too and now what? He realises this is real, he can't go back on what he's said again. Because no matter what, a promise can't be broken.

Now:

He has to reject childish things and pretend to be 'normal' (but only around El).

He has to keep away from Will, who has the potential to break his promise to El forever.

He still can't say 'I love you' because of this great big commitment, this potential for change, and El clocks him, despite his best efforts to keep up the same relationship he was trying to have in season 3.

When he no longer has the threat of this great big PROMISE looming over him, when he feels that El has no broken up with him through that note signed 'From, El', he now suddenly has the ability to act close to Will. When he's confident that El's safe and that they just need to get back to Hawkins, he's able to express how he really feels.

He can finally, finally work with Will without feeling guilty.

That is, until El's in danger again. Until Argyle reminds him of the ramifications of his girlfriend being missing, reminding him of the promise that he's always made.

That's when this intimacy with Will suddenly feels taboo again:

The next time he needs to make a commitment towards her, it's through pressure. The bottom line is, Mike likes being a hero, he wants to be a saviour, but he was never ready for it to feel like this.

When Will reminds him that he's the heart of the Party in Surfer Boy Pizza, he believes that it could never be Will that needs him, but that Will's telling him that it really is El that still needs him. And that she always will.

So he holds her hand, exactly like he did back in season one, and makes his Promise again, this time, knowing that he's trapping himself.

Now, instead of a naive kid, he's a teenager, he's changed, despite not wanting to. He's resigning himself to a life without truly being able to express his feelings. He's not just some kid going to the Snow Ball with a girl that he cares about, he's promising to love her, knowing he's trapped himself in this promise again.

After all, he's already promised to save her, and if he thinks saying 'I love you' will save her, he's gotta do it no matter his true feelings right?

In season 5, someone, someone needs to tell this poor boy that he does not need to keep his promise. El needs to tell him about her growth, what she has learned from her time at the lab---that is, that she does not need Mike to love her, which she seems to have understood. She has already accepted that her lover won't arrive at the train station.

And Mike should realise that saying 'I love you' did not in fact save El. It was the reminder to fight, that Max is in trouble, that there are more important things, bigger than their relationship, that allowed her to escape the vines.

So when Mike hears that he no needs to keep up this promise, that he no longer has to hate himself for being a 'liar' to someone he cares so much about, that he can open himself up to happiness and understanding again, he'll probably feel pretty complete.

What do you think?

[songsofadelaide]

King Laios x succubus!reader who are both doomed by the (my) narrative™️ because: he is being pressured to find a wife to secure the future of the kingdom but he simply cannot help his fascination with the only (not so) monstrous creature that managed to bypass the Winged Lion's curse— a succubus who was shunned by her coven because of her lack of appeal and inability to seduce victims.

You swore that you weren't there to steal his life force, which easily convinces Laios to strike up a friendship with you (despite Marcille and Kabru's dissuasion). You visit him every night to converse with him about kingdom affairs. He doesn't ask questions about how you feed and maintain yourself since he considers it a private matter. You bond over his desire to see monsters again and your wish to form a more meaningful tie with humans.

The more time you spent together, the more you realised just how enticing his energy was to you, so you disappeared— not wanting your growing desires to pose a threat to the only human who saw you as an equal, who saw you as a friend.

Many years pass but Laios never married, opting for the wisest men of the kingdom to select his successor among the most brilliant men of the land instead. He often wondered where you were and what you were doing. Some nights, you let your curiosity get the better of you and check in on him, and you feel somewhat relieved that he shared his bed with no one else.

One night, he caught you leaving through his window and cornered you. He asked you where you've been and what you've been up to, and even commented about how your beauty hasn't changed even after all those years. You remarked on how handsome he still is even though he is already an old man. He finally asked you the most taboo thing of all: what did you feed on?

(You tell him the truth: You fed on the life force of living creatures— not enough to hurt them, though— rather than having intercourse with men. How could you bring yourself to harm humans after being friends with one?)

Laios was both pleased and relieved with your answer. He then offered you to take his remaining life force, eventually admitting that he wanted to offer it to you long ago but was afraid you'd rebuff him or be offended. You granted him a night of blissful dreams but not enough to bring him to his grave and vanished from his life for good— in fear you might kill him from loving him too much.

[starry-bi-sky]

"Stillborn? No, still born" Danyal au -- VLAD MASTERS THE BITCH HIMSELF

*Points at Vlad* THIS MFER GOT SOME TEEFS TO HIM. !! Okay okay, Vlad Masters in the stillborn au is different compared to most of my other aus in the fact that I am far more heavily leaning into his original ambitions of wanting a family and being desperately lonely. Because you know what wanting a family implies? Wanting to be a parent.

Fucked up father figure that could've been Vlad. Complicated love-hate relationship between the only two halfas in existence.

Danny hates Vlad, but he hates even more that he's genuinely considered his offers of mentorship. Vlad is the only halfa around, and they both have fire cores. Danny has these powers he doesn't understand, can barely comprehend some days, and can't control. But Vlad does. Vlad can. And Vlad wants to help him. He's the only other person who can get close whenever Danny runs too hot. Whenever his igneous hair cracks, splits, and spits back out into magma and his friends can't get close, Vlad can.

His hair is made of magma, which runs so hot that people need specialized suits in order to get near it. He physically cannot get close to the living as a ghost unless he's calm enough for his hair to cool into igneous rock. Which isn't as often as he would like. And sometimes he's too hot for other ghosts to get near unless they have fire cores -- which Vlad has.

