#basically every main character in the main generation has a sibling which is neat

[allsassnoclass]

cactus and papyrus xoxo

hello hello @clumsyclifford thanks for stopping by!

cactus ⇢ something you’re currently learning (about)? I am currently learning about how money and banking works! because it is my job. i work at a credit union and i need to know stuff in order to answer questions but i also don't know much so i am constantly learning. i will be honest it is difficult.

but also! i am currently watching the untamed so i'm learning a lot about how different names work there? like. there's this character named wei wuxian. and sometimes people call him wei wuxian but some people call him wei ying and family members might go for a-xian or a-ying and it's all very confusing because everyone in this show has multiple names depending on who is talking to/about them, so i'm learning a bit about those classical name conventions because which names are used always reveal a bit about the relationship between the two people

papyrus ⇢ if you put your ‘on repeat’ playlist on shuffle, what’s the first song that comes up? what do you like about it / associate it with? ah it gave me Doom Days by Bastille! which i associate with my fic but also with megs because i think she's the one who suggested that song for the fest, and even if she wasn't she's associated now there's no going back! i like the vibe of the song a lot. i'm not sure how to articulate what makes the vibe likable to me but i do really like it, even though i feel like it isn't my usual musical vibe exactly.

random get-to-know-me ask game

[ciaossn]

thank you for the tag @juudaimes-true-form !! ☺️

god so. @sleepy-nuvola i'm tagging you to start but all my info on KHR oc's i've brainstormed with her got obliterated when my account wouldn't back up with each phone change 😭 so here's the main OC i can talk about! i've mentioned her in a fic before so if you happen to know that fic, that's me~

Tagging @what-the-fuck-khr @10th-vongola @rebornthestage and any one else who wants to! be sure to let me know so i can see your oc's 😁

First up! General questions!

1. What is their name? Their pronouns? Age? Gender identity? Sexuality? (if any of that matters lmao)

Amalia is her name! Late 20's. She likes what she likes

2. Are they somehow related to another KHR character? In what way?

Like, familial? Coz no if that's what this pertains to. Not even God knows where she came from

3. What does your OC look like? Do you have any art of them?

RIP to the lost messages and my art on my old computer..... Brown skin, eyes and hair that's kept on a ponytail coz of her thrilling job (dentist) Always wearing scrubs, coat and face mask. (What's his face is actually not happy someone else is rocking the doctor's coat look in the mafia)

4. What are their relationships to other KHR characters? Pairings you like your oc with? Adopted siblings or parents?

Who knows where she comes from! She's the go to dentist for the underground world so she's basically been in contact with everyone and is on good terms with all famiglias. Particularily, the Varia bc she's the only one who's been able to get any work done on Bel during his YouthTM. However Bel waa her first patient after she earned her degree, never practiced on anything before so. Great with the Varia minus Bel who loathes her.

Tsuna and co has only met her a handful of times when she's visited to get to know her patient's teeth. Tsuna doesn't know how he feels about it but her business card is in his wallet at all times because he's on friendly terms with her. And because they both look for great deals on foods so they keep each other updated on sales.

KHR specific questions:

1. What's their flames? And how many flames do they have?

I'm gonna be honest here but I forgot what was given to her uhhh. Possibly cloud bc purple is neat

2. How do they use their flames if they have one?

Scalpels. Her preferred weapon and instrument for dentistry (she earned her license online. just barely)

Before her dental career, she was an Army Doctor. Which army? No one knows. After that she was in the Italian Secret Service where she started and finished her dental degree in a few months. So she's done much fighting and has used her flames in a variety of ways that she's pretty adaptable with it.

3. How do they fight? Do they fight at all?

Amalia's previous occupations was as an army doctor and Italian secret service so she is loaded in her fighting knowledge and skills. Girl can fight and she likes to show off her arms when she can. Sure you're supposed to cover shoulders in the medical field but those shoulders she's worked hard for.

1. How much does Tsuna want to protect your oc upon meeting them? After knowing them a minute, is Tsuna now scared of them or worried about them?

Tsuna didn't feel inclined to protect Amalia first meeting coz like. She's a grown woman who just comped her own whole dinner through coupons alone at their introductory dinner. But then became more worried over time how alone she is despite having dogs; acquaintances are normal wirh the mafia but he wants Amalia to actually be Not So Alone.

2. Does Reborn think they're pathetic or does he have a slight respect for them? If he suddenly appeared out of a wall-hole, how would your oc react?

Amalia gets the job done so he respects her quickhand and just getting the job done despite being. Painful. And her tendency to scare just about every mafia patient of hers. Gets a kick out of it. Amalia wouldn't care about wall-holes unless it was her own home so she'd probably make a few holes her own.

3. Would Hibari Kyoya be able to stand being in a room with them for five minutes? How long do they last in a fight against them?

Hibari does not like her subpar job and finds her too cheap for his liking. Amalia literally does not care and sometimes clips the coupons out of his newspapers. So no, he can't stand her clipping his newspaper. Fight length just depends on what Amalia feels like and can mess with him for a couple of hours if terribly bored.

4. Would your oc go rambling about cryptids witb Gokudera? If yes, which is their favorite cryptid?

Amalia wouldn't know much about cryptids until she meets this kid who's given her a flyer for gnomes living in Australia. She listens to the kid ramble his heart out and makes up some just to see Tsuna's face crumple in disgust. No favorite really, probably whatever Gokudera is hunts down each week so it changes frequently.

5. Would Skull try to flirt with them? Would he score a date? Pity date or genuine interest?

Oh yeah, who wouldn't want to flirt with Amalia. Skull saw her lift her mobile dentist tire when replacing the wheel and when those arms flexed? He just about fainted. Asked her out right there. Amalia agreed because his excitement was amusing and yeah, honestly, wanted to give him a chance because she does pity him. But she missed the date for a teeth emergency for some Don vacationing in Switzerland. They facetimed, though, so while doing the procedure, Skull had dinner. So successful date(?) Who knows.

6. How loud does your oc cheer when Yamamto hits a home run? What if the ball hit them?

Amalia got a great deal on a megaphone from a second hand site that she uses. It can only make stereotypical sitcom crowd reactions so yes. She technically does cheer Yamamto on but via the megaphone. Not a big fan of yelling. If a ball hits her she just crushes it in her hand.

7. Would your oc be able to last an hour watching over Lambo, I-Pin and Fuuta? What if they all had sugar beforehand?

Amalia really has no reason to be babysitter but if forced to, she'd be able to scare the most troublesome one (Lambo) into behaving. The other two just Barely makes her tolerant list but really. She may just dip before the hour is up. If she's officially being paid then she can handle them easily even with them eating sugar.

8. What food would Sawada Nana cook for your oc? What's their favorite food? Drink?

Amalia likes to dabble in different dishes, especially seafood. She's been particularily fond of Carribean food lately so Nana would attempt those when Amalia is over. She really loves Italian soda.

I desperately want to know more about people's khr OCs! Specifically yours @lilacdon20 and also yours @masterdisastre !!!!

But really anyone is very welcomed to reblog this with ramblings of their OCs!

Yes You! The person reading this! I want to know about your OCs specifically!!!!

Also you are all welcomed to tag other people who's khr OCs you like as well!! ANYONE IS WELOCME! /pos

Questions, if needed because flustered or confused, are under the Read more!

First up! General questions!

What is their name? Their pronouns? Age? Gender identity? Sexuality? (if any of that matters lmao)

Are they somehow related to another khr character? In what way?

What does your oc look like? Do you have any art of them? Picrew also welcomed! Ai art... Not preferred >:/

What are their relationships to other khr characters? Pairings you like with your oc? Adopted siblings and parents maybe?

Actually what's the family situation of your oc? Do they have siblings that's a background character perhaps? (example: sometimes I give Kusakabe Tetsuya a brother)

Does your oc have a mental illness? Neurodivergencies? Other disabilities? At what age did they get these disabilities if they weren't born with them?

If they had a super power what would it be?

Free Space! [Anything else you want to talk about?]

Khr specific questions:

What's their flames? And how many flames do they have? One? More? None?

How do they use their flames? If they have one.

If they don't have a flame, how do they fight? Do they fight at all?

If they can't fight for any reason, what's their preferred method of self defense?

Free space! [insert any khr specific question you want!]

And last but not least and mostly for fun!!! Khr character questions:

How much does Tsuna want to protect your oc upon first meeting them? After knowing them a minute, is Tsuna now scared of them or worried about them?

Does Reborn think they're pathetic or does he have a slight respect for them? If he suddenly appeared out of a wall-hole, how would your oc react?

Would Hibari Kyoya be able to stand being in a room with them for five minutes? How long do they last in a fight against him?

Would your oc go off rambling about crytids with Gokudera? If yes, which is their fave cryptid?

Would Skull try to flirt with them? Would he score a date? Pity date or genuine interest?

How loud does your oc cheer when Yamamoto hits a home run? What if the ball hit them?

Would your oc be able to last an hour watching over Lambo, I-pin and Fuuta? What if they all had sugar beforehand?

What food would Sawada Nana cook for your oc? What's their favourite food? Drink?

Free space! [insert any other character questions you want!]

There is no pressure for anyone to answer of course. I just want to get to know more OCs and their creators. I'm talkative lately so I'll try to keep up with the reblogs as best I can :3

Multiple reblogs for multiple OCs are also very very welcomed!

[mcnuggyy]

As a white person and budding artist (that sure is. An intro) I'm always super careful to try and avoid harmful cultural and visual stereotypes in my art and practice sketches. I was wondering if you have/have posted any tips for drawing mexican people? I always do research before drawing anyone from a different culture or of a different race but it can be tricky to find things written by theae minorities themselves and I am always hesitant to take tips from another white artist on drawing other races 😅 (I also apologise if I worded anything badly here, I'm autistic and struggle to word things sometimes! Please feel free to correct me if I did!)

Heyo! I think the biggest reason there isn’t or even I haven’t ever made a how to draw Mexicans is ‘cause Mexico is very very diverse, and the majority of us are Mestizo ( “mixed race, especially one having Spanish and indigenous descent.”) There are definitely racist stereotypes to avoid such as orange skin, thick black mustache, lazy, alcoholic, poncho wearing, Mexican. Obviously. But this is just one small part of the coin, when there is a lot of anti-blackness, and anti-indigenous sentiments in our own communities, EVEN THOUGH, the majority of us ARE mixed race. This has to do with colonization, and the way the Spaniards just really fucked us over, brain washed us, and made being a White Mexican the IDEAL Mexican. So there’s a LOT to unpack there. 

Especially with Mestizos being prejudice towards their Indigenous communities WHILE STILL practicing the very same important practices that came from those communities (Dia De Muertos for example) Basically there’s an issue of still wanting to be Mexican, and have pride in your country, and culture, but not wanting be like those "dirty brown” Mexicans. To the point where the government is constantly trying to push the “we are all one Mexican race and nation” while actively trying to get people to essentially erase our Indigenous communities. Like there’s this big idea of “marrying White” that even my mom used to believe in for a while, because her own mother taught her that as well in order to assimilate and what not.  Again, lots of colorism and bigotry within our own communities. It’s a very big and complex issue, that we can thank the Spaniards for ( and the Mexican government who continues to uphold these toxic ideas), YAYY colonization!!! Weeee!!!!

( I mean I can even see it in my own family, with my dad’s side of the family clearly not being able to pass as White being severely impoverished, while my mom’s side of the family, who overall is much more White passing, have been able to hold positions of power in large companies and can even afford to buy more than one house)

Sorry to get into that very long rant, but I do think it’s very important to know this information to get started with actually figuring out how to accurately portray a Mexican, Tejano, Mex-Am, Afro-Mexican etc. Because well, anyone can be Mexican, just like anyone can be American! But I’ll get into the main communities that exist in Mexico to help you out!

So again, Mestizos (mixed-race) are the biggest group in Mexico, making up over 93% of the population! So that’s a good chunk of us jaja! So it’s good to talk about how different you can look in a mixed-race family! And what better example than my own family!

Both my parents look very “stereotypically” Mexican by American standards, especially my dad who is the absolute definition of a macho ranchero Mexicano jaja. Both my parents come from small farming communities in Mexico, but look very different themselves! Each pueblo kinda has their own differences too! The people from my mom’s pueblo all tend to have much lighter skin, with cool undertones, some even have blue or green eyes, and red hair! While the people from my dad’s pueblo (98 people in total there, very very small jajaja) Tend to have deep red undertones, thick dark hair, curly hair, hooked noses, and very very rarely hazel eyes! So it’s no wonder me and my siblings look so different as well! (none of us are adopted I assure you) 

So I’m very lucky cause I have a HUGE family to use as reference, and reference is key!!! but there are many cool Mexican celebrities and public figures you can use as reference if you don’t happen to know anyone (tho It’s always good to have friends with different experiences from your own as always)

But here’s some examples of how different mestizos can look, including some of my own specific references!

There is also our Indigenous communities “ Mexico's indigenous population is one of the two largest in the Americas (only Peru is comparable in size). More than one in ten Mexicans speaks an indigenous language”

I really recommend checking out this website to learn more, as this is something I’m still learning more about myself! 

Then of course we have our Afro-Mexican community! Mexico is cruel to it’s Indigenous communities, but even more so to Afromexicanos, who until recently were completely ignored by Mexico’s census. You can read more about this issue here.  Spaniards of course play a big part in the issues that face Afromexicanos today.  You can learn even more about this history here!

Did you know Lupita Nyong’o is Mexican! (A fellow Lupita <3 )

And of course, can’t forget White Mexicans! Don’t think the Spaniards just left after a while, because they stayed jajaja. (Look no further than Novellas and most big celebrates for some examples fhhffhf) 

So there really is no absolute way to represent us! (which was an issue I had with Coco actually.. with everyone having the exact same orange/brown skin) There is certainly a picture that comes to American’s heads when they think “Mexican” but in reality, things are much more diverse, beautiful, and complicating than that! 

However I do have some small little things I personally like to do to help indicate when I’m making a Mexican / Mex-Am character design based off of all of the information above along with my family and friends as reference! 

Moles! I don’t know why, but every Latino I know has so many moles.... from my childhood friends to my ex boyfriend, to every single cousin have... MOLES MOLES MOLES! Why? I haven’t a clue, but I always add them to my character designs jajaja! Even if it’s just a little one on the neck <3

Thick hair! It is a curse and a blessing. My grandpa will never bald compared to a white man, but in exchange I have to deal with shaving my chin every day to compensate LMAO. So I like giving my characters thick eyebrows, dark body hair, or thicker hair than most designs! It’s cool and neat!!! But please be mindful about how you do this as there have been white artists who have done this in racist and harmful ways, such as rcdart. ( X ) ( X ) 

I also recommend checking out shows like El Tigre, and Victor y Valentino, for some more fun and simple designs that show a wide variety of Mexican characters! (Also I just love Jorge R Gutierrez’s designs in general jaja)

Hope this helps! <3

[usergreenpixel]

JACOBIN FICTION CONVENTION MEETING 4: IN THE REIGN OF TERROR: THE ADVENTURES OF A WESTMINSTER BOY(1888)

1. The Introduction

Well hello there again, dearest readers! I’m back at it again and this time I brought you something more obscure.

Honestly, I would’ve never found out about this book had I not seen the category for books set in the French Revolution era on Wikipedia after a deliberate google search.

“In the Reign of Terror” is an adventure novel aimed at young boys that was published in 1888 by one G. A. Henty, an English novelist who has other adventure novels to his name too, but today we’ll only take a look at this one.

It’s available on Project Gutenberg in the ebook format and is in public domain so it’s free to download, which is how I obtained the book.

2. The Summary

The book takes place in the French Revolution era, specifically from 1790 to about 1792. It tells the story of Harry Sandwith, a boy whose physician father sends him from London to Burgundy to live with Marquis de St. Caux and his family.

As the brother of the Marquis had been cured by Harry’s father during his stay in London, the entire arrangement was his idea. The Marquis himself also believes that by having an English companion, his sons can learn a lot about English customs while Harry learns the language and the traditions of France.

But as the Revolution is drawing nearer than ever, clouds gather above the heads of Harry’s host family and Harry himself...

This is the basic premise of the story, but how did the finished product turn out? Let’s find that out for ourselves, Citizens!

