#because there was a role that needed to be played for a character's story and the role had to be an oc

[thedreadvampy]

The (133k 💀) notes on this post are FULL of people referencing 1984. Like I would guess about every third reblog with tags/comments mentions 1984.

And I'm not saying 1984 doesn't have relevance but I'm actually genuinely interested that in like 60k reblogs, I'm not sure anyone's made the literary comparison I would make, which is Farenheit 451.

See, cause 1984 is about state suppression of information. But Farenheit 451 is about the idea that, as the state of the world gets more distressing, people become increasingly hostile to the idea of discomfort, and refuse to acknowledge or speak about things that affect them. The first event of the story is the main character's wife attempting suicide, but when he tries to talk to her about what's wrong, she reacts as if the only problem is that he's talking about something negative.

So I kinda wonder why so many reblogs agree that 1984 is the reference point for this

maybe some of it is the role 1984 plays in the cultural canon and some of it is that, while it's a good book, a non-zero amount of F451 is also based on 'political correctness gone mad! shakespeare is cancelled because of Woke!'

but also

I think it speaks to the difference between what I was thinking of when I made this post (that people tend to a) confuse discomfort with harm and b) treat the word for a subject as the source of discomfort about the subject) to how the majority of people seem to read the post (social media censorship is stealing our language)

cause 1984 is about imposed censorship. and the majority of discussions mentioning 1984 on this post are referencing social media companies and occasionally governments legislating against certain language or topics. language is Taken From You by others, with the deliberate purpose of silencing dissent.

but Farenheit 451, while it includes very similar types of state suppression and manufactured consent, doesn't really frame the problem as originating from a dictatorial state but from our own communities' fear, looking for a target and for ways to feel comfortably innocent. That's not necessarily a more complete read than the 1984 one but it's closer to what I was originally thinking of.

Not talking about rape doesn't protect people from the effects of rape, just like not taking about depression or war or pain doesn't stop the characters in F451 trying to kill themselves to the degree there's a special emergency service devoted to undoing suicides. But people react as if it does.

And there's a whole lot I could also get into about how I think both this problem and the literary comparison connects to things like cosy fandom culture, and the proliferation of blockbuster franchises, and the fact that people are more up in arms about ship wars than actual genocide, and the Sex Scenes In Media discourse, and the discomfort around public expressions of 'deviant' sexualities or gender, and how we discuss discomfort as if it was harm, but those are different posts and this post is about language.

and 1984 is a perfectly apt (or doubleplus good) comparison, I just think it has the potential for fully externalising something which we need to also take some direct community responsibility for. It isn't just about what you're Allowed to say or what people say to you, it's about what role discomfort plays in our own minds and whether we feel it's an inherent evil to be uncomfortable.

you gotta be able to say "die"

you gotta be able to say "suicide"

you gotta be able to talk about "sex"

they're uncomfortable topics, YEAH for SURE

because LIFE is uncomfortable. Death and suicide and sex and pain are straight up going to happen. not having words for the way it discomforts you doesn't make it more comfortable, it just makes you less able to reach out about it.

even more vital, you gotta be able to say words like "rape", "abuse", "queer" or "racist". cause we fought fucking hard to name those experiences. to identify "rape" as distinct from "sex" and "racism" as distinct from "acceptable behaviour" and "queer" as distinct from "invert"

like the function of communication is not to minimise immediate discomfort. we gotta be able to talk about stuff that's hard or sucks or causes difficult conversations.

[felassan]

David Gaider on Zevran, under a cut for length:

"I was going to skip over Zevran, honestly, as I felt like I didn't have a lot to tell in the way of stories about him... but I know he still has some (ardent) fans. Plus, on reflection, I thought maybe I DO have a few things to say. 😅 Sooo we'll see how this goes. Zevran came along much later in the DAO process, as we were trying to round out the cast of party members. Alistair and Morrigan were well underway (as "main" characters, they were concepted very early) and I'd just started to consider who our Rogue followers might be when... things changed, a bit. See, BioWare had released a game not long beforehand called Jade Empire. It had included some same-sex options in its romances - not obscured like the way Juhani's "romance" had been hinted at in KotOR, but explicit. To this day, I have no idea who on the Jade Empire team was behind it, or why. More to the point, the same-sex options had received a lot of attention and praise - almost universal praise, in fact. In 2005, everyone was just pleasantly surprised. And I don't recall if I went to James and asked about it or if he came to me to suggest DAO should include it. The latter, I think."

"You might ask "Aren't you gay, Dave? Weren't you already pushing for this?" And the answer to that is, emphatically, "no, not at all". It might seem odd looking through the lens of 2024, but there was no talk of 'representation' or 'diversity'. Not at any level where we were aware of it, anyhow. Today, fans argue about how MUCH representation to include and whether it's done well enough... the idea that, less than twenty years ago, it being included *at all* was very much in doubt feels so far away. But, back then, I'd always assumed my private life and my work in games would never meet. So I think it was James who brought it up, because I remember being startled. Pleasantly so, of course. Now I had to look at our two rogues and figure out how this would apply. I sketched out the female of the two (who was taken on by Sheryl Chee) and then looked at the male - he who became Zevran. I'd been reading about the CIA and one thing that stuck with me was how they'd (allegedly) recruit gay men as assassins because they rarely had familial ties. Zevran wasn't going to be gay (bisexuality wasn't a question of representation, but a cost-benefit compromise) but that was the inspiration."

"Then there was the question of how "flamboyantly" I was writing this character, whether that might be too stereotypical? I don't remember how it arose, but I had too many "flamboyant" friends to do anything other than double down. This character was gonna be Zorro the goddamn Gay Blade, that's what. So that's how Zevran happened. Fun, a bit nihilistic, maybe a bit too overtly flirty for today's audience but very confidently *sexual*. Everything I'm not, so I'll admit it was an interesting exploration to dig down and find that voice somewhere inside. He was the anti-Alistair, and I needed that. Casting him was difficult. Caroline always tried to go for authentic accents, when we could, but for some reason this was getting us nowhere. I think back, and I suspect it's because I hadn't yet learned the lesson to not use terms in casting descriptions I thought were universal... but were not. What do I mean by that? Well, there was one write-up that said "drow elf". Now, I know what a drow elf is. It wasn't even important to the description, but the director saw the word "elf", and you know what we got back? A Keebler elf. Like a leprachaun, high and sweet and cutsie. Can you imagine?"

"In this case, I think it was the use of the word "assassin". Combine that with the sorts of roles many Hispanic actors in LA probably are asked to play, and all the auditions we were getting were 150% dark, mean, and gritty. 🫠 So we widened the casting call a bit, and this led us to Jon Curry. I knew Jon wasn't Hispanic, but what I wasn't prepared for when I flew down to meet the DAO actors was that he's this extremely tall, extremely Nordic looking dude who just happened to do the most amazing Antonio Banderas impression. Watching THAT man channel Zevran was... more than a bit surreal. 😅 And he had fun with it. As soon as we gave him the go ahead to play the fun and flirtiness to the hilt, that's exactly what he did. Over the few days where we found Zevran's voice, it totally supplied me with something I could hold in my head when I went back to Edmonton and finished writing him. Zevran was funny enough that the fans liked him. The only part of the reception I thought odd was the occasional comment by a male player who felt "tricked" into having sex with Zevran. "You mean... that part where he invites you to his tent for a sensual massage?" "Yes! I was expecting a massage!" "He literally says the massage is sensual." "Well he wasn't clear enough!" This is where I first came to the conclusion that a certain number of our players just don't know how to people. And that maybe an adjustment to the way we approached the messaging (or massaging lol) of romance was in order. If I could go back, would I change anything? Maybe I'd remind the systems team Zevran should really be able to pick a lock. And maybe not allow him to die. We had no idea we'd need to import these choices into the future - we kinda thought DAO was "one and done". Not so much, as it turned out. 😁"

[source thread]

David Gaider: "there's something to be said about how Zevran flirted and even had sex with you because he thought that's all he had to offer... not just you, but anyone. And when he realized you wanted something deeper, suddenly he was on unsteady ground and it truly unsettled him. It was fun to explore." [source]

User: "So David - besides loving the fact that the third image you picked is a gay sex scene - what happened in DA2(DAE - come on) with Zevrans design?" David Gaider: "Check the ALT text. It wasn’t a custom sculpt, so that’s as close as they could get it. Which… was not close." [source]

User: "Just to make sure I fully understand: the director (was it the voice director?) saw the word "elf" and thought you were looking for someone high, sweet, and cutesie?" David Gaider: "Yeah, this was from back before we managed VO in-house. The voice director in this case just didn’t have an association with “elf” like some familiar with fantasy would." [source]

[literaryvein-reblogs]

Writing Notes: Compelling Characters

Characters & Goals

“Every character should want something, even if it is only a glass of water.” –Kurt Vonnegut

Characters should almost always have clear goals, even if these goals are not immediately made obvious to the reader.

Without goals, characters lack motivation—that is, they have little reason to do anything interesting.

For this reason, many writers connect the main character's goals to the main conflict in the story. This generally means that the main obstacle to those goals plays a key role in the plot as well (for instance, in the form of a villain).

Often, the main character is most interesting and when confronting his own shortcomings in pursuit of his goals.

There are a few ways to construct this character-plot connection:

CHARACTER-FIRST APPROACH

Constructs a story’s plot for a character that already exists.

It asks a writer to build a character that they find interesting and then assemble the plot around them.

Example: A character who is struggling to overcome a phobia might, as a plot element, come into contact with the thing she fears. Success in this instance would mean that she doesn’t let the fear overcome her.

PLOT-FIRST APPROACH

Starts by defining the major conflicts the writer wants to include in a piece of fiction and then builds a character who will be motivated by those conflicts.

Example: A writer could decide to explore the effect of a catastrophic storm on a city before writing a main character. A character that would feel motivated by this conflict would be one with a connection to the city or to someone living in the city. Therefore, the son of someone who went missing in the storm would likely be a good focal character for this story.

Small Goals & Big Goals

Though it’s important for characters to have at least one big goal, it can be boring for the reader if a character is totally preoccupied with a single motivation.

Strong characters generally have two or more goals of varying sizes that they might confront separately or at the same time.

The reader excitedly anticipates your character's success or failure in achieving their goals.

Believability

Another factor that can contribute to a successful character is an element called “verisimilitude,” also called “believability.”

When writers talk about believability, they talk about whether the constituent parts of a character make sense and feel cohesive.

Example: We might expect a character who gets paid minimum wage to struggle to pay her bills, so if we see her driving an expensive car or spending several hundred dollars on a meal at a fancy restaurant, we would question these details.

There are, of course, stories in which these situations could exist, but the reader would need to know what allowed them to happen (inheritance from a late relative, perhaps, or an irresponsible approach to personal debt).