There have been many times when Danny's having a meltdown (literally) and gone somewhere to be alone, to let his anger and hurt and loneliness overflow and spill out, that when he's come back to, Vlad's right there with him as an anchor. It's desperately frustrating, it's the only time they can get along. They don't say anything, Danny just turns and clings onto the only person he can touch as a ghost.

Its not fair. Vlad wants to kill his foster dad, and Danny can't let him do that. But he wants to be trained by the man, he wants his help and wants what he can offer. But Vlad can't step away from his revenge long enough to let him. It's just not fair. He thinks for a moment that maybe it could work, and then Vlad does something to remind him that no, it can't.

Vlad Masters sees too much of himself in Daniel Brown -- from the way he holds himself, to the defenses he puts up, his quiet anger that builds and builds and builds until it explodes. That simmers beneath his skin. All the way down to the fact that they have matching cores. This boy is cut from the same cloth as him, and by god does he want to help him. He's always wanted to be a father, and Daniel Brown is too much like him for him to ignore. He genuinely, truly cares about Danny and his wellbeing.

He wants to help him, child just let him help you. Let him kill your foster dad so he can adopt you himself and help with these powers that terrify and intrigue you -- he knows what that's like to have something that you can't control, to have a heat that you can't cool down from. "We're in the same boat you and I, let him help you please."

But his methods are all wrong, and Danny is too much like him -- stubbornness and all -- for him to agree when they oppose each other so greatly. But again, Danny is much like him -- which means that Vlad is equally stubborn, and in every single one of their fights he's parental. He's annoyingly parental. He drops his interest in Maddie to focus his efforts in trying to coax Danny onto his side. It's like trying to get a traumatized cat to trust you, and on some levels it works. It's like he makes some progress, and then moves too quickly and the cat immediately runs off and you have to start back from square one.

TL:DR; Vlad and Danny both want to find family in each other but they're too different to get along and ultimately they are doomed by the narrative to be at constant odds with one another unless one of them is changes, and it doesn't matter who.

[mirefireflies]

i am once again thinking about a series of unfortunate events and the way that it twists the idea of being doomed by the narrative. specifically the song at the end of the first season and the effect of having the villain, a cartoonishly evil and awful man, sing about the inescapability of tragedy. because he IS the tragedy he is what causes all the unfortunate events and suffering… but when he sings that there’s no happy endings it almost seems like he’s also trapped in the narrative. the story has already happened, its being told to us after the fact when it’s too late for anyone to change how it ends, but the song creates this strange feeling that olaf is also doomed, except he’s doomed to be the villain in this story. it’s not as if he makes any effort not to be the villain of course, but for just a moment, you realize that his fate is also already written and his role in the story cannot change because the story cannot change. he has already done all these terrible things and the story has already been written but then there’s this brief moment of awareness, where all the characters turn to the audience and say “this is a tragedy and it has no happy ending and that’s just how the story goes,” and it’s as if none of them have any control over the narrative, not even the villains. that’s just how the story goes

[theresattrpgforthat]

Any low improv TTRPG's? as in low on the GM part, i would like to try some and see how it compares as I'm part of the improv scary crew

THEME: Low Improv Games.

Happy holidays folks! I'm going to try and get the last recommendation posts of the year out quickly, so you might get some more rec posts in the next two weeks!

As for this one friend, I tried to mix things up across game and genre, so I hope you find something you like!

Tunnels in White, by MeatCastle GameWare.

Old money siphoning new money from every corner of your city. An aging mansion, quiet and worn. An old corporation shifting its gaze from development to development, always hungry, always growing.

A warehouse bearing the name Singleton Solutions, small and unassuming in one of a hundred industrial parks like any other, takes in truckload after truckload but never sends anything out. It’s the same for the people. Sometimes, they arrive in towncars, other times in shuttle vans. None come out. Ever.

What you know is something strange is going on inside that warehouse and you are determined to discover what it is. What you cannot know is where and how far the mystery may take you.

Tunnels in White is an adventure for Liminal Horror, a modern-day horror OSR game about normal people being subjected to terrible things. A good number of adventures and mysteries written for these games come with locations, maps, factions, enemies and consequences for you to use as needed whenever your players enter a new location or attempt something dangerous.

I’m really interested in the use of these adventures for various OSR games, as the adventures seem to be what have most of the meat, rather than the rules. If you really want these games to sing, you’ll want your players to create characters that fit the kind of adventure that you’re presenting to the table - in this case, perhaps your characters all have loved ones who have gone missing recently. Once your players have character buy-in, they won’t need much prompting to delve deeper into the mystery, and the fact that Tunnels in White doesn’t have one single “correct” solution to the main problem means that your players’ actions will mean all the more.

I think I see this module as a stepping stone towards improv in that it gives you options to choose from, rather than a singular railroad to follow. What you’ll get out of this is a location that feels logically consistent and real to the players, while the story that happens will feel organic, and heavily dependant on what the group decides to do.

You can find more modules for Liminal Horror in the Tales from the Void Liminal Horror Jam.

The Doom of Macbeth, by leozingiannoni.

Famine. Execution. Oppression. Supernatural longevity that no one seems to quite understand or question. As King Macbeth’s reign approaches its 100th year, your knights receive a revelation in a dream.

It does not have to be like that. 