3. The Story

Now, at first the story itself seems a bit implausible on the level of the premise. The Marquis believes that his sons should learn a thing or two about masculinity and sports from Harry, as English boys are supposedly more manly than their “feminine” French peers.

I find it hard to believe that a French nobleman would think this way but I was still willing to suspend my disbelief somewhat because Anglophiles do exist and despite the rivalry between France and the UK, the two countries did borrow bits and pieces of culture from each other.

Here’s the part that gave me pause and kind of ruined the experience for me. The entire book reeks of a sense of English superiority. Harry, the main character, is English and is portrayed as the bravest, strongest and most masculine member of the cast, while his French companions, Ernest and Jules, the sons of the Marquis, are basically treated like feminine “sissies”.

(Spoiler alert!)

For example, in the beginning of Harry’s adventures, the daughters of the Marquis are attacked by a rabid dog and who saves them? Harry, of course. This is one of the instances where the author demonstrates how strong English boys are and this is the moment after which Harry is finally seen as an equal by the noble siblings.

Now, don’t get me wrong, I’m all for patriotism and taking pride in your country. I’m Russian and proud of it. However, too much pride and you get this obnoxious sense of superiority. If you need a prime example of how that usually plays out, look at the Axis during WW2.

What Henty chooses to portray is specifically a sense of superiority. Characters like Harry’s father take pride in the fact that England has less strict class divisions, that apparently English commoners have already obtained more liberties while the French peasants are merely a mob of bloodthirsty savages, etc.

Don’t know about you, Citizens, but I really don’t like such narratives shoved in my face and considering how often this nationalism shows up, I had a lot of trouble getting through the story.

I’m all for healthy patriotism that acknowledges the good and the bad in one’s country but this is just too much nationalism for me and I believe that the book would’ve been more enjoyable without this narrative showing up every couple of pages or so like jumpscares in a bad horror movie.

4. The Characters

I know this was the 19th century so the audiences were probably not pampered with complex stories and characters as much yet, but honestly I didn’t find Harry a truly likable and relatable protagonist.

(Spoiler alert!)

He starts out as a pretty average school student but while in France he proves to be heroic - killing a rabid dog, slaying a man eating wolf (not completely by himself) and generally always proving himself to be the manly hero that Ernest and Jules can never be. Basically it was easy to predict that he will emerge from any trouble victorious so I didn’t have many reasons to be worried about him.

The sons and the daughters of the Marquis all end up liking him. Too much may I add.

In short, I personally got a bit of Harry Stu vibe. 😉

He does have one glaring flaw that unfortunately doesn’t do him any favors in my eyes. The English superiority complex that the author expresses in the story shines in Harry brighter than the Sun. He doesn’t express much empathy either.

(Spoiler alert!)

When Harry saves a man from getting attacked by an assassin and sees that the man is scared out of his mind, the first thing Harry feels towards him is disdain for apparently being a “pussy”. Um, hello, Harry?! How would you react if you got attacked out of the blue! Not everyone is as “strong and manly” as you are!

Then Harry also regrets saving the man when it turns out to be Robespierre. Our protagonist, dear Citizens!

Speaking of Robespierre, here (and this goes for most French characters) he is portrayed as a weak feeble “sissy”, thirsty for blood but neat and frugal in outfit and lifestyle, someone who won’t hesitate to have half of France slaughtered. Of course. 🙄

The female characters are bland helpless ingénues. Also typical of the literature of the time period.

By the way, Robespierre is the only revolutionary who is actually featured in the story. Marat and Danton are mentioned but it’s all negative in their department too, especially when it comes to Marat.

The Parisian crowd is little more than a bloodthirsty mob of savage uneducated peasants ready to slaughter all nobles just because they’re well, nobles.

Honestly, nothing new here.

5. The Setting

Honestly, I feel like there weren’t that many descriptions and those that were present simply weren’t vivid enough to immerse myself into the story. Too many descriptions are bad too, of course, but here the opposite happens - too little descriptions so sometimes the surroundings feel like vacuum and there’s not enough world building to imagine yourself in that era, beside the characters.

It’s all just bland caricatured setting one would expect from an amateur puppet show at daycare.

Remember, dear Citizens. Even if you write about your own era and country, world building is extremely important so please don’t underestimate the power of good and vivid descriptions, just use them in moderation.

Anyway, onto the final point.

6. The Conclusion

Despite all the drawbacks, I didn’t quite hate the book. I simply think it could’ve been written a lot better, without shoving the supposed superiority of England in our faces, without bland characters, without the unlikeable protagonist, without cardboard settings and definitely without machismo and layers upon layers of Thermidorian propaganda.

I wouldn’t recommend this story unless you really want to kill time and have nothing else to do.

With that in mind, allow me to conclude the fourth meeting of our Convention. Stay tuned for the announcement of the topic of the next meeting and have a good day, Citizens.

Love,

- Citizen Green Pixel

[spooky-activity]

Just a little update on Cassandratopia 2: Electric Boogaloo (Or as it stands in my Google Docs folder rn, A Helping Hand). I’ll put it under the cut cuz it’s kinda long. 

I just wanted to say that I’m still planning on actually doing it, despite all evidence to the contrary lol 

I did Cassandratopia in a haze of graduating from college(where I was studying animation) and just having ended my first dnd campaign as a dungeon master (which went 3 years!). I was fishing around for internships, but since the pandemic had just kicked off I wasn’t having much luck. So I had a lot of creative energy that wasn’t getting channeled anywhere, and a lot of free time when I wasn’t applying to places. Which is how I did 4 pages a day several times per week. Which was insane. 

As it stands, I’m running 2 dnd campaigns(one meets weekly, the other every other week or so), and just scored a full-time internship at a video game company! The campaigns I’m running are a homebrew open world, which, for those of you who aren’t too familiar with dnd, is a metric fuckton of work to prep for each session because I have no idea what my insane friends and siblings are going to try and do every time we play. 

Anyways all this to say that my storytelling itch is kinda. Sufficiently getting scratched atm and I have a lot less free time. I’m still plucking away at the setting/refining the story of A Helping Hand, but it’s largely on the backburner. Cassandratopia was also, uh, like the first story I’ve ever told in any sort of format besides the give-and-take of dnd, so... I’m not used to having so much control over the narrative. Oddly. I’ve never thought of myself as much of a writer of stories; my main focus is character animation, so someone else is usually writing the stories I’m telling anyways, which is super cool with me. Honestly I’m surprising myself with how much I want to tell this story, which is why I’m still sure I’m doing it. Just. Slower. Than Cassandratopia got done. 

But I’ll share a bit of the lore I’ve been cooking up! Specifically about Zhan Tiri and The Drops. The story will be told in an extremely dnd type setting, because that’s the kind of narrative I’ve told before and am comfortable telling: hard magic rules, neat fights, scary monsters, a dash of eldritch horror, and huge emphasis being put on magical artifacts(kinda like in the show!). Here’s some stuff that’s basically locked-in. 

Zhan Tiri

Zhan Tiri is one of the many Demon Lords of the Abyss. She’s kind of a mashup of two of my favorite Demon Lords, Zuggtmoy, the Lady of Rot and Decay, and Pale Night, the Mother of Demons and Queen of the Night(with just a dash of Hannibal Lecter because who doesn’t like helpful, polite, manipulative-ass bitches lksjflkja;fj). Her domain sits almost exactly between the Sundrop and Moonstone, largely being the new growth that comes from death, and the endless cycle of life and death. Places where her influence is strongest includes the cracks in... Well anywhere really, from society to the planet’s shell, where metaphorical or physical rot could grow; musty, mostly ignored places where something could fester. Iconography related to her would include endless mazes, fungi, grasping skeletal hands, and rotting/blooming corpses. Her spores can animate corpses, which she likes to use as mindless minions when she doesn’t feel like sending one of her Acolytes. She shares a scrap of her power with those few mortals she likes. She appreciates ambition and the desire to Grow to be bigger than what you were to start with, as those are qualities she herself possesses. 

Incredibly intelligent and merciless to those she deems her enemies, her main thing is pulling the strings from the shadows and seeing just how far she can push people to act with as little prompting from her as possible. She does, however, have the power to kinda bulldoze her way through things if she needs to, but she doesn’t like to because where’s the fun in that? 

She first gained interest in the Material Plane when a Wizard with too much hubris from said Material Plane(Named Demanitus) contacted her trying to figure out more information about The Drops and how to control them. After indulging him for a bit, she started preparing to make a summer home on the Material Plane because it’s New and Fun here and Wow These Mortals are Really Fun to Mess With! And some of them she even genuinely liked! Demanitus then realized his mistake and locked her away in Pandemonium for what he hoped was forever, but turned out to be only around 1,000 years, due to the efforts of her followers. Her little stint in Pandemonium magnified the more... Chaotic aspects of her personality, so now she wants to cover the Material Plane in blooming mazes of fungal crops that she can break people with at her leisure. 

The Drops

The drops are two semi-sentient pieces of one original artifact, whose original purpose was to be a tool of creation for the gods. Which, through some great calamity(still deciding that one), got sundered and settled into the two basic aspects of creation: the nearly unlimited well of life-energy which organizes stardust into planets, cabbages, and kings, and the “you gotta crack a few eggs to get an omlette” destructive force which breaks down what the sundrop makes so that it can make more. 

The main goal of the drops is to reunite. I would want to as well if I was ripped in half! This manifests as a... General tug in the direction of the other drop. A desire in the host to Go That Way. It can be resisted, and even ignored for a bit, but it’s always there. Like being hungry if starving wasn’t a danger. Just a bit uncomfortable if you aren’t going That Way, but ignorable. 

Both drops generally try to be as helpful to their wielder as possible, as originally they were a tool of creation to the gods. They are innately obliging. They’re also REALLY UNSAFE FOR MORTALS TO BE MESSING WITH. The Sundrop is a little safer because the most it can do is kinda. Overcharge you into something distinctly not human but still alive, and King Fredrick was lucky he made the Sundrop into soup before giving it to Arianna. But King Edmund got his wholeass arm blasted off for touching the Moonstone. 

The Sundrop

Best I could whittle it down, the Sundrop has power over life energy, like the sun’s light. It also has power over the energy derived from geothermal activities, so deep sea creatures Are Not Immune To The Sundrop, which was a funny thought that crossed my mind that they could be, but that will likely never come up anyways salkdjf;ljsf It is, in its basest form, Growth and Progress. 

It’s a little sentient, but very much entrenches itself into whoever is holding it at the time. Like another mind looking through your eyes and seeing what you see/feeling what you feel while still retaining a bit of individuality from the host. It’s not... Parasitic because it’s in its nature to give, but it’s generally pretty firmly attached to whoever is holding it until they die( which isn’t usually for a WHILE. It ’infects’ a new host when one dies, usually a plant near their grave...) or until a solar eclipse. It wants what they want, but it’s very fussy so they have to ask it for power exactly correctly(like singing an incantation every time you want to heal someone, or doing a Ritual involving lots of very specific ingredients, Celestial Alignments, and Secret Words) or it won’t listen, like an orchid dying if the ph balance is off in the soil by a little bit. But it’s generally pretty intuitive to use, because it wants what you want and (as long as you ask right) is willing to help. 

Anyways basically under the influence of the Sundrop you get a few things: 

Basically limitless energy coursing through your body while you’re in a place with sunlight, which equates to rapid healing, mostly, because every cell in your body is being supercharged with free energy. Never getting exhausted in direct sunlight. (If Rapunzel lived in a place that was sunny 24/7 like near one of the poles she wouldn’t have to sleep like. until it started to get dark in the opposite half of the year. Then she’d have to sleep like a regular human being)

You stay at your prime, or if you are past it, revert to your prime. Someone who is holding the Sundrop, or who has regular access to the Sundrop’s magic can’t die of old age or illness. They have to be hurt beyond the Sundrop’s ability to heal or have it taken away from them. 

The ability to share this rapid healing with others (if you ask right)

The ability to freely draw on the raw, near-limitless energy of the sun to shape into things like cool-looking energy blasts (only if you ask right) 

The Moonstone

The moonstone has powers over varying levels of destruction: from destroying things by ripping them apart/ to Not Letting Things Be Destroyed(also known as protecting) by freezing them in indestructible rock. Like the moon, it can ‘reflect’ a bit of the sundrop’s power, so it can kinda provide energy, albeit a lot less than the sundrop can provide. It’s the inevitable march of The End of All Things, fertilizing the fields of time with the ashes of the old so the new can take root. 

The Moonstone is a bit more in the dark(pun intended hehe) when it comes to bonding with someone, it can only try to figure out what is going on based off the emotions of its wielder, and through anything directly touching the Black Rocks. Because of this it’s... Kinda dumb? It tries to do things to help(Like shooting red fear-rocks to try and scare away whatever must be scaring its wielder so badly) but often fails spectacularly at helping. 

Under the influence of the Moonstone you get: 

Mortals get Neat Body Armor that’s actually just you being turned into a rock! They are very fragile! They need to be protected! The best the Moonstone can do to try and preserve you is to Stop All Destruction by.. Pausing all bodily functions indefinitely. Rocks don’t need to eat, sleep, or breathe, and almost nothing can destroy you if you’re solid Black Rock. The weak reflection of the Sundrop’s energy keeps the host animated, but they’re not exactly alive anymore. Like cryostasis. Wounds (if any) acquired in this state won’t be a problem because they’re not messing anything up, because nothing is technically working in the first place, but they will be a problem when you’re not protected in this way anymore. It’s a cosmic ‘I’ll deal with that later’ button, essentially. 

Like the moon, the Moonstone can reflect the light of the sun. It uses its rock crystals to do so, which can even split the sun’s power into different shades, like a prism. Essentially, different colored rocks can mean new and exciting power sets. 

Blue Lightning! The Moonstone can reflect the Sundrop’s power, so it also has access to pure bursts of energy, even if it is weaker and colder. 

The Moonstone is very helpful, but usually has no idea what you want. ‘Asking’ the Moonstone for more control over its power in the same way you would Ask the Sundrop for more power reminds it of the perfect bond it used to share. The Moonstone’s incantation deepens the bond between wielder and Moonstone in such a way that it actually knows what you want from it, giving you near perfect control of its powers.

*This is kind of just a side note of the Drops: While the Moonstone is weaker than the Sundrop in an head-on fight, it could hold its own if it were on the defensive. Redirecting the power instead of trying to overpower and such.

** Cass made of rocks means I get to draw her skeleton :) not in every picture that would be fucking nuts and way too much work alskjdf;lkjs;fv

[fimflamfilosophy]

Characters: Tearing Each Other Together

After the world-sweeping success of my previous article (forty notes on Tumblr, wow!) and being driven out of my house due to mold for the second time in two months, I think the time is right to add another essay to the subject of character design and writing. But what’s left to say after having definitely solved the entire process of character writing the last time?

Well, suppose you can figure out the emotional state of one person. That’s well and good, and oddly harder for people than you might imagine. And I think the reason it’s so hard is because in virtually any show you’re not going to be given a character in a vacuum to learn that process from. They have some story, something they’re trying to overcome, and other characters they’re bouncing off of, and the actual process of conflict is more complicated than knowing who your characters are.

Hate, Love, or Indifference, It’s All A Struggle

So what’s the essence of a story? There’s some motive that’s trying to be achieved. A conflict. And I can’t stress this enough. Conflict. Because it’s one thing if you say your main character is a kid who wants to be the best Poke’mon trainer and completely another to have that be a concrete objective with a satisfying story and conclusion. Wanting to be the “best” isn’t actually conflict. It’s a dream. Being forced to travel the known world to acquire eight gaudy pins that probably cost twenty-five cents each to manufacture? That’s conflict.

And not only do you have to travel the world, you do so with a shrill red-head who explicitly hates you because you trashed her bike, and a sex-starved pervert whose life dream is to make Poke’mon mate with each other for a living. And that’s important. Without Misty and Brock, Ash’s journey is a lot less interesting for a lot of reasons. Misty calls Ash out every time he messes up, and aside from being on a watch list, Brock is a helpful older character who tells Ash, and therefore the audience, what’s what.

But let’s back up, because people understand the benefit of Brock and Misty at a basic level, but when you’re starting off, how do you know who those people should be? Well, every show, from sitcom, to comedy to drama, does its best to balance personalities against each other so there’s always some sort of conflict possible between them.