Suspension of Disbelief

Stories that take place outside of a realistic modern setting will generally require some extra work on the part of the writer to make them believable.

This is because of an idea called “suspension of disbelief.”

This refers to the tendency of readers to challenge details of a story that seem out-of-place, but not to question those details if they are presented with enough contextual justification.

Example: A story contains people who can fly with human-size wings. The reader would need to learn early on that this is a normal event that occurs in the story world. A reader who unexpectedly encounters flying humans three-fourths of the way into a short story could easily be baffled by this development, and might also consider it a cheap cop-out if it's used to resolve a plot conflict.

Adding Physical Detail

In addition to planning your characters thoughtfully, you must also sketch them coherently on the page.

Careful selection of physical and environmental details will make some of your character’s traits visible to your reader without you having to tell them outright what you mean. Examples:

A character who is disorganized might have wrinkled clothing or might consistently arrive late to appointments.

An introverted character might bring a book or notebook everywhere they go and might also stay out of crowded spaces (or feel uncomfortable in those spaces).

Symbolic Meanings

Be aware of the other meanings that a detail can bring into a piece.

A physical detail, especially one that appears multiple times within a work, might also develop symbolic meanings in addition to its literal meaning.

Writing Exercise

In a short vignette, and using only physical details (e.g., characters' clothing, appearance, or body language), make it clear to a reader that a character is experiencing one of the following conditions: worry, hunger, grief, joy, confusion, lack of sleep, anxiety, homesickness.

The word you chose should not appear in your vignette, nor should any synonyms.

Adding Personality

Broadly, “personality” refers to the collection of beliefs, thought patterns, and other mental qualities that dictate a character’s actions.

A personality trait could be the character’s bubbly disposition, their self-deprecating humor, or the fact that they’re always nervous.

When constructing a character, it’s important to think about how she would react in a number of situations.

Here are some questions to help you discover your character’s personality traits:

Is he fond of attention, or does he avoid it?

Is she curious to learn more about a topic/location/person, or does she keep to herself?

How big of a role does fear play in his day-to-day activities?

How does this character react if things don’t go the way she wants them to?

Does he think that he’s more intelligent/less intelligent than others around him?

Does she think she’s average? How would she define “average?”

How does he feel about making decisions?

Does she make decisions quickly or slowly?

Does he tend to regret decisions they’ve made?

It’s helpful to connect these traits to elements from the character’s life or past.

Example: A character who grew up with a controlling parent might have difficulty making decisions once they start living on their own.

Personality traits might also overlap with physical traits.

Example: Talking too loudly or too softly or interrupting others.

It’s also important to make sure that your characters aren’t good at everything they come across.

Doing so will reduce your story’s believability because—let’s face it—no one is good at everything.

To this end, you should allow your characters to fail at something, whether that something is huge or inconsequential.

Writing Exercise

In a short vignette, deliver some news to your character.

The news can be good or bad.

It can affect just the character, or the entire world population, or any number of people in between.

How does this character react?

Who do they tell, if anyone?

How do they interact with the space they’re in (e.g. punch a wall, hug a stranger)?

Try this exercise several times with the same character but different contexts (e.g., the character receiving the news alone versus receiving it in a public place) to see how they react under different circumstances.

CAUTION: Using Fictionalized Versions of Real People

It’s common for writers to borrow details from real life—the shape of a stranger’s chin, a classmate’s clicking of their pen during a quiet exam, or the restaurant server’s shrill laugh, to give just a few examples—but a writer should be wary of recreating an entire person on the page.

There are legal reasons not to do this, of course, but there is also the danger that a story filled with too many real-life people and events will be flat and boring.

Fiction should generally be a healthy mix of the ordinary and extraordinary.

If the mix is skewed too far in one direction, the reader can find the piece too unbelievable or too boring.

Source ⚜ More: Writing Notes & References ⚜ Writing Worksheet: Conflict Lists: 170 Character Quirks ⚜ +600 Personality Traits ⚜ 100 Sensory Words

[glassladyoftheopera]

In Stars and Time But It's a Musical (Part 1)

Okay hi I need to tell you all about this concept.

First off all I just need to say credit to @openphrase123 for the amazing 'ISAT but as a ballet' posts (here and also here and there definitely more but those are some of the big ones) which definitely inspired some choices here and in general inspired me to do this.

So basically I'm a big old musical theater person (and specifically musician / singer) so I've been fleshing out concepts for a what a musical re-telling of In Stars and Time might look like. I'm honestly not going to get into like... the logistics of how you could actually do it, because even with condensing a lot of things Musicals aren't typically long enough to tell this kind of story, so we're just... ignoring that when I don't have ideas to get around it.

We will start with all of the main characters, their voice types, and their characteristic musical styles!

Mirabelle Mira is our soprano, but mostly her singing and music is very much in the style of Disney Renaissance musicals. Think Belle, Ariel, Hercules, etc. I think it fits her up beat but still sometimes anxious personality. Near the end of each King Fight she gets a cool high notes as she finally has some true confidence in herself!

Bonnie Bonnie would be played by a younger performer with an unchanged voice. This wouldn't really be a dance heavy show, but when there is dancing they would take the lead b/c that's cute. In terms of their singing though it's mostly inspired by classic kid characters from Broadway, namely Annie, The Artful Dodger, and Matilda (especially for their more emotionally intense moments). Their music isn't as difficult, and in group numbers they typically sing the melody with at least one other person.

Odile Odile is the alto of the quintet. It helps her sound more mature than Mirabelle and fits her vibe of not taking on the flashy role. Her music leans a bit more classical, almost Gilbert and Sullivan-esque in her more playful moments. Overall though it tends to be a bit more melodically challenging, but not super fast or syncopated. There would be melodic and instrumental flourishes in her music unique to her that are basically 'Ka Buan' musical elements.

Isabeau Leading man baritone! His style also fairly standard musical theater, but leans a touch more modern in it's styling to accommodate his more emotionally open vibe. He'll have the pop-inspired rhythms and chord progressions, but in group numbers he's the rock solid bass part holding everything together.

Siffrin Siffrin... does not sing almost ever for the first chunk of the show outside of group numbers. He's a tenor, and helps fill out the harmonies, but the impression the audience should get at the start is that they aren't really a soloist. As the loops go on, they gain a bit more confidence, taking bits and pieces of all of the other character's musical / singing styles as they go on. They don't get a full length solo to themselves until Mal du Pays. But the character that most influences their style is...

Loop Loop is full on Broadway Jazz, baby! Syncopated rhythms, brassy sound, fast patter lyrics, the whole shebang. Don't look behind the curtain at what all that glitter might be hiding, stardust~

The King Super bass, in the tradition of opera villains usually being basses. At first the only super stand out thing about his singing is that his range is so distinct, but in later encounters he gets both more delicate moments and moments where the true power of his voice to intimidate comes through.

(Also yes all of the Forgotten Island peeps will have a few musical elements in common to set them apart don't you even worry we'll get to it :3)

Euphrasie The Head Housemaiden has a short little mini song she does for the first bit of her speech. It's simple and catchy. Every time it transitions into her final speech as the musical motifs are distorted.

Dormont The people of Dormont sing mostly in a grand opening number ala the opening numbers for Beauty and the Beast, Fiddler on the Roof, The Music Man, etc. Little bits and pieces of the song come back in various combos and Sif loops and jumps around asking people new things. They would also double as disembodied voices for certain musical numbers that could use extra voices for full out harmony, dramatic effect, etc.

More will be coming soon, so I hope you enjoyed my ramblings.

[hyperfixationcritter]

I personally would've been fine with Caitlyn pulling a bit of a Claudia from The Dragon Prince and staying a definitive antagonist. I think her turn to fascism in act 1 this season fit her character by falling back on her privilege. I still think that was a decent writing decision but they ended up not going through with it. If they did, it would also be an interesting way to show Caitlyn ultimately still doing her own thing despite her initial opposition against rogue plans because of the death of her mom. There's a lot they could've explored with Caitlyn not just falling back on her privilege but prioritizing her family above all else.

When it comes to Jayce, I like meljayvik so I got some bias, but I could potentially be ok with him also becoming an antagonist if it was done well and because I know he and Viktor have pre-established beef in league lore.

Alternatively though, it could've been an interesting plotline to have Jayce, given his development in the first season and even his regressions in s2 act 1, end up taking a definitive stance in solidarity with Zaun, starting with sabotaging any further use of hextech by Piltover against them.

There's a lot of parallels in Arcane but I don't often bring up the parallels between Caitlyn and Jayce as privileged people in Piltover who need to figure out if they're going to look beyond the one undercity person they know/are close with (Vi and Viktor) and take a definitive stance against the Undercity's oppression for everyone's sake or not. The Medardas also play a significant role in their arcs; Mel mentoring Jayce in s1, becoming equals and romantic partners who go through interesting character development together, and Ambessa very easily enabling Caitlyn's dictator arc in s2 for her own ends.

The other layer to Caitlyn and Jayce would be the fact that, while they're both privileged, Jayce was more middle class/lower noble house vs Caitlyn's family who were his patrons and immediately dropped him the moment he was put on trial in s1 act 1.

If Jayce were written to take a solid stance on the side of Zaun and against Caitlyn, though I see it starting out as him still being a bit wishy washy by trying to solely contain the use of hextech because he just resigned as a council member and wants to do science and needs to learn that he should be playing a bigger role in this because he can't separate his scientific ambitions from the political, it would also parallel him telling the other council members, but particularly Cassandra, that he doesn't care what they think of him anymore by fully rejecting his ties to house Kiramman. It would also make for some good "essentially big brother little sister angst" between him and Caitlyn.

It would also give the story as a whole a lead character who starts out in Piltover and chooses to grow and show solidarity with the oppressed.

As for Mel, she already canonically opposes Ambessa and sacrifices a lot to put a stop to things. In this plotline I think it would be interesting to see Mel grapple with how far she's willing to go against her mother at the cost of her place in Piltover. At the end of season 1 Mel already realizes she was channeling her mother by suggesting making hextech weapons and stays true to going against that from that point forward as shown in s2 act 1 whereas Jayce is the one to make weapons for Caitlyn's team without even telling Mel. I would've liked to see a conversation between the two of them about that and for the sake of this plotline idea have them figure out what they want to do as a team.

Mel already knows she's against her mom and Jayce already resigned his spot on the council but to see them both develop into definitively supporting the undercity, not just by extension of wanting to prevent war... I think that could be interesting and also delve more into them and Viktor being the trio that started hextech and see how that relationship with all three of them develops under these circumstances in a way that stays true to themes of classism and systemic oppression in the show. There could still be room to talk about the different types of magic/disprove Heimderginer's "all magic is bad" stance if the writing for Viktor and the hexcore was done differently and the story actually played into him and Mel's parallels in general but in this context, in regards to their magic.