As an answer to prayers and cries, the god Lugh reveals to you the alternative realities that could be, if Macbeth is not allowed to move on with his coup. You wake up to 100 years in the past, before you were born. What will you do to stop this horrible future?

The Doom of Macbeth is a deep-dive into one of the most iconic plays of all time, where you fight  your way to avoid a future that seems inevitable. Using the Doomsday Clock mechanic found in Arc:Doom by momatoes, you simulate the feeling of the play creeping upon your characters, and must fight against it— or towards it. 

Using a narrative that is familiar to the GM and the players might be another way to enter a game without having to worry too much about improv. Even though this setting is only the size of a brochure, you and your crew can lean on your knowledge of the Scottish play to make things happen the way you want them to. In this version of the game, Macbeth succeeds in becoming a mad king, but you know that this can change, if you tweak the story.

One more thing: I think you might need Arc, by Momatoes, in order to play this game.

Kiss Me If You Can, by sdunnewold.

River is a notorious international art thief and cat burglar. Jules is a well-respected special agent in charge of art crimes. Jules is determined to find and bring River to justice. But maybe along the way… they'll kiss?

Kiss Me If You Can is a simple print and play two player cat and mouse romance game that you can play in under an hour. It features two unique decks of prompt cards, one for each character. Each turn you play a prompt card, answer its questions, maybe talk about a famous artist or painting, and get a little closer to justice and/or love.

Another two-player experience, Kiss Me If You Can feels very similar to games that are Descended from the Queen, in that the bulk of the game revolves around drawing cards and answering the prompts provided. You’ll come up with locations, personal motives, and reasons for your characters to end up getting closer to each-other, but the cards provide a lot of direction, so I don’t think I’d necessarily classify it as improv. If you want a cute romantic story about a will-they-won’t-they scenario, you might like Kiss Me If You Can.

Exalted Order of the Mystic Moose, by Jacob Marks.

The Mauvewoods. You can’t hope to see the crown of a mauvewood tree from the ground. It took a day just to climb to the top of the oldest trees. Look past the undergrowth and ghosts can be spotted on the old lumber paths. Every ghost you see used to live in a mauvewood tree. Knock on a healthy tree, and you just might hear a hollow wooden knock in answer.

This zine details a forest, a town, and a dungeon, all intended for use with the tabletop roleplaying game: Cairn. Explore a forest full of lumberjacks, maple syrup, and strange ghosts. Delve into an old mansion sinking into a marsh. Confront the Exalted Order Of The Mystic Moose.

Cairn has a few editions now: the link I’ve added to this entry is for the 2nd edition Warden’s Guide, and you can check out Yochai Gal’s creator page for both the Player’s Guide and the First Edition. This adventure has oodles of locations, three main factions, and a 20 room dungeon for your players to explore. Cairn feels like a very traditional fantasy game at its roots, but the Exalted Order of the Mystic Moose feels like like a unique take, with some flavour that feels very Boreal Forest to me.

Like many OSR adventures, this isn’t a linear adventure - instead is a series of connected locations and a broad description of things that are happening when the player group shows up. The setting has a natural conflict that is happening separately from the players’ choices or decisions, which will make the setting feel more real and important to your play.

If you want to explore more adventures for Cairn, you can check out the A Town, A Forest, A Dungeon Jam!

Totally Killer, by bloodygorgeous.

When you were kids, all the girls—and, certainly, some of the boys—wanted a Chrissy, the only fashion doll to give Barbie a run for her money. Chrissy was designed to be the woman every girl dreamed of becoming: stylish, smart, independent, and, most importantly, a total smokeshow. For a while, shelves exploded with Out of This World Astronaut Chrissies. Protect and Serve Policewoman Chrissies. ’80s prom queen Totally Killer Chrissies. Chrissy could do anything, all while her boyfriend Ben waited at home. Chrissy could have it all. Decades later, as Chrissy fever descends again on Deep Lake, a murderer stalks the night. The police have their theories, but only the Latchkeys suspect the truth: that this killer has long legs, an unstoppable smile, and a passion for fashion. Chrissy has come to life, and she’s come to slay.

Public Access is horror-mystery found-footage style game that relies on pre-written mysteries to give the table an organic approach to role-play. While typically PbtA games are considered very high in improv, I think the mystery format of these kinds of games takes a lot of weight off of the GM’s shoulders. Typically these mysteries provide a very strong starting point, introducing the table to the mystery and some key characters to look to for hints and clues. The GM is also provided with a series of clues to drop into the game where relevant - perhaps a headless doll is found where one of the victims went missing, or a mysterious silhouette lurking in the distance.

These kinds of games also typically come with some kind of track to help monitor both the progress of the latch-keys as well ask heighten the stakes to encourage the story to keep moving. In other games, I know that this track is called the mystery clock. I’m not entirely sure what Public Access uses, but the core rulebook looks to have quite a bit hidden within its pages, so I’m confident that it contains everything you need to run your first game.

You can find more mysteries for Public Access in the Degoya County Public Access Jam.

Auctōrātus, by M. Allen Hall.

You know why you are here. You are not a criminal. You are not a slave. You are an auctōrātus, a volunteer, and you will be paid well for your performance. Make sure your mech is ready. Select your components. Charge your batteries. Be prepared for the fight of your life.

Auctōrātus is a 1- or 2-gladiator game of mechs vs. monsters. The 3 files include the one-page (2-sided) rules sheet, the character sheet, and the map of the arena.