Now, “conflict” doesn’t mean they’re trying to kill each other. It could mean they’re falling in love with each other. Maybe it means they don’t have much in common but have to work together over long hours in isolation. The idea is simply that there’s something to overcome between these people. Misty thinks Ash is stupid - that’s a conflict which is often leveraged to push Ash forward. Brock, however, has a reactive role in the show, only functioning in conflict when a womanizer who grovels at the feet of ladies Ash is already helping anyway.

It’s odd because if Misty were older she would be set up very well as kind of an “opposites” romantic torture device with Brock. They’re even depicted as professional equals, which would have made their levels of expertise and experience more balanced. Had they been closer in apparent age, a “will they won’t they” romance would have fit adequately, with Brock’s constant hitting on other women serving as a major, hopeless, long-lasting roadblock to a serious relationship between them; it would work especially well because Misty is established to have an inferiority complex to her prettier sisters. It also might help explain why Brock hung around so long. But as it was, Brock’s main contribution to the inner dynamic was to act as a mediator, caretaker, and mentor.

But circling back to Brock’s dream of Poke’mon husbandry. Well, on the meta level that’s why he doesn’t leave. Because it’s not a motive, he’s not taking steps towards it, and it’s not going to happen, it’s just a dream. Until it does happen, anyway, and then they wrote him out of the show - but we’ll dig more into this later.

Balancing Imbalance

The best place to look to see good conflict set ups between characters are popular sitcoms. Consider the show “Frasier”: it ran for eleven seasons and revolved mainly around the personal spats of Frasier, his brother Niles, their dad, and the dad’s caretaker, Daphne. Frasier was arrogant, Niles was insecure, Dad was an earnest roughneck, and Daphne was well-meaning. Frasier and Niles were also elitist pricks at times so they couldn’t even always agree where to eat together, much less with their father who was happier having a burger with ketchup.

Every episode had some central motivator; an ice fishing trip, a joint investment, an awards ceremony - but these things were just catalysts to the main conflict, which was almost always something between characters. We’d seen it time and again, that Frasier and his Dad would come to blows over differences in taste. Niles would try to court Daphne while torn by his commitment to his failing marriage, over and over. But the pithy banter and the way they resolved it would always be new, so people watched this show, episode after episode, for over a decade.

And the simple beauty of it all was that each of the characters had something to do with each other. Whether it be filial obligation, lust, sibling rivalry, friction between introversion and extroversion, or taste in food, they always had some source of conflict to make a show out of. Niles and Frasier were both psychiatrists, but from different schools of thought and different working environments, so they even had chances to butt heads academically and professionally. It was rich with writing opportunities and it’s not any wonder it lasted so long.

Another sitcom, “New Girl”, which was about a group of roommates, had a good dynamic set-up between two characters, Schmidt and Nick. Nick is a messy slob and Schmidt’s a type A neat freak, creating a really obvious source of conflict to work with. But then they had a third character, Winston, who they lampshade as the token black guy. 

Now, the joke that Winston is the “black friend” has pretty much no legs, so in the early seasons you see him acting as kind of a third party mediator, or maybe a wild card, and it winds up being funnier when Winston is unhelpful. So as the seasons went on, Winston gradually lost his damn mind. He becomes a cop and meets a woman so that he’d have some character growth and dynamic, but also develops into a man who would burn a building down as a prank. The writers had no idea what they were doing with him and he gradually flew further and further off the handle.

Don’t get me wrong, I really liked Winston as a character. Aside from being funny in the show, watching the writers gradually unglue him from sanity was its own meta comedy above that. I knew they were doing it on accident, but having such a good time with it that it was just going to keep getting worse. In fact a major component of the finale for the whole show is an insane thing Winston does. They wrap the show on the note, “Winston is crazy”. And it all happened because they didn’t figure out what Winston’s conflict was at the start. He didn’t have a source of conflict with anyone, so the man became a living breathing embodiment of conflict in general.

Your Story Ends With the Conflict

Now, the catch is, in any type of fiction, whether a video game, a roleplaying session, or a sitcom, the story ends when the conflict does, because if the conflict is over there’s nothing more to tell! It used to frustrate me to no end back when “My Little Pony” was popular and the other nerds on the internet used to ask, “How many times must Fluttershy learn not to be shy, or that being shy is okay? When will she overcome all that she is and eliminate the core element that creates conflict for her?”

The answer should always be that the character will learn their damn lesson when the show ends or when they’re written off it. If you are sick of seeing a character and don’t want to see them any more, the best thing to do is close out their issues, because once they have no conflicts, they have no story, and there’s no point in doing a show about them. Asking Fluttershy to stop being shy is asking to say goodbye to her, because she's a cartoon and her job is to entertain kids by being neurotic and yellow.

People think they’re so smart when they say they’d solve all a character’s problems if it were them. In the finale to the first season of Poke’mon, for example, Ash decides to gamble his whole championship run on Charizard, who’s a self-absorbed bitch of a creature that ultimately throws the match and leaves it an open question whether Ash might have won if he’d left the team primadonna sitting on the bench.

Some viewers see that and complain it’s the dumbest possible thing Ash could have done, but it’s probably one of the single most brilliant things the Poke’mon writers did in the grand scheme, because think about where it left us. Ash didn’t achieve his goal of proving he’s “the best”, but it feels like a fluke and if he got another shot, he might make it all the way. This gave the show a gateway to more episodes with Ash still having something to prove and a dumb mistake indicating he still had a lot to learn. Because he didn’t win, his story hadn’t ended.

In some cases shows can end characters just by addressing some dream goal they’ve been expressing since the first season. In the case of Brock, they intentionally removed him from the show by introducing him to some girl who was willing to work with Brock in the animal husbandry business. He’d been traveling all this time, his dream opportunity fell into his lap, and he was gone. What reason would he have to refuse, and why would anyone stop him? And of course, Brock’s dream job was incompatible with the central plot elements of the rest of the show, so that was it!

The Format Informs the Conflict

If you want to write something but you aren’t sure when it’s going to end, you need a concrete, long-term conflict that’s not just going to go away. For example, in “Scooby Doo and the Thirteen Ghosts”, there were thirteen ghosts. By design, that show should have ended after Scooby Doo found all thirteen ghosts. It actually ended earlier than that because it was cancelled, but you get the idea. When you have a finite goal, your run time is going to be finite as well.

At least in theory. In “JoJo’s Bizarre Adventure” they establish at the beginning of one season that everyone’s magic powers were based on the Tarot. Now, I don’t know the Tarot off hand, but as the show went on I knew that sooner or later they’d run out of Tarot cards, and in my mind I assumed the season would be over when the Tarot ended. But then I got a good chuckle when a guy showed up and his powers were based on a totally different theme, because I knew the writer had realized he’d stumbled into something good and wasn’t ready to end it. He invented a cheap excuse to keep going! And I think if “Scooby Doo and the Thirteen Ghosts” had been successful they’d have managed to unleash a whole lot more than thirteen ghosts because Hannah Barbera was not exactly a studio with a lot of shame.

Character conflicts like those in sitcoms are a great way to have conflict perpetually, because people don’t really change that much and there’s no reason why most of the fundamental friction shouldn’t be there indefinitely. But of course, character-driven conflict is going to be secondary in an event-driven show. “Jojo” actually does have a lot of character conflict, but the plot is primarily about the battles and the journey - if all the fighting ended Jojo’s characters probably couldn’t carry a sitcom, at least not without some serious hard work, a little genius, and a touch of elbow grease.

For event-driven conflict, you’ll want to establish a target - a moving target if you don't know when the story ends, and that can be pretty difficult. Old action shows and comics used to do it by having a rotating cast of villains, so that after one was defeated another would show up tomorrow, and it was assumed these guys regularly broke out of prison, or they escaped in rocket pods, or whatever, and they’d be back later with a new goofy scheme. In these cases you tend to find reactive heroes; they patrol the streets until a lunatic in tights and a garden-themed hat shows up and transforms everyone into people-shaped topiaries somehow.

For active heroes, you need to establish something that requires a lot of structure, like Ash’s journey to win the Poke’mon League. In every country he visits, they all have this asinine rule that you have to go to eight unique locations and kick the ass of someone who disadvantages themselves with an easily-countered mono team that all have the same exact weakness. You can’t be accepted into the League if you haven’t proven you own a water Poke’mon to utterly flatten the fire gym! Let’s be real, this nonsense is probably designed intentionally as a money gate - most people run out of cash before they qualify. Either way, it ends when Ash wins the league, and he lost the league so the show could keep going.

For roleplaying games, the same rules apply. With your players, you’re either going to establish a reactive goal - an adventuring guild hires a bunch of colorful salarymen with silly accents to go to a dungeon as part of their nine to five job - or you need players to set an active goal for themselves and keep the realization of that goal beyond their reach until you’re ready to end the game.

The Active Hero Acts

In my younger years, I learned to roleplay in almost exclusively player-driven games where we were expected to come up with our own goals and pursue them ourselves, but I’ve discovered that is stunningly rare in most roleplaying circles. Your typical D&D player likes to play the salaryman with a funny accent who doesn’t have to worry about the venturous part of adventure. His boss told him to go to the Cave of Everlasting Wonders and Torturous Screams, recover the Sword of Bad Portent, and then hand it over to the department of magic items where they’ll file the paperwork to get it delivered to the patron that wanted the sword for some reason. No need to have your own motives.

But what if you want to play a crime fighter who actually, you know, busts up all the crime? Clearly you can’t just wait for crime to happen passively - you’ve got to go after people. Act instead of being reactive. Purse snatchers are small time and in a more grounded setting the guys you’ll catch by being passive are just grunts being hired out by someone - usually kids in a lot of cases. You have to seek out the bosses.

Making an active character to fit into any setting can be challenging, and I’ve seen quite a few pitfalls. I think one of the funniest motives is always “the guy who wants to go home” due to its obvious failure condition. A lot of stories are about everymen who just want to get out of trouble, but those stories end when they get out of trouble! In many books, movies, shows, or roleplaying games, you’re almost always going to find opportunities to send that guy home, and you’ll have to either conveniently ignore it, switch motives and decide not to go home, or end the whole story with going home. These characters only work where the story is happening to them and it's all out of their control.

I’ve also seen my share of the “quirky genius inventor/scientist”. When someone designs a character mistaking a dream for a motive. They dream of building a better mouse trap, you see. That’s their inner conflict. And while this is a real world conflict, it’s difficult to make it a good story because actual science and invention involves a lengthy quantity of controlled experiments. You breed hundreds of fruit flies, expose them to nicotine, and try to isolate the gene that causes nicotine resistance. It can be fascinating work at its level but sometimes the most exciting part of your day is when you give yourself a steam burn cooking the fly food. The “quirky scientist” in fiction is usually more of a mentor, and if he insists on staying in his lab doing his work then he’s not even a main character - he’s a guy who explains fruit flies to the audience and then is never heard from again. Other times he’s the asshole who invented the story’s whole problem.

I once played in a game with “the quirky scientist who wants to go home”, and man was that a frustrating ride. The game itself was about occult magic and demons, and for most of the game the scientist was experimenting with teleportation magic to go home and was focused on that above the goal of finding and eradicating demons (the game’s premise). And when he finally met a boss demon that could teleport him home to his lab, he went! We wound up retiring a character who, to be honest, was barely even interested in the main subject of the story. Had he been in a film or a show, they’d have cut the character after the first draft because he served no purpose and wasted screen time.

So how do you make sure your character has a working, proactive goal, in a nutshell? Establish a goal that can be achieved by the character within the framework of your story through action by leaving his house (or after burning his house down so he can’t go home), and then make sure the goal is big enough that it will take many broad steps to get there - those steps need to be concrete and visible, not things that would happen off-screen. Most importantly, tie that goal into the main premise of the story, so that reaching the end of the story generally may achieve what the character wants.

If You Aren’t Trying, It’s Not A Trial

Okay, I understand that last bit probably requires more unpacking. But think of it this way. There’s a writing structure referred to as the “Hero’s Journey”. Basically it goes like this: the hero is forced into adventure, he meets friends and goes through trials, he hits his lowest point, he is reborn into a better man, he ends the conflict, story over.

What I’m talking about specifically right now are the trials. The “wacky inventor” is usually presumed to do all his research off screen because most media likes to focus on the results of the invention and the conflict. But if you were to focus on the trials of a scientist, it’d actually be about procuring research grants and potentially materials. You wouldn’t watch a show about a man who checks gene A-235 for nicotine resistance in flies, then goes on to A-236, then A-237.

If I were to write a story about a researcher, here’s one thing I might do: the researcher fails to find what he’s looking for in gene A-235, and when he goes to seek a grant to look at A-236, he finds one of his colleagues has convinced the university that the protagonist’s research is a dead end. Hearing this, the researcher realizes he’s about to lose his lab, so he writes a bit of a lie into his report on A-235. He says it may prevent cancer.

Now, the protagonist is, deep down, a good man. He thinks this will generate some buzz at the university and get him more funding, but he’ll do a follow-up and show the data doesn’t hold up. After that he’ll ask for money for A-236 and everything goes back to normal. But disaster strikes. His article, which was only supposed to show up in an obscure research journal, gets picked up by a major news network and winds up being spread all over. Suddenly he’s “the man who cured cancer”.

And as he’s trying to figure out how to navigate the issue, another researcher comes out and says that under peer review, he was able to replicate the results. He too shows that A-235 cures cancer! Now the hero isn’t sure. He becomes a celebrity and simply lies about his research because he has no real data, but try desperately as he might, in private he just can’t get the results the peer review insisted were there.

He struggles and struggles, coming to blows with his colleague who’s scrutinizing his research notes. Throw in a love interest who’s impressed with what this guy did, and actually I think I’ve just described the plot of some movie I saw a long time ago about faking cold fusion. I think Albert Einstein was a supporting character in it. In my version the twist would be the peer reviewer was also trying to get a grant by lying. Point is, the central conflict of the film certainly isn’t the scientific process, it’s all the crazy crap that happened on the way from point A to point B.

The story is in the trials. If nothing changes, if the character doesn’t have to change their way of life or go through anything special, it’s either not a story or it’s not your typical story. There are plenty of experimental films or well-regarded books that can make a certain banality become interesting. Stories that explain the simple struggles of day to day living for people on hard times. But the trials, the palpable challenges, that’s really the meat of it all. When you think of what your character should be doing throughout the story, he should be going through these efforts, these steps, these trials, all in the name of whatever his broader goal is.

Where You Start Affects Where You End

It also matters quite a lot when and where characters are introduced. A lot of tales follow some basic notes, and one of the more common elements is “crossing the threshold”, which prevents your characters from going back to their life before the adventure. It’s used because it compels the characters forward, as they have no other direction they can go. It can be anything: the character’s home town is destroyed, the character commits a crime, he accepts a contract, his mother dies - so long as it prevents him from going back. It’s especially useful in roleplaying games where you really need everyone to be driving forward.

In one such roleplaying game, I got in a spat with the guy who wanted to run the game because I was trying to make a leader character, but the game master wanted to base his game around a movie he’d seen with a single main character. He’d elected another player to be that main character, and explained to me he’d be starting the game after that character had already crossed the threshold and had begun his journey. This meant that everyone else were supporting cast and could go back to their normal lives at any time, because they were coming willingly from where they were and not really facing any drastic changes to their personal status quo.

I eventually resolved not to play in that game at all, because none of the character dynamics I wanted were going to work. It was supposed to be a “wannabe” superhero game, with the premise that everyone wanted to be heroes, except one player had already started the journey and it turned out another had already reached the end of that arc and was going to play a character that had been a hero going on years before the story began. There was no plan to really reconcile the narrative clashes.

If that game were to work as it was, without me being present, then the person playing the pre-established hero would have needed to take the mentor role. The other players besides the main character would have needed to be comfortable in auxiliary roles, and the group would have to play as though they were part-way into the story. Still learning to be a team but well past the initial stages of a plot, and they’d all need to think up reasons to be in this group individually on their own, because the threshold had already been crossed and they didn’t cross it together.

The friend running the game was actually dismissive of my advice here, arguing that I was overcomplicating everything with a meta analysis of narrative and structure when all we need is a basic drive to play, and I don’t think he realized he’d set himself up with a much more complicated game and less cohesive premise by going about things as he had.