Also if Mel returning to Noxus is still endgame, her sacrificing her place in Piltover for a better future for the people who suffered under them (the Undercity) and to go against her mom taking advantage of the conflict would support that.

These are just my two cents tho but it felt worth it to make a post about it the more I thought about this.

[msunitedstatesjames]

Ranking Veilguard Companion Questlines:

This ranking is truly based off how much I enjoyed the questlines overall, not how much I like each character. I liked all the companions and overall liked their quests, but some really stood out to me more than others.

7. Neve

Neve was one of my favorite companions in terms of personality, and depending on the choices you make she can have a really interesting role in the endgame. However, her quests felt kind of bland and one note to me. Evil blood mages are kind of old hat in the DA games at this point, and Aelia just didn't really stand out from the crowd as a villain. There were some pretty gruesome moments in the final quest where Aelia is puppeting people, but overall I just didn't find these quests to be super memorable.

6. Harding

This one should probably be higher up the list just for its lore implications, but for some reason I just didn't feel all that engaged with her storyline. I guess I wanted a little more. Harding implies that she's struggling with her powers, but we're never really shown much of that, other than the fact that she has confusing dreams now. She talks about her anger in regards to the Titan revelation, but again, I think we needed more. She only really seems angry for brief moments here and there, which makes it a little hard to believe when her final choice is pretty much whether or not to hold onto her anger. She does talk about how she's kind of a people pleaser and likes to seem cheerful as a result, but if that's the case they still coild have done more with that.

5. Bellara

Going into this, I had to remind myself about some of the details of Bellara's storyline, because other than the situation with her brother I didn't immediately remember her plot. The problem I have with her story is that sometimes it feels like there are two separate issues at play, the Archive and her brother. They do end up being connected, but it feels kind of loose. Dealing with the feelings of betrayal and grief in regards to her brother did add an important emotional resonance to her story, so that helped rank her above some others. The choice you make in the end feels very meaningful in terms of the world, but we don't have the chance to see it play out in any meaningful way within the game. I would have liked to see a noticeable shift of some kind, at least in Veiljumper territory, based on Bellara's choice, but all we got is one moment in the finale where the game has to tell us we're seeing the results of her decision.

4. Lucanis

Lucanis's storyline had some pretty cool scenes. The Ossuary. Going into his own mind. Confronting Zara. But considering everything he has going on, at times his storyline seemed like it needed more fleshing out. This dude is a non-mage possessed by a demon. Is that ever really explained other than by the fact that Zara was just a freaky, evil experimenter? We've had so many characters in DA with absolutely nightmarish experiences with possession, and honestly everyone is just pretty cool with Lucanis and Spite just being a chill partnership, maybe because he's not a mage. I know there are comments about how people probably aren't actually cool with it, Lucanis says as much about the Crows in the end, but we don't really get to see that. It might have been interesting for there to be more tangible tension between Lucanis and those around him based on his demonic possession.

3. Taash

I really struggled with where to place Taash's questline, as some aspects felt quite weak and others felt deeply meaningful. In the end, I surprised myself by ranking them so high. When I immediately look back on their questlines, there doesn't seem to be a lot there. Taash hunts around for some dragons, has dinner with their mom, and finally in the end fights the Dragon King. Taash's story is perhaps less related to the overall plot of Veilguard than any other character but Emmrich, which didn't necessarily help. And though I find Taash's quest for identity to be an important one, it doesn't lend itself to the same kind of excitement as some of the others. Still, emotionally this series of quests ends up doing a lot of heavy lifting. Specifically, I found Taash's relationship with Shathann to lend a lot to their story. Even if you can't relate to Taash's struggles with gender or identity, almost everyone can relate to the struggle between a parent and a child. I was never quite sure what to think of Shathann. And I think that's very real. When I look at the parents of my friends and loved ones I often see the duality of everything they've done out of love for their children and everything they've done that has harmed them. At times I found Shathann to be caring and protective, at other times to be borderline abusive and too desiring of control over Taash's life. And though this situtaion might be extreme compared to many people's experiences with their parents, there's an almost innate toxicity to all parent child relationships at one point or another, as a child tries to grow in one direction that might not be what the parent wants or hopes. And I think these quests walk that thin line we all tread at one point or another in our lives, where you have someone that you love even when you feel that they don't deserve your love or deserve you, but you still can't help but care about them anyway. But in the end Taash does love their mother, and when Shathann dies Taash's rage feels very real, as does their entire relationship dynamic throughout the game.

2. Davrin

Davrin's story benefits from being perhaps more closely tied in to the world and the story of Veilguard than any other. The Grey Wardens and the Blight have always been central to DA, and only Origins has made them more central than Veilguard did. But Davrin and Assan really did steal my heart. At first, I didn't find Davrin to be especially exciting. He seemed like just another stoic warrior type. But the more time you spent with he and Assan and the other Wardens, the more you came to love him. The Gloom Howler storyline, along with the return of the griffons, was fascinating and the stakes felt extremely high. The stakes felt so high in fact that I often wondered how Davrin remained so calm as Rook paraded around the Necropolis Gardens or Arlathan while the Gloom Howler was off somewhere doing who knew what to the world's only family of griffons. The choice you made about the griffons was honestly the hardest in the game for me. Many of the other choices felt obvious from a typical heroic video game character sense of morality, where the game designers seem to want you to pick the happy, cheerful, forgiving route over any other. But the griffon choice had no obvious answer to a question I didn't even expect to be asked, and I stared at the screen for a while before I made it. My one problem with this is that it felt bizarre for Rook to even be making such a choice. And the other good thing about this quest is that at least you get to visit with the griffons a few times after the choice to get a little taste of how your choice is panning out. The interesting thing will be to see if this choice plays into any future DA stories and games.

1.Emmrich

All right, I can't even pretend to be unbiased here. If you scroll through my blog you will see countless Emmrich posts. This dude was my unexpected romance choice and my unexpected favorite companion in the game. He has interesting commentary in most situations, his voice acting is delightful, and he stands out as a fresh and unique character among many wonderful DA companions over the years. But this is supposed to be about his questline, not just how much I adore him. I've written extensively about my love for these quests elsewhere on my blog, but I'll restate the basics here. His questline had one major thing going for it from the very beginning, that being that we've heard much about the Mourn Watch and the Necropolis, but have never had the chance to experience any of it. I was immediately intrigued to learn more about them. I very much expect a certain dark and spooky vibe from Necromancers, but in many ways the Necromancers in this questline defy expectations. Yeah, they're still kind of weirdos who love everything to do with the dead, but Emmrich is a kind, compassionate weirdo and Hezenkoss is, despite being the villain, kind of just a dorky chick. And yet, somehow this makes her the best villain in the game. She's evil. She tortures souls. She wants to embody a giant skeleton and rule over Nevarra City as a giant, immortal skeleton queen. She wants to commit murders because her peers are too dull, too stupid, or have committed plagirism. She has weird little gestures she does as she discusses her evil plan. She uses overdramatic, stereotypical villain language like calling everyone "fools" and complaining about Emmrich's "sanctimonius bleating." She completely believes that Emmrich is the main character in this story, he must be because she believes herself to be the main villain. She's just as much of a nerd as Emmrich and equally as skilled, and in fact reflects quite poignantly the atrocities Emmrich could have committed if he wasn't so deeply compassionate. She's an extremely memorable villain compared to others in the companion quests (and even the main quest), and she's all the better because she helps define Emmrich that much more clearly, which is exactly the job of a good companion quest and a good villain. She's so good that she's even brought back to bicker with Emmrich from beyond death for the rest of the game. All that, and I haven't even touched on Emmrich's big choice. The lich choice is so effective because it forces Emmrich to confront his very clearly stated worst fear, death, which is doubly interesting considering his occupation. It's also such a good choice because it presents you with an immediate and tangible effect, unlike many other quests. Either you save Manfred and Emmrich remains mortal, or you lose Manfred and Emmrich transforms into an immortal skeleton. Either way, you're bound to notice and feel the difference. Even without a major main quest connection, this storyline was just so well done.

[sl-walker]

4 and 8 for writer asks. :)

4. a story idea you haven’t written yet

From my story notes last year, but I've been playing with this idea since like 2003, no shit:

The original Captain Marvel in the post-Crisis universe

1940 - 10 y.o. orphan Billy Batson goes down the subway stairs and meets the wizard, thereby gaining the ability to transform into Captain Marvel.  At this point, they're still different consciousnesses.

1953 - Instead of getting trapped in Suspendium, something happens to split Captain Marvel and Billy off from one another.  An intentional sacrifice on both their parts.  Why?

Need for some kind of major power only the lightning can provide?

Whatever happens, it's an absolutely devastating thing for both of them.

Billy grows up without his alter ego, aging normally.  Mary and Freddy also do.

Skipping the 70s run, which brings us to:

1985 - CoiE

1985 - 10 y.o. Billy Batson, orphan living with Dudley, goes down the subway station, meeting the wizard; Billy is now the only one regardless of transformation status.

1987 - Billy joins the JLI for a few weeks, maybe a bit more

1992 - Billy finds his sister Mary and best friend Freddie again, but no one knows it's not for the first time.

The basic idea ultimately is that post-CoIE Billy figures out he's missing something, and the story would be a hell of a hero's journey for him to go and find and save his lost alter-ego from his past life. To remember whatever sacrifice they made the first time around. And eventually he'd succeed, which would ultimately result in them literally being different people from there on, as in different bodies entirely, which would be fascinating because Cap really kind of was a creature of magic. Of imagination. A little boy's ideal hero and role model. And dropping him whole into the modern era, sans power (which Billy would keep) and seeing how he reacts to having to become a person rather than an icon would be fascinating storytelling. (I'd also explore his character as probably-some-form-of-queer, too.)

That being said, I don't know if I'll ever get around to telling it.

8. if you had to write a sequel to a fic, you’d write one for…

Heh. I tend to write series, tbh. If I feel there needs to be a sequel to something, I write it.

Thanks for the ask, Best Fiend! <3 Still open.

[buckets-and-trees]

UM, HOW FUN WAS GETTING TO LIVE THROUGH THE DOCUMENTATION OF YOUR REACTIONS TO THIS CHAPTER?!

Thank you for taking me on that journey with you! 🥹

When I had this idea, it was all about Steve and reader. When I started writing it, I realized there would have to be other characters in their orbit constantly, and that's been kind of a fun challenge. I rarely care about shaping the ensemble - at least not with this much of a focus - but it's so many layers of story elements! Campaign team/barely any time to ever be alone, let alone alone time with each other. Campaign team in relation to the reader getting to know people - and some of them know about the arrangement, but most don't, and how that plays into things. Plus how they act toward each other around other people. I'm glad they're parts of the story that are standing out rather than just feeling like we're getting through them to get to a plot point.