Battle monsters over six rounds to win the tournament. From the lowly Scale Wolf to the monstrous Crescent Wyvern, you will need to carefully choose your mech's components if you want to survive. 

Featuring a diceless, zero-luck mechanism,  Auctōrātus is an experiment in tabletop combat. Since this is a one or two-player game that focuses primarily on strategy, you might find a lot of satisfaction in simply immersing yourself in strategy. You can play the game solo and manage everything yourself, or play as two players who take turns playing the monsters in each person’s respective arenas.

A Good Plan Never Fails, by Deric Bindel.

A GOOD PLAN NEVER FALLS is a one-shot, gm-less roleplaying game for 2-5 players focused on infiltrating a TOWER and making off with THE GOODS held within. The group builds up with a tumbling block game, with each move taking everyone closer to collapse or success!

Over the course of play, everyone will create a member of the Crew from a set of Archetypes and receive a special Secret Agenda, dictating how they get their BONUS. You'll be bulding up the TOWER, dictating each obstacle and how you overcome them. When the TOWER inevitably COLLAPSES, it's time to shift from the HEIST to the GETAWAY!

A really strong feature of pulp-action genre games is that they’re typically heavily inspired by movies, like heists or cons. This means that the game has a pretty familiar structure, such as the infiltration or the getaway. You can rely on the hallmarks of these genres when playing these kinds of games to fill in the blanks, and it’s easy to figure out what happens next because the game builds each phase onto the last. In the case of this game, that means that the first part of the game, building the tower, leads into the second part, when the tower collapses.

Kill Him Faster, by Korvidae Games.

On May 8th, 2068, scientist Elisabet Rosenzweig answered the most pressing question in science fiction – “what’s the first thing you would do if you could travel through time?” - by killing Hitler. It took her precisely 5 years, 137 days, eight hours, and 12 seconds.

Fifteen years later killing Hitler is the hottest sport on the planet. The record stands at two weeks.

Competitive games are another great structure for play groups that want to build on something without needing a lot of heavy improv. In Kill Him Faster, the game is divided into three phases: pregame, game, and post-game, each composed of press conferences, the competitive portion, and interviews. There’s various additional phases for a longer game, including Trade Day (where athletes swap teams) and off-season vignettes, which allow you to slow down and focus on individual characters.

If you want a taste of the game before you buy, you can get the rules preview here.

Other Notes

A Complicated Profession by Always Checkers Publishing has a lot of guiding questions and a very structured order of play, and follows reformed bounty hunters running a cruise ship.

Tournament Arc, by Biscuit Fund Games, focuses on sports competitions, which may provide a structure that is easy to follow, as well as a more collaborative experience.

If you like what I do and you'd like to send me a token of your appreciation, I have a Ko-Fi page!

[citizen-zero]

Some people have been making the joke about the characters of Dracula being stuck in a time loop but honestly it got me thinking about how epistolary novels feel like a potent manifestation of the concept of being doomed by the narrative

Because when I read a non-epistolary book, I’m not left with this sense that it’s all going to reset because the events of the book aren’t happening according to a very specific timeline. Like, sure, maybe specific dates get mentioned in the book, but it’s not as rigid as having a diary or letters with exact dates laid out over the course of six months.

Because Dracula has a definitive start date and end date, the characters are fixed in time and being (sometimes literally) railroaded. Your sense of the passage time is very concrete and there’s not a ton of wiggle room. Like, a book such as…idk, The Great Gatsby that doesn’t have any dates in it (IIRC) feels timeless. Sure, maybe it takes place in spring and summer, but you can kind of lose track of that because there isn’t a calendar keeping you aware of the date. Gatsby has to die within a certain window of time in the year but you’re free to imagine that as being whenever you want.

Not so in Dracula. Jonathan HAS to be on his way to Castle Dracula on May 3 and 4, he HAS to be there until at least late June. He cannot be already at the castle on May 2, and he can’t leave until after a particular date has come and gone. Every event in the book has to happen on or about the date it’s written about, there’s no room for deviation. We are free to imagine what might happen between specific dates (especially in the long stretches with no updates) but ultimately it all has to conclude in a specific event happening on a specific date.

That really lends the book the sense of being a time loop because we can pin down a pretty much exact timeline of the book. We know that these characters are locked in, and on the dates of the novel they cannot meaningfully deviate from the text. And because of that, they’re doomed to live those events out on the same exact date every single year for all time.

It adds the same layer of dread/grief/futility that you might feel when playing a game and reading in-universe diaries/news stories/etc from the early days of the game’s apocalypse. You can’t change the events of the past no matter how much hindsight you have, and none of us can change the canon events of Dracula no matter how much foresight we have. Jonathan is always going to be on his way to Dracula on May 3, and he’s always going to be completely unaware of what’s waiting for him.

[thekirammanjinx]

Let's talk, this got long, addressing continued ignorance and misunderstanding of caitlyn and vi:

"Am I the only one who hates caitvi" no you're not, there's plenty of people with the same ignorant misunderstandings and virtue signaling ideologies. The same people who will spout false information and project their opinions onto the media vs taking the information the media is giving them and actively interpreting it.(that's not to say you can't be indifferent to caitvi. But all the hater are literally so dense and spout the same nonsense.)

"Who you have oppressed for decades" first of all CAITLYN didn't oppressor anyone. So saying she oppressed them is ignorant and a blatant lie. Caitlyn did not have any control or contributions.