The already established hero couldn’t be the mentor because a mentor character had already been created as an NPC. The auxiliary players weren’t really informed at the outset they’d be auxiliaries - especially not me who’d wanted to play the team leader. The player who’d been designated as the central protagonist didn’t want to lead or be the central protagonist. It could have worked, but it would have taken a lot more planning and many more concessions than a typical game.

In a more recent game, I’ve got another bit of an issue with the start misleading the general goals of the players. It’s a sci-fi game, and first, one player is doing “the quirky inventor scientist”; his current stated dream is vaguely to create transhumanist technology. He also wants to play the leader, so he established himself as the most important man nobody has ever heard of. He has spies in every major institution in the known galaxy and is a genius beyond comparison. He’s currently based in a rusting pirate ship in the middle of the space boonies doing nothing with his life save being the most important man.

Meanwhile, I set up a disgraced military officer with a revenge quest against his own nation. But the pirate crew my character joined turned out to not believe in structure nor leadership and they killed their last commander to have a system of “democracy”. My structure-minded character has tried to take the lead and drive us forward, but he runs into general deconstructive resistance and the “quirky scientist” wants to be the leader, but hasn’t yet expressed self-motivated goals.

It’s not exactly my most harmonious game and there’s quite a lot going wrong here, but here’s how it could have worked: first, establishing that the crew of the pirates respects no leadership places the entire crew in the precarious position of being “chickenshit” at the outset. That kind of incohesiveness is why a band of rogues gets easily defeated; it’s not the behavior of scrappy men of action, but hopeless men of inaction. A corrupted “democracy” collectivises failure while awarding success to whoever actually has the most power in the group structure - it protects the weak leaders from responsibility and disincentivizes good work by allowing those same men to reap rewards while offloading the burdens to those lower on the ladder. In essence, “If things are screwed up, blame the democracy. If things are good, I did it.”

What should have happened was the “quirky scientist” should have been in charge to start with, because otherwise he has no reason to be on board the ship. He’s the most powerful man in the galaxy, after all. If it were because he was financing the pirates to go on raiding and salvage missions relevant to his research, then it would make sense. He’d have a purpose and a position of leadership just as the player wanted. It would also establish the pirates have some command structure and a level of respect for it that allows them to function.

And the power struggle between the disgraced officer and the scientist? Perfectly reasonable character conflict that would drive actual, meaningful roleplaying and story. The scientist may bankroll the operation but the officer is the tactical talent and the two pull in opposite directions, as power-hungry men often do.

However, the opportunity to start with a sensible and meaningful social dynamic has passed, and on top of that the “quirky scientist” keeps his galaxy-wide power a secret, so it’s all kind of messy and “badly written” in the sense that most audiences would be generally rooting for the crew to fail, and they’d find the grand reveal of the scientist’s galactic power to be frustrating and unrewarding because it’s more of a plot hole than anything. So close on so many counts and yet so very far, and the opportunity to pull it together eventually is present but a more challenging and uphill battle than getting it right at the outset.

In The End, Did We Even Learn Anything?

Creating a character is easy, in my opinion. Creating a working story with a group of self-driven characters can be a lot harder. This is especially true of roleplaying games or of cooperation with multiple writers, where you need to be on the same general page with a committee. It can help a lot to establish the exact conflicts at the beginning, but as can be seen with Winston from “New Girl” or the later seasons of “My Little Pony”, what you have can morph beyond your control as things go on.

Sometimes you never had control in the first place. Sometimes you lose control because you conclude the original conflict of your story and struggle to find a new one - the brand is too successful to let go. Maybe an executive comes in and injects an idea that throws the entire balance of everything totally out of whack and now nothing works. Sometimes your friend thinks story structure is overrated. It’s a difficult juggling act.

So at the end of this essay did we even learn anything? It depends a lot on what you’re trying to do and what you wanted to learn. If you’re the more typical Dungeons and Dragons group, you don’t need to think much about this. Just make your characters and passively react to activities handed out by Dungeons, Dungeons & Co - your conflict is event-driven. Are you writing a sitcom? Well, balance a tangled web of conflicting character habits and write the ensuing disaster. Want to make a complex film about a group of highly motivated, proactive people with sophisticated individual goals that ultimately converge while still respecting their rich, conflicting, inner politics, and do all that writing as part of a team? Well, good goddamn luck, but with the right start and enough care you can make it happen.

[fatesdeepdive]

Entry 4: Corrin Doesn’t Know What Birds Look Like

Chapter 3: Journey Begins

Elise and Corrin head to the throne room to apologize to King Garon. As they’re standing outside, they hear Garon laughing menacingly. Oddly, the throne room is empty save for the king when the princesses enter. Garon tells Corrin that he normally would have killed her for disobeying him, but is giving a little leeway because she’s his daughter. Instead, Garon gives Corrin a mission and says he’ll pardon her if she’s successful. Corrin’s mission is to inspect an old fort on the border of Hoshido.

Corrin speaks with her siblings afterwards and Leo points out that it's weird for Garon to be so forgiving. Elise slaps him. Camila suggests accompanying Corrin to make sure she’s safe and is told that Corrin must do this on her own by a new character, Iago, Garon’s tactician and advisor. Iago has long, messy black hair and wears a golden mask that covers half of his face.

Instead, Garon sends along a bald barbarian-looking general named Hans. Remember that guy from the prologue who called his own men cannon fodder? That guy. Xander secretly warns Corrin that Hans is a convicted murderer that he arrested years ago. First off, since when is Xander a cop? Secondly, Garon employs axe murderers into his military. How unsurprising.

The fort is located on a ledge within the bottomless canyon separating Nohr and Hoshido. Said canyon is called the Bottomless Canyon. Corrin questions if the Bottomless Canyon is actually bottomless and Gunter tells her that people who fall into it never return. And I mean, that could mean it’s bottomless, but it probably just means that people die when they fall into a really deep canyon.

Gunter points out the constant darkness and lightning storms above the canyon and states that it's cursed. Corrin says that she doesn’t mind being in the spooky hell canyon because, hey, at least she’s outside. You know, I’m kinda starting to dig bubbly dumbass Corrin.

Unfortunately, the fort is filled with Hoshidan soldiers. The soldiers point out that the fort is on their side of the canyon and that going there would be a violation of the treaty between the two nations. Corrin decides to turn back, but that asshole Hans decides to charge in and kill Hoshidan soldiers. Asshole.

At the start of the battle, Gunter tells us about battle formations. In Awakening, there was a mechanic called Pair Up, where two units acted as a single unit, boosting the main unit’s stats and giving the second unit the ability to occasionally block attacks and attack on the main unit’s turn. I liked Pair Up, Awakening was designed around it, but I will admit that it was a bit broken. Fates splits it into two different mechanics; when units stand next to each other, they can attack on each other’s turns. When they pair up, they can only block. Also, instead of being random, blocking charges up each time the unit is hit, making it predictable. This is a good change that helps balance the game. Also, this chapter introduces paired-up enemies, which didn’t appear in Awakening. This too is a good change.

Hans is defeated almost immediately, thank god. The level encourages us to use Dragon Veins to create bridges and attack enemies from behind. I paired up Gunter and Corrin, had Jakob get in ranged potshots and healing, and had our princess demolish every enemy, first going for the north group then taking out the boss and reinforcements in the south. I liked this map, the small number of units and big area to work with made it very strategic. Also, it's a capture map instead of a boss kill or route map. This isn’t a big change for gameplay, but it does show that the more complex maps are returning, after Awakening simplified win conditions.

As he dies, the enemy tells Corrin that this assault is an act of war that will have consequences. Obviously. Garon sent Hans to start a war because he’s evil, and Corrin is too dumb to piece that together.

After seizing the fort, Corrin is attacked by a ninja named Saizo. Xander comes out of nowhere to protect us and the other siblings show up. Camila destroys Saizo’s men and another ninja, this one named Kagero, shows up to tell him that Ryoma will arrive soon with reinforcements. Hearing this, Corrin retreats with Gunter. As they’re crossing the bridge out of the Bottomless Canyon, Hans comes back, knocks Gunter to his death, and tries to kill Corrin. I’m guessing that Garon wanted Hans to kill Corrin so he could A: get rid of her without pissing of Xander, and B: frame the Hoshidans so he could start a war.

Corrin’s arm turns into a weird spear thing and Hans screams that she’s a freak. Corrin kicks his ass; as she fights, she grows antlers, turns her hand into a giant dragon mouth that shoots bursts of energy, and creates a bunch of water and wind. Basically, she does her Smash Bros. combo.

Hans tells Corrin that he was just following Garon’s orders, and Corrin shouts that he must be lying, because Corrin is not very smart. Ganglari starts glowing and drags Corrin off a cliff. As she falls, Lilith shows up out of nowhere flying after us. She transforms into a weird...fish...squirrel...thing and flies Corrin back up to the bridge.

Lilith explains that she is a dragon and that the bird Corrin saved years ago was actually her. Apparently, Corrin doesn’t know what birds are, because Lilith is very clearly not a bird. Lilith explains that she turned into a human to repay Corrin and that, now that she has returned to dragon thingy, she can never go back.

Lilith is struck by lightning and Corrin tells Lilith to drop her and save herself. Lilith opens a portal to the Astral Plane, a cool parallel dimension with a neat Japanese castle. Lilith also mentions that her powers were granted by the First Dragons, which seem to be godlike entities. Lilith uses a Dragon Vein to create a treehouse and says that time and space don’t work normally in the Astral Plane.

Lilith says that the Astral Plane is empty, implying that her loved ones are all dead, but says it’s fine because Corrin is in her life. Corrin, in a rare moment of lucidity, tries to ask about the Astral Plane and Lilith tells her that she’ll explain it later. I have a feeling that she won’t.

Lilith explains that, when Corrin exits the Astral Plane, she’ll be back at the bridge and should be prepared for enemy soldiers. Corrin says she’s ready. When Corrin returns, everyone is gone. Then Rinkah sneaks up on Corrin and bashes her in the head. I guess she wasn’t ready.

[nightmarenoise]

Just comparing two cartoons I love

I understand that nobody asked in any capacity, but here I go anyway:

It feels fair to compare Ducktales 2017 to Rise of the Teenage Mutant Ninja Turtles (2018), not only because they're only about a year apart and truly, what is a year, but also because they

1. Both use this style that looks like it jumped straight out of a comic book. Okay, it's mostly the solidly inked shadows, but it gives me, personally, comic-y vibes.

2. They have taken what's arguably the main characters (the triplets for DT, the Turtles for TMNT) and shaken the formula up a good bit. Were the triplets formerly indistinguishable and all had the exact same personality, interests and voice actor, they are now three entirely separate entities with different traits and appearances. And while the turtles had about one defining personality trait and looked basically the same, save for the color of their masks, Rise made them different species of turtle to justify giving them radically different designs and three-dimensional personalities. Both shows faced criticism for this decision from people who cannot deal with change. Despite this, in both cases, it just works and does so incredibly well.

3. The oldest bros wear red.

4. We have two middle bros associated with the color blue who are both voiced by Ben Schwartz.

5. Both shows have a focus on family, with Ducktales especially focusing on found family and Rise on brotherhood.

6. Anime references!

Ducktales has a larger cast overall, with a lot of different characters all interacting with each other and they all have the most pleasant voices I've ever heard in my entire life. It's all solidly animated, the style is consistent and the animation is fluid, the characters are diverse and they're all lovely in their own right, except for those who aren't. The writing is top notch. Everyone feels consistent despite the large cast and it's delightful to watch all those interesting people interact with each other in their own way. The show also handles its mystery elements and occasional action scenes incredibly well, building suspense and delivering laughs and gut punches without hesitation. They juggle different tones like a professional clown, except the true clown was us, the audience, all along, for ever having doubted them.

The overarching plot of Ducktales, for its first two seasons, was mostly to uncover the mystery of what had happened to the mother of the triplets and all that would entail. Mystery and mythical elements will likely continue to be afoot for season 3.

Rise works with less focal characters, we have the Turtles, Splinter and April as well as various bad guys, but more than makes up for it with a lot of animation. A lot a lot of animation and it's all high quality. There's usually so much going on on-screen that a watching it once isn't enough to catch it all. Despite that, it doesn't feel crowded or rushed. Lots of dynamic shots and incredibly-choreographed action scenes, but nothing the thoroughly solid writing has to hide behind. Even when the baddies aren't the main concern, they're still well-rounded, interesting characters with unique abilities and motivations. Although, most of the mutants are just really feral. Still a delightfully diverse cast.

The turtles on the other hand spent their first season trying to foil their various foes, from a yokai trying to mutate all of humanity, to his mutants, to dealing with random mythical stuff, to the nefarious Foot Clan trying to reassemble the Dark Armor in the shadows. It's generally a more action-driven show, but they still find the time for some heartfelt moments.

The triplets 2.0

Despite their conventiently color-coded caps, they were really mostly the same character possessing three different bodies at a time. Well, the times of eerie The Shining like-twins, except extended to triplets, are over!

We have Huey, the oldest brother, voiced by Danny Pudi. He's a gentle, intellectual soul who values red hats, science, scout badges and checklists. Huey is arguably the closest in characterization to the original triplets, with some additional neat freak sprinkled in for flavor. He tries to be the responsible older sibling and keep his brothers under control and out of trouble. He also seems to have the most fiery temper of the bunch and should clearly not be pressed to the breaking point. He's my personal favorite and I heard season 3 will bring more focus to him, which makes me elated to hear. 888/10.

Middle child Dewey, the blue one, voiced by Ben Schwartz, who will inevitably come for all the iconic blue characters. He's very clearly the middle one, because he craves attention and validation and occasionally dreams of being an only child. Dewey is the one who started the investigation into their mom's disappearance and kept it from his brothers, partially to save them from hurt, but also because he wanted to feel special. He's the most interested in going on adventures with their uncle, but can get reckless when doing so. He's a bit of a spotlight hog, who has his own talk show that nobody watches and sings his own theme song when he needs to get hyped up, or just to fill this silence. This may sound kind of negative, but rest assured, he's a good, sweet boy. The focal triplet for the first season. 500/10.

Louie, the evil triplet, a schemer and a conman. Voiced by Bobby Moynihan.  The youngest of the bunch. While they call him evil, he's really far too lazy to cause serious harm, except for when it's his laziness that's causing him to take dangerous shortcuts, oops. He dreams of making a fortune, but without having to work for it and preferably without any responsibility either, thank you. He also occasionally dreams of being a spoiled fat cat. Despite his chill demeanor, he can be a bit of a crybaby and those tears are only fake 50% of the time. I feel like he likes getting babied, but mainly because that means there's less work for him to do. Season 2, which focuses more on him, reveals that he's actually quite brilliant, capable of seeing all the angles and giving him some chessmaster-like qualities. He needs to learn to use those abilities for good. 665/10.

Hi, she's Webbie! The honorary triplet, who also got a massive makeover, from annoying token girl tagalong to socially awkward, adorkable action girl. Be careful who you call ugly in middle school, indeed. Like a more ferocious  Mabel Pines, she has a grappling hook and years of martial arts training under her belt. Webbie can absolutely decimate you, but won't, because she's a sweet girl. Voiced by Kate Micucci. She continues to like unicorns and the color pink, but assuredly in the most badass of ways. She helped Dewey with his quest to uncover the mystery of his missing mom, but works well with all of the triplets, with Huey taking her under his wing a bit and Louie trying to get her to chill out more. Webbie is a sweetheart and I would die for her, were it not completely unnecessary, since she's more than capable of taking care of herself. ∞/10.

A lot of the supporting cast also saw updates and changes, for instance Gyro being a genius without social skills and Fenton being an adorkable scientist, but again, they work really well. They're interesting new takes on beloved characters. Even the new additions to the cast are great. In short, I love me some birds and am excited for season 3, Disney, get your scheduling together.

The Turtles 2.14.2 - I upgraded my upgrade in the middle of the upgrade

Also, these guys have seen so many different iterations in their, what, 30+ years of existence. As someone with no prior attachment to the turtle brand, I don't have a lot to say here. Leo's not the leader in this one and Raph has more personality than being angry at Leo for being the leader. Donnie is not just a random nerd spouting technobabble and Mikey has more depth than yelling the catchphrase every now and again. Apparently, this made people upset. I don't know how to help you with that.  The middle brothers exude some high chaotic energy and should not be left unsupervised, but the oldest and youngest seem fairly stable.