And the kisses! Can you believe that wasn't even my original intent with including that scene? 🤣 It was getting Steve to do a TikTok/build up his feeling like the campaign is so showy + reader having another regular moment with Bucky and Sam, and then when I was in the middle of it, I was like, 'oh, wait... this is perfect...' Especially a dramatic kiss and then something more real. 🥹

And the debate prep scene was one that I've really been waiting to get to because it - again - was doing so much for me in terms of the plot development for them. Reader going after Steve instead of Bucky or Sam, Steve being pushed, Steve somewhat losing it, Steve saying some really poignant pieces, and Reader recognizing his frustrations and soothing that a little bit, but also calling him on stepping up and not falling into blaming others because he has to harness that ability (and logistically his right by his role) to captain this ship.

...

And then Josh Connor.

Okay, first, I didn't remember that I named that reporter Andy so I dom't think it's in relation to Andy Barber... (truthfully, I was thinking about a possible Andy x Reader in relation to this campaign, so... I think I was just picking a normal name)

And then Josh.

👀

I won't answer ALL your questions there because... I think you don't TRULY want to be spoiled, plus so much of it will be answered at the beginning of the next part. But I will say that of course Pepper knew.

And because I managed a diabolical mention that went under the radar...

I wanted to leave the tiniest breadcrumbs so that when we got here, it would likely be a 99% shock, but something I knew we were moving toward the whole time. MWAHAHAHAHA!

DON'T REVOKE OUR MARRIAGE LICENSE! I think the way things will unfold will be acceptable. No one will need to sharpen any knives, but there might be some wringing of hands because it's not nothing obviously.

Love you endlessly, and appreciate all your sharing here! 🩵

Red, White & True: DC, Tampa, Athens [5/?]

Characters/Pairings: Steve Rogers x curvy Millennial Female!Reader, Peter Parker, Sam Wilson, Bucky Barnes Word Count: 6.1k Summary: Late September means things are only accelerating as election day grows closer. Steve is picking up momentum in the polls, and things heat up on multiple fronts before you hit a bump that may shake up the progress between you and your husband.

Content/Warnings: marriage of political convenience, slow burn

Notes: You get another West Wing cameo in this chapter (but totally unnecessary to have ever watched the show). This takes place in a post-Endgame scenario where Steve stays and generally most of TFATWS happened.

Previous Chapter | Series ↠ Main Masterlist | Aspen's Ask Box | Field Guide to the Forest

[SEPTEMBER 26 - WASHINGTON, DC]

The late September sun streams through the floor-to-ceiling windows of the campaign's official DC headquarters, casting long shadows across the bustling office space. You're leaning against a desk, watching with amusement as Peter Parker, the youth outreach coordinator who's also become the campaign's unofficial creative director of the TikTok segment of the social media team, attempts to explain the concept for the video to Steve.

"Okay, Cap," Peter says, his enthusiasm palpable as he holds up his phone. "We're going to do a quick transition video. It's super easy, I promise!"

Steve stands in the middle of the room, looking slightly uncomfortable but determined. He's dressed casually in jeans and a plain white t-shirt, a stark contrast to his usual campaign attire. The goal is to remind the voters that Steve is relatable to the everyday American at the end of the day.

Steve nods, a mixture of bemusement and determination on his face. "Alright, Peter. Walk me through it."

Peter's face lights up. "Okay, so you're going to start in your casual clothes, then you'll spin around. As you spin, we'll cut and you'll change into your suit. When you finish the spin, you'll be in full Captain America mode, then we’ll have you spin and change one more time, and we’ll end the video with you in your presidential get up."

"And this will... resonate with young voters?" Steve asks, raising an eyebrow.

You can't help but chuckle. "It's about showing your versatility, Steve. From everyday guy to national hero to the next president in the blink of an eye."

Steve shoots you a playful glare. "Easy for you to say. You're not the one spinning like a top."

Peter positions Steve in front of the camera. "Okay, Cap. Just spin naturally, and we'll take care of the angles and editing.”

As Steve prepares for his first take, Bucky saunters into the room, a smirk playing on his lips. He sidles up next to you, crossing his arms as he watches his best friend awkwardly position himself in front of the camera.

"I'm sure Steve must be loving this," Bucky murmurs, his voice low enough that only you can hear.

You nod, suppressing a chuckle. "It's written all over his face."

Indeed, Steve's expression is a fascinating mix of determination and mild discomfort, his brow is furrowed in concentration.

The rapport that’s been developing with Bucky over the last few weeks has also been nice. It’s its own brand of friendship, and it’s not rock solid yet, but it’s growing.

"Alright, Cap," Peter calls out, phone at the ready. "On three. One... two... three!"

Steve begins to spin, his movements a bit stiff in the first take.

Peter's enthusiastic voice cuts through the air. "That was great, Cap! Let's try again,” he encourages, not leaving a beat for Steve to feel awkward or like he’s done it wrong. You can tell his approach will make all the difference with Steve.

As Steve prepares for another take, you can't help but admire his willingness to step out of his comfort zone. It's one of the things that's made him such an effective candidate - his ability to adapt and connect with people across generations.

"Okay, this time, try to relax a bit more," Peter suggests. "Just have fun with it!"

Steve spares a glance at you and Bucky, then takes a deep breath, shaking out his arms. "Right. Fun. I can do fun."

Bucky snorts beside you. "This ought to be good."

As Peter counts down again, Steve starts his spin. This time, his movements are smoother, more natural.

"Perfect!" Peter exclaims. "That's the one. Now, let's get you into your tac suit for the next part."

Steve nods, heading towards the makeshift changing area set up in the corner of the room. As he disappears behind the partition, Bucky leans in closer to you.

"You know, I never thought I'd see the day when Steve would be doing social media stunts," he says, his voice a mix of amusement and pride. "He's come a long way from the kid who could barely talk to girls in Brooklyn."

You smile, picturing a young Steve Rogers, all skinny limbs and earnest determination. "I bet he was endearing," you say.

Bucky chuckles. "Oh, he was. A real charmer. Couldn't string two words together around a pretty dame, but he had a heart of gold." He pauses, his expression growing more serious. "It's good to see him like this, you know? Engaged with the world, trying new things and connecting with people again. For a while after the Blip, I worried he’d ride off into the sunset forever before the sunset was even really here. We’re out of the century we were supposed to live in, but we’re still here, y’know? Didn’t think it would be this, but it’s not all bad. Pepper wasn’t wrong in choosing him for who he is inside.”

You nod, understanding. “When I met with her about the campaign, she’d sent me the policy materials, the plans, the opposition research detailing his strengths and weaknesses as a candidate, and I was on board to take any position she offered me on the campaign team. I never imagined working on a presidential run, but her vision, her approach? I knew I wanted to be part of it.”

Bucky arches an eyebrow. “I thought… wait…” he’s mulling over what you said. “So, when you came in, you didn’t know she wanted you to marry Steve?”

You laugh and shake your head, “Oh, no! Because that would have been crazy! Who would agree to that?”

Bucky's eyes widen slightly at your revelation. "But you just... agreed on the spot when she proposed it?"

You pause, considering how to respond. The truth is, it had been a whirlwind decision, one that you sometimes still can't believe you made. "Not exactly on the spot," you say carefully. "But...pretty quickly, yeah. It was a lot to take in, but something about it just felt right, you know?"

Bucky nods slowly, a thoughtful expression on his face. "I get it. Steve has that effect on people. Makes you want to follow him into any fight, even if it's not your own."

Before you can respond, Sam walks in, eyebrows raised at the scene before him. "How’re things going here? I hear we’re starting a dance troupe?"

Bucky chuckles. "Social media campaign. Apparently, the kids these days like watching people spin around and change clothes."

Sam shakes his head, a grin on his face. “Glad I’m not going to miss it.”

“I’m suggesting you go in as back up dancer.”

“Don’t threaten me with a good time, Barnes! You know I’d do it!”

You laugh at the easy banter between Steve’s two best friends, but then the man himself emerges from behind the partition, now clad in his tactical suit. The sight of him in the red, white, and blue outfit isn’t new, but as it’s the first time you’ve ever seen him dressed as Captain America in person, it unexpectedly takes your breath away a little.

Steve takes his position again, looking more at ease now in his familiar uniform. "How's this, Peter?" Steve calls out, adjusting the shield on his arm.

Peter gives him a thumbs up and starts the countdown. This time, Steve's spin is confident and fluid, ending with a slight smirk that's pure Captain America.

"Nailed it!" Peter cheers. "Okay, one more outfit change and we're done."

“Hang on!” Sam calls out. His eyes light up as he looks between you and Steve, a grin spreading across his face. "We've got a golden opportunity here."

You raise an eyebrow, curiosity piqued. "What do you mean?"

Sam rubs his hands together. "Picture this: Captain America, in full uniform, getting a kiss from his lovely wife. It's the perfect Instagram moment!"

Steve's eyes widen slightly, a faint blush creeping up his neck. "Sam, I don't think-"

"No, no, hear me out," Sam interrupts, warming to his theme. "We've been pushing the whole 'relatable Steve' angle, right? Well, what's more relatable than a guy getting a kiss from his wife? Plus, it ties in the Cap persona.”

Peter's face lights up at the suggestion. "Oh man, that's genius! The engagement would be off the charts!"

Steve looks slightly uncomfortable, shifting his weight from one foot to the other, and you don’t know how to feel about it either. "I don't know, guys. Isn't that a bit... much?"

Bucky chimes in, a smirk playing on his lips. "Come on, give the people what they want."

“Et tu, Brute?” you direct this to Bucky, not at all surprised at the enthusiasm from Sam and Peter, but genuinely shocked he’s jumping on board as well.

Sam turns to you, his expression a mix of excitement and mischief. "What do you say? Want to break the internet with a kiss from Captain America?"

You hesitate, feeling a mix of emotions. On one hand, the idea of kissing Steve - even for a staged photo - sends a flutter through your stomach. On the other, you're acutely aware of the artificiality of the situation and the potential implications for the campaign.

You glance at Steve. His expression is unreadable, but you can see a hint of uncertainty in his eyes.

Sam, sensing your hesitation, softens his approach. "Look, I know it might seem a bit much, but think about it. We've been working so hard to show Steve as both the hero and the everyday man. This could be a perfect blend of both."

Peter nods enthusiastically. "I think a good candid shot would be a great way to humanize the campaign. Show that even Captain America has a soft side."

You look back at Steve, and he gives a small nod. You see a mix of emotions in his eyes - uncertainty, but also a hint of something else. Trust, perhaps. "If you're okay with it, I am."

"I’m good," you agree, your heart rate picking up slightly.

Sam claps his hands together. "Great! Peter, get ready with that camera."

As Peter positions himself, you step closer to Steve. He reaches out, gently placing his hands on your waist. The tactical suit feels cool under your fingertips as you place a hand on his chest. You can feel the slight tension in his muscles.

"Ready?" Steve murmurs, his voice low enough that only you can hear.