Speaking on oppressors; silco and the chembarons have actively been oppressing and beating down their own people. Making zaun a thousand times more unlivable than when piltover did with vander. The firelights came to be because of silco and shimmer. Now, caitlyn did not gas an ENTIRE city. She targeted those afformented groups who have contributed to a downfall and hostile environment in zaun.

(lest we forget the council literally wanted a full scale assault on the entirety of zaun to aquire jinx. So even if caitlyn had done nothing zaun was doomed either way. War was looming if she did not act, you literally cannot talk about this without mentioning it, so the amount of people who choose to exclude this information to skew their "critical analysis")

Caitlyn didn't suddenly become empathetic because of vi. We see her being gentle with the jaw guy after he gets shot by jinx, she listens to vi before they even become more, yes she's apprehensive at the start but to say she changed because vi? Were you watching with your eyes closed and the TV on mute?

Saying that "these are her people" about vi. These are not her people. She actively hated silco and those aligned with him. Also she never was a freedom fighter for zaun. Idk where you got that. She just wanted a better life for HER and her FAMILY. Not to mention a tactical force to get chembarons off the streets isn't an act of oppression. That's a military action of snuffing out a drug cartel who are actively oppressing and harming the people of zaun.

(why are yall so in defense of the chembarons? Like yall truly don't give af about the people of zaun. We literally hear ekko say how bad the chembarons and shimmer have made zaun???)

"If the show didn't paint them good" you must be stupid if you thought the show was presenting it as good. The show is telling the story, it's giving a visual, just because it's there doesn't mean it's good. Or bad. Yes the show presents it as the BETTER option but it still shows how it is not 100% a morally good thing. But again you'd have to watch the show to see that wouldn't you??

(And again why are yall fighting for your lives trying to justify the chembarons existing and treating zaun like their own drug playing grounds.)

And to even say you like ambessa but not caitlyn & vi just feels embarrassing and you definitely missed the mark. People truly miss ambessa role in the entire season/series and it shows.

(i enjoy ambessa as a character but it's wild to see people try and tear down cait and or vi while praising ambessa in the same sentence. But this goes back to "we can handle evil characters but not good characters that do morally gray/bad things--which some of yall really need to have some introspection)

"Doing the wrong thing for the right reasons" there's literally a song IN THE SHOW with lyrics adjacent to this. No not verbatim, but it's basically right there. I'm convinced this person has not actually watched the show. There's no way. There is NO way.

"I'm not done with arcane" then idk, stfu and finish the damn show, if you feel the *narrative* is painting these actions as good that's a you problem. You do not know how to interpret the media in front of you. Because that's literally not what's happening.

Giving a character motives and reasons isn't justifying their actions or painting them as good. It's giving them a fleshed out story with emotions and said motives. Putting reason behind the actions. Not to mention this show is all about showing how people are complex, but you want to target caitlyn and vi for what?

Jinx targeted caitlyn literally because she was jealous and wanted vi to choose her over caitlyn. She wanted vi to shoot caitlyn. Caitlyn had personally done nothing to jinx. Jinx then killed 3 councilors, unprovoked.

So we can see how "targeting" a group of people for the actions of 1 is bad when it comes to caitlyn and vi, but we cannot say the same for jinx, or silco, or the likes??

(caitlyn strategically targeted chembarons and the shimmer cartel. Something ekko and the firelights were trying to do in s1. But everyone forgets that. Explaining and understanding what caitlyn did does not mean writing off her actions. But some of yall need to learn not to vilify her for doing what other characters wanted to do in the first place. She simply had the resources and means to do it. If a different character did it yall would not be so up in arms)

[arashi-no-saxlphone]

Screaming along to Requiem this morning and it made me think of the "people like Sol but not I-No" thing again and I just wanna say I know there's issues with how GG handles their women sometimes but like... the GG women are REALLY fucking cool and good. I-No is one of the most incredible narrative foils in fiction to me to both Axl and Sol in different ways. You have Sol Badguy, doomed savior, and I-No, who though we weren't totally aware of it at the start of her character story, has also been put into the same role. The two are at odds because of the future I-No has been cursed to know about and burdened with the idea that she can change said future, and she and Axl are two sides of the same coin in that I-No is stuck in a cycle of chasing a future she cannot change while Axl is stuck in a cycle of chasing a past he cannot return to. And she plays those roles EXTREMELY well. She's written to be a tragic character, doomed by the narrative, because she only has half of what she needs to get what she wants. And she's a Magical Foci - not human - and yet there's deeply human qualities about her that she can't fully embrace because of what she is and the circumstance she's trapped in. I-No willing throws away what little of her humanity is left because she's lost and tired and the crushing weight of all of humanity's hopes being placed into her is so much to bear that she becomes numb - that is a completely understandable reaction that I think anyone can relate to: the exhaustion of existence becoming so great that you just want to give in. She is a foil to Sol, who despite the loss of his humanity refuses to let it go, and chases it to the end, and because of that he's able to save the world (again) at the end of strive. I-No's existence and role in the story is just the other side of Sol Badguy's- it's crazy to me to like one and not the other; their value and narrative weight is identical in my eyes.

Millia and Jack-O both have incredible things to say about the value of one's identity and sense of self. Baiken is a killer example of the gruff revenge-seeking broken person archetype (a role stereotypically fulfilled by male characters) finding acceptance and managing to heal. Bridget tells an exceptional coming-out story (one of the best arcade modes in the game imo the conversation she has with Ky at the end about his fear of going public about his family still gets me). Ramlethal and Elphelt's journey to independence and understanding themselves as more than weapons or puppets. These are characters with incredible narrative weight and substance. It's the essence of Guilty Gear to me.