Raphael, the red-bandana'd alligator snapping turtle is an imposing figure. He's the oldest and therefore team leader by default. Raph has no reason to be upset at Leo, so he isn't. Despite his ferocious appearance, he's a soft guy, who likes teddies and doting on his brothers, but fears puppets. He's a bit of a knucklehead, most of his plans involve smashing things with his tonfa and he may refer to himself in the third person in the heat of the moment, but he possesses emotional intelligence, is open about his feelings and looks after his brothers. He is big and and strong, but his heart is bigger and stronger. He especially loves small animals animals, who don't usually return his feelings. RIP in F. This responsible guy is voiced by Omar Benson Miller. 300/10, very soft. Somehow both the heart and the big guy of the group.

Donatello has been upgraded from second-to-youngest to second-to-oldest, not that it makes much of a difference. His color of choice is purple and he continues in the character's tradition of being a nerd, although this time, with self-confidence. Donnie is very sure of himself and his abilities. As a spiny soft-shell turtle, he's less sure of his shell, but that's okay, he's made robotic battle shells to make up for it and his bō is the mother of all multitools. This guy can build you a tank out of a buggie and upgrade your animatronic into something to give the FNAF franchise a run for its money. He's the smartest of the four and when not focused on his phone, very focused on the mission. Due to having to deal with his bros, he can be exasperated a lot. Thinks of himself as an emotionally unavailable bad boy, even though he's just really sensitive and wants his dad or someone parent-aged to tell him they're proud of him. Theater kid. 999/10, give the middle child a hug and some coffee, you can't tell me he has a healthy sleep cycle. This sarcastic nerd is brought to you by Josh Brener.

Leonardo, Ben Schwartz's second blue character (Sonic (2020) being the third under his belt) and also his second ninja after Randy Cunningham. He's not the leader. He's still a good character. Leo has approximately 800 charisma and unwavering faith in both, his family and himself. Mostly himself though. Like Louie, season 2 revealed that he is a master of prediction and playing people like the cheap kazoo you can't tell me he doesn't have to play Darude's Sandstorm on. He dabs, he boards, he will pun you to death and back and he has an Odachi that can cut through space. Leo likes hogging the spotlight when given the chance and wants to be showered with attention and praise. Having four kids really only means twice the middle child nonsense. Leo is a red-eared slider, the original species of the TMNT, as I've been told. He's also the best at being a ninja, but usually too lazy to really apply himself. He's younger than Donnie, but tumblr suggested to read the two as twins, since they're approximately the same age, which sheds a whole new light on their dynamic and frankly, makes way too much sense. 420/10, for our memelord Leonardo.

Michelangelo, the eternally youngest of the bunch. An artiste, who puts stickers on himself, tags the lair, has a spiritual connection to his skateboard and the color orange. Mikey loves all things arts and craft, but he also tries his hands at cooking. He idolizes famous TV chefs and can do pretty much anything out of and into pizza. He's funny, without being annoying, like I feel a lot of other iterations of this character are. It's an easy pitfall for comic relief guys, but this one is more than that. If that's an issue, feel free to leave my house. Mikey is genuinely sweet and happy, optimistic and soft, but also the one brother who knows when it's time to take off the gloves and just get straight to the point. He's open about and in touch with his feelings. He's just baby. Don't treat him as one though. A lot of promo stuff says Leo has taken him under his wing, but he's had more episodes together with Donnie. Not that I'm complaining, they work very well together. Mikey and Raph are both the emotional centers of the group. Does not mind being yeeted after retracting into his shell, as box turtles may do. (Disclaimer, do not yeet actual box turtles!) His weapon of choice is a Kusari-Fundo that can turn into a fire-demon and is about as unpredictable as he is. Likes to jump and bounce around. Probably does parkour. Voiced by Brandon Mychal Smith who is audibly having a blast. 500/10, just an all around Kusari-fun guy.

For last, but certainly not least, April O'Neil, my girl, who saw an upgrade from flip-flopping love interest who was vaguely ninja-ing, but mostly damsel in distress-ing, to all-around spunky powerhouse and by God, she is glowing. Rise has her more as a big sister figure to the turtles, and I will not be told otherwise. She is independent and don't need no man, mutant or no. She has her teleporting pet, her faith in herself, her pinpoint baseball hitting skills and the a complete and utter lack of fear. Despite being a weirdness magnet, April is perfectly comfortable. She would like to be able to keep a job, maybe, but she has loving friends who respect and love her. Surprisingly good a ninja, fearless and fun. Occasionally thinks about being popular at school, but it's really not a big concern, she's not gonna throw a tantrum over it or anything. April is very chill. Not likely to be damseled. More likely to run after the turtles and clean up their messes or save them and everyone involved is fine with that.

The late 10's are really coming in to show us how dynamic and well-written female characters that aren't just "strong", but three-dimensional and relatable are done, huh?

An iconic performance by Kat Graham and ∞/10 for being the honorary better ninja non-mutant non-turtle and best big sister.

Here we have it, two older properties, having new life breathed into them to make them fresh and enjoyable. Have a new spin put on them, to better fit in with our current world. You can feel the love oozing out of every frame. At the end of the day, of course, it all boils down to taste and whether or not you like something. I gave Ducktales 2017 a go because a lot of the staff from Gravity Falls went to work on it and if you don't know me, I love me some Gravity Falls. It's a good show and I enjoy it. I recently got into Rise and while I don't know much about the people working on it, it is also a greatly enjoyable show, easily on the same level as Ducktales, if not above, yet with far less people speaking about it. Which is frankly saddening. I can only recommend the two of them wholeheartedly. If you love animation, yourself and occasionally feeling things, these are for you!

[carbonatedcosmo]

all the fandom questions for DMC

OH THAT’S NEARLY ALL OF EM LMAO THIS IS GONNA BE A DOOZY

“What OTPs in your fandom(s) do you just not get?”

ok so i know a pretty good portion of the dmc fandom is SUPER on board with nero x kyrie but like??? they’re basically adopted siblings??? and i HATE the adopted sibling romance trope so in my personal dmc canon nero and kyrie do love each other but Only As Siblings

“Are there any popular fandom OTPs you only BroTP?”

again, nero x kyrie! the way i see it, nero sees kyrie as his sister and kyrie sees nero as her brother because nero grew up with her in an environment that would lend to their relationship being more like that of siblings

“Have you ever unfollowed someone over a fandom opinion?”

uuuuhhh yes?? kind of??? they were someone who shipped nero x v, which is a ship im not overly comfortable with myself but that’s all i’ll say on that

“Do you have a NoTP in your fandom? Are they a popular OTP?”

uuuuuuhhhhhh???? i’ve seen a decent amount of fanart of vergil x dante like. come ON they’re BROTHERS stop making them KISS

“Has fandom ever ruined a pairing for you?”

uh? not that i can recall? i used to be on board with nero x kyrie myself but then i remembered that in kyrie’s character description in dmc4 it says her relationship with nero is that of a “brother, friend, and lover all in one” and that’s the fault of capcom themselves for describing the relationship that way, not necessarily the fandom’s fault

“Most disliked character(s)? Why?”

none i like all of them they’re all amazing

except arkham. absolute garbage dad in dmc3, lady deserved a better father than him

“Most disliked arc? Why?”

hm. im not really sure? i think all of the main characters have pretty decent arcs tbh

“Is there an unpopular character you like that the fandom doesn’t? Why?”

are there any unpopular characters in the dmc fandom??? i have no idea. i’ve seen a little bit of hate for nero (mostly in youtube comments) but idk if that counts. if it does, fuck those people nero’s baby and i adore him

“Is there an unpopular arc that you like that the fandom doesn’t? Why?”

again, i don’t think so? i don’t really get too into the discourse in the dmc fandom so i don’t have a full grasp over what’s popular and what’s not. though, i do recall seeing a bit of stuff about how people don’t like that v seems to have just been a one-off character and how they wish he could’ve been a completely separate character from vergil, but, as short as it was, i enjoyed v’s arc! i think, in the time that vergil’s human and demon halves were separated, v was able to grow a little and also sort of begin to start healing from his trauma when vergil wouldn’t let himself deal with it properly, and since v realized how important everything he threw away really was, i think vergil retained that when he became whole again and i think it’s really cool!!!

“Unpopular opinion about XXX character?’

SLAMS MY HANDS DOWN. LADY AND TRISH ARE BADASS QUEENS AND I AM LITERALLY SO MAD THAT THEY’RE ONLY IN DMC5 TO BE SEXY. THE ONLY THING THEY DID THAT IMPACTED THE PLOT EVEN A LITTLE WAS UNWILLFULLY BE SERVANTS OF URIZEN AND WHEN THEY WERE PULLED OUT OF THE DEMON BODIES URIZEN TRAPPED THEM IN THEY WERE NAKED AND A POINT WAS MADE OF SHOWING OFF THEIR BODIES AT LEAST A LITTLE AND I THINK THEIR POTENTIAL WAS WASTED 

“Unpopular opinion about your fandom?”

why do so many people in this fandom seem to ship spardacest of any degree. why. can i just go through the dmc5 tag without seeing vergil smooching his son or vergil smooching his brother or v smooching nero or-

“Unpopular opinion about the manga/show?”

nothing the dmc anime is perfect in every single way

“If you could change anything in the show, what would you change?”

nothing the dmc anime is perfect in every single w-

“Instead of XYZ happening, I would have made ABC happen…”

ok there are very few moments in the game i would replace with something new entirely, but i would add nero calling urizen a whore at least once like just imagine nero gets yeeted into a wall by urizen and he just goes “ow...whore” like that’d be so fucking funny

“Does not shipping something ‘popular’ mean you’re in denial and/or biased?”

absolutely fuckin not my dude sometimes you’re just not on board with the most popular ships in the fandom and that’s totally okay! as long as ur not shipping incest or any kind of abusive dynamic i literally dont care if you don’t ship the popular ships

“What is the one thing you hate most about your fandom?”

*inhales deeply* spardacest

“What is the purest ship in the fandom?”

ok i’ve seen literally NO ONE ELSE who ships these but lady x trish and nero x nico. lady and trish are lesbians that are dating each other and my proof is that episode of the anime where lady and trish don’t know each other so they’re fighting because trish is a demon and lady’s someone who hunts demons and trish was just trying to Not Die so they fight for the whole episode but then they find out that they’re each a friend of dante’s so they go and buy a bunch of expensive clothes together and send the bill to dante and that was their first date and now they’re girlfriends and idk man nero and nico just have a fun dynamic that made me go “they’re totally dating each other”

“What are your thoughts on crack ships?”

ok so like, in general, crack ships are fun as hell just for some shits and giggles but i haven’t really seen any crack ships in the dmc fandom??? though i think there’s plenty of potential there for a few of those and im interested to see if the fandom will come up with any crack ships!!

“Popular character you hate?”

none i absolutely adore all of them

“Unpopular character you love?”

are there any unpopular characters in this fandom? are there??? though i guess if i wanna go back to what i said about seeing a little bit of nero hate (again, mainly in youtube comments), i absolutely LOVE nero and to those people who say he doesn’t have a lot of character: yes he DOES you’re just not LOOKING HARD ENOUGH

“Would you recommend XXX to a friend? Why or why not?”

OH YES ABSOLUTELY, bro even though i certainly have my gripes about the dmc franchise, it’s SUCH a good series in spite of all that! the combat system is pretty neat (and only gets better in the later games), the music is absolutely bangin, there’s so many fun, iconic characters, the story is, for the most part, incredibly engaging and compelling, and honestly pretty much the whole series is just a family squabble but if everyone in the family was superpowered by having demonic heritage and OH YEAH THEY HAVE SWORDS

“How would you end XXX/Would you change the ending of XXX?”

i wouldn’t end the dmc series any differently than capcom did!! i really enjoy that dmc5 ended with dante and vergil finally settling their differences and ending their lifelong rivalry (after nero bitch slapped dante and beat the shit out of vergil), and it looks like dante and vergil’s story has come to a very satisfying end! i don’t see where else capcom can go with the twins, but if they do make more dmc games, i would absolutely love to follow more of nero’s adventures and see how he continues to grow, both as a person and a devil hunter!!! you hear me, capcom??? give me more content with my hyper wild boy or i’ll personally come kick your asses

“Most shippable character?”

hm. im gonna say dante, i think!! let the man have a boyfriend

yeah i said it dante’s gay whatcha gonna do about it

“Least shippable character?”

vergil. definitely vergil, but that’s only because i personally see him as aromantic! i think he certainly wants to be loved, yes, but less in a romantic sense and more in a familial sense, ya feel? i would love to see him interact with nero more and see how he navigates that relationship, because i think it would be really interesting to see how he takes to having a son of his own!! but that’s a discussion for another post entirely; i view vergil as aromantic so he’s not really looking for a romantic relationship with someone but that won’t stop (and hasn’t stopped) him from sleeping with people lmao

was that all of them? i think that may have been all the fandom related ones but please let me know if i missed any!! hoo boy it feels good to go off about this LMAO

[noonborykedabory]

Cartoons of the Great White North: Zeke’s Pad

Welcome to Cartoons of the Great White North. Today, I’m covering a rather obscure show from the late 2000s.

Zeke’s Pad is a Canadian-Australian cartoon produced by Bardel Entertainment, Leaping Lizards Productions, Flying Bark Productions, and Star Farm Productions. It aired mainly in 2008.

General Plot: The show stars Zeke Palmer, who has a supercharged drawing tablet that brings whatever’s drawn on it to life. Every episode, Zeke has some sort of problem (ex. forgetting to study for a test, sibling rivalry) and uses the pad to fix it. However, since the pad works in mysterious ways, Zeke’s plan backfire spectacularly, and he has to mediate while waiting for the pad to charge enough for him to fix things.

This is a really interesting concept, and they do some pretty cool plots with it. In one episode, Zeke brings some long-lost ancestors to the present for a school project, and things go awry when one of them, a notorious thief, disappears with the pad. In another episode, Zeke ends up stuck to his friend Jay’s back after trying to use the pad to give the two some space.

Characters: The main character is Zeke, a rebellious fourteen year old boy who likes skateboarding (apparently the “90s punk kid” trend was still running in 2008?). Along with Zeke, the main cast includes his family, consisting of neat freak mother Ida, musician father Alvin, jock brother Ike, and drama queen sister Rachel, as well as Zeke’s best bud, Jay Fritter, and his crush, Maxine Marx.

Zeke himself is lazy and a procrastinator, which leads to many of the plots. He can be a bit of a d-bag (i.e sabotaging Rachel’s drama audition), but usually pulls through in the end. Jay, on the other hand, is intelligent and responsible, and usually serves as Zeke’s voice of reason. Zeke’s family can be summed up with simply the aforementioned traits; Ida is tidy to the point of obsession, Alvin’s sole personality trait is “cello”, Ike does basically nothing but exercise, and Rachel makes every single molehill into a mountain. Maxine is usually what happens when writers who know nothing about teenage girls try to write teenage girls. She’s not in many of the episodes, but when she is, she’s usually either a) eye candy for Zeke, b) a bystander to all the craziness, or c) every stereotypical tomboy ever written.

Animation: The animation in this show is...weird. It’s very cartoony and wild; there are a lot of bizarre angles, and everyone has a funky hair colour (Zeke’s is blue, Jay’s is teal, Rachel’s is green, etc.). However, the character models and the more slapstick-y action look very awkward and borderline uncanny. I believe that budget might have been an issue based on the animation (and also the fact that there are only five voice actors and only half of them have a working microphone). The closest thing I can compare this with is Handy Manny (which came out about two years prior), except not really, because I can look at that show without questioning what I’m supposed to be seeing.

Voice Acting: As mentioned, this show only uses five VAs: Michael Adamwaithe (Zeke), Tim Hamaguchi (Jay), Trevor Devall (Alvin/Ike), Tabitha St. Germain (Ida/Maxine), and Chiara Zanni (Rachel). Hamaguchi, St. Germain, and Zanni appear to have broken microphones, as dialogue from Jay, Ida, Maxine, and Rachel is often rather tinny. However, in general, the voice acting is decent. The characters are expressive, and (usually) don’t sound annoying.