You nod, managing a small smile. "Let’s do this," you reply once more because this is its own ‘public appearance’, and so the customary exchange only seems fitting.

Steve’s hands move from your waist around to your back, and he takes a deep breath, looking into your eyes.

You stop breathing for a moment, suspended there in his arms.

“Kiss her, punk!” Bucky shouts, and the electric moment is broken, but you both laugh, and then Steve dips you dramatically and kisses you soundly as you clutch his shoulders. The three men cheer enthusiastically and cat call you when the kiss goes on just another moment or two.

As Steve stands you back up, you both burst into laughter, the tension of the moment dissolving into genuine mirth and camaraderie. His arm is still around your waist, steadying you as you regain your balance. The warmth of his body radiates through the tactical suit, and you find yourself leaning into him slightly, your soft, round body pressing into his hard muscles.

"So, Peter," Steve calls out, his voice still tinged with amusement, "did we nail that shot, or do you need us to try again?" There's a playful glint in his eye as he says this, and you can't help but grin up at him.

Peter, looking slightly flustered but undeniably excited, nods enthusiastically. "Oh yeah, Cap! That was perfect! The internet is going to go crazy over this!"

You start to step away, ready to return to your spot by the desk, but Steve surprises you by gently pulling you back, his arm wrapping around your waist once more. The room seems to fall away as he gazes into your eyes, a softness in his expression that you've rarely seen before. Time slows as he leans in, his free hand coming up to cup your cheek.

His touch is feather-light, his calloused thumb brushing across your cheekbone with a tenderness that makes your breath catch. The scent of him envelops you - a mixture of leather from the suit, a hint of aftershave, and something uniquely Steve.

Your heart races as Steve leans in, his breath warm against your lips. For a moment, you forget about the cameras, the campaign, everything except the man in front of you.

Steve's lips brush yours, soft and tentative at first. It's different from the performative kiss moments ago - this feels real, intimate. You respond instinctively, your hands sliding up his chest to rest on his shoulders. The kiss deepens, and you feel a warmth spreading through your body.

Suddenly, you're jolted back to reality by the sound of a throat clearing loudly.

You and Steve break apart, both slightly breathless. The room crashes back into focus, and you're acutely aware of the others watching. Sam has a knowing smirk on his face. Peter looks like he might explode from excitement.

"Well," Sam says, breaking the silence. "I think we've got more than enough material for social media now."

You step back from Steve, feeling the heat creep up your neck. Steve clears his throat, looking slightly flustered himself.

"Right," he says, his voice a bit rough. "I should, uh, go change for the final spin shot."

As Steve disappears behind the partition again, you catch Bucky's eye. He gives you a subtle nod, his expression unreadable. You're not sure what to make of it, but there's no time to dwell on it as Peter starts setting up for the final shot.

You return to your spot by the desk and try compose yourself. Your lips still tingle from the kiss, and you can't shake the memory of Steve's touch.

Bucky sidles up next to you, his voice low as Sam and Peter talk next to you. "That was quite a show," he murmurs, a hint of amusement in his tone.

You glance at him, unsure how to respond. "It's all part of the job, right?" you say, aiming for nonchalance but not quite hitting the mark.

Bucky gives you a long look, then nods slowly. "Right. The job."

Before you can say anything else, Steve emerges from behind the partition, now dressed in one of his presidential suits - a sharp navy number that accentuates his broad shoulders. You can't help but admire how he carries himself. He exudes a quiet confidence, as ever, a perfect blend of the everyday man and the leader of the free world.

"Alright, Cap," Peter calls out, "let's nail this final spin!"

Steve takes his position, and as he begins to turn, you find yourself holding your breath. The transformation is mesmerizing - from casual Rogers to Captain America to Presidential Candidate, but all of them undeniably Steve.

[SEPTEMBER 27 - TAMPA, FLORIDA]

The campaign has rented out an entire floor of a hotel for debate prep, transforming the spacious suites into makeshift war rooms as Tampa provides some key and convenient access to key southern cities by plane. Maps, charts, and policy briefings cover every available surface, and the air hums with the energy of a team on a mission.

Jake Sullivan, Steve's chief strategist, has pulled out all the stops for this crucial phase of debate preparation. He's brought in Amy Gardner, a seasoned political operative known for her sharp wit and take-no-prisoners approach. Her presence adds an extra edge to the already intense atmosphere. You watch as Amy commands the room, even though she sits rather casually in an armchair ten feet from Steve, who stands behind a makeshift podium.

Her presence adds an extra edge to the already intense atmosphere. You watch as Amy paces the room, firing off rapid-fire questions at Steve, who stands behind a makeshift podium.

"What's your plan for addressing climate change?" Jake asks, his voice stern.

Steve responds confidently, "We need to transition to clean energy sources while also supporting workers in traditional energy sectors. My plan includes..."

Amy cuts him off, her tone brusque. "Too long. You've got 60 seconds max. Hit the key points and move on."

Steve nods, taking a deep breath. "Right. Clean energy transition. Support for affected workers. Immediate action on emissions reduction."

“Too succinct,” she says.

Steve frowns, clearly trying to find the right balance. Squaring his shoulders, he goes again. "Our climate plan has three key components: First, an aggressive transition to clean energy sources like wind and solar. Second, robust support and retraining for workers in affected industries. And third, immediate action to reduce emissions across all sectors. This isn't just about saving the planet - it's about creating jobs and securing America's energy independence for generations to come."

Amy nods approvingly. "Better. Now, pivot to how this contrasts with your opponent's stance."

Steve's brow furrows in concentration. "Unlike my Republican opponent, who continues to deny the reality of climate change, my plan acknowledges the crisis we face while also prioritizing American workers and innovation. We can't afford to stick our heads in the sand any longer."

"Decent," Amy says, her tone softening slightly.

“Only decent?”

���You didn’t address the Democrats’ policy. Your battle is to convince enough voters in America to break with over two hundred years of choosing between red or blue.”

You can see Steve is fighting back a sigh of frustration.

"Mr. Rogers, your opponent claims your lack of formal political experience makes you unqualified for the presidency. How do you respond?"

Steve takes a moment, his brow furrowed in concentration. "My experience may not be traditional, but it's been forged in the crucible of protecting this nation and its values. I've led teams through impossible situations, made tough decisions with global consequences, and always put the American people first. That's the kind of leadership experience that truly matters."

Amy nods, but doesn't let up. "Good, but tighten it up. You need to hit harder on your unique qualifications. How do you respond to critics who say your experience is outdated?"

"I'd say that my unique perspective allows me to see both where we've been and where we need to go," Steve begins, his voice steady. "I've seen this country at its best and its worst. I understand the challenges we face because I've lived through similar ones before. But I also understand the incredible potential of our future because I've seen how far we've come."

You can’t help but feel inspired by that answer, but Amy's eyes narrow, her expression sharpening. "Not bad, but you're still playing it too safe. Your opponents will come at you hard. Let's ramp this up."

She stands and begins pacing in front of Steve like a shark. "Mr. Rogers, your critics say you're nothing more than a science experiment gone right. How can you claim to represent the average American when you're literally superhuman?"

Steve's jaw tightens, a flicker of frustration crossing his face. "I may have enhanced abilities, but my values and my heart are as human as anyone's. I grew up in Brooklyn during the Great Depression. I know what it's like to struggle, to feel powerless. The serum didn't change that part of me."

Your heart swells, but again Any interjects again.

"Weak," she says, her voice cutting. "You're not connecting. Try again."

Your mouth drops open slightly. That was powerful. You know it was.

Steve takes a deep breath, his knuckles whitening as he grips the podium. “I’m not a monkey on a unicycle.”

“Well, what a great start. No one wants a monkey in the White House,” she deadpans.

“I don’t need this. We did just fine in the first debate without you,” Steve nearly growls.

“Oh, I didn’t know we were aiming for just fine, I thought you wanted to win.”

Steve's eyes flash with a mixture of anger and frustration. The tension in the room is palpable, like a rubber band stretched to its breaking point. You can see the muscles in his jaw working as he grinds his teeth, trying to maintain his composure.

"I'm not here to play games or put on a show," Steve says, his voice low and controlled, but with an undercurrent of steel. "I'm here because I believe in this country and what it can be. I've fought for it, bled for it, and yes, even died for it. So don't tell me I'm not connecting."

Amy opens her mouth to retort, but Steve cuts her off.

"I've seen this nation at its best and its worst," Steve goes again, his voice growing louder, more impassioned as he speaks. "I've watched it rise from the ashes of the Great Depression, triumph over fascism, and push the boundaries of human achievement. But I've also seen it torn apart by fear, prejudice, and greed."

His eyes blaze with an intensity that seems to electrify the air around him. The room falls silent, everyone transfixed by the raw emotion in his words.

"I may have been enhanced by science, but my heart, my values - they come from growing up as a scrawny kid in Brooklyn who couldn't stand by and watch bullies win. They come from the men and women I fought alongside, who gave their lives for the ideals this country stands for."

Steve's fist comes down on the podium with a resounding thud, causing several people to jump.

"I'm running for president not because I think I'm better than anyone else, but because I believe in the promise of America - a promise that's been broken too many times for too many people. I've seen what this country can do when we come together, when we fight for what's right. And I'm here to tell you, we can do it again."

Steve's voice rings out, filled with passion and conviction. The room is dead silent, everyone hanging on his every word.

"So no, I'm not a traditional politician. I don't have decades of experience playing political games or making backroom deals. What I have is a lifetime of standing up for what's right, of putting others before myself, of believing that we can always be better. I'm running because I believe in the power of ordinary people to do extraordinary things when given the chance."

He pauses, his chest heaving slightly as he looks around the room. The silence is deafening, everyone ensnared by the raw power of his words.

"That's what this campaign is about," he says, his voice softening but losing none of its intensity. "It's about reminding every American that they have the power to shape this nation's future. That their voice matters, their dreams matter, this country over politicians and political agendas. It’s not a show to me.”

Steve strides away from the podium and walks out, and no one stops him. No one even moves until the weighted door to the suite swings closed again. Jake and Elsa begin conferring. Amy seems unconcerned. You’re sitting with Bucky and Sam, who exchange a look, and Bucky moves to stand, but you’re quicker.

“Let me go after him,” you find yourself saying, surprised at how fast you were to seize this situation, almost like a natural instinct.

You hurry out of the room, scanning the hallway for any sign of Steve. You catch a glimpse of his broad shoulders disappearing around a corner and quicken your pace to catch up.

"Steve!" you call out, your voice echoing slightly in the empty corridor.

He stops, his back still to you, shoulders tense. As you approach, he turns slowly to face you. The fire in his eyes has dimmed, replaced by a weariness that tugs at your heart.

"Hey," you say softly, closing the distance between you. "That was... intense back there."