I don't know, I just thought about this for too long cause of Requiem and thinking about I-No today so sorry for the incoherent dump here.

[luciaintheskyainthi]

I’ve finally been able to sit down and read chapter 23

WHAT ARE YOU DOING TO US😭😭??? I DON’T KNOW WHO TO SIDE WITH ANYMORE AND IM NOT EVEN FINISHED WITH THE CHARACTER OMGG

amazing writing I love it🥲👍 five stars

🔥🔥YES MY PRETTIES WALLOW IN THE MORAL AMBIGUITY 🔥🔥

In all seriousness, you can't ship characters like Peter Parker with Jason Todd without moral conflict. Not without a compromise of at least one of their characters.

Grounded as I am in the real world, I align with Peter's perspective. But you can do that and still acknowledge that in the world that Gotham exists in, Jason's perspective could lead to less harm.

I RB a while ago someone's comment about how the conflict between Bruce and Jason comes down to, whose life do you choose to privilege? Batman chooses, inadvertently, to privilege the lives of characters like the Joker, despite knowing there's the (high) likelihood he'll escape and harm others. This is because Batman is THE Optimist™️ and so he spares the Joker (and Co.) in the hope they can change and be rehabilitated. But of course, because these are villains which are popular (we're getting a bit meta here), they'll never change. They'll just continue escaping and continue killing. And this is where Batman as a comic character fails.

In Jason's eyes, this makes Bruce complicit in the deaths of all future victims. I think Jason sees the times when he kills people as a form of harm reduction. By making himself a murderer, he in turn reduces the chance of future murders.

(Since we're talking about comic characters and since Batman is an incredibly important character to DC, this inevitably means that Jason's morality can never succeed, because Batman [ rightly so] cannot become a killer.)

Now, I think Peter is more closely aligned to Batman's moral code than Jason's. He's also at his core an optimist. Although I do think their motivators are different: Batman is for justice, something that often involves invoking fear; Spider-Man is about helping others and (to me, in my heart of hearts) community empowerment. This arguably places him in a position where he does side closer with the Red Hood in SOME things.

At present though, because I'm working with MCU Peter who was more or less reduced to a super powered cop, he has a very black and white view of the world. He'd already started changing in the months after the Erasure, but definitely has more growth to make.

Of course, because this is fanfiction, I can allow these characters to challenge each other. Instead of dooming one of them to the narrative, I can explore the messy world of morality in a city like Gotham, rather than draw a hard line in the sand saying, Batman and Spider-Man good, Red Hood bad.

So expect more mess! At the end of the day, fiction is still fiction, and you can look at the world of ECM and think, yeah, this perspective works better there, but not in our world. I'm not expecting my lovely readers to pick sides because I can't pick sides! We can all just look at the quagmire of messy politics and enjoy our two goobers having a mud fight 💖

[typellblog]

Illyasviel von Einzbern: The Hole at the Center of Fate/Stay Night

Emiya Shirou is the beating heart of Fate/Stay Night. Every character radiates outwards from Shirou, shapes and is shaped by him. He fights against foils like Archer and Kirei while growing alongside the three main heroines in each route.

There's really only one character who precedes Shirou in influence, who shapes him near-completely but cannot himself be shaped.

Emiya Kiritsugu is already dead, after all.

It's his legacy that drives the novel - but something oft-undiscussed is that Shirou only has half of it. He inherits his father’s justice, and the one that inherits his ruthlessness is Illya. Thus, Illya’s relationship to Shirou is dictated from the start.

She is everything his father left behind, the first gatekeeper of the moonlit world of death and magecraft that Shirou now finds himself in. In this role she transcends routes, appearing at the end of the third day to deliver a near-lethal attack just as the story branches off.

She seems intent to deliver Kiritsugu’s baggage to Shirou, to make him reckon with the past that he himself never experienced; the truth that a hero can only help those he sides with while many others are left alone in the cold.

In this way her very existence is a far more fundamental challenge to Shirou’s ideals than that of any other character - and yet this challenge is met only indirectly. Much of the information regarding her true identity and relationship to Shirou is elided until the end of HF.

She functions similarly to Sakura, a character who totally changes the reader’s perception of the first two routes in retrospect. The reveals about Illya force us to reevaluate how positive her ending in the Fate route really is.

In the narrative of Heaven’s Feel, both Illya and Sakura are considered ‘doomed’ - able to be saved only by Shirou sacrificing his own life to Archer’s arm.

It’s the crux of their characterisation, in the same way that Saber’s pursuit of the Holy Grail leads her into timeless and uncountable doomed battles. In a route based around that character, you would expect fixing it to be the main thrust of the plot.

And so just as the Fate route is focused on Shirou clashing with Saber over her lack of regard for her safety, and Heaven’s Feel is focused on accepting even the ‘impure’ parts of Sakura, there is no route focused on showing Illya that she needn't give up on having a normal life.

Instead all of her scenes in Heaven’s Feel are about accepting that she cannot have one.

This is the hole in the center of FSN that I’m talking about. Its absence is felt keenly throughout the novel, because Illya has another role besides a specter of Shirou's past. She embodies the prize and object of the Holy Grail War itself - the very same wish-granting device.