Overall Verdict: Zeke’s Pad had a unique concept, and could have gone to great places. However, the show was bogged down by its unlikable cast and unappealing animation and ended up as a one season wonder. 

General Plot: 7/10

Characters: 3/10 (it deserves a 2, but I actually really liked Jay, so it got raised)

Animation: 3/10

Voice Acting: 6/10

Final Score: 19/40 (Mediocre)

[princesssarisa]

Frozen II  – my thoughts on Elsa’s outcome (warning – long and full of spoilers)

At this point, my only real objection to the ending is the fact that separation endings have been way, way overdone in the past year. If Ralph Breaks the Internet, Toy Story 4, How to Train Your Dragon 3, Maleficent: Mistress of Evil, Steve’s outcome in Avengers: Endgame, and the finale of My Little Pony: Friendship is Magic didn’t exist, my feelings would be almost fully positive. Especially because Elsa and Anna will still see each other all the time, they just don’t live under the same roof anymore.

I also have a minor quibble about the idea that growing up means you “need” to live apart from your siblings or extended family (not that the movie ever says that, it’s just a cultural norm). And when I read comments from fans saying “Yes, it’s slightly bittersweet, but that’s realistic, it’s a mature ending,” I feel a little sad that not even Disney is letting kids believe in happily ever after anymore. This applies to the whole separation/bittersweet ending trend throughout the past year’s family media. Again, these are minor issues.

But as a person on the autism spectrum who, like so many, feels a connection to Elsa, I love the way things turn out for her.

First of all, there’s the fact that for all of Elsa’s popularity, the protagonist of the original Frozen is Anna, and Elsa, though certainly not the villain, is, in terms of story structure, the main antagonist. Throughout most of the first film, her powers are a deadly force to be overcome – the endless winter must be stopped and Anna’s frozen heart must be thawed. Yes, the beauty of her powers is also highlighted and she fully realizes and shares that beauty in the end, but for the most part her magic is still a negative presence in the story. There’s a reason why so many viewers see it as analogous to a mental disorder.

Also, as many have pointed out, “Let It Go” has a bit of a Misaimed Fandom. Meta joke about how overplayed it is aside, it’s no wonder that in the sequel Elsa cringes at the memory of herself singing it. Yes, it’s an empowering anthem and it’s a good thing that she finally stops suppressing her powers, but it’s a bad thing that she turns her back on her people, her responsibilities and her sister, and while she’s reveling in her new freedom, she’s unwittingly burying Arendelle in snow. In the end she has to go back and give up some of that freedom, and even though she’s happy, it can still ring bittersweet to those of us who connect with the song.

The analogy is imperfect, but I do think of how my own situation with mild autism compares to Elsa’s. My huge emotions, panic attacks and ferocious meltdowns, so hard to control (see the Intense World Theory), and my difficulty with social interactions and playing by society’s rules in general. The concept of a person born with destructive magical powers tied to her emotions is an apt analogy. Her years behind closed doors bring to mind my own introversion and social anxiety. I hear “Conceal, don’t feel” and think of all times I’ve been instructed or scolded to keep my unruly emotions and odd instincts under control. Like Elsa’s powers, my autism has some beauty in it too: my intelligence, creativity, good memory, etc. But it’s still a disorder that society isn’t built for, and generally it’s something I need to mask around others. Also like Elsa, I’ve struggled with guilt and with feeling like a burden to my family. I know I’m not alone in relating to her for these reasons.

So imagine my vicarious thrill over “Show Yourself.” When Elsa finally learns the origin of her powers and learns that she was born that way for a reason – that it isn’t a curse, or just a random difference, but a gift. When she steps fully into her power for the first time, and unlike in “Let It Go,” it’s unambiguously a wonderful thing, both for her and for others. When she finally fully embraces self-love, realizing that everything she thought she needed from the outside is already within her (“You are the one you’ve been waiting for”) and that it’s time to fully show herself to the world. When she goes on to truly “see what she can do” and “test the limits and break through,” as she once sang, but this time in a heroic way, saving her people from her grandfather’s past sins – not from her own mistakes for a change. The moment I first learned about the plot point of the dam and the tidal wave that would destroy Arendelle if it fell, I was thrilled by the thought of Elsa using her powers to stop that tidal wave. The character whom we misfits relate to thoroughly leaves behind her old “sympathetic antagonist” territory and becomes a true heroine, taking her raw power that once endangered the kingdom and using it to save it.

(This is another reason why I don’t believe the rumors that she was originally supposed to stay frozen and that her revival is a Focus Group Ending. In the first place, what would be the point of her glorious self-actualization if it were only leading to her death? In the second place, who would stop the flood?)

I’d love to have the kind of experience she does. I wish I could learn that everything “disordered” about me is actually a gift and that fully being myself will bring good things both to me and to others. Maybe someday this will happen, but I don’t see it happening any time soon, so to see it happen to Elsa is incredibly therapeutic.

Then we have her becoming the forest’s guardian in the end. At first the idea made me uncomfortable because I thought it might seem to say that people who are different belong outside of human society. But the fact that she still regularly visits Arendelle and evidently stays close to the Northuldra too puts that concern at ease. I also understand why some people who relate to her are upset that she gives up her throne, because it was therapeutic to see someone so different and insecure not only find love and acceptance, but be able to rule a kingdom too. I agree that if she had wanted to stay queen forever, that would have been perfectly fine. But I think it’s perfectly reasonable that in the end it’s not what she wants.

Isn’t it arguably a bit of a waste for Elsa’s epic powers, which can alter landscapes, build castles, create life or take it, etc., to be confined to making pretty decorations and skating rinks? Isn’t it reasonable that after her self-actualization, she prefers a life’s purpose where her powers are central, since they’ve always been her chief defining feature and shaped most of who she is? As opposed to the life of a queen, where they’re only incidental? I can’t help but remember how much I struggled in school, from first grade through the first two years of college, when my hyper-focused passions for the arts, music and stories (the hyper-focus being an autistic trait, the passions being tied to the hyper-emotional sensitivity I’ve mentioned) had to be treated as just “what I do for fun in my spare time,” while math (UGH!!!), science, and other things i had no interest in and no talent for were treated as my life’s purpose. I also think of all the people in mundane corporate and blue-collar jobs, which I’m grateful every day that I’ve been lucky enough to avoid so far. If they were to find new jobs that reflect their greatest talents and unlock their full potential, wouldn’t we want them to take those new jobs? This is why I’m happy that Elsa’s new life purpose revolves around nature and magic.

Yes, I’ve read the complaints from some fans that Elsa has “lost some of her humanity,” and that’s fair. But let’s not be too quick to equate “humanity” with normality and “inhumanity” with difference. even if said difference is supernatural magic. Another reason why I like Elsa’s outcome is that Disney hasn’t always had the best track record with misfit characters who remind me of myself. I love Beauty and the Beast, especially from a feminist viewpoint, but when I see myself in the Beast, I sometimes feel awkward about his arc. I know they probably didn’t mean to code him as autistic, but still – a misunderstood loner outcast, to whom neatness, grooming and manners don’t come naturally, who struggles with the most basic social skills, who fails to understand others’ emotions at first, and who has massive meltdowns of rage when he’s under stress? How can I not see it? The fact that his journey consists of his being “tamed,” learning to suppress all his raw emotions and rough edges to please Belle, and that his happy ending is to become fully normal by becoming human again, doesn’t make him much fun to relate to. Give me a character like Elsa, who learns that her differences are her strength.

Elsa’s ending is just what I wanted for her, because it’s what I want for myself. Identifying with her is a more enjoyable thing than ever now.

[makorays]

A List of Short Bios for a Bunch of OCs so People Actually Know What I’m Talking About Whenever I Mention Them on Streams or Whatever

These are all from the Savage Worlds tabletop campaign known as The Initiative that my friends and I play. It is a modern day sci-fi story involving aliens and cosmic horror cults. The basic premise is that some very important Scellor tech was stolen and found its way to Earth, and the Scellor government contacted Earth’s government to warn them they will have to wipe out their planet if the tech isn’t recovered in time. Thus an initiative was formed consisting of renowned Earth military figures as well as Scellor volunteers to try and locate it.

The Scellor are a race of aliens originally created by a man by the name of Jukashi for tgchan. Joe discovered them and decided to write a tabletop story in that universe. He may have taken a couple artistic liberties here and there for the sake of better fitting things into his own story. Scellor are green psychic aliens with a whole bunch of neat traits I won’t go into but you can read about them here if you want: https://questden.org/wiki/Scellor

Onto the actual bios:

Sofie Edelstein

The commander of The Initiative. Over a century ago, her father revealed to her and her two sisters (Teri and Tara) that he was the head of an “angel”-worshipping cult known as Erleuchten. When Teri and Tara showed hesitance in joining it, her father killed them. Sofie joined, but plotted to sabotage the cult from the inside. Some time later she became a preserved brain, got digitized, and obtained a robotic body. Now she’s a 6′ tall 400 pound robot with advanced combat capabilities. She created a series of androids with artificial intelligence based after her late sister Tara, but none have gained sentience. Was the leader of Poland’s military as a day job. She was working for The Initiative from the inside as an Erleuchten leader, but got found out and now lives with us. She’s done a hell of a lot of sleeping around through all her years, but eventually decided to get into a long-term relationship when she met Stan.

Minyaxl

My OC. Minyaxl is a Scellor combat medic with renowned psionic healing abilities who decided to volunteer and help out the humans, partially out of kindness and partially to have a chance to demonstrate his abilities to a less advanced race. He started out as this 5′0″ little bitch who was super full of himself but his confidence has been beaten into the dirt on numerous occasions; most notably when he realized that humans, unlike Scellor, do not reincarnate after death, meaning he’s been sentencing people to oblivion during every combat mission. He’s since become desperately obsessed with saving as many lives of sentient, non-reincarnating beings like humans as possible, even if it means jeopardizing operations. He routinely finds himself at odds with his squadmates, particularly Valerie, due to their perceived lack of interest in non-lethal solutions to problems. He is the closest Scellor can get to typical human romance with Thael.

Katherine Dawson

Cey’s OC. Katie is a combat medic who was taken as a POW by a terrorist group and later forcibly enlisted into The Initiative for her abilities. She’s sort of the mom of the group. Everyone else in arbiter squad has some form of extra-ness to them and she’s the straight-woman who holds them together. She has a knack for bossing around idiots due to her upbringing with rambunctious siblings in a Japanese-American household. Dual wields pistols and does not take shit from people. Is girlfriends with Teri.

Johannes B. Otto

Kyle’s OC. It's sometimes easy to mistake Johannes for a confused German tourist. During quiet hours, he spends his time complaining about No Smoking signs and combining multiple quarter-pound patties into single full-pound burgers. But get in his way and you'll find that he's less "tired, goofy dad" and more "towering, ruthless brute". Withhold information during an interrogation, and he'll start calmly searching for a pair of pliers. Try to hurt him or his squadmates, and he'll shut you in a storage locker with a live grenade and then feel zero remorse for the gory soup that spills out (a tactic that has since been affectionately referred to as the "Deutsche Oven"). It should also be noted that Johannes is not a patient man. If we’re ever at a standstill with deciding how to proceed, he’ll start jumping a fence to go beat the shit out of a guard before taking all his clothes and spanking him until his ass is red.

Valerie Mimieux

Ragu’s OC. Valerie is a woman of class. She’s a French spy who likes expensive things and is passionate about cooking. She has a habit of flying way off the fucking handle and doing some reckless impulsive shit or just generally acting like a psycho. Will sometimes single out a particular enemy that did something to piss her off and then beat the hell out of their corpse long after they’re dead. She has raced Yakuza gang leaders for the right to win their car and then nonchalantly gunned them down when they decided to get revenge. She somehow manages to slither her way into acquiring ludicrous amounts of currency during her operations, and wants to one day take over all of Europe. Has a pet german shephard named Steve who used to be a guard dog for the enemy until she offered him a treat. She is alien-gay for Adiira.

Fayaiy

Selena’s OC. Fayaiy is a bounty hunter who crash landed on Earth and temporarily joined the cause before disappearing off to who knows where. She’s super goofy and sort of comes off as a happy-go-lucky foreigner who doesn’t entirely grasp English but loves to vibe with everyone regardless. LOVES Family Guy, thinks it’s the funniest thing ever. On multiple occasions she got faced on weed in the men’s bathroom with Stan, who I’m pretty sure still assumes she’s a trans guy because she didn’t seem to understand human gender symbols on doors. Has a pet black cat named Peanut who she took with her when she left.

Teri Grimm

A state of the art android who is so human-like you wouldn’t even know her body’s innards were synthetic unless you looked at them under a microscope. The commander’s first creation to gain sentience, and The Initiative’s token robot hacker waifu. Everybody loves Teri. She’s polite, incredibly intelligent, and has a face you just really want to protect, although she can hold her own in battles with superhuman strength. She’s rather unlucky though. Is girlfriends with Katie.

We’re actually currently playing a reboot of The Initiative. The first go around happened a few years ago, didn’t last as long, and featured the following five characters as our player characters. They did not function very well as main characters but work quite well this time around as quirky side characters.

Stan Ward

Ragu’s old OC. Stan is one of the most extra people to ever exist, roughly tied with only Bruce and Vulohon. A true American, he’s a mad bastard of a soldier who loves drugs and driving, often at the same time. Once, several members of The Initiative went out to town to relax and have fun, and he almost immediately got into trouble with the police, being chased off into the night. He came back later after swimming his way back to the base, crabs stuck to various parts of his soaking body with their pinched claws. Was somehow man enough to satisfy a 6 foot tall 400 pound 160+ year old android’s sexual desires to the point that he became her boyfriend.

Bruce Reistill

Kyle’s old OC. Bruce is an abrasive asshole who will never ever let a villain get more than 5 words into their monologue before interrupting them with something along the lines of “now y’see here I think the problem we’re having is that you keep on talking when you really shouldn’t be so I think it’d really be in all of our best interests if I were to just go ahead and...” before drawing his revolver that he nicknamed Banger.

Vulohon

The old OC of Roll, our long lost friend who just sorta disappeared to do his own thing in life. Vulohon is a fucking dumbass. He’s basically if Knuckles from Sonic Boom was an edgy anime himbo. The first time we saw him, he was doing the cool guy thing where you lean back in your chair and sharpen a blade. The second time we saw him, he was doing the same thing, but this time was sharpening a glock. The third time it was a trash can. He owns a legendary energy battle axe and can use psionic energy to generate explosions wherever he wants, but almost all of his fighting tactics involving picking up dudes and throwing them at other dudes. Either that or ripping off car doors and swinging them at people.

Stan, Bruce and Vulohon are all best bros. They moved their beds into the rec room and turned it into the Boys Room, where they sit in the hot tub together and behave heterosexually.

Thael

My old OC. Thael is a scientist who has no personality or emotions, but a really great ass. He’s a husk of a formerly optimistic young student who lost the ability to feel things after a shady government organization recruited him and forced him to conduct awful, sometimes murderous experiments on unwilling Scellor. Everyone is creeped out by him, but Minyaxl’s virgin horniness was enough to push past that as he felt love at first sight (with Thael’s back turned to him) and pursued relations with him. Thael opened up to him and Minyaxl decided to do his best to help him regain his former self. He’s getting there.

Pamiil

Selena’s old OC. Pamiil is an optimistic pacifist healer who never really got all that much screen time but she is cute and must be protected. She loves* Setel.

*by which i again mean the closest scellor equivalent to love which i guess is sorta just close friendship where you also fuck but they’re also capable of feeling proper love it’s just weird and can lead to psionic feedback loops if they’re not careful

(the following 5 pics were drawn by selena)

https://butamakingart.tumblr.com/

Orvon Valasma

The captain of the ship that a mysterious third party (referred to as the Scellor Freelancers, consisting of her, Adiira and Setel) arrived on. She’s 7 feet tall and has robotic legs that can extend to make herself even taller and run super fast. Somewhat stoic, and has gotten into fights with Adiira, but still cares deeply for her friends. The freelancers were originally at odds with The Initiative as they (somewhat rightfully) believed that we were doing a sloppy as hell job of things, but they eventually decided to join forces.