Steve runs a hand through his hair, letting out a long breath. "I shouldn't have lost my temper like that. It's just..." He trails off, shaking his head.

You reach out, placing a hand on his arm. "It's okay. Amy was pushing hard. Maybe too hard."

He looks down at your hand, then up to your face. “I’m fine.”

“I think you’ve told everyone you’re fine every day of your life, Steve Rogers, and no one needs to exist like that.”

Steve cocks his chin slightly. “But the President of the United States should have it together, shouldn’t they? People want a leader they can trust.”

You smile, but it’s not a happy smile, and his expression matches yours.

“Can I ask…?” you venture cautiously.

He nods. “Wife privileges. You can ask whatever you want. Wife duties, probably, to ask me questions I don’t want to hear.”

Wife. A flutter flares in your stomach, but you force yourself to concentrate on the moment, furiously tamping down your reaction.

He resumes walking down the hallway, but more slowly this time, and you fall into step with him as you pursue your curiosity. “A monkey on a unicycle is an oddly specific and highly uncommon comparison to bring up. Is that some reference from your time?”

Steve huffs and his eyes fill with a mix of nostalgia and resentment as he begins to speak. His voice is heavy with emotion as he remembers his past. “I used to sketch a lot when I was young. We didn't have much during the depression, but my ma always managed to scrimp and save enough to buy me a notebook for Christmas or my birthday. It stuck with me up through joining the Army.”

His expression turns somber as he continues, "And after the serum changed my body but I was put on tour to encourage people to buy bonds, it just felt...underwhelming. Discouraging. I knew I could be doing more, making a real difference. But I did what I could - I knew raising money still helped.”

You reach the end of the hallway and stand next to each other, looking out the window.

“When they sent us out to Europe to entertain the troops, it only got worse. The last day I performed, for the 107th regiment, I was heckled and booed off stage."

Steve's hands clench into fists at his sides, "I drew a silly picture of a monkey riding a unicycle; it felt like that's all I was worth to them - just another pawn in their production."

You want to reach for his hand, but it doesn’t seem like the moment. So you simply continue to listen.

“That ended up being the last day I performed a show. I found out part of the company had been captured, stuck behind enemy lines. I disobeyed direct orders, found the men, saved Bucky. After that, everything finally changed, and we got to go to work, doing good, fighting Nazis and Hydra.”

A slight smile tugs at Steve's lips as he finishes his story, "I never wanted to feel like that monkey again. But the closer we get to election day, the more this feels like just a production.”

You stay silent for a moment, mulling over the pieces of his past and the feelings he’s just shared. This isn’t an easy conversation, and it’s not the conversation you thought you would have coming out here, but you’re grateful the two of you are having it together.

You aren’t by any means a seasoned politician either, but you had seen and had to at some points play at politics in your own work. “It’s all a show, there’s no denying that. But you’re not the monkey unless you sit back and let that be the reality.”

“How do you figure that?”

You take a deep breath, gathering your thoughts before responding. "Steve, you knew from the beginning that this campaign would be a production. You agreed to it - all of it. Including," you gesture between the two of you, your voice softening, "this arrangement. Marrying a woman you'd never even met before."

Steve's eyes meet yours, a flicker of recognition passing through them. You continue, your voice gentle but firm.

"You didn't do all this just to be a figurehead or a puppet. You did it because you want to be president. You want to be the one steering the strategy, calling the shots, making real change." You pause, making sure he's really listening. "This campaign isn't just about winning an election. It's preparation for the presidency itself."

You turn to face him fully, your eyes never leaving his. "This campaign, as frustrating and exhausting as it can be, is its own kind of preparation for the presidency. Think about it - you're dealing with conflicting advice, responding to the platforms from the candidates and how they overlap and differ from your own, connecting directly with the people across the country, making tough calls on what is and is not a priority.”

Steve listens intently, his brow furrowed in concentration as he considers your words. You can see the wheels turning in his mind, processing this perspective.

"You're right," he says finally, his voice quiet but firm. "I did agree to all of this." He runs a hand through his hair, a habit you've noticed he has when he's deep in thought. "I just want it to mean something. To be more than just sound bites and photo ops."

You nod, understanding his frustration. "It does mean something, Steve. Every interaction you have, every speech you give, every policy you propose - it all matters. You're not just going through the motions. You're shaping the conversation, influencing people's thoughts and beliefs about what this country can be."

Steve's eyes meet yours, a mix of gratitude and something deeper there.

"She’s right, Rogers,” a voice behind you makes you both jump and turn.

“This isn't just about winning,” Amy emphasizes. “It's about learning how to navigate the complexities of leading a nation, finding your presence as the leader of the free world, as commander in chief, winning the trust of the American people.

“The debates, the press conferences, the tough decisions you'll have to make as president - they won't always be fair or comfortable. That’s why I pushed you. You won’t answer every debate question like that, but I needed to know you could go there. That’s the kind of president America wants, but they don’t know it until they see it. If you can shake them to their bones, you’ll change hearts and minds.”

Steve smiles at her half in kindness, half in disbelief. “You say all of that pretty casually.”

Amy shrugs and returns the smile. “Because it’s true. I’m done beating you up now that I know you can go the rounds. If you want me to leave, I will, but I’m game to stay if you’re game for slightly less intense verbal sparring.”

“Oh, I can do this all day.”

[SEPTEMBER 28 - ATHENS, GEORGIA]

The campaign plane hums with activity in the minutes before take off. This cabin is filled with members of the press corps, their laptops open and fingers poised over keyboards, eager for any morsel of information they can turn into their next headlines.

Steve looks almost relaxed. His tie is loosened and sleeves are rolled up to his elbows. The energy from the successful event you just wrapped up at the University of Georgia still lingers in the air. This was the fourth event of its kind - a town hall format called College Q&A limited to students and granting them access to dialogue with Steve. You can't help but feel a sense of pride as you recall how he connected with the students, his earnest answers and quick wit seeming to win over even the most skeptical audience members.

It’s become routine that Steve always takes questions from the press corps when he boards the plane before heading to the campaign team cabin, and he’s truly at ease with them in this interaction.

“We’ll take one more,” the campaign spokesperson announces to let both Steve and the reporters know it’s almost time for take off.

“Andy,” Steve calls on one of the familiar faces - the reporter from The Washington Post.

“Yes, Captain, do you have any response to Jeff Connor’s comments about your relationship with Mrs. Rogers?”

Steve's whole demeanor immediately turns serious, his jaw clenching. "I haven't heard Connor's specific comments, so I can't respond directly. My relationship with my wife is personal, and it's not up for debate or speculation."

He pauses, his eyes scanning the cabin before continuing. "What I will say is that she has been an incredible partner, both personally and for this campaign. Her intelligence, compassion, and dedication inspire me every day to be a better person and a better leader."

Steve's gaze softens a fraction as he glances in your direction. "I'm grateful she agreed to take this journey with me."

The press corps erupts with follow-up questions, but Jake holds up a hand. "That's all for now, folks, you know they won’t take off until we’re all seated and we don’t want to miss our take-off window. Thank you."

You, Steve, and the rest of your staff head into the first campaign cabin, and as soon as the door is shut, the atmosphere shifts. The professional masks slip away, replaced by a mix of concern, curiosity, and irritation. Jake immediately pulls out his phone, you assume to get the quote in question.

Elsa, your communications director, is already pulling out her laptop as she settles into a seat across from Steve. "That was the perfect response back there. Quick and heartfelt. It'll play well, especially given the context of Connor's comments."

Your personal aide Sophia is already handing you a tablet to read the quote. "Here, ma’am. It came out during the Q&A, and everyone got wind of it as we were boarding the plane."

You take the tablet, your eyes quickly scanning the headline: "Jeff Connor Speaks Out: 'I Hope They're Happy Together'" The article features a quote from Connor: "I wish them both the best. Marriage isn't easy, especially in the public eye. I just hope they've found happiness together."

You pass it over to Steve and then chew on your lip, pulling out your own phone.

It only takes him a moment to read as well. "Thanks,” Steve's brow furrows as he loosens his tie further and passes the tablet back to Sophia. “This seems fine, unless I’m missing something. But who is this guy, and why would we care what he thinks of our marriage more than anyone else?"

A beat of silence falls over the cabin. You can feel the weight of several pairs of eyes on you, a mixture of surprise and shock in their gazes.

“Okay, I’m clearly the only one who doesn’t know,” Steve concedes, a shade of irritation bleeding through his tone, “Anyone care to enlighten me?”

You take a steadying breath, then look up at Steve and say, “Jeff Connor is my former husband.”

next part: coming 11/29

I'll just say that I've been waiting for this chapter in the story almost from the beginning. 😌

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[iwritenarrativesandstuff]

Suddenly remembered something I wanted to say re:Akechi, because I think it's really core to his character (at least the way I interpreted him?) and I feel like it explains a lot of his contradictions. Essentially, he is incapable of seeing himself as just a person - he's either the greatest hero/detective ever, or he's some violent monster, and it's like there's no in-between. It's very in keeping with his obvious superiority-inferiority complex, but it goes deeper than that too; when he's in a role, it seems like his self-perception kind of changes too depending on how he is perceived by others. He really does get a confidence boost from being the Detective Prince. He really does shut down emotionally as the Black Mask.

They're masks that he's made, and it's not that aspects of them aren't based in truth to some extent, but I think it goes to show why he's not actually that fantastic a liar (imo, I found the outright lies pretty obvious), but he is a very good actor. He's either an angel or a demon, and never a person, but there are conditions to that. He is an angel when he is perfect - to society. He is a demon when he is vengeful - again, to society. He is never a person, because he never was seen as one - to society. He was disregarded. To be anything of value or notoriety, whether that's hero or villain, he has to be wildly more or less than who he actually is, and he's been building these masks up for so long that I really think he lost sight of the actual person behind it all. And I don't think he wanted to see that person anyways, because that person "wasn't good enough" and I do think he'd rather be anything other than himself. That trickery, that deflection from the person within, in itself brings him pride and satisfaction. He wants to be loved and needed instead of being cast aside, but I also think that if he can't have that then he'd much rather be hated than never have mattered at all. He weaponizes his own loneliness - if he can't ever be accepted then he'll build his own pedestal apart from everyone else.

It's so fascinating too, because I just wonder how much of this he was consciously aware of pre, during, and post engine room. There's this recurring thing with him where he goes "I can only be myself" etc but I just want to shake him because, well, who is that, Akechi??? Or, who do you think that is? Do you actually have an answer? Is it predicated on your actual feelings or solely on your success at fooling everyone around you? Is there any part of you that you actually like that isn't based on a painstakingly constructed mask? Isn't it all mostly lies to deflect from the truth? Isn't it all founded mostly on truth, nonetheless?