Many of the characters in this story are not fighting for the Grail specifically, but nonetheless their strong personalities and desires cause them to clash with one another, in a process Kirei sees as comparable to everyday life.

Their wishes, both in the form of the dead’s regrets and victor’s will, enter the neutral, empty Grail in order to produce a miracle. The only one not allowed a will of their own is the vessel of the Grail, who, in absorbing these desires, must completely erase their humanity.

Illya is not intended to have a reason to pursue the Grail, nor any life beyond obtaining it. The war is premised on the sacrifice of the Servants, yes, but nonetheless they enter as contestants. Illya, like Justeaze before her, enters the ritual only as a sacrifice.

And yet an outside element is introduced. Illya being part-human, the product of an actual family rather than just a clone allows for her to have personal motivations. She holds on to her resentment of Kiritsugu, despite knowing that it’s pointless, because it’s all she has left.

A parallel can be made to the Grail itself. Supposedly a pure wish-granting device, it becomes corrupted through the influence of Angra Mainyu, one small, perverse wish colouring the whole thing black.

The desired salvation of the Einzberns, their thousand-year project relies on being able to reproduce the miracle, to understand every component part of their attempts in order to draw ever closer to the Third Magic, but Illya is a random factor, born to a human parent.

She’s also their greatest creation since Justeaze. Miracles, after all, exist because they are not understood.

The corruption of the Grail with the darkest desires of the world is just the inevitable result of any wish - the price of becoming a human instead of existing as a machine. Live long enough and anyone would turn into Zouken, higher goals suborned by a base desire to escape pain.

Like Illya the Grail is a failed project, a tool that can only provide salvation of a limited nature & only fulfill its purpose incompletely, proof positive that true perfection does not exist in the world of Fate/Stay Night.

In Illya’s case the bug in her programming comes fundamentally from a desire for family, for someone to be close to her. Despite her dysfunctional initial approaches she’s perfectly capable of living normally alongside Shirou.

The issue, then, is the Grail War itself.

Her two sides, two different origins, come into conflict here, and her role as the Holy Grail consistently wins. Not because she desires it in any real sense, but because she doesn’t believe that she can do anything else.

Consider how the Fate route ends with Saber and Shirou trying to live without regrets, accepting both the negative and positive aspects of the past without dwelling on that which cannot be changed.

Consider how Illya in the Fate route doesn’t say a single thing about her condition, refuses to burden others with that knowledge, accepting the fact of her death and instead choosing to live in the moment.

Consider how the Unlimited Blade Works route is about Shirou trying to live without regrets, accepting that he will not always succeed, that his self-sacrificing nature will hurt him, but nonetheless his pursuit of that goal is worthwhile.

Consider how Illya’s death is used to illustrate this, how she cannot be saved regardless of whether Shirou makes the choice to intervene or not, how his sorrow is used as proof of his brokenness and his ability to move forward regardless is used as proof of his strength.

Consider why the Heaven's Feel route is named after the ritual that materializes the soul, why this is identified with salvation and rebirth by the Einzberns. I would argue that the Third Magic is a metaphor for the process Shirou undergoes throughout the novel.

He evolves from a machine into a human, gaining his own desires and the will to live. And just as Heaven’s Feel, the ritual, requires a sacrifice: Justeaze’s blood forms the foundation, so too does Heaven’s Feel, the route: Illya spends her own life to fully realize Shirou’s.

In moving past Kiritsugu’s legacy, he moves past his belief that his life is worth less than others. He wants to live, wants to let Illya save him, wants to let her sacrifice herself for him. In moving past Kiritsugu’s legacy, he moves past Illya.

I don’t blame him. I just want to emphasize how significant to this novel the existence of suffering is, how important the figure of someone who cannot be saved, how necessary a single person’s sacrifice. And how this falls on Illya in every route.

In the latter parts of the Fate route she quickly disappears from story relevance. Her functions as a Grail offer a convenient excuse to have her sleeping for much of the day, as it does for Kirei’s kidnapping of her, stringing her up as a sacrifice to open the gate.

In UBW we have Gilgamesh brutally ripping out her heart. He values her purely for her core, which holds the Grail, tossing aside the rest of her body.

If her role as the Grail is what drives her doom, though, she is at least partially able to overcome this at the end of Heaven’s Feel.

For a brief moment, Illya escapes the bonds of fate by uniting her deeply personal wish with the impersonal functions of the Grail.

She also dies. She fucking dies, okay? I’m so tired of talking about this as though it’s supposed to be a good thing, as though we’re just supposed to accept it as the best possible option.

It works precisely because we know there is another, because we know for a fucking fact that an Illya route could have existed, that her salvation is possible not just from a meta perspective but directly implied in-universe.

Illya’s power is to grant wishes, but she is incapable of giving voice to her own. She needs someone there by her side to tell her that it’s okay to want to live, and yet- Shirou is so fucking broken that he needs her to do that for him instead.

Illya could have lived, but she doesn’t, and in not doing so she carries half the weight of this story’s tragedy on her back.

In a way this is an excuse for the lack of an Illya route. I really do think its blatant absence adds something to Fate/Stay Night, really sells the tragedy of HF, becomes even more beautiful precisely because of its unattainability.

It’s a comment on how the artistic process, materializing your soul on paper if you will, is an inherently restrictive one, rife with failure and things left on the chopping board.

But it does not, not for a second, mean that we should accept the lack of an Illya route. It doesn’t mean the desire for it is a bad thing. It doesn’t mean that its addition would make Fate/Stay Night worse.