Adiira M’vora

A deadly assassin who, due to being born in the Ayaar caste, was forced to carry out political assassinations against people the Scellor government suspected of being potential state enemies. It got to her so she went rogue and is a bit of a wreck. She owns a legendary sword called Blue Midnight that can cut through the very fabric of space, and has various other psionic space manipulation abilities. She is human-gay for Valerie.

Setel Tunsai

An absolute chad of a man, standing at a towering 5′0″ (which is stupidly tall for his Orthan caste). Setel is a powerful psionic who excels at manipulating social outcomes, either through exceptional diplomacy or good old fashioned mind control. He has a talent for helping people with their emotional problems, and has acted as a therapist for people like Adiira and Thael. He is beloved by all. Is small lovefriend of Pamiil.

Korhan

Horrible. Piece of shit bitch bastard. Rightfully dead. Korhan used his position as an Ayaar operative as an excuse to live out all his sadistic fantasies. Worked in the evil-ass facility that used people like Thael to carry out their horrible experiments, and made implied rape threats to Thael if he thought about not doing his job. Responsible for everything that’s wrong with Djylana. Planted a tracking device on Minyaxl to find the location of The Initiative’s base, then came in and slaughtered innocent people for the fun of it before taking a bunch of hostages. He used them to try and make us hand over Adiira and Thael for betraying their government but we managed to clutch things out and put him in the dirt. Also he could stop time. Was basically Dio.

Djylana

Korhan’s partner in crime. A bloodthirsty animal he used to carry out much of his dirty work. After she was killed, while Korhan was lying on the ground just before Thael unloaded two magazines into him to finish him off, he said that she was his finest work, that we would never be able to truly stop her, that she would not rest until every single one of us was murdered. He had installed something called Echotech into her, allowing her soul to stay attached to her body after its death. She got up and started freaking out because her only “friend” had been killed, ready to kill us all, when MVP Fayaiy came in with the hug and helped us manage to convince her that Korhan was a piece of shit and we could be actual friends to her. She came around, like an abused guard dog finding a compassionate master, and now lives in the base as a decaying zombie. We convinced the commander to let her in despite her crimes and to also eventually make a robot body for her. She was unsure if she wanted to let us do that until someone brought up the fact that it would be the biggest middle finger we could possibly give to Korhan, at which point she vehemently agreed. I hope his piss stain of a soul somehow knows that his ace in the hole was defeated by the power of friendship.

IO

Satan.

There are other characters that I may or may not include in the future, but those are the most prominent ones.

[ask-shakespearehigh]

Q&A post with the Mods!!!!

This is going to be a long one oh boy

How strict is the delineation of creative control vis-a-vis characters/plays between the mods? (@pedanticlecturer)

We generally have the plays split up along lines of “what we know”— we have a list at the very beginning of the blog. Sometimes we’ll draw the others’ characters (mostly me drawing some of Star’s…) but even then the final say on characterization is up to the “main” mod for that play — mod aster

what aster said -- mod star

What is your favorite play? What is your favorite character in terms of how they were written in the source material? (@pedanticlecturer)

I think my favorite play overall is Macbeth, just because I like the vibes (and the fact that I too could kill Macbeth), the fact that you don’t say it’s name in theatres, and the fact that it’s a play I did a full read through and analysis of in class. Favorite character? Puck from Midsummer. — mod aster

uhhhh,, hmm. ive always had a soft spot for midsummer since i saw it with aster esp bc of how fun the costumes were. of the comedies it has the largest potential to be the most visually pleasing bc of the concept of fairies,,,and im gay and dramatic so i love that. id die if i got to costume design for midsummer,,,or be in it,,,yeah. fav character. hmm. probably mercutio?? i recently saw a version of romeo and juliet where mercutio was played by a woman and oh my god it was amazing!!! not to mention mercutio’s portrayal in baz luhrmann's INCREDIBLE version of r n j!!! (I based my mercutio design on him) he just spends the entire time making dick jokes. love that. -- mod star

How do you answer asks so fast? I mean it's great but I'm impressed 😂 (Anon)

Personally, it’s a mix of: notifications on, quick drawing speed, and using the blog to avoid my class work — mod aster

aster is fast and (as you can see from all of my answers) im lazey -- mod star

Are there any elements/characters of the plays you're covering that you would have liked to work into this blog's plot, but couldn't due to the constraints of the setting or the synthetic nature of the blog? (@pedanticlecturer)

I wanted to make everyone gay but unfortunately due to plot constraints we have to have some hets but that wont stop me from making it lgbt as possible. -- mod star

I did want to make The Tempest more of a central play, but it just didn’t translate well. Similarly, other supernatural elements like the witches in Macbeth. This isn’t so much a constraint mentioned, but my own time/energy means that I want to show the Macbeth backstory, in a specific format, but I can’t right now— mod aster

Is there a hierarchy of import when it comes to each play's individualized impact on shakespeare high's general arc? If so, what plays are crucial to the foundation of the story? Which ones did you do mostly for shits and giggles? (@pedanticlecturer)

This is phrased like an ACT question and i might not answer it right so sorry in advance but: mod aster and i only selected a few plays for each of us to do given we dont know all of shakespeare’s works, but we tend to put more emphasis on the the more well known. But it also comes down to 1. How much we have plotted out for each play and 2. What the followers ask about most. Our two most popular are hamlet and macbeth bc people are familiar w those but around march caesar always becomes relevant again. I didnt even have designs for some of the characters until someone asked about them. -- mod star

I would say the same as star— it generally comes down to what people ask about. I will say that the overall plot is sort of separated into “has happened” and “is happening”. Like, the human potion of Midsummer, Julius Caesar, and Macbeth are all in the “aftermath” portion, while Twelfth Night, Hamlet, and Romeo and Juliet, among others, are happening. We’re trying to incorporate as much as we can, and I don’t think any of them were really put in without some thought.— mod aster

What personal significance does shakespeare hold in ur guys' lives? (@pedanticlecturer)

I go to a theater school rn and so ive dealt w shakespeare (although not all of them) it also helps that i was in loves labours lost last year as moth and that i read hamlet and r n j. Theres also a theater in my state that always does One Big Shakespeare per season and they always do them super well!!! My love for shakespeare probably started w seeing midsummer at that theater w mod aster!!! So. Theater kid rights!! -- mod star

To be honest, I got back into Shakespeare Because of the blog. I’ve been friends with some people that got really Pretentious about Shakespeare, and it kinda put me off of it. I did have a book of abridged plays (the plays’ plots written out in prose, basically) that I read as a kid, which is what got me into not only the plots of a lot of the plays, but also the idea of having them illustrated. And, same as star, the theater in state does the One Big Shakespeare— and they tend to do some really cool things with the costumes, setting them in diff time periods. I haven’t been able to see any lately since I’ve moved, but they still slap. — mod aster

🥰😘💙🥰🥰💜💟🥰I 😍💗💚😍😍LOVE🖤🖤 YALL ♥️♥️🧡💛💚💝❣️💕💘💖💗💓💞💝❤️💛💜 okay now i have a question i swear— how long have the two of you been doing art??? and what were your first shakespeare plays??? (@hellaghosts)

Uhh i started drawing when i was like idk 12 and i have the giant boxes of sketchbooks to prove it!!! I moved to digital art at abt 14-15 but mostly stayed traditional until this yr when i got a Neat New Tablet so some of my sketchbooks are sitting abandoned rip. My first shakespeare was either romeo and juliet or midsummer nights dream and i love both of them v much!!! I have a very old piece of art that i did for r n j for my freshman class assignment on it and it hasnt aged well alsdjfjafd circa 2016 i think??? -- mod star

Oh man. I started drawing when I was about 10, but it was Bad. I don’t think I got much into drawing again until I was about 14? Sometime around the end of middle school/beginning of high school. I would say I started getting into drawing as more than doodling/coloring edits sometime around 2015-16? I would draw on my iPad with my finger, then I got a tablet for my computer, and now I pretty much stick to my iPad with an Apple Pencil. My first Shakespeare play was….. uh…… probably Midsummer???? I have No idea. We would go to plays when I was little, so I honestly don’t remember if I saw others before. It may have been Romeo and Juliet— I had that book where it was the original and the “modernized” with the little dog that explained things— which, if you know it makes sense, but if you don’t is probably a bonkers answer. — mod aster

Do you think this blog has like? An overarching thesis (be it b/c intentionally or simply b/c ur own take on the world has bled thru to the point where u believe it’s central to the piece at this point)? (@pedanticlecturer)

Not gonna lie, I had to read that like three times AND dm you to figure out what you were asking from us and all I have is “be gay, respect women, write your own happy endings”. — mod aster

This blog started with an ides of march shitpost and you think we have enough brain energy to write a whole thesis? I projected feelings of found family onto my half of the blog but idk if that counts. Be gay do crime 420 69 -- mod star

What’s the nature/rough dynamic of ur relationship? How do y’all know each other? (@pedanticlecturer)

Met mod aster when i was like 4 and even tho we didnt live close we became like, best friends although the Best part didnt start until we were like 13-ish and eventually we talked like non stop (about anime and homestuck. Yknow. 13 year old kid things) and we didnt see each other a lot bc of Distance and now its even worse bc aster is in colleg.,e but we consider each other siblings regardless of family bc we’re adopted into our own respective families so that bled over into our friendship and it would feel weird calling him anything other than my brother now. We’ve seen each other at our best and worst and if you really want a good insight on what we’re like as siblings watch griffin and justin mcelroy’s overview video of catlateral damage wherein i am griffin and he is the long suffering justin. -- mod star

Star is basically my long distance sibling and functionally the only cousin I recognize bc like their parents are basically an aunt and uncle and like our dads look enough alike that we’ve both accidentally gotten the wrong dad for a hug or similar so like. Anyways yeah Star is the Griffin to my Justin, complete with our absent middle brother who we love dearly— mod aster

Dubiously relevant q but what kind of music do y’all listen to when u do art (if that is indeed a habit either of u partake in) (@pedanticlecturer)

It can depend on the piece? I was working on some (unrelated) oc prints that were song-focused, and for those I just listened to said song on loop. Sometimes I have playlists. Sometimes I’ll just be in a Mood and throw a song on loop. But a lot of time for the blog, I’ll listen to The Adventure Zone for the billionth time, because I have Too Much Attention. I’ve also, on request from Star, linked the most recent “loop song”.— mod aster

I tend to obsess over the same like 3 songs every few weeks so those get listened to on repeat but it also depends on the tone of what im drawing or who im drawing i might genre switch bc of that. If im drawing ophelia i stick to lana del rey and if im drawing hamlet its the neighborhood, horatio is sufjan stevens etc. i have categorized,. Most of the characters i draw into different songs/genres/energies of music but not like i ever follow that. Sometimes i just pull up a really long nonsense video and forget to draw. Essentially: ¯\_(ツ)_/¯ -- mod star

How’d y’all come up with ur pseudonyms? (@pedanticlecturer)

I love space so much and my main blog is starryeydsailor space gay rights!! Im also tiny and full of energy and bright so basically i;m star -- mod star

Uhhhh i was like “hey i want to do uhhhhhh flower?” And then I google searched flower names until I found one I liked —- mod aster

How did you end up deciding the rough timeline of events in canon? (@pedanticlecturer)

It’s mostly determined by like. How we choose per story? If that makes sense. Like, we just take story by story, and decide “is it happening, has it happened, and when?” And then we fit them together in relation to each other just by dint of. All existing at once. Like, I knew I wanted Macbeth to be in aftermath, because like, even though there’s no murder, the way I’ve translated it to the AU is still kinda heavy, and it’s something that I don’t know that I could do properly if it were happening right now. Also, it’s more interesting IMO to have them at different times. Tl;dr we wing it per story and slot them together— mod aster (mod star agrees I just can word better, in theory)

If you could tell the story of shakespeare high in a different format than an ask blog, would you? Obviously y'all are making very good use of the format, but would you want to write this as a animated series or like? a comic book? or is the form inseparable from the story? (@pedanticlecturer)

I kinda wanted to do a webcomic or maybe to plot develop through like, animatics but the element of surprise comes from the asks we get and really makes us think so the blog is a good start. We didnt think we’d get this far -- mod star

Pretty much what Star said— there are certain elements where it’d be neat to do as a comic or as an animatic. Like, the fantasy dream is like, an anthology webcomic of each story, where you can like, see other characters in the background and stuff. But to be honest, we develop a lot by what we’re asked— there was a post about developing worldbuilding by being asked questions and then pretending you’ve thought about the answer, and it’s not far off. Personally, it’s hard to just lay out a story, because I have a whole WORLD and what’s relevant? What are people interested in? It’s by getting questions that I can then focus in on an area to develop. And yeah, we Super didn’t think we’d get this far lmao — mod aster

Any headcanons about your characters that you don't think will ever come up on the blog through asks or plot posts? (@pedanticlecturer)

I could make a whole separate post for this!!!!! Mostly its voice headcanons (and by mostly i mean like 1 or 2) or relationship hcs!!!! -- mod star

Honestly same. I don’t think I have voice headcanons for mine, though I bet I could find some. I’ve got a bunch of miscellaneous headcanons that just kinda float around, but like they’re scattered, too numerous for this post, and also not always things I’m sure are canon yet.— mod aster

[kylydian]

Breath of the Wild Music Analysis: Folk Music and Kass’s Theme

Breaking into one of the deepest tracks (Characters?) in the game! There’s quite a bit of historical context to unpack here, so let’s get to it.

Track 13: Kass’s Theme

Genre: Folk, Waltz    

Featured Instruments: Accordion

Compositional Techniques: Historical Context

Truthfully, this track isn’t too complicated composition wise, so rather than covering the composition in depth, let’s delve a bit into ethnomusicology and how it’s implemented into Kass’s theme, and by extension the role of Kass himself. The applications are pretty neat and are very easy to gloss over. In identifying exactly what this track does let’s first set a preface, because this is an info rich post.

An accordion being performed is significant, the fact that Kass is a traveling musician is important, and lyrics play a role in understanding how Kass’s music works. All of these actually interact behind the scenes to create something awesome! So, let’s start by briefly talking about the style of music, because that’s what I’ve been doing. Best to knock it out now.

This track is a Viennese Waltz, or for all intents and purposes a waltz. If you’re even somewhat familiar with basic musical forms or dance, you’ll likely know what a waltz is. Waltzes are marked by a 3 beat pattern, often played at a tempo fast enough to make you feel only one beat at a time. The fact that we can trace this form of music historically to Austria’s capital Vienna will play a little bit of a role later on, but just keep that in the back of your mind for now. You’ll likely recollect that you can hear similar sounding accordion music in a lot of other media, and when you do, it’s often to accompany the performer singing. These vocals are generally easy to understand and will either explain part of a story, or describe a scene that’s going on. Vocals and accordion go pretty hand in hand in many types of music. Again, save that for later!

The melody is very memorable, and obviously is associated with Kass, which keeps us in the realm of more traditional Zelda music. But it’s important to realize that the waltz itself isn’t necessarily overly significant in this case. Waltzes exist in all forms of instrumentation. In fact, if you remember, I explained how the music in the large guardian battles is actually a waltz. Because of this, let’s look to how we could actually tie in the accordion to aspects in Breath of the Wild other than the music itself.

Accordion is often associated with a very wide, sweeping genre of music called folk music. Folk music in many ways might be the widest genre of music possible, as it simply refers to “traditional” music in the confines of western music history. By this association, every nationality has traditional folk music. Because of this, folk music can sometimes be associated with “World Music.” This is not an absolute generalization however, as world music definitely does exist outside of the realm of folk. The easiest way to think of traditional folk music, is as a type of music that is usually transmitted orally, across generations, and performed over long periods of time. Naturally because of this, having a good recognizable melody is everything.

However, transmitted orally is one of the most important things to understand in relation to traditional folk music. In general, the idea behind folk music is it’s a music representative of a traditional culture, music of the past if you would. It’s music that had no way to be recorded other than to be passed down with the intention of future generations remembering it. These are often songs associated with religion, custom, holidays or spirituality, but they’re all passed down by the idea of tradition. The interesting thing about where traditional folk music occurs today is in towns or areas that might be…let’s call it “Old fashioned.” Small, isolated villages are prime targets to find traditional folk music. The thing about Breath of the Wild though, is every village is pretty isolated and each one has a very strong visual and cultural representation in someway or another. Without the influence of many outside sources, this would make each village prime material for cultural folk music. And remember, the accordion is our symbol that relates to folk music itself. Which brings us to its performer Kass.