It drives me insane. And I think this is a big reason why he breaks so hard in the engine room, because so much of his mask requires his "audience" to perform in a particular way. And here he is, and the Thieves have beaten him, so there goes the first mask, because he's no longer "perfect". He swings wildly into the ugliest sides of him, but this mask is broken too, amidst him vehemently and desperately denying that he has any other emotions than hatred and rage, or any other needs or desires than vengeance. And after that, it's just him. And they should reject him, right? That's what happens. He's not useful, he's not needed or perfect, his hands are stained with blood. But the Thieves, again, don't play the role he expects them to. They, despite everything, relate to him - because he is in fact very similar in a lot of ways and they acknowledge him as a person - not a hero, or idol, or villain, or tool, or unwanted child - but as a damaged teen like the rest of them. And he does not know what to do with that. His identity is intrinsically dependent on getting the right reactions from other people as a form of ingratiating himself - if he does not get that reciprocal reaction he's looking for, his act falters, and, I really do believe that so does his self-perception. That's why you see different aspects of him seep out when he's spending time with Joker, because Joker does not react the way he expects, and Akechi both does and does not like this, because it leaves him feeling both intrigued and vulnerable.

I do think this particular aspect of his character is something a lot of the Thieves don't fully grasp - certainly, I think Joker "I need the mask" Persona 5 understands to a degree, but the sheer degree of reliance and the level of pride attached to it is something that confuses him a little, I think, especially in Mementos Mission. I think the thief that comes closest is actually Morgana, who has a similar superiority-inferiority complex and a desperate need to be seen as competent and useful lest he be discarded. (This is a big part of why the rather lackluster writing with Morgana's arc frustrates me so much because I really do feel it was meant to be contrasted with Akechi's, but I digress.) Morgana is the one to make that emotional appeal to Akechi, which makes a degree of sense - Morgana struggled all along with finding a place in the world. His form leads others to underestimate him; he visually doesn't fit in. He's acting out the role of a chivalrous and cool phantom thief but is more pragmatic with how he views relationships, at least at first. He wants a place to belong where he is appreciated more than anything but his pride won't let him spit it out. Accepting that he belongs and that he is loved even if he really did have nothing of value to provide is a big part of the resolution of his arc. He tries to offer that learned lesson to Akechi in turn ("Follow your true feelings. Even if you think people hate you, or don't want you around-"), but Akechi just wasn't in the right space to listen. There's also an important distinction between the two - Morgana envies humans and looks up to them. Akechi envies humans and looks down on them. Morgana is perfectly happy once he is assured a place amongst the group, but Akechi see-saws wildly between wanting to belong and wanting to be a step above the rest and separating himself further. So while Morgana actually really did cut to the core of the issue, his appeal would never have worked at this point because a) Akechi's pride is dependent on him maintaining his solo act, and b) he just got outed as not actually hating Joker in front of seven other people including Joker himself lmao.

So, uh, sorry, Morgana. Points for trying.

[kindaorangey]

dude assad zaman is a good actor. did u guys know this

[felassan]

David Gaider on Dorian, under a cut for length:

"Now this is a fun one. It's no big secret I have a lot of feelings about Dorian, not least of which because he was my first (and only) gay male companion. There's a lot more to him than that, of course (as there should be), and it was quite a trip. So let's go! Now, DAI is a story all its own, but I'm sticking to the characters. In this case, back at the beginning, the writers were going to try something new: we were going to let the artists take a more active role in the companion creation process. Why? Because not doing so had caused a lot of problems. See, here's the thing: writers and artists speak two different languages. When talking about characters, we talk about their story. Who they are. What they want. We'd write up these briefs, huge and full of information... but it was never the information the artists needed. They wanted visual cues. I don't mean describing their appearance. Sure, we'd usually provide that, especially if there was a story case to be made, but often the artists vetoed us on appearance stuff anyhow so meh. No, I mean they looked for visual language while we tended to only talk about who the characters *were*. What would happen is they'd hone in on something visual in our write-up not intended to be a focus. The first write-up for Anders in DA2, for instance, mentioned he was "haggard" after his journey... and the first concept we got was this pale, shriveled man. "What... is this?" "YOU SAID HAGGARD!" 😅"

"That was the other trick: sometimes when we DID try to be more descriptive, we had to be extra cautious because the words could be interpreted very differently. You encounter this recording VO, too. A VO note says "hysterical" and you *meant* "really upset" but the actor read "scream like a banshee" Thus this caused problems, like I said. The artists would struggle, sometimes conjuring details just to give the character *something* but which would change the character... and, to us, the character was created. Done. We were already invested, probably already writing them. Something had to give. So this time we wrote a bunch of character briefs - but short. One paragraph. We stuck to vibes and the *emotions* we wanted the concepts to evoke. And we didn't name them. They got titles like "Slick Con Man" or "Ice Queen", so we wouldn't get too attached. Then we handed these off to the artists. And it worked nicely. The ones that just weren't inspiring we'd discard, no problem. The others had juice... and the artists felt free to play and offer lots of variations because we weren't set on anything yet. A lot of times, what they produced ended up inspiring US. It was a neat back-and-forth."

"This is what led to Dorian, in fact. He came from a short write-up entitled "Rock Star Mage" and it really boiled down to "I'm cool and I know I'm cool, so take that you cretins". And just like that, the first sketches (by Casper Konefal, I think? I bet I'm wrong) were all amazing. Instant fire. Me: "He looks kind of like... Freddie Mercury?" Him: "Is that bad?" Me: "NO ARE YOU KIDDING THIS IS AMAZING" Plus there was a monkey. Sadly, we had to lose the monkey. There were iterations to come, but this was really where Dorian was born: Tevinter mage, noble, savant, and too cool for school."

"When did he become gay? Not right away. Like I said elsewhere, we didn't talk romance and sexuality until after the concepts were more in place. But as we were brainstorming about why this hot shot mage left Tevinter, the idea DID come up that maybe it was because he was gay. Not directly, however. Homophobia isn't really a thing in Thedas, after all, so at first blush I didn't think that could work. "Rich kid gets kicked out of the house for being gay" wasn't a trope I wanted to explore. But, then again, magister families in Tevinter are *obsessed* with the appearance of perfection, so...? Any deviation from the "norm" is considered scandal-worthy. It said weakness. It said you couldn't control your house. Now... THAT had real promise. The writing pit discussed it a lot. So I think it's fair to say that the gay fairy was already circling Dorian even before we got to the romance talk. I think it's also fair to say that the rest of the team realized I low-key wanted to write him, because when everyone started calling dibs, who was left standing for me? (I pick last, remember.) I gleefully snatched him up and got to work... ...about six months later. I was very busy at the time. 😅 That late start meant I had to design and write VERY quickly. And I did. Somehow, though, this one... it came easily. "Catty gay man" isn't digging very deep, no surprise to anyone who knows me, and it had an extra layer of being so fun because Dorian was confident. He sparred verbally. I loved it."

"There was more to it, however. The conflict between Dorian and his father... ugh, how do I say this? Let's be clear: Dorian's story is not MY story, but it's also not far off. I wrote the entire confrontation scene in one go. After I was done, I probably cried harder than I ever have in my life. 🫠 I was unsure whether it was any good, however. I just didn't feel objective. I passed it over to Cori May - my friend but also Dorian's editor - and asked her to please tell me and be honest. She read it. She walked into my office after, tears streaming down her face, and just nodded. "It's good." Here's the thing. Not everyone is going to agree with this, but: I don't think a writer NEEDS to be a minority in order to write a minority. Sometimes those characters should simply exist, and we want them to. But if that character's story is ABOUT their experience as a minority? That's different. Dorian's story didn't need to revolve around his sexuality - and, honestly, it only did so as a tangent to his family issue, but they're so bound together it's probably irrelevant to split them - but my writing him meant it could be. It allowed me to SAY something. That felt good. It felt right. Ramon Tikaram came on board after a lengthy casting process (so many British Indian accents, oh god). I sat in on a few recording sessions... the confrontation scene, though? Ramon: *says line* Me: (curled up on a nearby sofa in fetal position) *shaky thumbs up* Caroline: "Yep. Great work, Ramon!""

"Dorian's sexuality isn't all he's about, but that's certainly how some viewed it. When the character was announced in 2014, his being gay was mentioned as the last of a number of points, and the instant response from some gamers was to act as if we'd called a press conference just to say THAT. 🙄 It was annoying. Still is. Overall, however, the reaction to Dorian was very positive. The number of straight men who said they romanced him still pleases me. The number of fans who privately contacted me who'd been through conversion therapy, some who said Dorian helped them survive? Well. Gosh. 😭 I did write him for Trespasser - though I hear that a late scope cut meant every conversation had been chopped by 1/3rd or more, and that meant a lot of nuance lost. Which is sad, if true, because it sounds like the result of that left some Dorian romancers a bit cold. Such is how game dev rolls. 😔 If you need more proof of how it was hard for me to let go of him, a short story I wrote after Trespasser came out where Dorian has a bit of closure with his dead father: medium.com/@davidgaider... So yeah. He'll always be my boi. And I'll always be thankful Bio gave me this opportunity. ❤️"

[source thread]

User: "I'm not going to lie, it's hard to take my mind off Dorian almost having a monkey." David Gaider: "If by “almost” you mean there was a picture of a monkey that the concept artist put there as a whim, and which would almost certainly have taken more cinematics and modeling time to put in than we could ever afford… then yes. 😉" [source]

[midnight-scrivener]

OH okay one of my Favorite flicks of all time is Terry Gilliam's the Fisher King. It's set in the 80s, and is about a depressed radio shock jock (Jeff Bridges) who finds companionship in a man who believes that he is a knight of Arthur's Round Table (Robin Williams). Eventually the shock jock learns that he and the knight are reeling from the same tragedy. It's a horrible thing, and one that our radio man feels partly responsible for, so he decides to help get the knight's life back on track. It's a really lovely movie about healing from grief and finding joy in unexpected places. And it's also Very Aware of the nuances of Arthurian chivalry and codes of honor, which is fun if you're a nerd. There's a lovely balance of tough material with comic lightness, and it's probably my favorite role Williams ever played. I fully recommend it, but there is some Robin Williams nudity that I also need to make people aware of beforehand because it is uh. Surprising 😅

Also for a slightly less heavy recommendation, if you somehow haven't seen it, Pacific Rim goes incredibly hard (a love letter to humanity that is also about fighting huge aliens with big robots powered by love come ON) and there's a really strong case for both of the main characters having some sort of post-traumatic disability! It's a solid watch, and I think del Toro does a great job of weaving the characters' disabilities into the story in a way that lets them exist as setbacks without undermining the characters' abilities or heroism.

Have a really easy final project wherein I have to watch and write a short paper about a movie/limited series depicting someone with a DSM5 diagnosable disorder. The character does not explicitly have to have a disorder, just an arguable case that they do. Having trouble thinking of a movie though!!

Anyone have any ideas?