It would, however, become a different game at that point, and here I want to pay respect to the one that has lived alongside me for twenty years.

Thanks for reading, and happy anniversary to my favourite story of all time.

[sarahreesbrennan]

Avoiding my email as at this point I fear there are bears in there…

Received a very interesting question but it is also very spoilery, so. Beware Long Live Evil spoilers!

There are many versions of Time of Iron, for many people have entered the story, and you cannot exist in the story without changing it. Keeping the different versions in your head isn’t as complicated as you would think. It’s like having the different POVs for every character in your head, for any scene, so you know why characters act the way they do.

For instance in the scene where the Cobra and Key first meet we see what Marius is thinking. But it’s a very different scene from the other two POVs.

ERIC: Night in with the bestie. He’s sad and that is sad but not unusual, Rahela is narratively doomed so nothing to be done, so excited to have met Lia and so hoping to avoid the Emperor, uneasily aware the story is coming for us but mostly thinking about my writing…

ERIC: OH NO NO NO! OH MY GOD THE EMPEROR IS OUTSIDE MY WINDOW COVERED! IN! BLOOD! ERIC: And now Marius wants to fight him! I must prevent this. ERIC: suddenly this is the most stressful night of my life.

Many more stressful nights to come…

Whereas for Key it’s a pretty nice night.

KEY: Time to kill that guy from earlier, yay. KEY: Wait new handsome man wishes to give me money? Yay. Court is fun it turns out, aristocrats shower you in cash and other people clean up after your murders. Very luxurious. KEY: I guess I’ll kill that guy another time. 😌🔪

Sadly for Key, few such nice nights to follow.

… Except for different versions of the book, you have to think about what would have happened differently, as well as different thoughts. Who would you be, if that one thing hadn’t happened? Marius’ POV chapter titles are about the Cobra, because he’s what happened to change the course of the narrative.

In Eric’s version, Marius had survived up to where Eric had read, though that doesn’t necessarily mean he would survive until the end - the series is unfinished.

In Eric’s version, Marius had a different part, I wouldn’t necessarily say bigger. We would see more of him from Lia and Octavian’s POVs, and everyone is different through different eyes.

Without the Cobra, Octavian and Marius would have been much closer. This complicates Marius’s later relationship with Key. This also complicates the relationship with Lia which we know in that version is explicitly romantic, with a kiss.

Eric will tell Marius more about his version, but Eric’s now very aware of how much the story will and can change. He and Rae have different pieces of a puzzle, and they’re not even sure if it’s the same puzzle at this point.

And Eric doesn’t even know how his own murder happened. Only that it did.

[thefallenangelsgang]

I'm losing my fucking mind

Or: I just saw Lord of the Rings the Musical at the Chicago Shakespeare Theater and my brain chemistry has irreversibly changed

I'm too genuinely scrambled at the moment from travel to make a solid post (I am multiple states away from Illinois and I hate city driving) but I cannot shake the life-changing experience that was.

SPOILERS AHEAD

(Spoiler free tldr: story is changed sometimes severely to make a sub-3hr runtime or to simplify, but the message doesn't get completely lost. Tolkien fan approved)

First issue I can see everyone having is how much the story changes because it does change a lot. Rohan and Gondor being merged is probably the most glaring. I think it works because the show is more focused on the Hobbits (specifically Frodo and Sam). Personally I can look past it. My one issue is the missing Sam monologues (mount doom is a rather swift sequence, I'd have liked to see Sam give his devotion speech and his speech about the shire while waiting to die) those would have made insane songs but alas. The ending still was a gut punch though so it's more a personal preference thing.

First thing that blew me away was the technical aspect. The lighting and set design was GORGEOUS and EVOCATIVE. There were multiple times lighting alone drew me to tears.

The puppetry is immaculate. The nazgul chase is singularly some of the most beautiful choreo I've seen and I'm a slut for puppetry

The cast play all of the instruments live on stage, sometimes while doing choreography (nothing will prepare you to see Legolas holding a fucking trumpet or Boromir strapped into a goddamn accordion)

The costuming is more accurate to the original editions' illustrations which I found endlessly charming. One difference is, for safety (probably OSHA), all the hobbits (and Gollum) wear Sandals. This is never discussed. I love that.

BOROMIR IS KILLED BY HIS OWN SWORD WHICH I CANNOT EXPRESS HOW PERFECT THAT IS NARRATIVELY

GOLLUM PLAYED BY TONY BOZZUTO IS NEARLY INDISTINGUISHABLE FROM ANDY SERKIS

(I am not joking about this. Somehow he has mastered Andy's physicality and voice work. It truly was a sight to behold.)

Saruman/Elrond's actor (dressed as a hobbit) was hanging out in our section during preshow and was having a grand old time.

Bilbo and Frodo were in the main audience bothering people. Frodo was playing a stick and ring game and got absolutely shown up by some 10 year old he invited to play.

The Entmoot took literally 2 minutes (the way I had to stop from HOWLING at that)

I was SOBBING at the end, like actually.

Somehow this production managed to keenly make me feel the ending of Frodo leaving for the Grey Havens more than the movies did. The Irony of Frodo leaving being both a hopeful prayer that there is a place where people bound with trauma and wounds too deep to heal can live in peace without pain and also a grim acceptance that sometimes people cannot recover was STARK

Frodo and Sam really push the narrative of this show up until the end and it hits HARD. God bless this cast with steady work, they all deserve it.