Kass is a Rito and a traveling minstrel, or musician. His purpose in the game is to learn the songs of the various lands in Hyrule, the songs that have been passed down over generations. Believe it or not, this is actually very similar to a profession called ethnomusicology. Ethnomusicologists generally study the traditional music of cultures or people, doing things like residencies, interviews, or recordings of performances. They’re people who are trying to retain a musical past, one that’s often only translated in person. They hold onto the music we don’t know about, so that one day we can hear it too. It’s often a behind the scenes job, and one that can go easily forgotten.

The neat thing is, because Kass travels to different lands, tribes, and locations to learn about their music, documenting them for future generations, he’s a sort of in game ethnomusicologist.

Kass’s songs tell stories, or provide riddles that help you solve puzzles, but the important thing is that they’re direct lore for Breath of the Wild because they contain lyrics, even if they’re only through text. If we think back to when I talked about Nier: Automata, I said lyrics allow us to provide literary meaning to music, something that you’ll often hear in folk music.

In addition to this, Kass plays a ton of music over the course of the game. You can hear a bunch of different versions of both new and familiar Zelda music. Which…since Nintendo says that Breath of the Wild takes place at the “end” of the Zelda timeline (Don’t get me started on this), it’s very evident that the music in question would also have been passed down through the ages similar to folk music. And for the songs that relate to the regions, those would be direct representations of the tribes’ folk music, passed down over time.

Because of the way he presents the music, both past, old and present. You could stretch it and say all of his renditions of music could be considered folk music. So naturally, let’s stretch this to the breaking point.

One of the songs that can be heard is the main Breath of the Wild theme. This is significant in a way, and although it can be chalked up to the fact that “it’s a different arrangement of the main theme end of story,” this places the song in the game’s world itself. You could then infer that the theme of the wild is actually music that has the potential to be passed down in game as well. It has a strong, memorable melody, and has important association for the game. It’s a direct representation of the soundtrack by our traveling Rito musicologist.

Again, more than likely this wasn’t intended, it most likely was simply “Man wouldn’t it be cool to have him play the main theme as well?” That doesn’t make it any less important though. The best ideas to find are the ones that might not be there.

However, something that does hold great significance is the ending to Kass’s storyline. If you complete all of his challenges, you can find him completing his wish in performing in front of his siblings in Rito village. He starts by playing his theme (with a few variations on articulation,) and eventually goes through some changes before he ends up on the familiar main theme for The Legend of Zelda

Historical contexts are important, and despite what Nintendo says about any timeline,  music has always held kind of a historical Easter egg worth of information if you will. And honestly, this is the biggest, brightest egg of them all. We’ve known the main theme for the Legend of Zelda from the very beginning of the series, and it’s made an appearance at some point throughout all of the games. It’s a very important theme, but as you’ll notice it only plays at a few places in the soundtrack. Sometimes for seemingly no reason (Riding the horse,) and others for important locations (Hyrule Castle.)

Throughout our personal histories with the Zelda series, we’ve come to associate this track as one that transcends the games, the timelines etc. We’ve likely made assumptions (even if subconscious) that the theme is present in the world of Hyrule itself, even if it doesn’t always appear that way. But with Kass performing it, you could infer that this is now transmitted music of Hyrule, much like the music of the tribes, legends and history of the now broken Hyrule.    

That’s cool.

This has been an overly long exposition, so let’s get into some quick meat of how we can apply this information to our own work.

Essentially what’s being done with Kass is creating lore through music. The songs Kass performs, whether shrine, divine beast, champion, city or whatever related, in someway or another build lore. If we think about the way the story is structured this makes complete sense. If you like, you can actually skip all of the story other than “The kingdom is broken Link. You must stop Ganon.” Or you can take the time to experience as much about about the world and the story as you choose to. Kass’s music is also a direct reflection of this. His purpose is to transmit the music to those that listen, allowing Link, you the player to learn more about the lore of the world. This is a unique way to not only provide more story, but also music that is relevant to the in-game world. Making the music itself a part of the lore.

So why not find ways to incorporate music into lore in our own projects? Admittedly, this isn’t easy, nor should it always be done. There are many ways that it could distract from player experience depending on the project, but if able to be accomplished it can provide a new way for music to be heard, experienced, and appreciated, even if not explicitly noticed. Breath of the Wild does it through a traveling character that develops overtime, but why not find other ways?

Truthfully, Zelda music has always done very well in incorporating music into lore. Playing music in Ocarina of Time and Majora’s Mask are the two most obvious ones, but you can find instances in Wind Waker, Twlight Princess, and the often forgotten Ballad of the Wind Fish in Link’s Awakening.

In these cases, playable music, music association, and direct story implications are three ways to accomplish this. But honestly the possibilities on how to include music into lore are endless. After all, what is music other than retelling a story?

Let’s break it down.

Summary: Kass’s theme is representative of his character who present a unique take on the idea of traditional folk music in the land of Hyrule. Our clues include his instrument of choice, his status as a traveling musician, and that he collects songs to pass on to future generations. This act of passing on songs is a direct representation of lore, as it interacts with gameplay, and can add key story segments to the overall plot. Kass’s theme itself is reflective musically of traditional folk music.

Takeaways for Developers: Consider possible ways that you can build lore through music. There are many ways to do this, and many ways to do this incorrectly. Think about ways that you could place music inside the game’s world itself, and how the music could be representative of your setting, characters or ideas.

Takeaways for Composers: Using influences of folk music is a powerful way to build lore through music. Find ways that music might be able to be directly representative of a group of people, kingdoms, or countries when applicable. Remember the connotations that are carried with folk music. To effectively translate lore through music, it might be easiest to include lyrics, even if only in text.

I’ll come out and say that this has been one of my favorite tracks to listen, research and write on. To be honest, I could unpack even more here if I really wanted to. But I don’t want to make this more of a novel than it already is. Please feel free to reach out with any questions to my DMs, or at Kyle@KyldianMusic.com. I’d love to chat with you!

I’ll be back soon with the next entry in this series~

[unfried-mouth-wheat]

Okay so more Thoughts because creative and smart people have added on

Pomegranates can be connected to these characters and events if I’m remembering correctly.

Mercedes and Melchior: Old prologue and Asra’s Route

Portia: New prologue

Lucio: His connection you Mercedes and Melchior and the ritual

Asra: Sabotaging the ritual

Pomegranates can symbolize purity, power, death, and blood. The most famous use of pomegranates is in, unsurprisingly, The Abduction of Persephone. Now is where I start to ramble so :/

The Abduction of Persephone details how Zeus came up with a plan to get Hades a wife by stealing away the daughter of Demeter and bringing her to the Underworld.

But it can also be read as Hades taking Persephone to the Underworld to be his bride, in which she becomes the Queen of the Underworld, a powerful and feared figure in mythology. In both readings of the story Persephone is taken unwillingly, eats the six seeds binding her to the Underworld for six months, and is able to return to the world with her mother as the Goddess of Spring.

These three last points don’t line up with any of the characters or events in The Arcana but I think an over arching theme is similar.

The loss of Innocence.

Okay so basically a semi almost sorta theme that The Arcana has is a loss of innocence as essentially all of the LI’s grew up before they should have.

This is most easily seen in Asra and Muriel as they were orphaned and homeless which meant they had to look out for themselves way earlier than they should’ve.

It’s also seen in Portia and Julian but a little better considering I’m pretty sure they were taken care of after the crash but that’s a little fuzzy in my memory.

In regards to Nadia it was almost self inflicted as she felt she needed to be more mature to be respected by her siblings.

And then with Lucio it was the harsh expectations placed upon him to be able to fend for himself at a young age.

Purity could be attributed to The Fool arcana as The Fool represents seeing the world with a childish wonder, everything new and fresh.

Power can be seen in the way that multiple time’s throughout the game there are deals made to gain some sort of power, whether a specific ability or just overall power in general.

Death wouldn’t be attributable to the Death arcana as that is about change, but can be liked to the Red Plague and Vesuvia’s long standing history of destruction and regrowth as seen in Portia’s Route.

Blood can be given to the Red Plague once more and the ritual, as the Plague seems to target blood vessels and blood was required for the ritual to work.

Almost all of these are linked to Lucio in some way or another, and maybe that’s just because the man refuses to stop haunting my every thought, but I definitely think it’s pretty neat that these ideas can be traced back to the main antagonist of the game! And yes, Lucio is the main antagonist, The Devil is the main villain, and yes there is a difference.

Another thing to note that brings it all back to Lucio is the fact that Mercedes and Melchior have the most connections to pomegranates in the sense that they were the catalyst for the pomegranates physical appearance in game, and most everything they what they think will be to Lucio’s benefit.

Following the train of thought that pomegranates are so prevalent is that Vesuvia is in a very Mediterranean climate also makes their connection to Lucio that much more interesting as Lucio comes from a very distinctly not warm environment. All the points that could be attributed to Lucio could also be attributed to Vesuvia itself.

This doesn’t really have a closer as I was just going off on multiple tangents but I do find it very interesting that all these themes and ideas are so loosely integrated into the story.

Love how The Arcana just has pomegranates thrown in for like no apparent reason because I can not think of any real reason, symbolic or literal, for them to show up so consistently like literally what? Why are they here? What is it about pomegranates? Huh? It makes no sense and I love it so much

[keegames]

Kirby Super Star Is A Perfect Game

What is a perfect video game? It’s a video game that is designed to be everything it needs to be and nothing it doesn’t. Control, mechanics, area design, graphics, and sound all come together to form a cohesive experience that inspires the exact feelings the developer is searching for. Nothing feels unnecessary, or like a waste of time. The pacing is expertly tuned to make sure you’re always enjoying it but never overwhelmed. These are some of the aspects that go into a perfect video game.

Kirby Super Star, released for the Super Nintendo Entertainment System in 1996, is a perfect video game.

Let’s back up a little. Kirby Super Star is a 2D side-scrolling action game (I hesitate to call it a “platformer” because any actual platforming is pretty trivialized by Kirby’s ability to fly indefinitely, and combat is a major focus) where Kirby utilizes their unique ability to eat enemies and copy their abilities to systematically pound the snot out of various other enemies and bosses. This formula was first spawned with Kirby’s Adventure on the NES (while Kirby’s first game was Kirby’s Dream Land for Game Boy, Adventure defined the “Copy” ability that is utilized in nearly all future Kirby games), but Super Star goes above and beyond in order to make a truly wonderful game. Let’s explore why this game is perfect, shall we?

Reason 1: Kirby

To start our exploration of why this game is perfect, we must start at the game’s biggest constant: Kirby themselves. Kirby, a genderless orb who loves to have a good time, is simply wonderful to control. Kirby is neither too slow nor two fast; they walk along at a leisurely pace, but dash with a bit more urgency if you double-tap left or right. Kirby, like just about every side-scroller character not named Spencer, can jump, of course. Unique to Kirby, though, is that Kirby can puff up and fill with air with another tap of the jump button, and then press jump repeatedly to fly. Kirby can fly for as long as they want, meaning that navigating pits and hazards is generally no obstacle. Pressing the attack button while flying causes Kirby to spit out air and fall towards the ground. The act of spitting out air also fires a small projectile that does a bit of damage to non-boss enemies. Kirby can also guard against enemy attacks, but many attacks will still do slight bits of damage to a guarding Kirby, and a few attacks cannot be guarded against at all.

Kirby’s basic attack is sucking in enemies like a vacuum. Most normal enemies can be sucked up; a few specific normal enemies cannot, nor can any mid-boss or boss. Once Kirby is comically large thanks to holding an enemy in their mouth, they can either spit the enemy out as a projectile or swallow them to destroy them. While some enemies have no effect when swallowed, others give Kirby a special power, which is where the game’s real depth comes into play.

Reason 2: Copy

Copy abilities are the heart of Kirby Super Star. When Kirby has a copy ability, their inhale ability is replaced by a set of attacks unique to that ability. While in previous games each ability had a single attack, Kirby Super Star decided to dramatically expand every ability. Abilities now contain multiple attacks depending on whether you press the attack button, hold it, press it multiple times, press it while pressing a direction, while jumping, while dashing, while dashing and jumping, while close to an enemy… Kirby’s moves rival fighting games in variety. Not only does Kirby have a ton of moves, most of them are useful, fun, and satisfying to use. From the sound effects of attacks and hits to the beautiful, flashy attack effects, to the fun of performing combos on enemies and tearing down bosses, Kirby Super Star is just a fun game to fight in. Oh, and copying has one more neat use…

Reason 3: Co-op

At any time, Kirby can give away their power in order to generate a partner that can be controlled either by the AI or a second player. This partner is generally based on one of the enemies that Kirby can get the power from, and they almost always share moves with the ability they were made from. They have their own health bar, but if they die no lives are lost and they can be created again freely, making them a good take on “little sibling co-op.” If the partner picks up a healing item, they can share it with Kirby by touching them, and vice-versa. Going through Kirby Super Star’s episodes with a friend is a wonderful experience.

Reason 4: Episodes

Kirby Super Star is made up of seven main episodes. Four of these are unlocked when you first start the game, the fifth is unlocked after beating a specific starting one, the sixth is unlocked after beating the previous five, and the seventh is unlocked after beating the sixth. The episodes are not just sets of levels, however; they each have their own core design principle that makes them feel unique. The episodes are as follows:

-Spring Breeze is a short and easy episode designed to introduce the player to Kirby’s abilities. Fun fact: it’s also a remake of Kirby’s Dream Land!

-Dynablade is a slightly bigger follow-up to Spring Breeze, with more levels, more powers, tougher challenges, and a few secrets to find.

-Gourmet Race is a quick race against King Dedede where you are scored on the amount of food you collect on the way, with bonuses awarded for finishing a segment first.

-The Great Cave Offensive takes place in a single, giant, interconnected area and asks Kirby to explore it and find treasure in a more nonlinear fashion than most of the game.

-Meta Knight’s Revenge is a fast-paced, intense episode where the levels have time limits and the enemies are strong and fierce. It also features dialogue from the villains and small cutscenes, giving it a lot of personality.

-Milky Way Wishes is the final “normal” episode, and features a bunch of levels you can do in any order, as well as harder versions of bosses from previous episodes. Its most notable aspect, however, is that Kirby’s normal Copy ability doesn’t function; instead, you find special items that grant you each power permanently, which you can then select from the pause menu at any time.

-The Arena is a special episode where you are tasked with fighting all of the game’s bosses in a row without losing a life, with only limited healing items available between fights. It’s the game’s toughest challenge.

The episodic format keeps Kirby Super Star feeling fresh. The pacing is wonderful, and you can take breaks from longer episodes like The Great Cave Offensive if you find yourself getting tired.

Reason 5: Bosses

Kirby Super Star’s bosses are big, flashy, varied, and above all, fun to fight. They all have a variety of attacks and patterns that are always fun, always fair, and regularly a pretty solid challenge. No wonder there’s an episode that’s solely dedicated to fighting all of them!

Reason 6: Music

Kirby Super Star’s soundtrack is amazing. It’s upbeat, bombastic, and catchy as all hell. Plus, unlike a lot of Super Nintendo games, it features really punchy bass and strong percussion, making it really stand out in your ears. There’s a nice variety, too, from the upbeat and happy tunes of Spring Breeze and Dynablade’s levels to the big, adventurous compositions of The Great Cave Offensive to the intense, menacing sounds of Revenge of Meta Knight. Heck, I could probably write an entire article on how brilliant all of Revenge of Meta Knight’s music is in terms of setting mood.

Reason 6: Yo-Yo Kirby

It’s Kirby with a yo-yo!!! And they can breakdance!!!

Reason 7: That Boss Fight Against The Thing Where It’s Set Up Like An RPG With A Status Window

It’s So Cool Guys

Reason 8: aaaaaaaaaaAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

I LOVE THIS GAME

*ahem*

Kirby Super Star has no flaws and is an extremely fun experience all the way through, no matter how many times I play it. I think that it’s one of the few examples of a perfect video game, and that it’s the best game on the SNES. (I apologize to Super Metroid fans, Link to the Past fans, Mega Man X fans, Super Castlevania IV fans, and fans of all of Squaresoft’s RPGs of the time.)

(No I don’t.)