[deargravity]

paralive has been kind of pissing me off recently but let me not linger on that lmfao i will muscle through this for visty lore

[rearranging-deck-chairs]

danny talking about how resentful she became when nobody who she self-sacrificed for cared when she died and then leaving kirsch with laura and carmilla bc "if he stays with me i might lose control again and kill him" kinda confirms my thoughts abt both newly-turnedness and anger making vampires more vampiry

but also makes me think that in more usual circumstances, when the dean turned vampires like carmilla and mattie, that shes really nice at the start to temper any of that unruly anger

[quietwingsinthesky]

at some point i am going to have to force even to go back and deal with donna & tentoo & rose & all and everything they ran away from. and that will probably involve them losing tentoo’s chameleon arch watch by giving it back to its rightful owner, whether she chooses to open it or not. and that is. not going to be a very fun or stable time for them.

[gamebunny-advance]

NSR Comic Ideas I'll Probably Never Get To

My brain worms often prevent me from doing the things I actually want to do, so here's a list of NSR comic ideas that live in my head that I just can't bring myself to actually draw. These aren't full scripts like I've written in the past, but more like general outlines.

Draw them yourself if you want, but tag/credit me if you do. It'd be fun to see other interpretations of these prompts.

Since they're mostly gag comics, I've split them into "Set-Up" and "Punchline" in-case you want to write your own punchline or don't want to spoil the joke with the misguided hope that I will someday bring these to life. Some also have "Extended" parts which I think functionally don't need to be there, but may add context or additional jokes at the risk of dragging it out.

Anyway, I hope y'all enjoy them, and hopefully someday I'll be able to make at least 1 or 2 of these real. If there's a particular one you really like, let me know and it might inspire me to actually do it~

Preview:

Game (Neon J. teaches 1010 a new game.)

Clothes (1010 discuss the concept of nudity.)

Simulation (Kliff plays a 1010 dating sim to gather intel.)

Shorts (Tatiana urges DJSS to reconsider wearing shorts to work.)

Singing (Kliff sings to himself in the hideout.)

Chill (Gigi reveals that he has ice powers.)

Wall (Kliff and Tatiana have an argument that turns violent.)

Magazine (Neon J. tries to find the culprit of a smuggling.)

Trade (Kliff makes a trade.)

"Game" (Warning: Violence)

Set-up: Neon J. offers to teach 1010 how to play a new game. They all agree.

Punchline: NJ throws a gun on the table and declares the game is "Russian Roulette."

Extended: The winner turns out to be Blue (as per the chess poll), but he is traumatized by the events. It turns out to be borderline pointless, as the losing 1010s are immediately restored by the factory. The 1010s attack Neon J. in retaliation.

"Clothes" (Warning: Suggestive)

Set-up: Green holds a meeting to discuss if the concept of "nakedness" applies to the 1010's considering that their "clothes" could also be considered "skin." White is annoyed at the prospect of such a pointless discussion, but the others make their cases. Two camps form: team naked (Red and Green), and team not-naked (Blue and Yellow). Team naked believe the skin theory, and team not-naked believe that functionally they can't be naked. Additionally, Blue believes that their clothes are technically made of skin since they're 80% recycled materials.

White refuses to participate to break the tie, so to settle this Green proposes the "underwear test," claiming that if they look more or less naked while wearing underwear will determine if they are functionally naked or not. If they look more naked with underwear, then they weren't naked before because the underwear would draw attention to their nudity. If they look less naked, then they are naked because now they're more covered up. He convinces White to model for them since he hasn't done anything to help move the conversation anywhere (the sooner they settle this, the sooner they can do something else). White agrees and models some underwear, but all the 1010s determine that he just looks stupid.

Punchline: Green bursts out laughing, revealing that this was just a drawn-out revenge plot. White destroys him and their "Days since White has Destroyed Green" board is reset to 0.

"Simulation"

Set-Up: Kliff hobbles into the sewer looking half-dead and is intercepted by Zam, asking what happened to him. Kliff explains that he was doing research for the upcoming 1010 battle. To meet that end, he discovered that they released a dating sim that was supposedly programmed with the 1010 A.I.'s input, so he figured that there might be something useful in it that he could use for a battle strategy.

"Ellie says: Please don't pirate games from independent developers!"

When asked why he didn't just use a guide or play through for his research, he claims that although each 1010 only has 2 routes (good and bad) plus an ultimate ending for playing all routes, the A.I. adapts to the player, so the information would only be useful if he played as though he was Mayday or Zuke.

Punchline: The content of the game was so expansive and the story so moving that he was burnt-out emotionally and mentally. When he recalls the final ending, he starts crying, mimicking Mayday at the end of the 1010 battle.

"Shorts"

Set-Up: DJSS was recently hired onto NSR and has been pulled into a meeting with Tatiana. Tatiana tries to convince DJSS that wearing shorts is inappropriate dress-code, stating that "There are children here." Offended, DJSS starts pointing out the obvious biases in her request, citing that Neon J. doesn't technically wear pants and Eve accidentally interrupts their meeting in her usual outfit. Tatiana acquiesces on this condition, "Don't come crying to me when you come to regret your choices."

Punchline: DJSS leaves the room in a huff, and begins muttering to himself. At that moment, Yinu and Mama are passing by as Yinu points out that DJSS often talks out loud to himself. DJSS and Mama stop to try and make small talk while Yinu zones out of the conversation. She starts looking at DJSS's leg hairs and grabs onto them. DJSS thinks that she's trying to get his attention, but she suddenly yanks them out, causing him to let out a physical scream which bursts out of NSR tower to be seen by the citizens miles away. When we return to NSR tower, DJSS has toppled over from the pain, and Mama lightly scolds Yinu as they walk away from the scene. DJSS manages to pull himself back into Tatiana's office, crying. To which she replies, "What did I just tell you about crying back to me?"

Extended: It is revealed that this is why DJSS wears platform shoes: to keep Yinu from reaching his leg hairs. He also switched to velcro shoes just to be safe.

"Singing"

Set-Up: Kliff is singing Vs. SAYU to himself in the meeting room. He's embarrassed, but can't help himself because the song is too catchy. He at least finds relief that no one can hear him in there but suddenly notices that someone is peeking in through a crack in the door. It's Zam who was secretly recording it on his phone.

"Ellie says: Don't record people without their permission!"

Zam apologizes and slowly closes the door and begins to talk away before Kliff bursts through the door and begins chase. Zam manages to get the phone to Ellie, who gets the phone to Mayday, who is confused about what's happening. Kliff managed to get back to the game room, but he's too late.

Punchline: Mayday plays the video and says, "Wow Kliff... you've got a really good voice." Zam (who is a little beat-up from the chase) agrees and says, "But he never comes out to karaoke with us." Kliff is confused because he thinks the fact that he was singing one of NSR's songs is embarrassing, but Mayday laments that it's a really catchy song, and she does the same thing sometimes.

"Chill"

Set-Up: It's a hot day in B2J's hideout. Mayday laments the heat when Gigi passes by and puts his hand on her forehead. To her surprise and delight, his hand is really cold. She asks him if he was just holding a cold drink, but he reveals that he's half-ice elemental, so he has a naturally low body temperature, explaining that's why he's always bundled up. Mayday asks if she can hug him, since she thinks a frosty hug would be amazing right now. He's a little hesitant but agrees. Mayday feels relieved from the heat, but Gigi starts sensing murderous intent from somewhere. He notices a darkness flowing out from the meeting room and sees Kliff peering out. He urges Mayday to stop, but before she can do anything, Kliff accidentally falls over into the room from leaning on the door.

Punchline: Mayday wonders why this happened and concludes that Kliff must have been jealous. As Kliff tries to say that "it's not what it looks like", Mayday says, "You're jealous that I'm hogging Gigi all to myself. You can have a turn too." Gigi and Kliff internally monologue about how dense she is, but hug each other anyway to keep up appearances.

Extended: As they hug, Kliff realizes that it actually does feel pretty good. And the next shot has Kliff apparently monopolizing Gigi from the others as the latter wonders how they got to this point.

"Wall"

Set-Up: Tatiana and Kliff are arguing about something when Tatiana suddenly slams her fist into the wall, narrowly missing Kliff's head. Flustered, he says, "You can't win by trying to seduce me!" She replies, "This isn't seduction you moron." Before they can do anything else, they both hear a "Ker-thunk!" as Neon J. has situated a table with a sign reading, "Get wall slammed by Tatiana! $5 [Or the rough equivalent in ringgits]" and a small line has already formed. Tatiana questions this as Kliff slips away from the scene. Neon J. declares that he takes any business opportunity he sees. She's about to tell him to stop when the crowd starts looking disappointed.

Punchline: Tatiana begins wall slamming various characters including:

Mayday, who squees about being wall slammed by Kul Fyra.

Eve, who Tataiana tells could just ask her to do this for her.

Kliff again, who wasn't done with their earlier argument and had to pay Neon J. double since he "got the first one free".

Extended: After all the wall slams, Tatiana is exhausted and Neon J. tallies their profits from the day and gives Tatiana her share. It is also revealed that the "table" was actually a 1010 with a board on his back covered by a tablecloth.

"Magazine" (Warning: Suggestive)

Neon J. has called a meeting for the other 1010s to discover which one of them brought a dirty magazine into the house. They ask where he found it, but he claims it doesn't matter and he just wants to know who it belongs to.

Punchline: The 1010s look to each other but remain silent. Neon J. expresses disappointment that they would disobey orders twice, but they claim that they can't determine who it belongs to without more information. Neon J. then correctly deduces that they all own copies of the exact same magazine, just hidden in different places. They are all grounded for 2 weeks.

Extended: In an attempt to make it easier to identify the culprit the next time this was to happen, Neon J. decides to give each 1010 a different fetish, so he can just match the content to the 1010. To his dismay, this just leads to them finding a magazine which miraculously contains all 5 fetishes.

"Trade"

Set-Up: Kliff sits on a bench in front of a fountain. An individual wearing a trench coat and hat obscuring their face sits next to him. Without looking at the individual, Kliff asks, "Do you have it?" They slide him an envelope. Kliff briefly examines the contents (seemingly a document) which can't be seen by the viewer. After tapping them back in, Kliff sets a USB drive on the bench. The individual takes it. "That should patch up most of your vulnerabilities." Kliff says. "Yeah. Most." The individual says with a square text bubble, revealing himself to be Neon J. As Kliff stands up he says, "I need a reason for you to keep coming back, don't I?" Neon J. is left alone holding the drive before squeezing it in frustration and curses under his breath. Kliff makes his way back to the hideout's meeting room where Mayday is waiting with a stern expression. She asks, "Did you get the goods?" Kliff tosses the envelope onto the desk and says, "I always come through, kid." Mayday examines the contents and smiles to herself.

Punchline: It is revealed that the document is a signed pin-up of Kul Fyra which Mayday excitedly hangs up in the room.